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Si de nombreux travaux se sont employés à décrire les rapports biographiques de Balzac avec la peinture, à relever les oeuvres et les artistes réels cités dans La Comédie humaine ou à étudier les emprunts à la technique picturale au sein même de l'esthétique romanesque balzacienne, peu de chercheurs se sont précisément penchés sur le personnage du peintre dans l'oeuvre de Balzac. Profitant de cette lacune dans les études balzaciennes, le but de notre mémoire est d'étudier de plus près les modalités, les fondements et les implications d'une hypothétique mise à l'écart sociale du peintre balzacien pour évaluer si elle est finalement évidente et inéluctable, ou si elle n'est pas plutôt nuancée, selon les figurations. Dans notre premier chapitre, nous nous sommes penchée sur la marginalisation du peintre en appréhendant ce dernier en tant qu'individu hors-norme et décalé vis-à-vis de la société fictive au sein de laquelle il évolue. Nous avons pu observer que sa singularié était traduite tant dans sa corporalité problématisée par une suractivité intellectuelle que dans sa moralité forcément influencée par son activité artistique. Au second chapitre, nous avons plutôt cherché à appréhender le peintre balzacien, non plus individuellement, mais en tant qu'élément d'un collectif fictif lui-même marginalisé dans l'univers balzacien. Grâce à cet angle de recherche, nous avons remarqué que le collectif fictif des peintres balzaciens semblait bel et bien se constituer et se placer lui-même en marge du monde balzacien, que ce soit symboliquement, dans la nature de ses rapports à d'autres classes sociales fictives, ou géographiquement, vu le nombre restreint des lieux qu'il fréquente. Enfin, dans le dernier chapitre de notre mémoire, nous avons examiné les compromissions auxquelles se livre le peintre qui, bien que marginalisé individuellement et collectivement, fait quelques tentatives afin de mieux s'intégrer à la société fictive dont il est issu. À ce propos, nous avons compris que les peintres balzaciens pouvaient acquérir un confort économique par la réalisation de tâches artistiques subalternes et bénéficier de certains avantages institutionnels et sociaux, à la condition de ne pas compromettre, pour y parvenir, leur intégrité artistique et leur nature désintéressée au sein d'une vie dissolue et de la prostitution de leur art. L'ambivalence entre, d'une part, le peintre marginalisé et le collectif mis à l'écart auquel il appartient, et, d'autre part, les compromissions faites par les peintres dans le but d'atteindre une réussite économique et sociale, pourrait sembler une véritable contradiction. Cependant, comme dans l'oeuvre balzacienne le désir d'élévation sociale caractérise tous les personnages, il n'est que naturel qu'une telle ambigüité préside dans le portrait des peintres de La Comédie humaine. De plus, c'est peut¸être grâce à la marge où les place Balzac en tant qu'individus et collectif fictif, que les peintres s'en sortent si bien dans leurs compromissions avec le jeu social.

Diss. : Sprach- und Literaturwissenschaft : Mannheim. - Bibliogr. p. 261-268. Index. -

Part of Thesis (Ph. D.)--University of Chicago, 1936. / Photolithographed. "Private edition, distributed by the University of Chicago libraries."

Thèse--Lettres--Paris, 1931.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1940. / Typescript. Includes abstract and vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 244-251).

Diss.--Bonn--Rheinische-Friedrich-Wilhelms-Universität, 1990.

