[pt] A fim de compreender o papel do romance moderno e seus atributos durante a década de 60 em Portugal, este estudo visa a analisar criticamente a função da escrita na obra de Augusto Abelaira, autor que pertencia a um grupo de romancistas que procurava desenvolver uma nova maneira de ver a arte, de pensar a Literatura e de renovar a linguagem ficcional. Estes escritores tinham por intento questionar a importância de um experimentalismo da linguagem que criasse novas formas de narrativa, deixando o romance de personagens relegado apenas ao século XIX. Para tanto, o téorico do nouveau roman francês Alain Robbe-Grillet, as teorias da representação discursiva de Mikhail Bakhtin, a genealogia da escrita segundo Jacques Derrida, a estética da criação verbal para Barthes e a teoria do efeito estético de Wolfgang Iser serão postos em diálogo com a ficção de Augusto Abelaira para que possamos formular sentidos para as dimensões do romance português contemporâneo. Sob esta perspectiva, serão também trabalhadas a função do leitor e a importância da escrita no contexto histórico-literário da década de 60 em Portugal. / [en] In order to understand the role of modern novel and its attributes during the 60th decade, this study aims to analyze critically the writing function for an author that belonged to a group of novelists whose objective laid in the field that they should find new ways of thinking about art, literature, and writing. Those writers intended to discuss a kind of experimentalism that would be able to create new text forms, leaving the structure of old novel into the past centuries. In this way, Alain Robbe-Grillet`s theories on the French nouveau roman, Mikhail Bakhtin`s discourse representation, Jacques Derrida`s arguments towards writing will be put into dialogue with the modern Portuguese author Augusto Abelaira. This thesis will also arise analysis towards the reader`s function and the importance of writing in the literary and in the historical context of the 60th decade in Portugal.

Thèse en cotutelle, Université Laval, Québec, Canada, Philosophiæ doctor (Ph. D.) et Université Rennes 2, Rennes, France. / À partir des années 1950, la science-fiction anglophone arrive en France. La découverte de cette littérature de divertissement stimule une réflexion commune aux amateurs de ce nouveau genre et aux futurs nouveaux romanciers sur les possibles du romanesque. De même, la diffusion du Nouveau Roman contamine la science-fiction. La crise que le roman connaît au lendemain de la Seconde Guerre mondiale transparait dans les questionnements que se posent les écrivains de science-fiction au cours des années 1960, aussi bien en France qu'en Grande-Bretagne. Cette étude vise ainsi à mettre en évidence les relations entre le Nouveau Roman et la science-fiction entre 1950 et 2006. À partir des œuvres d'Alain Robbe-Grillet, Michel Butor, Claude Ollier et Jean Ricardou, mais aussi celles de Brian Aldiss, J. G. Ballard et des membres du groupe Limite, il s'agit d'analyser la nature de ces relations. D'une part, une connaissance mutuelle émerge grâce aux traductions des uns et des autres dans les champs français et anglais. Les auteurs se lisent, se citent, ce qui leur permet de développer un méta-discours sur leur propre pratique. De l'autre, l'écriture avant-gardiste du Nouveau Roman semble offrir les conditions d'une expérimentation pour les auteurs de science-fiction britannique et français. Il en ressort une réflexion sur la désignation générique mais aussi sur la modernité romanesque au sens large. La science-fiction prend conscience de sa littérarité et se fait une place dans le champ artistique. / English-language science fiction arrived in France in the 1950s. The discovery of this entertaining literature stimulated fans of the new genre and future new novelists to reflect on the possibilities of the novel. Likewise, the spread of the Nouveau Roman contaminated science fiction. The crisis facing the novel in the aftermath of the Second World War was reflected in the questions raised by science fiction writers in the 1960s, both in France and in Great Britain. The aim of this study is to highlight the relationship between the New Novel and science fiction between 1950 and 2006. Using the works of Alain Robbe-Grillet, Michel Butor, Claude Ollier and Jean Ricardou, as well as those of Brian Aldiss, J. G. Ballard and members of the group named Limite, we analyze the nature of these relationships. On the one hand, a mutual knowledge emerges thanks to each other's translations in the French and English fields. The authors read and quote each other, enabling them to develop a meta-discourse on their own practice. On the other hand, the avant-garde writing of the Nouveau Roman seems to offer the conditions for experimentation for British and French science fiction writers. What emerges is a reflection on generic designation, but also on novelistic modernity in the broadest sense. Science fiction is becoming aware of its literarity and is carving out a place for itself in the artistic field.

