Cette présente étude propose d’éclairer l’apport de la France durant la première étape du développement de la galerie impériale de peintures, qui donna naissance au Musée de l’Ermitage, à Saint-Pétersbourg. C’est durant cette période que se constitue et se sanctuarise, comme nous tenterons de le démontrer, la galerie des souverains russes au sein d’un nouveau complexe palatial adossé au palais d’Hiver – siège du pouvoir –, en un établissement qui prend rapidement le nom – français – d’« ermitage ». Ce travail se divise en trois parties. Après une présentation de l’apport de la France sous Catherine II (1729-1762-1796), à travers l’étude de la construction des bâtiments de l’Ermitage d’une part, et la formation des collections d’autre part, nous traiterons ensuite des règnes de Paul Ier (1754-1796-1801) et surtout de son fils Alexandre Ier (1777-1801-1825), afin de déterminer comment ils ont géré cet héritage, en soulignant ce que ces souverains ont puisé en idées et en œuvres en France. Il reste enfin à établir, dans un troisième temps et au terme de cette première étape de l’évolution de l’Ermitage, comment la France a stimulé la mutation de la galerie impériale en un établissement tendant de plus en plus vers le musée. / This study proposes to clarify the contribution of France during the first stage of development of the Imperial Gallery of Paintings, which gave birth to the State Hermitage Museum, in Saint Petersburg. It is during this period that the gallery of the Russian sovereigns, within a new palatial complex, is gathered, organized and housed immediately just next to the Winter Palace – the seat of power – in an establishment which is quickly given the – French – name, “Hermitage.”This study is divided in three parts. First, the study will present the contribution of France under Catherine the Great (1729-1762-1796), by examining both the construction of the Hermitage’s building and the formation of the collections. Secondly, we will delve into the reigns of Paul I (1754-1796-1801) and especially his son, Alexander the Great (1777-1801-1825), in order to determine how they managed this inheritance, by highlighting how these sovereigns used the ideas and artworks from France. Finally, the study will establish, how, at the end of this first stage of the evolution of the Hermitage, France stimulated the transformation of the Imperial Gallery into an institution whose trajectory arced towards becoming a museum.

Submitted by Irvana Coutinho (irvana@ufpa.br) on 2017-04-18T12:20:41Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_EntreJornaisLivrarias.pdf: 3284227 bytes, checksum: 6e632ea3831d36815b8e619ff5b13547 (MD5) / Approved for entry into archive by Irvana Coutinho (irvana@ufpa.br) on 2017-04-18T12:20:58Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_EntreJornaisLivrarias.pdf: 3284227 bytes, checksum: 6e632ea3831d36815b8e619ff5b13547 (MD5) / Made available in DSpace on 2017-04-18T12:20:58Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_EntreJornaisLivrarias.pdf: 3284227 bytes, checksum: 6e632ea3831d36815b8e619ff5b13547 (MD5) Previous issue date: 2016-06-17 / FAPESPA - Fundação Amazônia de Amparo a Estudos e Pesquisas / Camilo Castelo Branco a été un écrivain d’intense production littéraire, pendant le XIXe siècle il a produit plusieurs oeuvres qui répondaient à l’attente d’un vaste public, constitué non seulement de lecteurs portugais, mais des brésiliens, inclus les paraenses. Au Pará, les romans camiliens circulaient tant dans les pages des journaux, dans les colonnes Folhetin et Venda qu’en format livre, dans les endroits destinés à la lecture, comme les bibliothèques et les cabinets de lecture. J’ai observé, à ce sujet, que les oeuvres Mistérios de Lisboa (1854) et Coisas espantosas (1862) ont circulé à Belém dans les deux supports susmentionnés : dans des journaux, dans le quotidien Diário do Gran-Pará, et dans des livres, dans la bibliothèque du Grêmio Literário Português de Belém. A cet effet, ce travail a pour but aborder la circulation de ces romans au Pará du XIXe siècle, afin de confirmer que les oeuvres camiliennes ont atteint à une certaine notoriété aussi en terres brésiliennes. En outre, je prétends démontrer que les