Tese (doutorado)—Universidade de Brasília, Instituto de Psicologia, Programa de Pós-Graduação em Psicologia Clínica e Cultura, 2010. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2011-02-17T18:11:51Z No. of bitstreams: 1 2010_FaustoCalacaGalvaoCastro.pdf: 2507803 bytes, checksum: 0808e9688995f33c830ecd679403f95e (MD5) / Rejected by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br), reason: on 2011-02-18T12:11:26Z (GMT) / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2011-02-18T13:05:03Z No. of bitstreams: 1 2010_FaustoCalacaGalvaoCastro.pdf: 2503008 bytes, checksum: 98e577f38c3e10baba22c4657344e300 (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2011-02-24T11:49:22Z (GMT) No. of bitstreams: 1 2010_FaustoCalacaGalvaoCastro.pdf: 2503008 bytes, checksum: 98e577f38c3e10baba22c4657344e300 (MD5) / Made available in DSpace on 2011-02-24T11:49:22Z (GMT). No. of bitstreams: 1 2010_FaustoCalacaGalvaoCastro.pdf: 2503008 bytes, checksum: 98e577f38c3e10baba22c4657344e300 (MD5) / Esta tese analisa o universo do “dandismo” em La Comédie humaine de Honoré de Balzac, tendo como instrumental teórico a noção de “cuidado de si” segundo Michel Foucault. O trabalho se inscreve no debate sobre os processos de subjetivação por meio de estudos literários privilegiando o ponto de vista da leitura sociocrítica. Partimos do pressuposto de que nossa subjetividade é criada pelo texto literário e, essencialmente, pelo ato da leitura. Em Balzac, tanto identificamos os indícios de “ensaios de subjetivação”, assim como, a partir de uma abordagem foucaultiana, ensaiamos na obra balzaquiana uma leitura enviesada que suscita a noção de subjetivação. O procedimento envolve a análise das cenas dos dândis balzaquianos que, por sua vez, são plenas de dramatização do cuidado que o sujeito exerce de si sobre si e de suas reflexões sobre suas significações políticas e psicológicas. Estudando o dandismo como um processo dinâmico de construção do sujeito em sociedade, sustentamos a tese de que o dandismo balzaquiano é uma representação romanesca de um dos momentos do “cuidado de si” na história da cultura ocidental. O dandismo balzaquiano é uma forma de vida que se constitui no universo de La Comédie humaine e que assinala o processo de transformação da sociedade e dos indivíduos. Ao final deste trabalho, reconhecemos o dândi como uma dramatização de um herói moderno movido pela ilusão de que é possível construir para si-mesmo uma forma desejada de vida. ______________________________________________________________________________ ABSTRACT / This thesis analyses the universe of dandyism in La Comédie humaine, by Honoré de Balzac, with the instrumental theoretical notion of “the care of the self” according to Michel Foucault. This work is part of the debate on the subjective processes in the literary studies and it emphasizes the point of view of social-critical reading. The starting point of our thought is that our subjectivity is created by the literary text and, essentially, by the act of reading. In Balzac we either identify the evidences of “subjectivation essays” or, based on a Foucauldian approach, we try to perform a reading of Balzac’s work that creates the notion of subjectivation. This procedure involves the analysis of scenes from the dandies, which ones dramatize the subject self-care and his reflections on his political and psychological meanings. We assume that the dandyism in Balzac’s work is a romantic representation of “the care of the self” moment, in the history of Western culture, by the study of dandyism as a dynamic process of constructing the subject in society. Dandyism is a way of life that constitutes the universe of La Comédie humaine and it shows the change process of individuals and of the society. At the end of this study, we recognize the dandy as a dramatization of a modern hero who lives thinking that is possible to make for himself a desired form of life.

