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.

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.

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

Thèse de doctorat : LITTERATURE FRANCAISE : Metz : 1997. / 1997METZL021. 103 ref.

Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-01-09Bitstream added on 2014-06-13T19:07:20Z : No. of bitstreams: 1 almeida_la_me_assis.pdf: 911958 bytes, checksum: b7228d2d4a5152dcd9a24016c3836d2e (MD5) / Este trabalho apresenta a tradução anotada do livro Les infortunes de la vertu (1787) do Marquês de Sade (1740 – 1814), seguido de um estudo introdutório que tem o objetivo de familiarizar o leitor brasileiro com a narrativa sadiana. Sabemos que a polêmica que sempre acompanhou o Marquês de Sade era seguida pela constatação de sua originalidade que produziu, a partir de suas ideias libertinas, suas polêmicas obras. Les infortunes de la vertu se caracteriza como uma das obras emblemáticas de Sade, uma narrativa que apresenta os elementos da perversão denominada a partir do nome do autor, o sadismo. Na atividade de tradução buscamos valorizar a tendência que preconiza o sentido e o estilo original, optando pela corrente que defende a tradução estrageirizadora / It is presented here the annotated translation of Les infortunes de la vertu (1787) of Marquis de Sade (1740 – 1814), followed by introductory study that intends to familiarize the Brazilian reader with the Sadean narrative. The controversy surrounding Marquis de Sade has always been accompanied by the realization of the originality he produced, sparked his libertine ideals and his infamous works. Les infortunes de la vertu is one of Sade’s emblematic works, with a narrative that presents elements of the perversion named after the author, Sadism. During the translation, we valued the original meanings and style by opting for a foreignizing translation

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literatura, Programa de Pós-Graduação em Literatura, 2016. / Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-08-05T14:14:27Z No. of bitstreams: 1 2016_AnneLouiseDias.pdf: 1759079 bytes, checksum: ad5f7a60f234df97b63e4e11a6cac866 (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2016-09-02T20:49:47Z (GMT) No. of bitstreams: 1 2016_AnneLouiseDias.pdf: 1759079 bytes, checksum: ad5f7a60f234df97b63e4e11a6cac866 (MD5) / Made available in DSpace on 2016-09-02T20:49:48Z (GMT). No. of bitstreams: 1 2016_AnneLouiseDias.pdf: 1759079 bytes, checksum: ad5f7a60f234df97b63e4e11a6cac866 (MD5) / Ainda clandestina na esfera canônica, a leitura da obra de Sade, como afirma Eliane Robert Moraes, pode levar a inúmeros equívocos, reduzindo o autor a reflexões sobre o sadismo ou fundindo-o à discursos científicos. As reverberações das escritas do marquês de Sade, entretanto, não se restringem às tentativas de sua compreensão; influente e vivamente presente em diversos escritores, o modelo sadiano é recuperado e homenageado em La marchande d’enfants, romance epistolar de Gabrielle Wittkop e publicado em 2003. O estilo de escrita de Wittkop abre-nos espaço para o estudo de sua obra como ambas uma retomada e uma atualização do próprio marquês. Desejamos no presente trabalho abarcar as representações dos desvios sexuais preconizados em Sade como um duplo jogo da linguagem: Sade e Wittkop teatralizam as ações violentas de suas personagens, jogando com a imagética, a representação e a imaginação, mas, para além disso, manejando a linguagem de forma a testar todos seus limites. Gabrielle Wittkop tentaria, em La marchande d’enfants, alcançar, pelo grotesco, pelo mal e pela perversão, o absurdo fazendo conscientemente uso da violência própria à linguagem, atacando, penetrando e testando as fronteiras do eu, do leitor e, finalmente, da literatura. _________________________________________________________________________________________________ ABSTRACT / Still foreign to the canon of Western Literature, the examination of the oeuvre of the Marquis de Sade can lead to numerous misunderstandings, as stated by Eliane Robert Moraes, such as reducing his output to reflections on sadism or merging it with scientific discourse. The repercussions of De Sade’s work, however, are not limited to critical attempts toward its understanding; influential and strongly present in several writers, De Sade’s model is recovered and honored in La marchande d'enfants, an epistolary novel authored by Gabrielle Wittkop and published in 2003. Wittkop`s writing style opens the space for the study of her work as both a renewal and an update of the Marquis himself. In the present work we wish to encompass the representations of sexual deviancy professed in Sade as a double play on language: De Sade and Wittkop dramatize the violent actions of their characters, playing with imagery, representation and imagination, but, in addition, manipulating the language in order to test all of its limits. Gabrielle Wittkop would attempt to achieve absurdity through the grotesque, evil and perversion, consciously making use of the language inherent violence in La marchande d'enfants, attacking, penetrating and testing the boundaries of the ego, the reader and finally literature itself.

