Submitted by Neusa Fagundes (neusa.fagundes@unioeste.br) on 2017-09-28T17:54:25Z No. of bitstreams: 1 Kaline_Cavalheiro2017.pdf: 870951 bytes, checksum: 2d0d5cb52f9316a09479b95045a9c009 (MD5) / Made available in DSpace on 2017-09-28T17:54:25Z (GMT). No. of bitstreams: 1 Kaline_Cavalheiro2017.pdf: 870951 bytes, checksum: 2d0d5cb52f9316a09479b95045a9c009 (MD5) Previous issue date: 2017-02-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The autobiographical and self-written studies constitute a branch of the field of language studies, literature and the arts that has been increasing in recent decades. This genre of writing allows authors to reflect on the experience of writing, to trigger individual and collective memories, and at the same time to reflect on the work itself and literature. Latin American literature has been a fertile field for research with this focus, such as the work of Gabriel Garcia Marquez. The production of this genre presents us with a literary context that encompasses both critical writing and creative writing, in the texts the authors merge different styles of writing, allowing a hybrid text to appear. Reflecting on autobiographical and self-writing, the present research explores these genres where the fictional and historical merge to the example of autobiography, memory, reports, reports, interviews that reveal the subject writer. We take here the work of G. G. Márquez with the focus on the analysis of his autobiography Viver Para Contar (2002). As a complement to our analysis, in the scope of fictional writing we have the works A incrível e triste história da Cândida Erêndira e sua avó desalmada (1972), Relato de um Náufrago (1970) and Crônica de uma Morte Anunciada (1981) that contemplate aspects of Autobiography, collective memory and explore the data from the Colombian context and history. The study of these texts allows us to verify how G. G. Márquez re-elaborates the historicity of his time in the fictional works. From the readings and analyzes, we carried out a reflection on the potential of the autobiographical or self-written, together with the fictional texts, to understand the Latin American historical context and the role of intellectuals who have lived the history of Latin American dictatorships and Who had to reinvent themselves and reelabor strategies of writing and the expression of thought. Our contribution with the present research is that in observing the writing process of G. G. Márquez, we verified that there is a fusion and why not to say juxtaposition between the categories author, character and narrator in the confluence between autobiography, memory and fiction, by what we call autowriting , Being precisely this way of narrating quite expressive in the work of G. G. Marquéz. The theme of this dissertation proposes to reflect on the imbricated relationship between history and literature in the author 's work, a fabric that reveals several layers of the real, imagined, official history and personal memory. It attempts to present the author not only as a constructor of the literary work, but as a constructor of a critical thinking articulating work, social life and contemporary cultural practices together with his hybrid writing that goes from the real to the imaginary, memorialistic, historical, critical , Among other genres that are approaching. In order to carry out this study we reflect on the theories of autobiographical constructions, starting from the definitions of Philippe Lejeune (2008), deepening this theoretical basis, we advance to other approaches, like Paul Ricoeur (2007), Diana Klinger (2012), among others. These theoretical approaches illuminate the corpus selected for this research, as the self-writing in the process of reworking personal memory and the movement of history and its context captured. / Os estudos autobiográficos e da escrita de si constituem-se em uma vertente do campo dos estudos da linguagem, da literatura e das artes cada vez mais crescente nas ultimas décadas. Este gênero de escrita permite aos autores refletirem sobre a experiência da escritura, acionarem memórias individuais e coletivas e ao mesmo tempo refletirem sobre a própria obra e sobre a literatura. A literatura latino americana tem sido um campo fértil para pesquisas com este foco, a exemplo da obra de Gabriel Garcia Márquez. A produção deste gênero nos apresenta um contexto literário que abrange ao mesmo tempo uma escrita crítica e uma escrita criativa, nos textos os autores fundem diferentes estilos de escritas deixando aparecer um texto híbrido. Refletindo sobre autobiográficos e da escrita de si, a presente pesquisa explora estes gêneros onde o ficcional e histórico se fundem a exemplo de autobiografia, memória, relatos, reportagens, entrevistas que revelam o sujeito escritor. Tomamos, aqui, a obra de G. G. Márquez com o foco na análise de sua autobiografia Viver Para Contar (2002). Como complemento para nossa análise, no âmbito da escrita ficcional temos as obras A incrível e triste história da Cândida Erêndira e sua avó desalmada (1972), Relato de um Náufrago (1970) e Crônica de uma Morte