oeuvres de l’auteur lusophone, considérées uniquement comme des reproductions du roman-feuilleton français, présentaient, malgré le trait feuilletonesque reconnu, attribut propre de ce qui les a crées, ce qui dénote la prédominance d’un style sur une forme / Camilo Castelo Branco foi um escritor de intensa produção literária, durante o século XIX produziu diversas obras que atendiam aos anseios de um público vasto, constituído não apenas de leitores portugueses, mas brasileiros, incluindo os paraenses. No Pará, os romances camilianos estiveram presentes tanto nas páginas dos jornais, nas colunas Folhetim e Venda quanto em formato livro, em espaços destinados à leitura, como as bibliotecas e os gabinetes de leitura. Observei a esse respeito, que as obras Mistérios de Lisboa (1854) e Coisas Espantosas (1862), circularam em Belém, nos dois suportes supracitados: em jornais, no periódico Diário do Gram-Pará, e em livros, na biblioteca do Grêmio Literário Português. Neste sentido, o presente trabalho tem como objetivo trazer à baila a circulação destes romances no Pará do século XIX, para assim confirmar que as obras camilianas, alcançaram notoriedade também em terras brasileiras. Além disso, pretendo demonstrar que as obras do autor lusitano, consideradas apenas reproduções do romance-folhetim francês, apresentavam, apesar do reconhecido traço folhetinesco, atributos próprios de quem as criou, o que denota a predominância de um estilo sobre uma forma.

Mémoire de maîtrise : Lettres : Lille III : 1992. / Bibliogr. p. 173-178.

Thesis (MA (English Studies))--University of Stellenbosch, 2009. / ENGLISH ABSTRACT: Texts by women travellers describing their journeys date back almost as far as those produced by their male counterparts, yet women’s travel writing has only become an area of academic interest during the past ten to fifteen years. Previously, women’s travel writing was mostly read for its entertainment value rather than its academic merit and – as Sara Mills notes in her Discourses of Difference – appeared almost exclusively in the form of coffee table books or biographies offering romanticized accounts of heroic, eccentric women who undertook epic journeys to Africa (4). The growing interest in women’s travel writing as part of colonial discourse coincides with the emergence of gender studies and related subjects. The emergence of these areas of academic enquiry can be attributed to the systematic dismantling of the patriarchal structures, which previously dominated social and academic domains. The aim of this study is to examine European women’s travel writing as a subversive discourse which, while sharing some characteristics with traditional male-produced travel texts from the colonial era, was informed by the discursive constraints of femininity. These texts thus differ from male-produced texts in the sense that, because of the different discursive constraints informing women’s travel writing, they offer commentary on aspects of Africa and its peoples which men had omitted in their travel accounts. Three specific texts by British women who recorded their travels in Africa form the basis of the discussion in this dissertation: the travel writing of Lady Anne Barnard (South African Cape Colony, 1797 – 1801), Mary Kingsley (West Africa: Gabon and the Congo, 1896 – 1900) and Barbara Greene (Liberia, 1935). Since, as Mills argues, “feminist textual theory has restricted itself to the analysis of literary texts and has been concerned with analysis of the text itself” (12), which limits the extent to which one can provide interesting, discerning, and relevant comment on women’s writing, the readings of these texts are not limited to feminist theory of women’s travel writing. Social expectations until as recently as the early twentieth century located women firmly in the domestic sphere. It was almost unthinkable for women to undertake travels other than the traditional Grand Tour. To attempt to venture into the predominantly male territory of travel writing was to expose oneself to harsh criticism and to risk being labelled as eccentric and unfeminine. Thus women had to find a way of making both their travels and writing seem acceptable by social standards, while