Dissertação (mestrado)—Universidade de Brasília, Departamento de Línguas Estrangeiras e Tradução, Programa de Pós-Graduação em Estudos da Tradução, 2016. / Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-09-26T19:26:36Z No. of bitstreams: 1 2016_RodrigoD’AvilaBragaSilva.pdf: 26305127 bytes, checksum: d03331bff5a3fa76d7b3502209a435e4 (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2016-11-24T15:51:17Z (GMT) No. of bitstreams: 1 2016_RodrigoD’AvilaBragaSilva.pdf: 26305127 bytes, checksum: d03331bff5a3fa76d7b3502209a435e4 (MD5) / Made available in DSpace on 2016-11-24T15:51:17Z (GMT). No. of bitstreams: 1 2016_RodrigoD’AvilaBragaSilva.pdf: 26305127 bytes, checksum: d03331bff5a3fa76d7b3502209a435e4 (MD5) / Donatien Alphonse François de Sade, mais conhecido por Marquês de Sade, foi um escritor francês do século XVIII que teve diversas de suas obras censuradas devido à sua escrita considerada por muitos como sendo “depravada”. Muitas dessas obras apresentam descrições eróticas que põem em cena a excitação e o prazer através do sofrimento alheio. Essa parafilia ficou conhecida na história como “sadismo”, termo derivado do nome do Marquês e cunhado pelo psiquiatra austro-húngaro Richard von Krafft-Ebing em 1886. Todavia, vale salientar que as obras do escritor francês não se limitam apenas ao erotismo sádico, elas também criticam a sociedade francesa do final do século XVIII e início do XIX, constituindo uma das modalidades do romance filosófico. Em razão do banimento imposto à publicação de suas obras no período napoleônico (1799-1815), muitas delas foram esquecidas e, por vezes, perdidas. O processo de redescoberta e reapropriação das obras do Marquês na França teve como responsáveis: Guillaume Apollinaire, Maurice Heine, Gilbert Lely e Jean-Jacques Pauvert, já no início do século XX. E como consequência dessa redescoberta, surgem as primeiras traduções da obra sadiana no Brasil na década de 1960. O objetivo principal desta dissertação é estudar a coletânea de pequenos relatos intitulada Historiettes, Contes et Fabliaux, publicada pela primeira vez em 1926 na França por Maurice Heine e publicada no Brasil por diversas editoras. Tendo em vista o longo processo que vai da redescoberta de Sade até a divulgação e estudo das obras no século XX, esta pesquisa busca estudar (1) a presença e inserção das obras do Marquês de Sade no Brasil, por meio do levantamento de suas traduções publicadas, (2) sua recepção por meio da análise dos paratextos do corpus desta dissertação (Historiettes, Contes et Fabliaux – HCF), e (3) propor uma tradução comentada de Dorci, ou la Bizarrerie du sort, texto inédito nas edições brasileiras de HCF. _________________________________________________________________________________________________ ABSTRACT / Donatien Alphonse François de Sade, better known as the Marquis de Sade, was an eighteenth century French writer who had several works banned because his “depraved” writing. Many of these works have erotic descriptions that put on scene both excitation and pleasure through someone else’s suffering. This paraphilia is known as “sadism”, a term derived from the Marquis’ name and coined by the Austro-Hungarian psychiatrist Richard von Krafft-Ebing in 1886. However, it is important to point out that this French writer’s works are not limited to sadistic eroticism, but they do also criticize the late eighteenth and early nineteenth centuries French society, which