1 Michaela Rumpíková, Résurrection de l'auteur : Hervé Guibert Abstract Hervé Guibert's writings are shocking, revolting, surprising with their explicit and expressive content. The author's desire to show, to reveal and to expose himself transforms his private universe into a space where intimacy becomes extimacy. His exhibitionist project is accomplished with the assistance of a literary genre, autofiction, the new postmodern cosmos of the "I". This thesis seeks to analyse the notion and the modalities of his "I", intimately connected to the themes of body, illness, life, death and resurrection, in his literary chronicles of AIDS, To the Friend Who Did Not Save My Life, The Compassionnate Protocol, Modesty, or Immodesty and The Man in the Red Hat. The "I" of the autodiegetic narrator appears as fragmentary and unstable. His "self" configures and unconfigures at the same time. There is a sense of alienation from his own body which has been dramatically altered by the illness. As a consequence, we witness both physical and psychological defragmentation of the subject. The body, constituent of the "I" identity, gradually transforms into an impersonal "it", an entity apart. In order to (re)construct himself, the author uses various writing processes that help him become familiar with his new "self". Finally,...

Roland Barthes nunca colocou os pés em território brasileiro. O que não quer dizer que ele nunca tenha estado no Brasil: seus escritos, carregados com suas ideias, suas noções, seus paradoxos e suas idas e vindas, trataram de assegurar sua presença na história da crítica literária brasileira do século XX. As relações entre Barthes e os intelectuais constituem o tema deste trabalho, que tem por objetivo encontrar, descrever e problematizar as imagens do escritor francês, produtos de sua recepção no Brasil, de 1953, data da publicação do primeiro livro de Barthes, Le Degré zéro de lécriture, até o momento atual. Efeitos de um processo de refração, tais imagens não se limitam a reproduzir a dinâmica do pensamento barthesiano, mas também evidenciam as particularidades do contexto e dos intelectuais que delas se apropriaram. Pois a periodização estudada compreende um momento de transição na história da crítica brasileira que a recepção à obra do escritor torna evidente: a consolidação das instituições universitárias, nos anos 50 e 60, abriu um novo espaço para os debates literários, antes limitados aos jornais. A crítica literária e as discussões teóricas, até esse momento, dominadas por críticos de formação autodidata, passaram a, paulatinamente, constituir uma preocupação dos professores universitários. A proposta deste trabalho é examinar como o pensamento de Barthes foi integrado nesse contexto, tendo como fio condutor e corpus principal o jornal O Estado de S. Paulo, complementado pela revista universitária Língua e Literatura. Tendo sido primeiro comentado pela crítica jornalística para, em seguida, tornar-se objeto de uma crítica universitária, o pensamento barthesiano transparece sob a forma de imagens parciais que, ao final do percurso investigatório, compõem um mosaico heterogêneo e complexo. Incompreendido, mestre estruturalista da nouvelle critique, semiólogo e guru nas universidades, hedonista, subversivo: em cada imagem pulsa uma faceta de Barthes, num movimento constante, engendrando novas leituras e a escrita de novos textos, e assim circulando, viva. / Roland Barthes never placed his feet on Brazilian territory. Which is not to say that he has never been in Brazil: his writings, full of his ideas, his concepts, his paradoxes and his comings and goings, treated to ensure his presence in the history of Brazilian literary criticism of the twentieth century. The relations between Barthes and intellectuals are the subject of this work, which aims to find, describe and discuss the images of the French writer, products of his reception in Brazil, from 1953, the publication date of Barthes first book, Le Degré zéro de l\'écriture, until the present time. Effects of a refraction process, such images do not merely reproduce the dynamics of Barthesian thought, but also highlight the particularities of the context and intellectuals who have appropriated of them. As the periodization studied comprises a transition moment in the history of Brazilian criticism that the reception to the work of the writer becomes evident: the consolidation of the university institutions in the 50s and 60s opened a new space for literary debates, once limited to newspapers. Literary criticism and theoretical discussions, so far dominated by self-taught critical, began, gradually, a concern of academics. The proposition of this thesis is to examine how Barthes thoughts were integrated in this context, having as a guiding thread, and the main corpus, the newspaper O Estado de São Paulo, complemented by the university journal Língua e Literatura. Having first been discussed by the journalistic critics and later becoming a subject of academic criticism, Barthesian thought emerges in the form of partial images that, at the end of the investigative path, composes a heterogeneous and complex mosaic. Misunderstood, struturalist master of nouvelle critique, semiotician and guru in universities, hedonistic, subversive: in each image pulsates a facet of Barthes in a steady movement, engendering new readings and the writing of new texts, and thus circulating, alive.

Les mythes américains génèrent des symboles et des stéréotypes fréquents dans l’imaginaire collectif. Leur usage dans la littérature québécoise exclut toute idéologie, privilégiant l’acte fondateur d’une nouvelle mythologie. Les mythes québécois se sont d’abord distingués de ceux de l’Amérique. Ils ont porté un regard critique sur la globalisation que peut susciter le territoire américain. En élaborant leur littérature nationale, les auteurs québécois de la Révolution tranquille ont formulé d’autres pistes interprétatives autour des mythes américains. L’américanité offre des perspectives anthropologiques fluides à l’adaptation du mythe au cinéma et en littérature. Le mythe tel que le définit Roland Barthes permet une interprétation contemporaine de chaque mythe québécois présenté dans cette étude. Le corpus est donc composé d’œuvres québécoises et étatsuniennes, de films de Denys Arcand et Clint Eastwood, de romans et textes argumentatifs de notre auteur tranquille référent, Jacques Godbout mais aussi de Jacques Poulin, Philippe Aubert de Gaspé, Antonine Maillet, Anne Hébert, Jack Kerouac. / American myths generate recurring symbols and stereotypes in the collective imagination. In Quebec literature, the use of these myths ignores ideology, favouring the founding act of a new mythology. Quebec myths firstly distinguished themselves from American myths, carrying with them a critical perspective on the globalising process driven by the American territory. In developing their national literature, Quebec authors from the Quiet Revolution shaped new interpretations of American myths. Americanness offers changing anthropological perspectives for the adaptation of myths into film and literature. The myth as Roland Barthes defines it, enables a contemporary interpretation of each Quebec myth you can find in this study. Thus, the corpus in my dissertation is made up of Quebec and American works, movies directed by Denys Arcand and Clint Eastwood and novels or argumentative essays by the quiet author who is the subject of this dissertation, Jacques Godbout as well as Jacques Poulin, Philippe Aubert de Gaspé, Antonine Maillet, Anne Hébert and Jack Kerouac.

De Roland Barthes à Pascal Quignard, ce que l’on observe c’est la recherche d’une hétérologie du savoir ; l’accentuation d’un discours « autre » sur le savoir ou plutôt la spectacularisation d’une forme hétérodoxe de l’écriture du savoir. Cela passe par le mélange des registres narratifs et argumentatifs, par le choix d’une forme plus fragmentaire que dissertative, par l’ouverture aux jeux énonciatifs comme par l’accueil de courts passages fictionnels dans les marges de la prose d’idées, par le souci enfin de la dimension figurale qui travaille en profondeur l’écriture du texte théorique. En engageant une comparaison entre ces deux générations d’écrivains, nous avons tenté une approche généalogique de cette ressaisie « hétérologique » des savoirs par la littérature. La question a été la suivante : qu’est-ce que l’insistance de la littérarisation du discours savant par les littéraires nous dit, en retour, de l’idée que la littérature se fait d’elle-même ? Derrière toutes ces annexions des disciplines savantes dans le domaine de la littérature – d’ailleurs exclusivement menées depuis la littérature, dans une indifférence quasi unanime de la « science » dont l’émancipation n’a plus à être revendiquée – n’y-a-t-il pas toute une stratégie de redressement symbolique du pouvoir et de la figure du littéraire ? Il ne s’agit pas ici d’une contribution à l’histoire de la littérature – dont le plan, souvent trop vaste, finit par essentialiser l’objet qu’elle se propose précisément d’historiciser –, mais plutôt d’une participation à l’histoire de l’idée de littérature ; et à l’intérieur de celle-ci, de façon plus resserrée encore, la tentative d’éclairer l’histoire de l’idée selon laquelle la littérature récente s’est voulue (de nouveau) souveraine dans l’ordre des discours. / The thing one observes moving from Roland Barthes to Pascal Quignard is the search for a sort of heterology of knowledge; the emphasis of an “other” discourse on knowledge or rather the spectacular display of a heterodox form for the writing of knowledge. This takes place by means of the intertwinement of both narrative and argumentative registers, as well as by the choice of a more fragmented rather than dissertational form, by a sort of openness to enunciation games but also by the incorporation of short fictional excerpts within the margins of such prose of ideas and finally by pondering the figural dimension deeply operating the writing of the theoretical text. The comparison initiated herewith between these two generations of writers has led us to put forward a genealogical approach of such “heterological” restoration of knowledge by literature. The question was outlined as follows: what does the insistence of the use by the literary of a scholar discourse literalization tell