My dissertation examines the question of how the incorporation of literary forms and techniques into written denunciations radicalizes the discursive practices of accusation during the French Revolution. I explore how the exploitation of literary elements such as genre and rhetorical strategies by revolutionary writers increases the scope and virulence of their attacks and contributes to the radicalization in the text of three key figures: the author-narrator, the imagined reader, and the object of denunciation. In the first part, I study the use of these strategies and their impacts on tone and the communication of meaning in two forms of the popular press: the ephemeral newspapers of 1789 (journals with under twenty issues) and the Private Lives (scandalous biographies of important public figures). In part two I show how writers with first-hand knowledge of recent violence and the deadliness of denunciation become confronted with the problem of how to condemn the worst aspects of the Revolution without partaking in incendiary speech themselves. Although still denouncing to a certain extent, these writers also try to resolve this dilemma through plays with perspective and parody. I examine this phenomenon in case studies of three authors who lived through the Revolution and whose writings were impacted to varying degrees by the events of 1789 to 1795: Nicolas Edme Restif de La Bretonne, Louis Sebation Mercier, and the Marquis de Sade. My study is situated at the crossroads of previous historical and literary scholarship on denunciation. Historians examining the practice of denunciation have investigated contemporary debates over calumny and the limits of free speech, the de individualization of the object of attack, and the impact of the period's obsession with transparency on the conceptualization of the denounced individual. These studies concentrate for the most part on political discourses and debates, laws, and the mechanics of the press and print culture. Scholarship analyzing rhetorical and literary aspects of revolutionary texts has slowly begun to emerge, and these literary analyses by historians on clandestine literature have identified important trends and have performed key case studies. My study supplements this existing work by focusing on such neglected areas as the relationship between the author and his imagined reader, while presenting a wider examination of the circulation of discourses between these texts to begin to grasp how these writers responded to, attacked, and adopted the denunciatory culture of their time.

Thèse de doctorat : Littérature française : Metz : 1998. / 1998METZ009L. 925 ref.

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Esta pesquisa apresenta um estudo dos protagonistas do romance Histoire de Juliette, ou Les prospérités du vice (1801) do Marquês de Sade. O objetivo do trabalho é evidenciar a progressão dos enunciados filosóficos dos personagens, dentro das cenas libidinosas nas quais são proferidos, relacionando as teorias e as práticas particulares de cada herói com os traços de seu caráter. Tal abordagem supõe a tese de que há uma interdependência entre os argumentos do libertino e sua construção dentro da narrativa ficcional. Cada devasso expõe um conjunto singular de ideias, determinado por suas características morais, físicas e por outros aspectos que constituem o gênero do romance filosófico. Logo, este estudo não propõe uma interpretação específica para o pensamento de Sade, mas salienta a oposição e a convergência de ideias em sua obra, acentua o debate entre os personagens, expõe, portanto, a diversidade dos discursos libertinos. / This research intends to analyze the protagonists from the novel Histoire de Juliette, ou Les prospérités du vice (1801) by the Marquis de Sade. Our goal is to evidence the development of the philosophical statements of the characters, within the libidinous scenes where they take place, relating the theory and practice of each hero with his/her personality. This approach assumes an interplay between the libertine\'s arguments and their construction in the fictional narrative. Each person presents a unique set of ideas, determined by his/her moral and physical traits, in addition to all the other aspects found in the philosophical novel gender. We, therefore, do not present a specific interpretation for the thinking of Sade, rather, we stress the opposition and convergence of ideas in his work, underlining the debate among the characters to point out the diversity of discourse amidst the libertines.