Anunciada (1981) que contemplam aspectos da autobiografia e da memória coletiva e captam dados da história e do contexto colombiano. O estudo destes textos nos permite verificar como G. G. Márquez reelabora a historicidade de seu tempo nas obras ficcionais. A partir das leituras e análises realizamos uma reflexão sobre a potencialidade da autobiográfica ou escrita de si, em conjunto com os textos ficcionais, para a compreensão do contexto histórico Latino Americano e sobre o papel dos intelectuais que vivenciaram a história das ditaduras latino-americanas e que tiveram que se reinventar e reelaborar estratégias de escrita e expressão do pensamento. Nossa contribuição com a presente pesquisa é que observado o processo de escritura de G. G. Márquez, verificamos que há uma fusão e por que não dizer justaposição entre as categorias autor, personagem e narrador na confluência entre autobiografia, memória e ficção, por isso denominamos de autoescrita, sendo, justamente este modo de narrar bastante expressivo na obra de G. G. Márquez. O tema da presente dissertação se propõe a refletir sobre a relação imbricada entre história e literatura na obra do autor, um tecido que revela diversas camadas do real, do imaginado, da história oficial e da memória pessoal. Intenta-se apresentar o autor não apenas como um construtor da obra literária, mas como construtor de um pensamento crítico articulando obra, vida social e práticas culturais contemporâneas em conjunto com sua escrita híbrida que vai do real, ao imaginário, memorialístico, histórico, critico, entre outros gêneros que se aproximam. Para realizar este estudo refletimos sobre as teorias de construções autobiográficas, partindo das definições de Philippe Lejeune (2008), aprofundando esta base teórica, avançamos para outras abordagens, a exemplo de Paul Ricoeur (2007), Diana Klinger (2012), entre outros. Estas abordagens teóricas iluminam o corpus selecionado para esta pesquisa, a exemplo das escritas de si no processo de reelaboração da memória pessoal e do movimento da história e seu contexto captados.

A presente dissertação consiste na comparação dos romances Memórias póstumas de Brás Cubas e Confissões do impostor Felix Krull. Procuramos analisar os aspectos que os aproximam, apesar do afastamento temporal e cultural entre eles existente, partindo dos elementos que imitam o texto autobiográfico e suas respectivas implicações. Tanto as vidas representadas nos dois romances afastam-se do que se entende por uma biografia normal, como também a particular tarefa autobiográfica realizada por Felix e Brás foge do padrão de confissões e de memórias. A confiabilidade dos narradores pode ser ainda questionada, haja vista suas singulares condições enquanto narradores: um, impostor, e outro, defunto. Esta dissertação é composta por seis partes, nas quais se discutirão os seguintes aspectos: introdução à análise comparativa, os romances e os narradores, a intertextualidade inserida na forma e na temática, o decurso de vida de Brás e Felix, suas condições como autobiógrafos e o papel do leitor. No que diz respeito a este último aspecto, podemos afirmar que como o romance em geral, Memórias póstumas e Confissões, que simulam o relato autobiográfico, se preocupam com a função do público. Nos dois livros em questão, essa preocupação reflete-se nos papéis do leitor inseridos nas narrativas. Nossa dissertação ocupar-se-á desse aspecto como último e com particular atenção, visando analisar as reflexões metanarrativas realizadas pelos narradores diante de seus respectivos leitores no horizonte da autobiografia ficcional. / The following degree thesis consists in comparing the novels Memórias póstumas de Brás Cubas and Confissões do impostor Felix Krull. We attempted to analyse the aspects, which approach them, despite of the temporal and cultural distance between them, initiating from the elements, which imitate the autobiographical text and its respective implications. The lives represented in both novels diverge from what usually can be understood as a normal biography. In a similar way the autobiographical function assumed by Felix and Brás diverges from the ideal standard of the confession and the autobiographical memory. The reliability of the narrators can be also questioned if we considerate their singular conditions as narrators: one, as impostor, the other, as a dead person. This thesis is composed of six parts, in that we will discuss the following aspects: an introduction to the comparative analysis, the novels and their narrators, the intertextuality introduced in the form and in the subject, Brás and Felix life events, their condition as autobiographers and the readers role. Like the novels in general, Memórias póstumas e Confissões, that simulate the autobiographical narrative, attend to the role of the attendance. In both analised books this concern is reflected on the the readers inserted in the narratives. This dissertation handles this aspect lastly, trying to analyse the Felix and Brás metanarrative considerations according to their respective readers in the horizon of the fictional autobiography.