us, in its own way, concerning the very idea literature projects of itself? Underlying all the annexations of scholarly disciplines within the field of literature — indeed exclusively conducted from literature's point of view, in an almost unanimous indifference towards “science” whose emancipation no longer needs to be claimed — one asks whether there would not be a complete symbolic turnaround strategy of both the power and the figure of the literary. We do not aim at contributing to the history of literature — whose plan, often too wide, ends by essentializing the precise object it seeks to historicize — but rather to participating in the history of an idea of literature itself; and herewith, in a more strict manner, attempting to enlighten the history of the idea that recent literature has (once again) sought sovereignty within the order of discourse.

Roland Barthes nunca colocou os pés em território brasileiro. O que não quer dizer que ele nunca tenha estado no Brasil: seus escritos, carregados com suas ideias, suas noções, seus paradoxos e suas idas e vindas, trataram de assegurar sua presença na história da crítica literária brasileira do século XX. As relações entre Barthes e os intelectuais constituem o tema deste trabalho, que tem por objetivo encontrar, descrever e problematizar as imagens do escritor francês, produtos de sua recepção no Brasil, de 1953, data da publicação do primeiro livro de Barthes, Le Degré zéro de lécriture, até o momento atual. Efeitos de um processo de refração, tais imagens não se limitam a reproduzir a dinâmica do pensamento barthesiano, mas também evidenciam as particularidades do contexto e dos intelectuais que delas se apropriaram. Pois a periodização estudada compreende um momento de transição na história da crítica brasileira que a recepção à obra do escritor torna evidente: a consolidação das instituições universitárias, nos anos 50 e 60, abriu um novo espaço para os debates literários, antes limitados aos jornais. A crítica literária e as discussões teóricas, até esse momento, dominadas por críticos de formação autodidata, passaram a, paulatinamente, constituir uma preocupação dos professores universitários. A proposta deste trabalho é examinar como o pensamento de Barthes foi integrado nesse contexto, tendo como fio condutor e corpus principal o jornal O Estado de S. Paulo, complementado pela revista universitária Língua e Literatura. Tendo sido primeiro comentado pela crítica jornalística para, em seguida, tornar-se objeto de uma crítica universitária, o pensamento barthesiano transparece sob a forma de imagens parciais que, ao final do percurso investigatório, compõem um mosaico heterogêneo e complexo. Incompreendido, mestre estruturalista da nouvelle critique, semiólogo e guru nas universidades, hedonista, subversivo: em cada imagem pulsa uma faceta de Barthes, num movimento constante, engendrando novas leituras e a escrita de novos textos, e assim circulando, viva. / Roland Barthes never placed his feet on Brazilian territory. Which is not to say that he has never been in Brazil: his writings, full of his ideas, his concepts, his paradoxes and his comings and goings, treated to ensure his presence in the history of Brazilian literary criticism of the twentieth century. The relations between Barthes and intellectuals are the subject of this work, which aims to find, describe and discuss the images of the French writer, products of his reception in Brazil, from 1953, the publication date of Barthes first book, Le Degré zéro de l\'écriture, until the present time. Effects of a refraction process, such images do not merely reproduce the dynamics of Barthesian thought, but also highlight the particularities of the context and intellectuals who have appropriated of them. As the periodization studied comprises a transition moment in the history of Brazilian criticism that the reception to the work of the writer becomes evident: the consolidation of the university institutions in the 50s and 60s opened a new space for literary debates, once limited to newspapers. Literary criticism and theoretical discussions, so far dominated by self-taught critical, began, gradually, a concern of academics. The proposition of this thesis is to examine how Barthes thoughts were integrated in this context, having as a guiding thread, and the main corpus, the newspaper O Estado de São Paulo, complemented by the university journal Língua e Literatura. Having first been discussed by the journalistic critics and later becoming a subject of academic criticism, Barthesian thought emerges in the form of partial images that, at the end of the investigative path, composes a heterogeneous and complex mosaic. Misunderstood, struturalist master of nouvelle critique, semiotician and guru in universities, hedonistic, subversive: in each image pulsates a facet of Barthes in a steady movement, engendering new readings and the writing of new texts, and thus circulating, alive.

