José Saramago (1922-2010), prix Nobel de littérature en 1998, est un écrivain portugais dont l’œuvre a une portée universelle, et ce grâce à l’emploi, en particulier, d’une figure, l’allégorie. Elle a été longtemps rejetée au profit du symbole, en particulier par les romantiques allemands. Pour José Saramago, elle est devenue nécessaire à la construction de son univers fictionnel et à la transmission de son message. La construction allégorique est donc chez cet écrivain un appel à l’éveil de l’homme contemporain. Elle sert également de support à une prise de conscience et un avertissement à un monde qui se révèle être de plus en plus plongé dans la déraison. Cette thèse mène une réflexion sur l’évolution de l’allégorie chez José Saramago, son emploi, son dialogue avec les arts plastiques et avec d’autres figures et son importance dans l’ensemble de l’œuvre de l’écrivain portugais. Son objectif est de montrer les différentes manières dont l’allégorie opère dans la construction du sens de l’œuvre de cet auteur et à quel point elle est essentielle à la transmission des systèmes idéologiques au lecteur. Pour ce faire, sont convoquées les théories de Walter Benjamin et, plus près de nous de Francine Wild, Éléonore Reverzy, Tzvetan Todorov, Bernard Vouilloux, Flávio Kothe qui poursuivent également des recherches sur l’allégorie. La théorie littéraire, dans notre travail, côtoie l’herméneutique de l’allégorie, du mythe, du symbole, de la métaphore, afin de mieux comprendre le sens global de l’œuvre saramaguienne. / José Saramago (1922-2010), Literature Nobel Prize in 1998, is a Portuguese writer whose work has a universal reach and thanks to the use, in particular, of a figure, allegory. Germany Romanticists slighted over this figure rather than the symbol for a long time. José Saramago has used this writing feature which was really necessary to create his fictional universe and hence for the transmission of his message. To this writer, the allegorical construction is an invitation to the awakening of the contemporary man. It serves as a support to cause an awareness and also a warning to a world that is revealed to be increasingly immersed in unreason. This thesis conducts a reflection on the evolution of allegory in José Saramago, his job, his dialogue with the arts and other figures and their importance in the work of this Portuguese writer. His goal is to show the different ways the allegory operates in the construction of this author's work of meaning and to what extent it is essential in the transmission of ideological systems to the reader. For this, he presents theories of Walter Benjamin as well as other nearby theorists, such as Francine Wild, Éléonore Reverzy, Tzvetan Todorov, Bernard Vouilloux, Flávio Kothe that have developed in turns research on allegory. Literary theory, in our work, goes side by side with the hermeneutics of allegory, myth, symbol, metaphor, in order to better understand the overall meaning of Saramago's work.

Thesis (M.A.E.T.)--Covenant Theological Seminary, 2002. / Abstract. Includes bibliographical references (leaves 88-90).

Diss.--Universität Erlangen-Nürnberg, Erlangen. / Bibliography: p. [189]-200.

Thesis (doctoral)--Université de la Sorbonne nouvelle, Paris III, 1997-1998. / Includes bibliographical references (v. 2, p. 727-744) and index.

Thesis (doctoral)--Université de la Sorbonne nouvelle, Paris III, 1997-1998. / Includes bibliographical references (v. 2, p. 727-744) and index.

Thesis (M.A.E.T.)--Covenant Theological Seminary, 2002. / Abstract. Includes bibliographical references (leaves 88-90).

Made available in DSpace on 2014-06-11T19:23:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-05-19Bitstream added on 2014-06-13T19:06:55Z : No. of bitstreams: 1 antunes_t_me_mar.pdf: 644087 bytes, checksum: 693fe17e003d8eb7ff43354e194b461c (MD5) / O Senhor dos Anéis, livro de J.R.R. Tolkien, tem como componente central de sua narrativa a tensão existente entre tradição e modernidade no início do século XX. A obra termina com o desaparecimento na Terra-Média de todos os seres de fantasia (por destruição ou por abandono) uma característica que podemos atribuir ao aumento do poder da racionalidade instrumental e da organização social da modernidade vinculada a ela. Ao mesmo tempo, durante o desenvolvimento da narrativa surgem características tradicionais com uma força devastadora: a preeminência da sacralidade, por exemplo, impõe uma hierarquia entre todos os seres existentes no mundo. Nosso intento, portanto, é através de uma interpretação imanente da narrativa, recuperar a sua historicidade e seu diagnóstico do tempo. Ao debruçar-nos sobre a estrutura narrativa perceberemos que O Senhor dos Anéis não possui uma forma épica “pura”, incorporando elementos de épicas tradicionais (epopéia e conto de fadas) e de épicas modernas (romance) constituindo-se numa forma híbrida, expressa numa alegoria. Como base da formatação desta alegoria, a narrativa utilizará o pensamento figural dos padres da Idade Média, ressaltando sua tentativa de retomada da tradição; o pensamento figural será incorporado como técnica de escrita desta narrativa, contudo, primariamente sua incorporação será como instrumento historiográfico – já que a narrativa se apresenta como uma historiografia. Os elementos tradicionais (religiosos, principalmente), portanto, serão associados ao Bem, já os elementos modernos serão associados à representação do Mal. Entretanto, esta apreensão não é estática; podemos dizer que, a modernização (técnica) será sempre associada ao Mal, mas algumas características relacionadas à modernidade não terão... / The Lord of the Rings, JRR Tolkien's book, has as its central component of the narrative tension between tradition and modernity at the beginning of the twentieth century. The book ends with the disappearance in Middle-Earth of all the beings of fantasy (for destruction or abandonment) a characteristic that can be attributed to the increase in the power of instrumental rationality and the social organization of modernity linked to it. At the same time, during the development of the narrative are traditional characteristics with a devastating force: the preeminence of sacredness, for example, imposes a hierarchy among all beings in the world. Our intent, therefore, is through an interpretation of the immanent narrative, recover their history and their diagnosis in time. To deal with the narrative structure realized that The Lord of the Rings does not have a pure epic, incorporating elements of traditional epic (epic and fairy tale) and modern epic (novel) and it is a hybrid form, expressed an allegory. Based on format of this allegory, the narrative uses the figural thinking of priests of Middle Ages, emphasizing his attempt to resume the tradition, the figural thinking will be incorporated as a technique of writing this narrative, however, is primarily its incorporation as a historiographical - already that the narrative is presented as a historiography. The traditional elements (religious, mainly), therefore, be associated with the Well, now the modern elements are associated with the Evil representation. However, this concern is not static, we can say that the modernization (technical) is always associated with evil, but some characteristics related to modernity will not be this interpretation. Only with the modern development (individual and reflective) of subject the evil (modernization) be held. The tradition and the two... (Complete abstract click electronic access below)