[pt] O objetivo desta dissertação é investigar e compreender a composição da escrita de teor autobiográfico em José Cardoso Pires a partir de uma análise dos livros E agora, José? e De Profundis, valsa lenta. O estudo pretende examinar como a autobiografia em Cardoso Pires se situa entre a ficcionalização do real e a historicização do ficcional. Tal característica será analisada com base na reflexão do filósofo francês Paul Ricoeur acerca da revalorização da narrativa como forma de expressão e configuração da experiência. Assim, considerando a hibridização de gêneros manifesta na produção autobiográfica do escritor português, o exame sobre a sua narrativa de teor memorialístico demanda um aprofundamento teórico que possa reunir história e ficção, público e privado, real e imaginário em um único espaço capaz de abarcar a diversidade de formas e temas tratados por este diferente modo de escrita autobiográfica. / [en] The aim of this dissertation is to exam and understand the configuration of José Cardoso Pires` autobiographical writing by analyzing two of his books, E agora, José? and De Profundis, valsa lenta. The research intends to investigate how Cardoso Pires` autobiography intersects the fictionalization of the real and the historicization of fiction. This characteristic enables an analysis based on Paul Ricoeur`s thoughts on the value of narrative as the essential mean of expression and configuration of human experience. Thus, considering the amalgam of genres in Cardoso Pires` autobiographical writings, an enquire into his non-fictional narrative demands a theoretical approach which may join history and fiction, public and private, real and imaginary in a single space able to unite the diversity of narrative forms and themes highlighted by this different kind of autobiographical writing.

A partir des années 1670 et durant tout le XVIIIe siècle, les mémoires écrits par des femmes connaissent, plus que ceux écrits par des hommes, une inflexion notable : passés les troubles de la Fronde, alors que le rôle politique des femmes tend globalement à décliner, ils se recentrent sur la vie privée mais aussi sur le parcours, l’itinéraire personnel de femmes qui créent une forme originale centrée sur la définition de leur identité : on peut bel et bien parler d’une dimension autobiographique. L’influence et la médiation du roman-mémoires jouent un rôle prépondérant dans cette mutation du genre mémorialiste dont les femmes sont les principales actrices, aboutissant parfois à la création originale de textes hybrides entre fiction et diction. Mais ces textes ne se contentent nullement de démarquer le roman-mémoires : empruntant à des influences et traditions multiples, les femmes disent de façon oblique leur désir d’écrire sans pour autant devenir des « femmes savantes » ou des « femmes auteurs ». Elles élaborent aussi des représentations inédites de l’identité féminine, entre soumission et contestation, le plus souvent indirecte, des rôles féminins considérés comme traditionnels à leur époque. La thèse examine les profils sociaux de ces mémorialistes d’un nouveau genre, mais aussi la complexité formelle et énonciative de leurs textes et les représentations ambiguës de la femme et de l’identité personnelle qui s’y déploient. / Starting in the 1670s and throughout the 18th century, memoirs written by women, more so than those written by men, undergo important mutations. After the turmoil of the Fronde, as the political role of women tends to decline, they emphasize private life but also the personal itinerary of women who are thus creating an original form centred on the definition of their identity: these works develop a true autobiographic dimension. The influence and mediation of the memoir-novel play a crucial part in this women-led transformation of the memoirist genre, leading to the original creation of hybrid texts halfway between fiction and diction. But these texts are not mere imitations of the memoir-novel: by borrowing from diverse influences and traditions, women express their wish to write in an oblique manner, without labelling themselves as “learned ladies” or “women authors”. They also construct new representations of the female identity, both submissive and critical, most of the time indirectly, of the female roles which were deemed traditional at the time. The thesis examines the social profiles of this new kind of memoirists, as well as the formal and enunciative complexity of their texts, and the ambiguous representations of women and their personal identity which they develop.

Cette thèse porte sur l’analyse des ouvrages de Luigi Meneghello les plus fortement marqués par le plurilinguisme : Libera nos a malo, Pomo pèro, Maredè, maredè…, Dispatrio et Trapianti. Elle se pose comme objectif d’argumenter le travail stylistique qui sous-tend la réalisation de la prose plurilingue de l’auteur, dont la caractéristique dominante est une apparente spontanéité. La première partie de cette étude parcourt la réflexion de Meneghello afin de comprendre les raisons et les enjeux de l’utilisation littéraire des langues appartenant à son expérience biographique, à savoir le dialecte de son village natal (sa langue maternelle) et l’anglais, la langue de son pays d’adoption. La deuxième partie de cette étude se consacre en revanche au repérage et à l’analyse de procédés stylistiques récurrents, employés par l’auteur en vue de l’instauration d’une dimension polysémique du texte plurilingue. Cette enquête explore plus particulièrement le travail d’approfondissement métalinguistique que l’auteur voue à sa langue maternelle et la pratique de la traduction littéraire d’œuvres anglophones, conçue comme un véritable lieu d’échange et d’enrichissement mutuel entre langues et entre œuvres littéraires. / The main focus in this thesis is Luigi Meneghello’s litterary works, which are substantially influenced by plurilingualism: Libera nos a malo, Pomo pèro, Maredè, maredè…, Dispatrio and Trapianti. Its principal objective is to reveal the foregoing stylistic work on Meneghello’s plurilingual prose, which is characterised by an apparent spontaneity. The first part of this essay discusses the author’s thinking about using different languages in the literary text. These languages are related to his biographical experience: his birth village dialect (his native language) and English language, of his adopted country. The second part of this essay aims to identify and analyse stylistic processes used by the author to create a plurilingual text’s polysemic dimension. Moreover this investigation explores especially the field of metalinguistic observation of the native local language and the practice of literary translation from English, which is conceived as a real field of exchange and mutual enrichment between languages ant literary works.

Licht. Die sieben Tage der Woche (1977-2003) est un cycle constitué de sept opéras composés par Karlheinz Stockhausen (1928-2007) qui en a également conçu le livret. Le cycle a pour thème principal l'accomplissement cyclique du destin de trois esprits – Michael, Eva et Luzifer – dont le destin est lié aux caractéristiques de chacun des sept jours de la semaine. Cependant, une multitude d'éléments vient s'ajouter au propos général, rendant le déroulement parfois difficilement intelligible. De plus, le propos universel vient se heurter à la dimension personnelle et autobiographique de l'œuvre. Notre thèse, principalement centrée sur le livret de Licht, a pour but d'étudier les éléments autobiographiques et les relations intertextuelles présents tout au long des opéras, afin de cerner les éléments d'unification au sein du cycle. La première partie de cette thèse est consacrée à une présentation générale du projet de Licht, du livret et des personnages. Le cycle s'inscrit en effet dans la continuité de l'œuvre de Stockhausen, notamment des pièces construites sur le principe d'une formule et de celles faisant appel à un propos extra-musical. S'ensuit une étude de la dimension autobiographique des opéras. Dans cette partie, nous établissons tout particulièrement le lien entre la volonté de délivrer un message universel, cosmique intemporel, et l'évocation des souvenirs, des voyages et des influences du compositeur. Enfin, notre étude se clôt par une analyse de la dimension religieuse, philosophique et ésotérique du cycle. Stockhausen a en effet été profondément influencé par les cultures et religions asiatiques, notamment d'Inde et du Japon. À ces influences viennent s'ajouter la Bible, ainsi que l'ésotérisme et l'influence prégnante de divers courants et ouvrages néo-chrétiens, en particulier celle du Livre d'Urantia. Sous un argument centré sur les relations entre les trois principaux protagonistes, Licht devient ainsi un résumé de la vie et de l'œuvre de Stockhausen. / Licht. Die sieben Tage der Woche (1977-2003) is a cycle of seven operas composed by Karlheinz Stockhausen (1928-2007) who also wrote the libretto. The main topic of the cycle is the cyclical fulfilment of the destiny of three spirits – Michael, Eva and Luzifer – whose destiny is related to the characteristics of each of the seven days of the week. A multitude of events will however be added to the main story, making the progress of the action sometimes difficult to understand. Our thesis, mainly focused on the libretto, aims at studying the autobiographical elements and the intertextual relationships throughout each opera in order to identify the elements of unity into the cycle. The first part of this thesis is dedicated to a general presentation of the Licht project and to the libretto and characters’ introduction. The cycle follows indeed in the footsteps of Stockhausen’s work, including parts based on the principle of a formula and those appealing an extra-musical theme. A study of the autobiographical dimension of the operas follows. In this part, we particularly establish the link between the desire to deliver a universal, cosmic and timeless message and the evocation of the composer’s memories, travels and influences. Finally, our work closes with an analysis of the religious, philosophical and esoteric dimensions of the cycle. Stockhausen has indeed been deeply influenced by the Asian cultures and religions, in particular from India and Japan. There are other influences like The Bible, but also esotericism and the significant influence of many new-Christian movements and books like the Urantia Book. Under the guise of focusing on the relationships between the three main characters, Licht becomes a summary of Stockhausen’s life and work.

Notre étude s’attache à cerner les figures du sujet lyrique dans la poésie de Jacques Dupin (1927- 2012), Philippe Jaccottet (1924- ) et Jacques Réda (1928- ), trois écrivains majeurs de l’après-guerre dont le travail poétique a contribué à l’évolution de la poésie lyrique contemporaine. Sans pour autant négliger l’œuvre antérieure et postérieure de ces poètes, notre étude se concentrera principalement sur les ouvrages des années 1960 et 1970. A cette période, en effet, la poésie lyrique s’est trouvée prise dans une situation critique sans précédent du fait l’avènement du structuralisme et du « textualisme » proclamé par l’avant-garde. En réaction au textualisme des années 1960 et 1970, Dupin, Jaccottet et Réda poursuivent une quête opiniâtre du lyrisme. Notre étude n’a pour but ni d’élaborer des critères globaux et universels afin de définir les caractéristiques universelles de la « poésie lyrique » en tant que genre littéraire, ni d’élaborer une réflexion philosophique sur le Sujet ou l’En-soi. A travers l’analyse des figures de sujet lyrique, nous étudierons les caractéristiques de chacun de nos poètes, ainsi que les modes de la poésie lyrique au cours de cette période malaisée. La notion de « sujet lyrique » nous servira de paramètre en vue d’éclairer la singularité et l’historicité des poèmes, voire de la poétique propre à chaque écrivain. Traditionnellement, la poésie lyrique est souvent associée à l’emphase ou au sentimentalisme. La poésie de Dupin, Jaccottet et Réda s’acharnent à se dégager de l’embrasse du lyrisme traditionnel encombré d’égocentrisme. La poésie lyrique n’est plus un genre qui exprime les sentiments et la subjectivité du poète. Nos poètes sont à la recherche d’une nouvelle forme de poésie lyrique, qui convienne à leur époque. L’impersonnalité, que nous trouvons souvent dans leur poétique, s’associe à la production d’une nouvelle modalité de la subjectivité, éloignée de la métaphysique de la subjectivité. Le refus d’une certaine forme de subjectivité coexiste avec la recherche d’une parole singulière, ainsi que d’une nouvelle figure de sujet lyrique. / Our study aims to examine the figures of the lyric subject in the poetry of Jacques Dupin (1927- 2012), Philippe Jaccottet (1924-) and Jacques Réda (1928-), three major poet of the postwar whose poetic work contributed to the evolution of contemporary lyric poetry.Without neglecting the anterior and posterior work of these poets, our study will focus mainly on the works of the 1960s and 1970s. At that time, in fact, the lyric was taken in a critical situation without precedent because of the advent of the structuralism and the “textualism” proclaimed by the avant-garde. In response to textualism of 1960s and 1970s, Dupin, Jaccottet and Réda continue an obstinate search of lyricism.Our study doesn’t aim to develop global and universal criteria to define the universal characteristics of "lyric poetry" as a literary genre, nor to develop a philosophical reflection on the subject or the En-soi. Through the analysis of the figures of lyric subject, we will study the characteristics of each of our poets, as well as patterns of lyric poetry during the difficult period. The notion of "lyric subject" will serve as a parameter in order to clarify the singularity and the historical nature of the poems, and those of the poetic peculiar to each writer.Traditionally, lyric poetry is often associated with the emphasis or sentimentality. The poetry of Dupin, Jaccottet and Reda struggle to free themselves from the traditional lyricism based on the egocentricity. Lyric poetry is no more a genre that expresses the feelings and subjectivity of the poet. Our poets are looking for a new form of lyrical poetry, which is suitable for the times. The impersonality, we often find in their poetic, is associated with the production of a new form of subjectivity, far from the metaphysics of subjectivity. The refusal of some form of subjectivity coexists with the search for a singular word and the new figure of lyric subject.