still presenting as true as possible a picture of Africa in their writing. These constraints of the discourse of femininity on their texts necessarily make women’s writing seem concerned almost exclusively with matters of feminine interest. Mills attributes this to women travel writers’ “problematic status, caught between the conflicting demands of the discourse of femininity and that of imperialism.” (Mills, Discourses of Difference 22) / AFRIKAANSE OPSOMMING: Reisbeskrywings deur vroue dateer byna so ver terug as dié wat deur mans geskryf is. Tog het vroue se reisbeskrywings eers in die afgelope tien tot vyftien jaar akademiese belangstelling begin ontlok. Voorheen is vroue se reisbeskrywings meestal vir vermaak eerder as akademiese meriete gelees, en – soos Sara Mills in haar Discourses of Difference opmerk – het dit byna uitsluitlik verskyn as koffietafelboeke of verromantiseerde biografieë van heldhaftige, sonderlinge vroue wat epiese reise na Afrika onderneem het (4). Die toenemende belangstelling in vroue se reisbeskrywings as deel van koloniale diskoers val saam met die verskyning van gender-studies en verwante vakgebiede. Die ontstaan van hierdie akademiese vakgebiede kan toegeskryf word aan die stelselmatige aftakeling van die paternalistiese strukture wat sosiale en akademiese arenas voorheen oorheers het. Die doel van hierdie studie is om Europese vroue se reisbeskrywings te ondersoek as ‘n ondermynende diskoers wat, hoewel dit sekere eienskappe van tradisionele reisbeskrywings deur manlike skrywers uit die koloniale tydperk toon, gegrond is in die beperkende diskoers van vroulikheid. Hierdie tekste verskil dus van tekste deur manlike skrywers in die opsig dat dit, as gevolg van die verskillende diskoersbeperkinge waarin dit gegrond is, kommentaar lewer op aspekte van Afrika en sy bevolking wat mans in hul reisbeskrywings uitgelaat het. Drie spesifieke tekste deur Britse vroue wat hul reise beskryf het vorm die grondslag van hierdie verhandeling; dit is die reisbeskrywings van Lady Anne Barnard (Suid-Afrikaanse Kaapkolonie, 1797 – 1801), Mary Kingsley (Wes- Afrika: Gaboen en die Kongo, 1896 – 1900) en Barbara Greene (Liberië, 1935). Mills voer aan: “Feminist textual theory has restricted itself to the analysis of literary texts and has been concerned with analysis of the text itself” (12). Dít beperk die mate waartoe interessante, skerpsinnige en toepaslike kommentaar oor vroue se reisbeskrywings gelewer kan word; dus is die interpretasie van hierdie tekste nie beperk tot feministiese teorie met betrekking tot vrouereisbeskrywings nie. Tot so onlangs as die vroeë twintigste eeu het die samelewing se verwagtinge vroue streng tot die huishoudelike sfeer beperk. Afgesien van die tradisionele Grand Tour was dit bykans ondenkbaar vir vroue om te reis. As ‘n vrou inbreuk sou probeer maak op die tradisioneel manlike gebied van die skryfkuns sou sy haarself blootstel aan skerp kritiek en onwenslike etikettering as eksentriek en onvroulik. Dus moes vroue ‘n manier vind om sowel hul reise as hul skryfwerk sosiaal aanvaarbaar te maak en terselfdertyd so ‘n egte beeld as moontlik van Afrika te skets in hul skryfwerk. Die beperkinge wat die diskoers van vroulikheid op hul tekste plaas, lei noodwendig daartoe dat vroue se skryfwerk as byna geheel en al beperk tot sake van vroulike belang voorkom. Mills skryf dít toe aan vroue-reisbeskrywers se “problematic status, caught between the conflicting demands of the discourse of femininity and that of imperialism.” (Mills, Discourses of Difference 22)

Orientador: Francisco Foot Hardman / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-15T02:34:09Z (GMT). No. of bitstreams: 1 Melo_CarlosAugustode_D.pdf: 5073338 bytes, checksum: 173105635536b6831769301c0a3a0231 (MD5) Previous issue date: 2009 / Resumo: No Brasil oitocentista, as histórias literárias fizeram carreira, como veículo discursivo historiográfico de invenção, afirmação e convalidação da tradição cultural e literária nacional, especialmente, pelos seus fortes vínculos institucionais. É nesse momento que, portanto, encontramos alguns historiadores aspirando trazer a público a história oficial sobre o conjunto da literatura nacional que contribuísse para