L’œuvre de Juan Carlos Onetti, féconde, diverse et originale, représente un renouveau de la littérature uruguayenne et latino-américaine. C’est dans les pages de la revue Marcha où, entre 1939 et 1941, il était secrétaire de rédaction, qu’il exposera sa vision de la littérature qui nécessite, d’après lui, et avec urgence, un renouvellement. Lui-même va mettre en place ses théories littéraires et, à travers son œuvre et sa ville mythique, Santa María, il va créer une nouvelle littérature urbaine plus en accord avec l’homme et le monde de son époque. En France, pendant les années quarante naît le Nouveau Roman, courant littéraire novateur qui représente une rupture dans les lettres françaises. Souvent appelée « littérature du regard », les textes du Nouveau Roman vont au-delà des formes narratives traditionnelles. Le propos de ce travail est l’étude comparée de l’oeuvre de Juan Carlos Onetti et de certaines oeuvres de deux écrivains du Nouveau Roman : Robbe-Grillet et Claude Simon. À partir de trois axes, l’étude d’un personnage en crise, l’étude des voix narratives, et l’étude des rapports entre l’homme, l’écriture et la fiction, ce travail de recherche interroge et analyse les formules narratives nouvelles qui ont bouleversé les règles du passé. / The work of Juan Carlos Onetti, prolific, diverse and singular, represents the renovation of the Uruguayan and Latin-American literature. When he was assistant editor for the magazine Marcha between 1939 and 1941, he exposed in a series of articles his viewpoint about literature, which needed, as he stated, a renovation urgently. His own work illustrates those theories; and with the mythic city Santa Maria he created, he developed a new kind of urban literature more in accordance with his contemporaries and the world he lived in. In France, the Nouveau Roman, which emerged in about 1940, constitutes a rupture in French literature. This innovative movement, often called "literature of look", went beyond traditional narrative forms. The purpose of this study is to compare Juan Carlos Onetti’s work with certain books written by two representatives of the Nouveau Roman: Robbe-Grillet and Claude Simon. From three axes the study of a character in crisis, the study of different narrative voices and the study of the relationship between man, his writings and fiction, this research work questions and analyses new narrative forms which definitively changed the rules of the Past.