This article is anchored in the connections between personal/professional development and formative processes in/of teaching, from memories and [re]meanings. The theory postulates that the complexity in/of teaching is intertwined in the paths and formative processes of teacher, potentially inter/transdisciplinary, at different levels of education (Basic Education and Higher Education), where he/she teaches/learns, throughout life. The memories and [re]meanings of teachers allow these complex movements can be perceived in genuinely autobiographical processes. These conceptual dimensions are being elucidated and expanded in (auto) biographical research through narratives and other sources of information and iconography. The interpretative model, scenic understanding in complexity is proposed from Marinas (2007), Abrahão (2014) and Morin (2012 a, 2012 b). The autobiography of the persona, Educator Ane Carine Meurer, contains facts and arguments supporting the postulated thesis. We concluded that the persona of the (auto) biographical narrative experiences the complexity of trajectories and training processes in/of teaching, marked by the experience inter/transdisciplinary, that was being confirmed in the complex scenic understanding of the contexts of her memories and [res] meanings. / Esta tese integra a Linha de Pesquisa Formação, Saberes e Desenvolvimento Profissional de Professores , no Programa de Pós-Graduação em Educação da Universidade Federal de Santa Maria, Rio Grande do Sul, Brasil. Ancora-se nas conexões entre trajetórias pessoais/profissionais e processos formativos na/da docência, a partir de memórias e [res] significações. A tese postula que a complexidade na/da docência, encontra-se imbricada nas trajetórias e processos formativos do/a professor/a, potencialmente inter/transdisciplinares, em diferentes níveis de ensino (Educação Básica e Educação Superior), onde ensina/aprende, ao longo da vida. As memórias e [res] significações docentes permitem que esses movimentos complexos possam ser apreendidos em processos genuinamente autobiográficos. Essas dimensões conceituais vão sendo elucidadas e ampliadas na pesquisa (auto) biográfica por meio de narrativas e outras fontes de informação e iconografia. O modelo interpretativo, compreensão cênica em complexidade é proposto a partir de Marinas (2007), Abrahão (2014) e Morin (2012 a, 2012 b). A autobiografia da personagem, Educadora Ane Carine Meurer, contém fatos e argumentos que sustentam a tese postulada. Concluímos que a personagem da narrativa (auto) biográfica vivencia a complexidade das trajetórias e processos formativos na/da docência, demarcados pela vivência inter/transdisciplinar, o que foi sendo confirmada na compreensão cênica complexa dos contextos das suas memórias e [res] significações.