[pt] A tese tem como objeto os cursos ministrados por Roland Barthes no Collège de France (1977-1980) tomando como guia a enunciação barthesiana, explicitada no título desta pesquisa, de que estes cursos são por ele experimentados como um caminho associado à palavra chinesa Tao (cf. Barthes: protocolo da colheita). Esta concepção de caminho se oferece a Barthes como uma metodologia para a realização de uma nova prática de escritura que ele intitula como Romance. Na tese, a observação projetiva deste suposto método em operação é designada em termos de um mal-estar do método. Essa terminologia se justifica a partir de outra enunciação pessoal, esta proferida em Cerisy-la-Salle (1977), em que Barthes defende que a paixão do medo tenha o valor de método pois dela parte um caminho iniciático. Em outro eixo de desenvolvimento da pesquisa, há a simulação de uma poética do tempo que faz para corresponder a uma virada na naturalidade que Barthes designa como uma terceira volta do parafuso e que no curso A preparação do romance I está vinculada à prática do haicai. E, por fim, em um último eixo de abordagem, os cursos são trabalhados na perspectiva de um manual de escritura para destacar uma pedagogia suscitada pelo próprio texto barthesiano, ou ainda, pela singularidade de uma escrita que explicita seus procedimentos em um duplo registro: um dizer crítico-reflexivo associado a um mostrar poético-performativo. Nesse registro há uma reunião de considerações barthesianas relacionadas aos atos de abordar, anotar, apontar, burlar, captar, classificar, comentar, definir, descrever, escutar, fichar, flutuar, interpretar, observar etc. Barthes diz que um ponto de fuga do Curso seria a realização de um romance: passar da preparação para uma práxis de escritura. Mon Roland. Mon Roman. E, aqui, o retorno em espiral à problemática inicial do curso A preparação do romance I: como passar da anotação ao romance, do descontínuo ao fluxo, do fragmento ao não-fragmento. Ou ainda: como escrever um romance? / [en] This thesis analyzes the courses given by Roland Barthes at Collège de France (1977-1980), drawing on his utterance cited in the title of this work in which he claims to experience the courses as a way, alluding to the Chinese word Tao. Barthes draws on this conception of way as a methodology for undertaking a new practice of writing, which he calls the novel. In the thesis, the projective observation of this supposed method in operation is designated in terms of methodological malaise. This terminology is justified by another personal utterance, this one proffered in Cerisy-la-Salle (1977), in which Barthes argues that the passion of fear has methodological value, because it is from it that an initiating way begins. Elsewhere in this research there is the simulation of a poetic of time in the making to correspond to the natural turn that Barthes calls a third turn of the screw and which, in the course The preparation of the novel I, is associated with the haiku. And finally, in the last branch of the approach, the courses are observed from the perspective of a writing handbook to highlight a pedagogy brought about by Barthes text itself, or indeed by the singularity of a writing that explicates its procedures on two levels: reflexive and critical discourse alongside poetic and performative demonstration. In this register, Barthes considerations about the acts of approaching, noting, indicating, misleading, capturing, classifying, commenting, defining, describing, listening, listing, floating, interpreting, observing, etc. are combined. Barthes said that a vanishing point for the course was the writing of a novel: moving from the preparation to the praxis of writing. Mon Roland. Mon Roman. And here we spiral back to the initial inquiry of the course The Preparation of the Novel I: how to progress from notation to novel, from discontinuity to flow, from fragment to non-fragment. Or else: how to write a novel?