Henri IV met fin aux guerres civiles de religion en 1598 en décrétant la mémoire des troubles « éteinte et assoupie, comme de chose non advenue ». Comment se positionne le théâtre français par rapport à cette politique d’oubli, quel espace mémoriel offre-t-il ? Nous considérons la tragédie qui s’écrit entre 1629, fin officielle des guerres civiles et date de la dernière tragédie d’actualité, et 1653, fin de la Fronde et d’une nouvelle menace de division intérieure. La tragédie semble se détourner d’une actualité trop déchirante, en ce sens elle oublie, mais elle se trouve pourtant travaillée par cet oublié. En partant du plus visible : la mise en scène des princes cléments, nous montrons que cette forme d’oubli officiel et volontaire est très représentée sur la scène tragique. Mais l’oublié est aussi ce qui travaille les tragédies dans la représentation qu’elles offrent du conflit familial qui fournit bon nombre des sujets tragiques du temps. La tragédie fait donc affleurer le présent du passé, la mémoire de la division, par le détour allégorique. À un théâtre mélancolique où le passé pèse sur le présent de tout son poids s’oppose un théâtre de relance historique dans lequel peut s’ouvrir un avenir nouveau. Enfin, l’oubli apparaît dans ces années de théorisation dramatique comme un idéal pour le spectateur absorbé dans le spectacle, et comme une menace quand il conduit à l’oubli de soi chez certains comédiens ou spectateurs naïfs. L’oubli, dans son équivocité fondamentale, permet donc d’articuler théorie politique, dramatique et images scéniques, dans un premier dix-septième siècle où l’on ne cesse de penser la violence qui menace le lien et la communauté au risque de la division. / Henry the 4th ends the religious civil wars in 1598 by ordaining that the remembrance of troubles is « extinguished and abated, like something that did not occur ». How does French drama stand in relation with this politics of oblivion ? What kind of memorial space does it open ? We consider tragedies written between 1629, official end of the troubles and date of publication of the last usual times tragedy, and 1653, end of a new internal division threat embodied by the Fronde. In appearance, tragedy seems to forget a harrowing recent past by turning away from it, but it is simultaneously deeply influenced by what has been forgotten. By starting with what is most visible, the staging of merciful princes, we demonstrate that this official and voluntary oblivion is very much represented on the tragic stage. But forgetfulness is also influencing tragedies in their displaying of family feuds, a frequent tragic topic of these times. Tragedy thus makes surface the present of the past, the memory of division, through allegoric detours. A double-face drama emerges : one of melancholy in which past weighs on present, one of historical reset with an ouverture for renascent prospects. Last, in these years of dramatic theorization, forgetfulness appears to be, for a spectator absorbed by the play, an ideal, as well as it can drag the most naive of them and some comedians into forgetting about their selves in denial of reality and confusion with fiction. The fundamental ambiguity of forgetfulness enables to articulate political theory, drama and staging, in a 17th century where violence is thought to threaten the community with division.