Nous nous proposons dans cette étude d’analyser l’œuvre narrative, théâtrale et théorique de l’écrivain italien Natalia Ginzburg (1916-1991) au travers de la notion d’insignifiance. Tout en mettant en évidence les ressemblances et les divergences entre ce corpus et des courants littéraires du XXe siècle qui se sont interrogés sur la question du sens de l’œuvre et du monde tels que l’Absurde et le Nouveau Roman, nous cernerons ce que recouvre d’un point de vue axiologique et d’un point de vue sémantique la notion d’insignifiance.Ce corpus produit un effet d’insignifiance grâce à un style et des procédés d’écriture qui tendent à niveler le signifiant et l’insignifiant. Notre objectif principal est de montrer que d’un point de vue axiologique, l’œuvre ne valorise pas l’insignifiant et le petit au détriment du signifiant et du grand. Grâce à « l’understatement », l’auteur a dissimulé le signifiant (l’Histoire et Dieu) qui réémerge, non seulement intentionnellement de l’écriture, à travers des réseaux de symboles et de récurrences, mais aussi inconsciemment grâce au rythme et à la musicalité spécifiques de ce style. Dans ce système où tout fait sens, le lecteur est appelé à amplifier la portée de ce qui est dit et à expliciter les nombreux indices et références intertextuelles. Par ailleurs, si Ginzburg vise la représentation d’un réel au sein duquel tout aurait une importance égale, c’est parce que signifiant et insignifiant s’équivalent au sein d’une approche totalisatrice du réel qui relève d’une dimension métaphysique influencée par la psychanalyse jungienne et le mysticisme juif. / Comparing and contrasting Ginzburg's works with 20th century literary trends that broached the meaning of the world and of literature itself, such as Absurdism and the Nouveau Roman, we aim to identify the implications of insignificance from an axiological and a semantic viewpoint.Ginzburg's works create an impression of insignificance using writing style and specific techniques to give the significant and insignificant equal weight. Our main purpose is to show that, from an axiological viewpoint, Ginzburg's works do not promote the small or insignificant at the expense of the large and significant. The author uses understatement to downplay the significant (History, God), then lets it re-emerge, both intentionally through written networks of symbols and recurrences, and subconsciously through the rhythm and musicality of her specific writing style. In a context where everything has a meaning, readers are required to amplify the scope of the written word and interpret the manifold signs and inter-textual references. Indeed, Ginzburg aims to represent a reality where everything has equal importance, precisely because the significant and insignificant are equal when reality is portrayed from a totalising perspective that is inspired by metaphysical cons! iderations and influenced by Jungian psychoanalysis and Jewish mysticism.

The purpose of the present thesis is to examine the modes of enunciation (“mode d’énonciation”) and the use of text genres in relation to thematic and semantic aspects of Claude Cahun’s book, Aveux non avenus (Disavowals: or, Cancelled Confessions)(1930), which consists of text fragments. Claude Cahun, who is mostly known for her photographic self-portraits, was active on the margins of surrealism in Paris in the 1920s. The text fragments of Aveux non avenus can be compared to a collage technique that she also uses in the photomontages which open each chapter of the book. As an author, Claude Cahun clearly resisted traditional confessional literature (as the title of the book also suggests), and this study focuses on how she creates images of herself through characters borrowed from mythology, the Bible, and popular and literary texts, but also through reflections on specific themes in dialogues, essays and aphorisms. The thesis examines how Aveux non avenus differs from an actual autobiography, how the fragmented self-portrait is constructed, and how the book expresses a critique of contemporary society. The method of the thesis is based on textual analysis, with the support of the concepts of modes of enunciation (”mode d’énonciation”), text genres, and détournement (”détournement”). It also rests on the contextualisation of Claude Cahun’s practice of writing in relation to the history of literary genres, surrealist avant-garde movement, and in relation to sources within cultural history and the history of women. The thesis analyses how Claude Cahun, through the use of different genres and shifting modes of enunciation, creates a fragmented, diverse, and contradictory portrait of herself, in a way that also conveys a critical image of contemporary society. The text functions, simultaneously, as a collage of different text genres. The conclusion thereby underlines the idea that the text is not arbitrarily fragmentary, but constructed on the principles that the analysis of the work has demonstrated. In previous research on Claude Cahun, the indefinite genre of the book has been emphasised. Instead, this thesis wants to show that the diversity of text genres is deliberately explored to develop varying modes of enunciation that give Claude Cahun the opporturity to reflect and give nuance to representations of the self and to convey a radical critique of society.