À l’aube du XXIe siècle, le style-Minuit s’offre d’abord comme une construction critique. En effet, depuis les années 1950 et le mouvement du Nouveau Roman, aussi appelé école de Minuit, les récits publiés aux Éditions de Minuit sont perçus irréductiblement par l’histoire littéraire comme des productions homogènes. Ainsi, les écrivains "impassibles" ou "minimalistes" puis "ludiques" auraient succédé aux Nouveaux Romanciers et, jusque dans les années 1990, le mythique éditeur, Jérôme Lindon, aurait découvert trois écoles stylistiques. Les critiques littéraires contribuent également à perpétuer dans la presse l’idée d’un style-Minuit. Entre 1999 et 2009, les journalistes représentent, dans un discours métaphorique et métonymique qui joue sans cesse d’un glissement sémantique sur la lexie polysémique "style", le style-Minuit en tant qu’objet sociocritique stéréotypique. Mais, si l’on entend par style ce qui fait événement dans la langue, peut-on encore faire l’hypothèse selon laquelle il existe un style-Minuit ? Passée au crible d’une étude à la fois synchronique et diachronique, la langue littéraire des écrivains Minuit nés entre 1964 et 1973 (Éric Chevillard, Éric Laurrent, Laurent Mauvignier, Marie NDiaye et Tanguy Viel) révèle un méta-patron discursif composé de traits de style supra-individuels. Ainsi, une analyse approfondie de la ponctuation, la syntaxe et l’énonciation permet de dégager non seulement la singularité langagière de chaque écrivain mais aussi les convergences de pratiques stylistiques qui définissent bien un style collectif Minuit. / In the early twenty-first century, the “style-Minuit” can be first approached as a critical construction. Indeed, since the fifties literary movement called the Nouveau Roman (the New Novel), also known as the Minuit School, books published by Editions de Minuit have been received by the literary world as homogeneous productions. Thus, the “impassive” or “minimalist” writers, then the “ludic” ones would have followed the Nouveaux Romanciers and upto the nineties, the mythical publisher, Jérôme Lindon, would have discovered three stylistic schools. Literary critics also contribute to perpetuate the idea of a style-Minuit in the media and between 1999 and 2009 journalists have depicted the Minuit-style as a stereotypical socio-critical object through a metaphorical and metonymical discourse playing constantly with several meanings of the word “style”. However, if we restrict the meaning of style to what makes “an event in language”, can we still pretend there would be a “style-Minuit”? Examining on both a diachronic and a synchronic level the literary language of a generation of writers all born between 1964 and 1973 (Éric Chevillard, Éric Laurrent, Laurent Mauvignier, Marie NDiaye et Tanguy Viel) reveals a common pattern composed by similar stylistic figures. Therefore a deep analysis of punctuation, syntax and discourse makes it possible to highlight first the linguistic uniqueness of each writer but also the convergences of some stylistic practices which properly delimit the collective “style- Minuit”.

Les fictions de Claude Simon et de Yu Hua s’affranchissent de la représentation mimétique de la réalité, traditionnellement considérée comme dogme du roman. Leurs œuvres, qui ressassent la mémoire des événements historiques dans l’Histoire du XX° siècle, ne visent pas une restauration du passé au moyen de la chronologie et de l’enchaînement de causes et d’effets. Le vécu personnel de Claude Simon et de Yu Hua les incite à réfléchir sur la valeur de l’écriture face à la violence des désastres, et à remettre en cause toutes les modalités de représentation prétendant rétablir l’ordre du monde qui est en réalité radicalement chaotique. L’aspect insaisissable, obsédant de l’Histoire les obligent à partir à la recherche de formes nouvelles, et à élaborer une transfiguration de leur objet d’écriture. Ainsi, une expérience du temps chaotique voire fantastique, la hantise des aïeux et du père, les manifestations d’un érotisme intense, d’une violence aveugle, ainsi que tous les procédés de désorganisation de la narration, toutes les étrangetés du langage, témoignent d’un constat : l’évocation du passé ne peut advenir qu’obliquement. L’importance de l’Histoire dans la diégèse et dans la genèse de leurs œuvres réfute un type de critique qui identifie ces œuvres au formalisme. Ce lien organique entre l’Histoire et la fiction montre aussi qu’une certaine littérature contemporaine, caractérisée par une volonté de rupture avec les codes classiques de la représentation romanesque, surmonte une tentation nihiliste pour suggérer une éthique. / Claude Simon and Yu Hua’s fictions abandon the traditional mimetic representation of reality. Their works, which reexamine the memory of events in the History of the 20th century, are not aimed at restoring the past by means of a chronology and a sequential linking of cause and effect. The personal life experiences of Claude Simon and Yu Hua led them to reflect on the value of writing in the face of the violence of the century’s disasters, and to question the validity of a so-called realist literature pretending to re-establish the order of the world which is in reality radically chaotic. The elusive and obsessional character of History requires the writer to set off in search of new forms, and to elaborate a transfiguration in his literary objectives. Thus, the chaotic or even fantastic experience of time, the obsessive figures of ancestors and the father, the excess of eroticism or blind violence, as well as all the disorders in the narration and the strangeness of the language, all come within an attempt to speak of a past which can only be evoked obliquely. The importance of History in the diegesis and in the genesis of their works refutes a certain type of criticism which identifies these works with formalism. This visceral connection between History and fiction also shows that contemporary literature, marked by a spirit of rupture, goes beyond nihilism and in its own way realizes an ethical value.