Orientador: Sérgio Vicente Motta / Banca: Fábio Akcelrud Durão / Banca: Elaine Cristina Cintra / Banca: Orlando Nunes de Amorim / Banca: Maria Heloísa Martins Dias / Resumo: Investiga-se em que medida em Fluxo-floema, de Hilda Hilst, delinear-se-ia um movimento de oscilação que tanto colocaria em cena a tradição moderna de que a autora foi herdeira quanto a problematizaria. Ao convocar os seus interlocutores e ao estabelecer um contato peculiar, Hilst se valeria de um tipo de escritura ambivalente, que toca em polos opostos sem, contudo, a eles aderir. Assim, em Fluxo-floema se enredaria uma verbalização acerca do contexto ditatorial - o que poderia favorecer na relação entre texto e contexto o diálogo com um tipo de texto predominante à época -, ao mesmo tempo em que se fariam presentes a ironia e um humor característico da autora, os quais abalariam essa perspectiva e indiciariam o narrar em sua paradoxal (im)possibilidade. Nos cinco textos que compõem a obra, ao se focalizar o narrador-personagem - sujeitos que se veem diante do narrar, em uma saga irônica ou perturbadoramente defectiva - problematizar-se-ia, à luz da herança moderna e do questionamento de suas utopias, o olhar em relação ao expressar artístico e ao lugar que ao criador/artista supostamente caberia, especialmente em fins do século XX, num contexto opressor. Nesse pendulear ou nesse jogo da língua, com a língua, imperaria o caráter performático do que se apresenta, o qual permitiria, inclusive, observar, entre a aproximação e o distanciamento, o linguajar ostentado da autora e os elementos biográficos como estratégias que seduziriam ou, até mesmo, ―violentariam‖ os seus espectadores / Abstract: This doctoral dissertation examines the extent to which Hilda Hilst's Fluxo-Floema exhibits an oscillation that both brings the modernist tradition, of which the author was an heiress, into light, while simultaneously calling it into question. In dialoguing with her readers and establishing a peculiar type of contact, Hilst makes use of ambivalent writing capable of touching opposite poles without, however, adhering to them. In Fluxo-Floema, a verbalization about the Brazilian dictatorial context takes place, which could favor, in the relationship between text and context, a dialogue with a type of text prevalent at that time. At the same time, however, the author's irony and unique humor would make themselves present by disturbing said verbalization and presenting narration as a paradoxical (im)possibility. In the five texts which compose the work, the focus on the character narrators - individuals who are faced with the act of narrating in ironic, or disturbingly defective sagas - problematizes, in the light both of the modernist heritage and the questioning of its utopias, the gaze towards artistic expression and the place in which the artist/creator is supposed to belong, especially in the late twentieth century, in an oppressive context. In this pendulating state (or the play in or with language) a performatic condition reigns, by allowing the observance, in between approximation and detachment, of the author's boastful speech and the ―biographical‖ elements as strategies that could seduce or even ―violate‖ her reading audience / Doutor

A presente dissertação aborda a questão da experiência nacional representada alegoricamente no romance –O Grande Gatsby. Meu objetivo é estudar esta relação baseada na sedução estética do romance e a sua proposta de redirecionamento do Sonho Americano dos anos 20. Estudos Culturais e de Gênero fazem parte do embasamento teórico na observação de valores que são questionados e/ou perpetuados através de representações de gênero, classe social, raça e etnia no romance. A organização espacial da narrativa é entendida como um sistema estrutural em que o pertencimento de personagens a determinados “lugares” e cenários gera relações hierárquicas de poder, representadas por polaridades espaciais. Este trabalho sugere que os privilégios de algumas posições sociais estão representados alegoricamente na narrativa. O conceito de alegoria de Walter Benjamin enfatiza o estudo da temporalidade associada ao espaço narrativo e permite que se faça uma leitura do sentido gerado por essas representações, na medida em que expõe, e não omite, as contradições da narrativa. Estas remetem à impossibilidade de concretização histórica do Sonho Americano que é questionado e também re-valorizado através de sua ligação a um ideal pastoril em conflito com as demandas de uma ideologia marcadamente materialista no período entreguerras. Desta forma, a sobreposição de níveis temporais no romance liga a crença do excepcionalismo americano, patriotismo e herança cultural a um imaginário pastoril, em que uma versão do passado é legitimada e projetada para o futuro nacional. / This dissertation approaches the issue of a national experience represented allegorically in the novel – The Great Gatsby. My aim is to study this relation based on the novel’s esthetical seduction and its proposal of representing the new directions of the American Dream in the 1920s. Cultural and Gender Studies are employed as theoretical tools in order to observe the values questioned and/or perpetuated by the novel’s representation of gender, social class, race and ethnicity. The spatial organization of the narrative is conceived as a structural system in which the characters’ sense of belongingness to specific places and settings creates their hierarchical relations of power, represented by space polarities. This dissertation hopes to prove that specific social positions are inscribed allegorically in the narrative as owners of privileges in the representation of society. Walter Benjamin’s concept of allegory emphasizes the study of temporality, which is associated to space in the narrative, and allows one to conceive the meanings created by the mentioned representations, exposing the narrative’s contradictions. They lead to the historical impossibility of fulfillment of the American Dream. In the novel, the dream is questioned and also re-valued due to its link to a pastoral ideal in conflict with the demands of a materialistic ideology in the world war period. In this sense, the superposition of temporal levels in the novel connects a belief in American exceptionalism, patriotism and cultural heritage to a pastoral imagery, in which a version of the past is legitimized and projected to a national future.