a projetada História Geral do Brasil. Desse esforço intelectual, tivemos três exemplos bem-sucedidos: as histórias literárias de Cônego Fernandes Pinheiro (1825-1876), de Ferdinand Wolf (1796-1866) e de Sotero dos Reis (1800-1871). O intuito desse trabalho é trazer uma leitura sobre essas narrativas precursoras, respectivamente, o Curso Elementar de Literatura Nacional (1862), O Brasil Literário (1863) e o Curso de Literatura Portuguesa e Brasileira (1866-1873), como formadoras da tradição historiográfica literária no Brasil. Nesse sentido, pretende-se percebê-las a partir de suas características discursivas, teóricas e metodológicas, aplicadas ao estudo histórico da literatura nacional, como, por exemplo, à construção da periodização, à aplicação da análise literária, à conceituação de "literatura nacional", entre outros aspectos / Abstract: In nineteenth-century, the Brazilian Literary Histories were accepted as discursive historiography of invention, affirmation and convalidation of our cultural tradition and national literature. Then, some historians wanted to contribute with those narratives which could be projected to History of Brazil. We had three successful examples: Curso Elementar de Literatura Nacional (1862), by Clergyman Fernandes Pinheiro; O Brasil literário (1863), by Ferdinand Wolf; and, Curso de Literatura Portuguesa e Brasileira (1866-1873), de Sotero dos Reis - which have been seeing as pioneer in our literary historiography. Thus, this work analyzes these three Brazilian literary histories, which could construct an idea of our national historiography formation and, on the other hand, allow to reassess the later histories / Doutorado / Historia e Historiografia Literaria / Doutor em Teoria e História Literária

Orientador: Suzi Frankl Sperber / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-01T18:00:19Z (GMT). No. of bitstreams: 1 Moraes_AnitaMartinsRodriguesde_M.pdf: 3653614 bytes, checksum: 0b9c8d86743bc96914c293e84c768594 (MD5) Previous issue date: 2002 / Resumo: A presente tese dedica-se ao estudo de alguns dos pressupostos teóricos subjacentes a leituras críticas de obras das chamadas literaturas africanas de língua portuguesa. Na primeira parte da tese, ¿Traçando o percurso: em terra sonâmbula¿, em que analisamos o romance Terra Sonâmbula, de Mia Couto, duas estratégias de interpretação adquirem destaque: 1) a que enfatiza a busca de traços de oralidade no texto, sugerindo-se que o intertexto com a oralidade determina a estrutura romanesca, sendo a camada dos contos e provérbios decisiva; 2) a que interpreta as estratégias de composição do romance à luz dos desafios que um evento de violência radical, como a guerra civil moçambicana, impõe à narrativa. O recuo teórico, que é empreendido na segunda parte, ¿Desfazendo o traçado: recuo teórico¿, investiga alguns dos pressupostos destas duas estratégias analítico-interpretativas. No capítulo ¿A palavra justa¿, primeiro capítulo da segunda parte, tratamos especialmente do instrumental analítico desenvolvido pelos estudos do discurso testemunhal (com destaque para as teóricas Jeanne-Marie Gagnebin e Shoshana Felman) e pelos estudos pós-coloniais (com destaque para Edward Said, Arlindo Barbeitos e Mudimbe). Nosso foco está na imbricação de estratégias discursivas e posicionamentos ético-políticos, eixo das teorizações dos dois campos teóricos abordados. No segundo capítulo desta segunda parte, intitulado ¿A escrita culpada¿, apresentamos o estudo da dicotomia escrita/oralidade, remontando a Jean-Jacques Rousseau e perpassando teóricos bastante demandados no âmbito dos estudos de traços de oralidade nas literaturas africanas: Vladímir Propp, Walter Benjamin e Paul Zumthor. Nosso interesse é explicitar certas associações (como liberdade, alegria e oralidade versus impedimento, solidão e escrita) e pressupostos (como a linearidade histórica e o condicionamento econômico e/ou de mídia) muitas vezes implicados na reposição desta dicotomia em âmbito dos estudos das literaturas africanas, como também sugerir convergências e divergências nas formulações dos pensadores estudados. A parte final do trabalho (¿Furtivo traçado, algumas considerações finais¿) é dedicada às considerações conclusivas, que