This thesis considers the early dissemination and critical/cultural/literary reception of the nouveau roman in Britain, roughly between the years 1957–73. The nouveau roman is considered in its capacity as an avant-garde grouping of writers and texts coming from France, and as articulated at the interface of the novel and its theoretical metalanguage; the main nouveaux romanciers considered are Michel Butor, Marguerite Duras, Robert Pinget, Alain Robbe-Grillet, Nathalie Sarraute, and Claude Simon. Particular attention is paid to the ways in which the nouveau roman's status as nouveau was presented in Britain in the period in question. One of the major arguments of the thesis is thus: that the question of the nouveauté of the nouveau roman became a nodal point for negotiations over the legacy of modernism, and over the meaning of the 'contemporary' in literature in the postwar period. Part I charts the emergence of the nouveau roman in Britain. It looks first at the origins and the methods of the nouveau roman's initial dissemination, drawing on a range of previously undocumented archival sources. The main focus here is Calder & Boyars – the nouveau roman's main British publisher – and in particular the notions of publics that framed its activities involving the nouveau roman. Subsequently, the nouveau roman's British reception is considered with reference to an extensive survey of periodicals and books. Part II looks at the literary impact of the nouveau roman. First, a range of novels is considered as bridging the critical and the literary response in Britain to the nouveau roman. The authors considered are: Pamela Hansford Johnson, J. I. M. Stewart, Muriel Spark, John Fowles, J. B. Priestley, William Cooper, Rayner Heppenstall, and Christine Brooke-Rose. Then, other novels are considered more directly within the domain of the nouveau roman, seen against the background of Robbe-Grillet's approach to objects and materiality, and with reference to notions of 'project-work' in Butor's novels. Novels are considered by: Brian W. Aldiss, Muriel Spark, Denis Williams, Eva Figes, B. S. Johnson, and Alan Sheridan. Finally, the nouveau roman is looked at in relation to an emergent avant-garde in the British novel. Here, the nouveau roman is seen as providing terms with which British writing from the period in question was able to present itself as avant-garde beyond the manifestations of individual works. The conclusion briefly surveys more peripheral and non-novelistic British responses to the nouveau roman, considering the way in which they inscribe the nouveau roman as 'contemporary'. The thesis turns finally to the legacy of the nouveau roman for the British novel of the present day.

O presente trabalho tem por objetivo apresentar as principais características da obra Nathalie Sarraute (1900-1999) aos leitores brasileiros por meio da análise de seu primeiro livro, Tropismes(1957/1996), publicado inicialmente em 1939. Para isso, recorreu-se às obras críticas e teóricas sobre o Nouveau Romane a uma análise de aspectos fundamentais deste primeiro livro. Concluiu-se que, embora relacionada às tendências do Nouveau Roman de inovação na forma e no conteúdo da narrativa, Nathalie Sarraute apresenta uma poéticabastante singular na tentativa de revelar os tropismos, movimentos interiores e complexos pouco perceptíveis, porém presentes no cotidiano. / This dissertation aims to present the main features of Nathalie Sarrautes work (1900-1999) to the brazilian public through the analysis of her first book, Tropismes(1957/1996) initially published in 1939. Therefore, we used the critical and theoretical works on the Nouveau Romanand an analysis of the main characteristics of this first book. It was concluded that, although related to the Nouveau Romantrend of innovation in form and content of the narrative, Nathalie Sarraute presents a rather unique poeticsin attempt to reveal the tropisms, complex andinner movements wich are barely noticeable, but present in everyday life.