characterizes one of the philosophical novel categories. Due to the censorship imposed on Sade’s works during the Napoleonic period (1799-1815), many of them have been forgotten and, sometimes, lost. Guillaume Apollinaire, Maurice Heine, Gilbert Lely and Jean-Jacques Pauvert were responsible for the rediscovery and reappropriation process of the Marquis’ works in France in the beginning of the nineteenth century. And, as a result of this rediscovery, the first translations of Sade’s works were published in Brazil on 1960s. The main purpose of this Master’s thesis is to study the collection of small stories entitled Historiettes, Contes et Fabliaux, published, for the first time in France, in 1926 by Maurice Heine, which was translated and published in Brazil by some publishing houses. Given Sade’s long rediscovery process until diffusion and study of the works on the twentieth century, this research seeks (1) to study the presence and insertion of the Marquis de Sade’s works in Brazil, through the list of his published Brazilian translations; (2) to study its reception through the analysis of the paratexts of the corpus of this research (Historiettes, Contes et Fabliaux – HCF), and (3) to propose a commented translation Dorci, ou la Bizarrerie du sort, the unpublished text on HCF in Brazilian editions. _________________________________________________________________________________________________ RÉSUMÉ / Donatien Alphonse François de Sade, plus connu comme le marquis de Sade, était un écrivain français du XVIIIe siècle qui a eu plusieurs de ses oeuvres censurées à cause de son écriture considérée par beaucoup de gens comme « dépravé ». Plusieurs de ses oeuvres ont des descriptions érotiques qui mettent en scène l’excitation et le plaisir à travers la souffrance des autres. Cette paraphilie a été connue dans l’histoire comme « sadisme », un terme dérivé du nom du Marquis et inventé par le psychiatre austro-hongrois Richard Von Krafft-Ebing en 1886. Cependant, on peut noter que les travaux de cet écrivain français ne se limitent pas à l’érotisme sadique, ils critiquent aussi la société française de la fin du XVIIIe et du début du XIXe siècle, constituant l’un des modes du roman philosophique. En raison de l’interdiction imposée à la publication de ses oeuvres dans la période napoléonienne (1799-1815), beaucoup d’entre eux ont été oubliés et parfois perdus. Le processus de redécouverte et de réappropriation des oeuvres du marquis au début du XXe siècle en France avait comme responsables Guillaume Apollinaire, Maurice Heine, Gilbert Lely et Jean-Jacques Pauvert. À la suite de cette redécouverte, les premières traductions de l’oeuvre de Sade ont été publiées au Brésil dans les années 1960. L’objectif principal de ce mémoire est d’étudier la collection de récits brefs intitulée Historiettes, Contes et Fabliaux, d’abord publiée en 1926 en France par Maurice Heine et publier au Brésil par plusieurs maisons d’édition. Compte tenu du long processus de la redécouverte de Sade à la diffusion et à l’étude des oeuvres dans le XXe siècle, cette recherche vise à (1) étudier la présence et l’insertion des oeuvres traduites du marquis de Sade au Brésil (2) étudier la réception de l’oeuvre par l’analyse des paratextes du corpus de ce mémoire (Historiettes, Contes et Fabliaux - HCF), et (3) proposer une traduction commentée de Dorci, ou la Bizarrerie du sort, texte inédit dans les éditions brésiliennes de HCF.