relacionam as partes anteriores e incluem uma nova abordagem do romance. De certa forma, a estrutura da tese reflete nosso percurso investigativo, que foi da obra coutiana à investigação teórica, a partir de aspectos de sua fortuna crítica / Abstract: This dissertation is dedicated to the study of some theoretical presuppositions underlying the critical readings of the so-called African Literature of Portuguese Language. In the first part of the dissertation, "Tracing the Path: in Terra Sonâmbula", in which we analyze the book Terra Sonâmbula (Sleepwalking Land), by Mia Couto, two main interpretative strategies are revealed: 1) the one that searches for traces of orality in the text, and suggests that the intertext with orality determines its Romanesque structure ¿ to which the short stories and proverbs are decisive; 2) the one that analyses the novel¿s compositional structures in search of the challenges that a radical event of violence, for example the civil war in Mozambique, imposes to the narrative. The theoretical retreat, which is undertaken in the second part, "Undoing the Path: Theoretical Retreat", investigates some of the suppositions of these two strategies of analysis and interpretation. In the chapter "The Fair Word", first chapter of the second part, we focus on the analytical instruments developed by the studies of testimonial discourses (especially Jeanne-Marie Gagnebin and Shoshana Felman) and the post-colonial discourses (especially Edward Said, Arlindo Barbeitos and Mudimbe). Our focus is on the imbrication between discursive strategies and ethical-political positionings, which form the theoretical core of the two fields approached. In the second chapter of the second part, titled ¿The Guilty Writing¿, we present the study of the dichotomy between writing and orality, remounting to Jean-Jacques Rousseau and perpassing some acclaimed theoreticians of the study of orality traces in African Literature: Vladímir Propp, Walter Benjamin and Paul Zumthor. Our interest is to make explicit certain associations (like freedom, joy and orality versus impediment, solitude and writing) and presuppositions (like the historical linearity and the economical conditioning and/or midia) many times implicated in the repositioning of this dichotomy in the field of African Literature Studies, as well as suggest some convergencies and divergencies in the formulations of these thinkers. The final part of the work (Furtive Writing: Some Final Considerations) is dedicated to conclusive considerations, which relate the previous parts and include a new approach to the novel. Somehow, the structure of the dissertation reflects our investigative path, which went from the Couto's novel to the theoretical investigation of its critical fortune / Mestrado / Literatura Brasileira / Mestre em Teoria e História Literária

Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2017-05-08T18:45:21Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) GuilhermeMilner2017ME - Final.pdf: 904718 bytes, checksum: 3c661a6b4f8728633da84e9d68862856 (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-05-23T14:24:17Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) GuilhermeMilner2017ME - Final.pdf: 904718 bytes, checksum: 3c661a6b4f8728633da84e9d68862856 (MD5) / Made available in DSpace on 2017-05-23T14:24:17Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) GuilhermeMilner2017ME - Final.pdf: 904718 bytes, checksum: 3c661a6b4f8728633da84e9d68862856 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Baseado em teóricos que buscaram conceituar e explicar questões referentes à percepção da morte e do suicídio em sociedades ditas ocidentais, como Alvarez, Ariès, Durkheim, Marx, entre outros, este trabalho busca estabelecer uma análise crítica da novela passional Amor de Perdição, de Camilo Castelo Branco, com a finalidade de observar a trajetória que leva à morte as três personagens principais: Teresa, Simão e Mariana. Podemos verificar que as personagens possuem uma trajetória ascendente, que ruma para a salvação ou para o heroísmo, mesmo quando esse final é resultado de uma morte-voluntária. O ato de se matar, que no romance estudado aparece como um destino heroico para as