Este trabalho se propõe a estudar a prosa de ficção de José Agrippino de Paula, sobretudo os romances Lugar público e PanAmérica. Nosso objetivo é demonstrar como essas obras absorveram técnicas de vanguarda, notadamente do chamado Novo Romance Francês, que não eram comuns na prosa de ficção brasileira no período em que foram publicadas, a década de 1960. Além disso, com PanAmérica, o autor propôs uma leitura original da mitologia contemporânea configurada pela cultura de massa. Acreditamos que, ainda hoje, esses livros se constituem como romances de excesso e de exceção, já que, por suas inovações formais, não se enquadraram na tradição do romance brasileiro, o que acabou por relegá-los à margem da nossa história literária. / This work aims to study the fiction written by José Agrippino de Paula, mainly the novels Lugar público e PanAmérica. Our goal is to demonstrate how these works absorbed the Avant-garde literary techniques, especially the so-called Nouveau Roman, that were still not common in the Brazilian fiction prose in the 1960s, the time of their publication. Moreover, with PanAmérica, the author proposes a new way of reading the contemporary mythology molded by mass culture. We believe that even today, the books can be considered both excessive and exceptional. Due to their formal innovations, they escape the traditional Brazilian novels boundaries, which at the same time has relegated them to the margins of our literary history.

Este trabalho se propõe a estudar a prosa de ficção de José Agrippino de Paula, sobretudo os romances Lugar público e PanAmérica. Nosso objetivo é demonstrar como essas obras absorveram técnicas de vanguarda, notadamente do chamado Novo Romance Francês, que não eram comuns na prosa de ficção brasileira no período em que foram publicadas, a década de 1960. Além disso, com PanAmérica, o autor propôs uma leitura original da mitologia contemporânea configurada pela cultura de massa. Acreditamos que, ainda hoje, esses livros se constituem como romances de excesso e de exceção, já que, por suas inovações formais, não se enquadraram na tradição do romance brasileiro, o que acabou por relegá-los à margem da nossa história literária. / This work aims to study the fiction written by José Agrippino de Paula, mainly the novels Lugar público e PanAmérica. Our goal is to demonstrate how these works absorbed the Avant-garde literary techniques, especially the so-called Nouveau Roman, that were still not common in the Brazilian fiction prose in the 1960s, the time of their publication. Moreover, with PanAmérica, the author proposes a new way of reading the contemporary mythology molded by mass culture. We believe that even today, the books can be considered both excessive and exceptional. Due to their formal innovations, they escape the traditional Brazilian novels boundaries, which at the same time has relegated them to the margins of our literary history.

Les fictions de Claude Simon et de Yu Hua s'affranchissent de la repr��sentation mim��tique de la r��alit��, traditionnellement consid��r��e comme dogme du roman. Leurs ��uvres, qui ressassent la m��moire des ��v��nements historiques dans l'Histoire du XX�� si��cle, ne visent pas une restauration du pass�� au moyen de la chronologie et de l'encha��nement de causes et d'effets. Le v��cu personnel de Claude Simon et de Yu Hua les incite �� r��fl��chir sur la valeur de l'��criture face �� la violence des d��sastres, et �� remettre en cause toutes les modalit��s de repr��sentation pr��tendant r��tablir l'ordre du monde qui est en r��alit�� radicalement chaotique. L'aspect insaisissable, obs��dant de l'Histoire les obligent �� partir �� la recherche de formes nouvelles, et �� ��laborer une transfiguration de leur objet d'��criture. Ainsi, une exp��rience du temps chaotique voire fantastique, la hantise des a��eux et du p��re, les manifestations d'un ��rotisme intense, d'une violence aveugle, ainsi que tous les proc��d��s de d��sorganisation de la narration, toutes les ��tranget��s du langage, t��moignent d'un constat : l'��vocation du pass�� ne peut advenir qu'obliquement. L'importance de l'Histoire dans la di��g��se et dans la gen��se de leurs ��uvres r��fute un type de critique qui identifie ces ��uvres au formalisme. Ce lien organique entre l'Histoire et la fiction montre aussi qu'une certaine litt��rature contemporaine, caract��ris��e par une volont�� de rupture avec les codes classiques de la repr��sentation romanesque, surmonte une tentation nihiliste pour sugg��rer une ��thique.