Estuda-se aqui a escrita do marquês de Sade, sobretudo as três versões de sua personagem virtuosa: Os infortúnios da virtude [Les infortunes de la vertu] (1787), Justine ou as infelicidades da virtude [Justine ou les malheurs de la vertu] (1791) e A Nova Justine ou as infelicidades da virtude [La Nouvelle Justine ou les malheurs de la vertu] (1799). Nelas, investiga-se o modo pelo qual a escrita produz equívocos, campos de ressonância e compossibilidades entre os pares conceituais com os quais trabalha (a saber, virtude/vício; infelicidade/prosperidade; etc). A dramatização dos conceitos e das normas simbólicas que os orientam configura, assim, uma cenografia equívoca, cujo funcionamento consiste em sabotar a univocidade de sentido dos termos que aciona. Essa equivocidade constitutiva da escrita sadiana deixa então em suspenso o próprio posicionamento enunciativo, não se subsumindo à particularização das intenções do Autor e, tampouco a uma determinação unívoca do contexto. Propõe-se, entretanto, singularizar sua indeterminação, ou melhor, a sobredeterminação das torções perspectivas que efetua e os seus equívocos, bem como os reenvios que fabrica e encena em uma rede de enunciações. Para tanto, dramatizam-se aqui dois eixos de análise, nos quais a virtude se faz fundamental: a discussão setecentista sobre a função moralizadora das artes e a política jacobina de Robespierre. Na passagem de uma a outra, é a equivocidade enunciativa de Sade que entrelaça a performatividade do texto literário e a instituição da lei. / This thesis aims to study the writing of Marquis de Sade, especially the three versions of his virtuous character: Les infortunes de la vertu (1787), Justine ou les malheurs de la vertu (1791) and La Nouvelle Justine ou les malheurs de la vertu (1799). In them, the object of inquiry is the way that writing produces equivoques, fields of resonance and compossibilities between conceptual pairs in which it works upon (namely, virtue/vice; infelicity/prosperity, etc). The dramatization of the concepts and symbolic norms that guide them sets an equivocal cenography, whose operation consists in sabotage the univocity of the terms\' meanings that it triggers. This constitutive equivocity of the sadian writing leaves suspended the whole enunciative positioning, not subsuming itself to the particularizations of the author\'s intentions, neither to a univocal determination of the context. However, it is proposed to singularize its indetermination, or better put, the overdetermination of the perspective torsions that it performs and its equivoques, as well as the resends that it fabricates and stages in a network of enunciations. Therefore, this thesis dramatizes two axes of analysis, in which the virtue is fundamental: the discussion in the Eighteenth century about the moralizing function of the arts and Robespierre\'s jacobin politics. In the passage from one to another, it is Sade\'s enunciative equivocity that tangles the literary texts\'s performativity and the institution of the law.

Cette thèse porte sur les représentations du temps historique dans deux œuvres panoramiques de Louis Sébastien Mercier (1740-1814), soit le Tableau de Paris, publié entre 1781 et 1788, et le Nouveau Paris, publié en 1798. Ces deux œuvres partagent une visée commune (faire le portrait physique et moral de Paris et écrire l’histoire du temps présent), mais, comme elles sont séparées par la Révolution française, elles présentent deux univers distincts. Il s’agit d’une part, d’étudier le foisonnement des représentations du temps chez Mercier et, d’autre part, de faire voir comment elles se modifient sous l’impact de la Révolution, qui oblige les contemporains à réévaluer leur place dans l’histoire. L’imaginaire temporel est abordé dans ses configurations variées et dans ses apories : l’œuvre panoramique de Mercier met en scène une série de tensions entre le passé – qui est tantôt rejeté, tantôt appelé – et le futur – qui apparaît soit comme l’horizon du progrès, soit comme le tournant de l’apocalypse. C’est toutefois le présent qui agit comme point focal de l’imaginaire temporel merciérien : il est le prisme à travers lequel l’auteur aborde les autres entités. Dans son désir de capter l’extrême contemporanéité, Mercier complexifie le rapport entre le monde ambiant et l’écriture qui tente de le fixer. Pris dans la tourmente révolutionnaire, il cherche à percer l’opacité des événements et fournit dans le Nouveau Paris l’une des premières histoires de la Révolution. Au moment où le présent acquiert dans son œuvre un statut d’objet historique, il devient également un objet esthétique : l’histoire présente, dans sa grandeur chaotique, remplace la nature comme source de sublime. / This dissertation analyzes the representations of historical time in two of Louis Sébastien Mercier’s panoramic works, that is the Tableau de Paris, published between 1781 and 1788, and le Nouveau Paris, published in 1798. These two works share a common goal (drawing the capital’s moral and physical portrait and writing the history of present time), but, since they are separated by the French Revolution, they offer two distinct universes. The aim of this dissertation is to study the representations of time in Mercier’s work and to evaluate how they change after the 1789 Revolution, a major event that greatly modifies the way contemporaries conceive their place in history. Temporal imagination is analyzed through its multiple configurations and aporias : Mercier’s panoramic work operates a constant tension between the past, that is sometimes rejected, sometimes glorified, and the future, conceived either as the horizon of a stable and positive evolution or as the turning point of Apocalypse. Nonetheless, it is the present that plays the main part in the author’s temporal imagination and that gives intelligibility to the other entities. In his desire to capture extreme contemporaneousness, Mercier makes more complex the relationship between writing and the ever changing reality it tries to fix. Caught in the revolutionary storm, he seeks to go beyond the events’ opacity and produces in le Nouveau Paris one of the first history of the Revolution. As it acquires an historical status, present history also becomes an aesthetical object : in its chaotic greatness, it replaces nature as a source of sublime.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Literatura / El presente trabajo se dispondrá de la siguiente manera: en el capítulo uno, analizaremos el contexto dentro del cual escribe Juan Ignacio Molina: el siglo XVIII y, específicamente, los debates en torno a la inferioridad del continente americano y la expulsión jesuita, para ir adentrándonos poco a poco en la escritura del abate. En el segundo capítulo, estudiaremos la noción de historia en la obra del abate Molina. El tercer capítulo se adentra en el análisis de la primera parte del Compendio, la historia geográfica y natural, para delimitar el lugar donde está situado el cuerpo: la naturaleza. En el cuarto capítulo estudiaremos el cuerpo, centro de este trabajo.