personagens, não encontrava o mesmo tratamento na sociedade portuguesa da época, conforme se pode verificar no estudo prévio de alguns periódicos do período oitocentista, como a Revista Universal Lisbonense e a Revista Contemporânea de Portugal e Brazil, em que as notícias, por via de regra, se referiam aos suicidas que ilustravam suas páginas como “infelizes” ou “desgraçados(as)”. Para melhor contextualização da novela no conjunto dos textos camilianos em que o referido tema aparece, essa dissertação proporá, por fim, uma leitura comparativa da novela A sereia, do mesmo autor, atualmente pouco conhecida do grande público, em que se pode destacar a presença de personagens que dialogam nitidamente com aquelas presentes na obra de maior sucesso do escritor português / Fondé sur des théoriciens qui ont cherché à conceptualiser et à expliquer des questions touchant la perception de la mort et du suicide au sein des sociétés dites occidentales, comme Alvarez, Ariès, Durkheim, Marx, entre autres, ce travail cherche à établir une analyse critique de la nouvelle passionnelle Amor de Perdição (Amour de Perdition), de Camilo Castelo Branco, ayant pour finalité d’observer le chemin qui mène à la mort les trois personnages principaux: Teresa, Simão et Mariana. On constate que les personnages ont une trajectoire ascendante, en direction du salut ou du héroïsme, même quand cette fin résulte d’une mort-volontaire. L’acte de se tuer, qui apparaît dans le roman étudié comme un destin héroïque pour les personnages, n’était pas traité de la même manière par la société portugaise de l’époque, comme on peut vérifier en étudiant au préalable quelques périodiques du XIX ème siècle, comme la Revista Universal Lisbonense (Revue Universel de Lisbonne) et la Revista Contemporânea de Portugal e Brazil (Revue Contemporaine du Portugal et Brésil), où les annonces faisaient couramment référence aux suicides qui illustraient leurs pages comme «malheureux» ou «sales». À fin d’une meilleure contextualisation de la nouvelle dans le recueil de textes de Castelo Branco où la thématique abordée apparaît, cette dissertation proposera, enfin, une lecture comparative de la nouvelle A sereia (La sirène), du même auteur et actuellement peu connue du grand public, dans laquelle on peut souligner la présence de personnages qui dialoguent nettement avec ceux de l’oeuvre la plus connu de l’écrivant portugais

This dissertation tracks the literary afterlife of natural history in American literature, long past its term of relevance for scientific experts, and examines how natural history persists as idiom, cultural metaphor, and discursive framework in nineteenth-century literature in a way that informs poetic production. At the juncture of literary and cultural history, history of science, and environmental studies, I reconstruct the enduring literary rapport between poetry and natural history in US culture, showing how the aesthetic innovations of a wide current of poetic experimentalism variously draw upon natural history as a resource. I therefore push against major received narratives about natural history’s disappearance after the eighteenth century and the development of American poetry as a filiation of European Romanticism. As I read the texts of familiar literary figures such as Ralph Waldo Emerson, Edgar Allan Poe, Frances Watkins Harper, and Herman Melville, I recontextualize these figures into a shared poetic strain that reflexively develops upon natural history as a mode of thinking about the New World as a biophysical, social, and cultural habitat. My chapters analyze these writers’ accounts of poetry and their various experiments with not only the capacities of poetic genres—such as epic or elegy—but also the material production of their poems as objects in the world. In the process, I also show how the different poets of my dissertation confront the violent historical and social repercussions of scientific modernity, colonialism, enslavement and racism, mass extermination, or war, as they advance poetry as the fit vehicle for rethinking the grids of normativity and possibility in modern America.

Québec Université Laval, Bibliothèque 2013

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