[pt] Esta dissertação desenvolve reflexões sobre a ideia de Oriente, a partir de textos de cunho autobiográfico do intelectual palestino e norte-americano Edward Said e do escritor francês Roland Barthes. Neste trabalho, privilegia-se o entendimento das escritas de si como espaço fértil para a construção de saberes que favoreçam dimensões não exclusivamente científicas da teoria. Assim, tais escritos de Said e Barthes são considerados modos alternativos de produção de conhecimentos e noções sobre o Oriente. O segundo capítulo da dissertação trata da encenação de um personagem oriental e fora de lugar em textos ensaísticos e narrativos de Said. O terceiro aborda como Barthes desenvolve relações com a ideia de Oriente em textos com elementos autobiográficos, sejam memórias ou diários de viagem. O último capítulo traz, na forma de fragmentos, reminiscências e considerações sobre as relações da autora com o Oriente. / [en] The idea of Orient is discussed in this work using texts with autobiographical elements written by the Palestinian-American intellectual Edward Said and the French writer Roland Barthes. In this study I understand self-writings as a fertile ground for the construction of knowledge, supporting non-exclusively scientific dimensions of theory. Therefore, the writings of Said and Barthes are considered alternatives modes of producing knowledge and notions of Orient. The second chapter deals with the enactment of an oriental and out of place character in essays and narratives by Said. The third chapter emphasizes how Barthes develops his own relationship with the idea of Orient in texts with autobiographical elements, including memoirs and travel diaries. The last chapter brings, in form of fragments, reminiscences and my own considerations towards the idea of Orient.

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This thesis is designed as a comprehensive analysis of the advertising discourse within some pre-set constrains. Specifically, the main area of interest is the realm of American print advertising after 1945. Within these limits, advertising is understood as a mode of language, the chief semantic unit of which is a form of Barthesian myth, a superstructure divorced from reality that supersedes de Saussure's semiotics of the sign. The bulk of this thesis is then a diachronic analysis of the development of these myths and their role as both mirrors and catalysts of a whole range of stereotypes, value hierarchies or fixed ideas firmly embedded within American collective consciousness. The primary materials for this analysis are then various specimen of the advertisements themselves, carefully selected because of their representativeness, influence or significance within the advertising realm. The main theoretical framework rests on Marx's understanding of the commodity as a certain type of fetish, Barthes's description of the structure and social function of the myth, Baudrillard's and Debord's theories on such notions as the society of spectacle, the reign of simulacra and hyperreality, Benjamin's understanding of the uniqueness of representation and its aura and finally McLuhan's detailed accounts of...

Idén om fotografigenren street style fashion photography är att den visar upp den vanliga människan, i vanliga kläder i en vardaglig kontext. Idén bakom fotografiet i sig går i samma linje om att visa upp det äkta, och i liknande stil skapades de sociala medieplattformen Instagram – för att publicera äkta bilder ”on-the-go”. Tidigare forskning visar dock på att fotografi, Instagram och street style fashion photography inte är lika vanligt och äkta som idéerna om dem. Fotografi handlar om att sätta sig själv i relation till världen och på så sätt skapas en typ av makt. Denna uppsats syftar till att blottlägga maktstrukturer i street style fashion photography bilder publicerade av influensers på plattformen Instagram. Metoden som används för att analysera materialet är Roland Barthes semiotiska denotation och konnotationsmodell, de fynd som hittas i analysen diskuteras därefter i relation till Pierre Bourdieus fältteori för att, på en relationell nivå, förstå hur maktstrukturerna placerar ut influenserna på det svenska modefältet online. Analysen visar att bilderna i materialet är högst uppstyrda och planerade, det konnoterar olika idéer om kommersiellt mode och kulturproducerat ”högmode”, lyxiga miljöer och ”vanliga” gator, allt detta i förhållande till Instagram estetik och vad som är vinnande visualiteter. De tre influenserna, vars bilder analyseras i studien, placeras i olika positioner på modefältet online men delar samtidigt på positionen som nykomlingar eftersom de kapital de visar upp skiljer sig mellan dem, samtidigt som strategierna för att ta sig an fältet är likande.