Orientador: Marcos Tadeu Del Roio / Banca: Marly de Almeida Gomes Vianna / Banca: Paulo Ribeiro Rodrigues da Cunha / Resumo: A questão democrática começou a ganhar dimensão nas discussões do PCB a partir de 1956, impulsionada pelo processo de revisão desencadeado com a crise do stalinismo. Diante das discussões que se abriam em torno da questão das "vias nacionais", a democracia política apareceria como o elemento capaz de subsidiar a construção de uma estratégia ao socialismo mais próxima à realidade brasileira. A valorização da democracia política e a política democrática em gestação, porém só se afirmariam plenamente no interior do PCB a partir do final dos anos setenta, quando a crise nacional tornaria evidente para o partido a conclusão da revolução econômico-burguesa e a interdição do terreno econômico para a efetivação de uma revolução de caráter nacional, caminho preconizado pela estratégia comunista, o que obrigaria o PCB a se voltar para as possibilidades de encaminhamento do processo revolucionário brasileiro através da via política-democrática. A luta democrática ganharia centralidade e passaria a ser o terreno privilegiado tanto para o desenvolvimento da luta da classe operária quanto para a solução dos problemas nacionais, não equacionados pela revolução burguesa. Com base nessas referências o propósito dessa pesquisa é analisar quais as implicações da centralidade da questão democrática na estratégia política do PCB. A hipótese lançada é a de que embora a revalorização da questão democrática fosse urgente e legítima, particularmente diante da perspectiva de democratização nacional aberta com a crise da ditadura, a ênfase nessa questão induziria o PCB à incorporação de uma concepção democrática-liberal, que o afastaria progressivamente da classe e dos valores operários que ele visava representar, sobretudo com a conquista de sua legalidade em 1985. Para a verificação do objetivo buscamos analisar além da bibliografia... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The democratic issue started to get relevant in the discussions of the PCB beginning from 1956, boasted by the reviewing process triggered by the Stalinism crisis. In face of the discussions which opened up around the "national vias" issue, the democratic policy would appear as an element which could subsidize the construction of a strategy to socialism closer to the Brazilian reality. The valuation of de political democracy and the democratic policy in elaboration, would only reassure totally inside the PCB, starting in the end of the 70's by this time, the national crisis would make clear for the party the conclusion of the economical burgeoise revolution and the interdiction of the economical grounds for the accomplishment of a nationwide revolution, the way proclaimed by the communist strategy. This would force the PCB to go back to the possibilities of guiding the Brazilian revolutionary process via democratic policy. The democratic fight would gain centrality and would become the privileged grounds for the development of the fight of the working class as well as for the solution of national problems, not solved by the burgeoise revolution. Based in these references, the purpose of this research is to analyze what are the implications of the centrality of the democratic issue in the political strategy of the PCB. The hypothesis is that, although the re evaluation of the democratic issue was urgent and legitimate, particularly in face of the perspective of the national democratization opened with the dictatorship crisis, the emphasis on the issue would lead the PCB to the incorporation of a democratic-liberal conception, witch would progressively deviate it from the working class and its values. These values were the goals the party aimed to represent, above all, after it became legal in 1985...(Complete abstract, access undermentioned electronic address) / Mestre

Estudo sobre o exército no Brasil, em particular na Capitania da Baía entre 1750 e 1762. Baseado em fontes manuscritas do Arquivo HistóricoUltramarino, análise administrativa, económica e social. Procurar encontrar respostas para as perguntas; como viviam, quantos elementos, etc. Tentar identificar o estado da instituição militar no período referido, e saber quais os motivos.

Abstract not available