BATÍSTA, Paula Virgínia Pinheiro. Bastidores da escrita da história: a amizade epistolar entre Capistrano de Abreu e João Lúcio de Azevedo (1916-1927). 2008. 233f. Dissertação (Mestrado em História) - Universidade Federal do Ceará, Departamento de História, Programa de Pós-Graduação em História Social, Fortaleza-CE, 2008. / Submitted by Raul Oliveira (raulcmo@hotmail.com) on 2012-06-28T14:33:54Z No. of bitstreams: 1 2008_Dis_PVPBatista.pdf: 4403147 bytes, checksum: 43d3d51bd958cdade2ba61c38c97ebd3 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-19T14:15:49Z (GMT) No. of bitstreams: 1 2008_Dis_PVPBatista.pdf: 4403147 bytes, checksum: 43d3d51bd958cdade2ba61c38c97ebd3 (MD5) / Made available in DSpace on 2012-07-19T14:15:49Z (GMT). No. of bitstreams: 1 2008_Dis_PVPBatista.pdf: 4403147 bytes, checksum: 43d3d51bd958cdade2ba61c38c97ebd3 (MD5) Previous issue date: 2008 / The aim of this paper is to analyze the history reading and writing dynamics depicted by the correspondence exchanged between the historians Capistrano de Abreu and João Lúcio de Azevedo between the years of 1916 and 1927. Both of them participated actively of the intellectual field in Brazil and Portugal, respectively. The present work intends to analyze the comments that the historians made on their common readings, trying to comprehend which kind of appropriations they get from their shared books. Furthermore, it presents some features of production and distribution of their work and the applied publishing and divulgation strategies as well. / O objetivo desta pesquisa é analisar os processos de leitura e escrita da história expressos na correspondência trocada entre os historiadores Capistrano de Abreu e João Lúcio de Azevedo entre os anos de 1916 e 1927. Ambos participaram ativamente do campo intelectual, respectivamente, no Brasil e em Portugal. O presente trabalho propõe-se a analisar os comentários que os missivistas faziam sobre suas leituras, numa busca de apreender que tipo de apropriações eles faziam desses livros partilhados, e expor algumas das condições de produção e circulação das suas obras, bem como as estratégias de publicação e divulgação das mesmas.

Ce mémoire de recherche-création se divise en deux parties. La première, *La main brûlée de Wilfrid Laurier*, consiste en un roman par fragments retraçant la colonisation de l'île d'Anticosti, à la fin du XIXᵉ siècle, par le magnat français Henri Menier. La trame historique est toutefois rapidement altérée par des événements surnaturels et insolites qui menacent la pérennité de son projet. Ce roman, attribué à l'auteur (fictif) Égide Ravage a été présumément publié en 1970 par Richtère Saint-Octobre (éditeur tout aussi fictif). La relation complexe entre ces deux hommes, marquée par la jalousie et de paranoïa, se dévoile en marge du roman, autant par les commentaires de Saint-Octobre que par les notes manuscrites de la fille adoptive de ce dernier. La seconde partie, *La fabrication du doute : définition et fonctionnement de l'artefact fictionnel*, s'applique à définir les mécaniques permettant l'artefact fictionnel. S'ensuit une analyse formelle et thématique de deux artefacts contemporains : *Les Jardins statuaires*, de Jacques Abeille, et *S.*, de Doug Dorst et J.J. Abrams. Le tout met en lumière le fait que les artefacts fictionnels sont des constructions textuelles ludiques dans lesquelles le lecteur est invité à s'impliquer à différents niveaux. / This master thesis in creative writing is divided into two parts. The first one, *La main brûlée de Wilfrid Laurier*, is a fragmentary novel recounting the colonization of Anticosti Island, at the end of the 19th century, by the French magnate Henri Menier. The historical storyline, however, quickly becomes tinged with supernatural and unusual events that threaten the sustainability of his project. This novel, attributed to the (fictional) author Égide Ravage, was supposedly published in 1970 by Richtère Saint-Octobre (also a fictional publisher). The complex relationship between these two men, soiled by jealousy and paranoia, reveals itself in the margins of the novel, through Saint-Octobre's comments and through handwritten notes left by his adopted daughter. The second part, *La fabrication du doute : définition et fonctionnement de l'artefact fictionnel*, seeks to define the mechanisms enabling the fictional artifact. It is followed by a formal and thematic analysis of two contemporary artifacts: *Les Jardins statuaires*, by Jacques Abeille, and *S.*, by Doug Dorst and J.J. Abrams. All of this leads us to highlight the fact that fictional artifacts are ludic textual constructions in which the reader is invited to get involved at different levels.