Submitted by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2018-02-20T13:37:11Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Michele Alves de Melo.pdf: 769209 bytes, checksum: e7c563dc5ae5a4ac846f2f3d14e229ef (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2018-02-20T13:37:24Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Michele Alves de Melo.pdf: 769209 bytes, checksum: e7c563dc5ae5a4ac846f2f3d14e229ef (MD5) / Made available in DSpace on 2018-02-20T13:37:24Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Michele Alves de Melo.pdf: 769209 bytes, checksum: e7c563dc5ae5a4ac846f2f3d14e229ef (MD5) Previous issue date: 2015-06-15 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The work intends to present an approach to Marxian theory of modernity in connection with some works of Balzac. The purpose is thus to understand the possible ties to be identified among a certain canonical theoretical framework within the social sciences and a number of literary works. The approach taken is not limited to focus on the issue of class struggle or how the economic infrastructure interfere in the political and ideological superstructure, as generally the studies about Marxism stress, but the way the two authors, even devoted to distinct intellectual activities, can be articulated between themselves. This research shows how much Marx appropriated the approach method from the literary narratives of Balzac and converted these gains to a scientific analysis of the reality established by the modern world. Despite the differences of political and ideological positions that exist between Marx and Balzac, an aimed critique of bourgeois society inaugurated by the French author contributed greatly to the German author to consolidate his own revolutionary point of view of modernity. / O trabalho intenta apresentar uma abordagem da teoria marxiana da modernidade em conexão com algumas obras de Balzac. Objetiva-se, assim, compreender os laços possíveis de serem identificados entre um determinado arcabouço teórico canônico no âmbito das ciências sociais e um conjunto de obras literárias. A abordagem empreendida não se limita a focalizar a questão da luta de classes ou o modo como a infraestrutura econômica interfere na superestrutura política e ideológica, tal como geralmente os estudos acerca do marxismo salientam, mas sim ao modo como os dois autores, devotados a atividades intelectuais distintas, podem ser articulados. A investigação demonstra como Marx em muito se apropriou do modo de abordagem proveniente das narrativas literárias de Balzac e converteu tais ganhos para uma análise científica da realidade instaurada pelo mundo moderno. A despeito das diferenças de posicionamentos político e ideológico existentes entre Marx e Balzac, uma visada crítica da sociedade burguesa inaugurada pelo autor francês em muito contribuiu para o autor alemão consolidar o seu próprio ponto de vista revolucionário da modernidade.

Honoré de Balzac filled the imaginary world of his Comédie humaine with a vast array of characters of all ages, types and social classes. Although, in general, the girls among them play a secondary role, they nevertheless form a group which is not only interesting, but which receives a special form of attention from its creator. In Balzac's view, the typical girl (who is also his ideal) is sweet, pure and docile, and most of the girls he depicts fall into this category, although they often combine with these passive traits a surprising degree of will-power. They are nearly all extremely beautiful; their every word and gesture is filled with the natural charm of youth and innocence. They live in a narrowly restricted world, always under the watchful eye of their mothers or guardians, carefully sheltered from the corrupting influences of the real world outside their small circle of family and acquaintances. Their days are spent doing needlework, helping with household chores and going for walks, well chaperoned, of course. These girls and their monotonous lives are, in themselves, of limited interest for Balzac. Their real importance lies in their future, when, as wives and mothers, they will assume a meaningful function in society, and it is therefore their preparation for this future role which is of primary concern to the novelist. In his opinion, the usual training which girls receive in feminine accomplishments and rudimentary knowledge is far from being an adequate and worthwhile education. Their heads are filled with useless information while, at the same time, all the realities of life, the things they most urgently need to know about society, human nature and especially the opposite sex, are carefully hidden from them in the name of decency and propriety. Completely naive and ignorant, they are then exposed without protection to the problems and dangers of life, all too often with the result that they fall an easy prey to the first handsome man they meet or, what is a far worse disaster, they prove to be unhappy and therefore unfaithful wives. Among the girls of the Comédie humaine, it is only those few who, belonging to enlightened families and taught not only high principles but also some of the basic facts of life, are able to achieve successful marriages and happy lives. Because passion, according to Balzac's theories, is the basic force behind all human behaviour, it is only when love enters the lives of these girls that they really begin to develop as individuals. The discovery of love is, for them, a sudden revelation, an awakening to the true meaning of life and of their own destinies. Love gives Eugénie Grandet the courage to stand up to her tyrannical father; it fills Ursule Mirouët with the strength and determination needed to achieve the marriage she desires; it inspires in Rosalie de Watteville a diabolical cunning by which she manipulates all those around her, prevents a marriage and affects the outcome of an election. For Balzac, the more a woman has experienced passion, the more attractive and interesting she becomes, and it is primarily for this reason that the girls in the Comédie humaine , still on the threshold of life, play a less important role than the more mature feminine characters. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate