Thesis--Copenhagen, 1978. / Summary in Danish. Includes bibliographical references (p. [237]-256).

Thesis--Copenhagen, 1978. / Summary in Danish. Bibliography: p. [237]-256.

L’appellation « genre frénétique », créée par Charles Nodier en 1821, fait aujourd’hui partie intégrante du vocabulaire des études sur le romantisme. Le genre qu’elle désigne donne cependant lieu à des définitions divergentes, tant au niveau des auteurs qui l’exemplifient qu’au niveau des caractéristiques qui le décrivent. Cette thèse retrace l’histoire du genre frénétique tel qu’il a été défini par la critique, de 1821 à 2010, à partir d’une étude des emplois de l’appellation générique dans un corpus de près de 630 textes critiques. Dans les années 1820 et 1830, la notion du frénétique revêt une visée polémique dans le cadre du débat sur le romantisme. Alors que Nodier inventait le genre frénétique pour le distinguer du romantisme, de nombreux critiques assimilent au contraire, totalement ou partiellement, les deux notions, l’appellation permettant de décrire le romantisme dans ses dimensions violente et excessive. Après plusieurs décennies où le genre disparaît des lectures du romantisme, le genre « frénétique » est à nouveau convoqué au début du XXe siècle et connaît un succès croissant, qui a pour corollaire une complexification des définitions. Manifestation d’une révolte métaphysique ou transposition littéraire d’un èthos, le « frénétique », qu’il soit jugé favorablement ou non, permet aussi généralement de rendre compte de la vogue, à l’époque romantique, d’un genre horrifique et outrancier, héritier du roman gothique anglais. Ce dernier genre, formé par les romans de Radcliffe, Lewis et Maturin, constitue cependant un corpus hétérogène déterminant deux lignées génériques qui méritent d’être distinguées, le roman noir et le frénétique. / The name of the “Frénétique” genre was created by Charles Nodier in 1821 and is now an integral part of the vocabulary of Romanticism studies. The genre it designates, however, has experienced diverging definitions, both with regards to the authors associated with this genre and the characteristics that describe it. The present thesis traces the history of the genre known as “Frénétique” as defined by critiques from 1821 to 2010, based on a study of the uses of the genre name in a corpus of close to 630 critiques. In the 1820s and 1830s, the notion of “Frénétique” was used in debates on Romanticism with a polemical purpose. While Nodier invented the “Frénétique” genre so as to distinguish it from Romanticism, numerous critics instead assimilated the two notions in part or in whole —using the “Frénétique” appellation to describe the most violent and excessive dimensions of Romanticism. After disappearing from Romanticism readings for several decades, the “Frénétique” genre emerged again in the early 20th century, when its rising success lead to an increasing complexity of its definitions. The “Frénétique” genre can be the manifestation of a metaphysical revolt, the literary transposition of an èthos, or is generally used to describe the Romantic-era craze for a horrific and excessive genre that inherited its key characteristics from the Gothic Novel. The latter, constituted by the novels of Radcliffe, Lewis and Maturin, spurred two genres that should be distinguished: the French Gothic Novel and the “Frénétique” genre.

As Noites [Alf layla wa-layla] foram primeiramente traduzidas e publicadas pelo orientalista francês Antoine Galland, no início do século XVIII. Em sua tradução, Galland não somente seguiu a concepção de sua época de adaptar a obra para o gosto francês como também inseriu novas histórias em sua versão que não pertenciam ao original, de modo que suas Les mille et une nuits não se constituíram como um retrato fiel das Noites árabes. E foi este trabalho que, encontrando um sucesso triunfal desde sua publicação, divulgou as histórias das Noites por todo o Ocidente, e inspirou novas produções literárias. No século XIX, muitos autores românticos buscaram o enriquecimento de sua imaginação nas cores do maravilhoso oriental, entre eles está Charles Nodier, que registrou seu interesse por Les mille et une nuits em seus textos teóricos e literários . Nesse sentido, no âmbito de um estudo comparado, é possível perceber que seu conto intitulado \"Les quatre talismans\" compartilha de determinadas semelhanças com as seguintes histórias de Les mille et une nuits: prólogo-moldura, \"Histoire du pêcheur\", \"Histoire du roi grec et du médecin Douban\", \"Histoire de trois calenders fils de rois et de cinq dames de Bagdad\", \"Histoire du seconde calender\", \"Histoire du petit bossu\", \"Histoire que raconta le marchand chrétien\" - todas elas traduzidas por Galland do manuscrito árabe das Noites -; \"Histoire d\'Aladdin\" e \"Histoire de l\'aveugle Baba-Abdalla\" - ambas ausentes das Noites, correspondendo, portanto, a inserções do orientalista em sua versão. Comparativamente, a análise de elementos, como a técnica narrativa, os temas e os motivos das histórias, atestam não somente as apropriações de Nodier a partir de Les mille et une nuits, mas também a própria originalidade do autor, que transforma o modelo das histórias provindas das Noites e das narrativas inseridas por Galland, criando, assim, um conto peculiar. / Nights [Alf layla wa-layla] were first translated and published by the French orientalist Antoine Galland in the beginning of the XVIII century. In his translation, Galland not only followed the conception of his time to adapt the literary work to the French taste, but also inserted new stories in its version that didn\'t belong to the original, so that his Les mille et une nuits didn\'t constitute a real portrait of the Arabian Nights. And was this literary work that, finding a triumphal success since its publication, disclosed the stories of Nights to the whole West, and inspired new literary productions. In the XIX century, many Romantic writers searched the enrichment of their imagination in the colors of the oriental wonder; among them is Charles Nodier, who registered his interest for Les mille et une nuits in many of his theoretical and literary texts. In this sense, in the field of the compared literature, it is possible to notice that his tale entitled \"Les quatre talismans\" shares some similarities with the following stories of Les mille et une nuits: prologue- frame, \" Histoire du pêcheur\", \"Histoire du roi grec et du médecin Douban\", \" Histoire de trois calenders fils de rois et de cinq dames de Bagdad\", \"Histoire du seconde calender\", \"Histoire du petit bossu\" , \"Histoire que raconta le marchand chrétien\" - all of them translated by Galland from the Arabian manuscript of Nights - \"Histoire d\'Aladdin\" and \"Histoire de l\'aveugle Baba-Abdalla\"- both absent in Nights, corresponding, therefore, insertions from the orientalist in his version. Comparatively, the analyses of elements, such as narrative technique, the themes and the reasons of the stories, certify not only the appropriation of Nodier from Les mille et une nuits, but also the originality of the author itself, that transforms the model of the stories from Nights and from the narratives inserted by Galland, criating, thus, a peculiar tale.

As Noites [Alf layla wa-layla] foram primeiramente traduzidas e publicadas pelo orientalista francês Antoine Galland, no início do século XVIII. Em sua tradução, Galland não somente seguiu a concepção de sua época de adaptar a obra para o gosto francês como também inseriu novas histórias em sua versão que não pertenciam ao original, de modo que suas Les mille et une nuits não se constituíram como um retrato fiel das Noites árabes. E foi este trabalho que, encontrando um sucesso triunfal desde sua publicação, divulgou as histórias das Noites por todo o Ocidente, e inspirou novas produções literárias. No século XIX, muitos autores românticos buscaram o enriquecimento de sua imaginação nas cores do maravilhoso oriental, entre eles está Charles Nodier, que registrou seu interesse por Les mille et une nuits em seus textos teóricos e literários . Nesse sentido, no âmbito de um estudo comparado, é possível perceber que seu conto intitulado \"Les quatre talismans\" compartilha de determinadas semelhanças com as seguintes histórias de Les mille et une nuits: prólogo-moldura, \"Histoire du pêcheur\", \"Histoire du roi grec et du médecin Douban\", \"Histoire de trois calenders fils de rois et de cinq dames de Bagdad\", \"Histoire du seconde calender\", \"Histoire du petit bossu\", \"Histoire que raconta le marchand chrétien\" - todas elas traduzidas por Galland do manuscrito árabe das Noites -; \"Histoire d\'Aladdin\" e \"Histoire de l\'aveugle Baba-Abdalla\" - ambas ausentes das Noites, correspondendo, portanto, a inserções do orientalista em sua versão. Comparativamente, a análise de elementos, como a técnica narrativa, os temas e os motivos das histórias, atestam não somente as apropriações de Nodier a partir de Les mille et une nuits, mas também a própria originalidade do autor, que transforma o modelo das histórias provindas das Noites e das narrativas inseridas por Galland, criando, assim, um conto peculiar. / Nights [Alf layla wa-layla] were first translated and published by the French orientalist Antoine Galland in the beginning of the XVIII century. In his translation, Galland not only followed the conception of his time to adapt the literary work to the French taste, but also inserted new stories in its version that didn\'t belong to the original, so that his Les mille et une nuits didn\'t constitute a real portrait of the Arabian Nights. And was this literary work that, finding a triumphal success since its publication, disclosed the stories of Nights to the whole West, and inspired new literary productions. In the XIX century, many Romantic writers searched the enrichment of their imagination in the colors of the oriental wonder; among them is Charles Nodier, who registered his interest for Les mille et une nuits in many of his theoretical and literary texts. In this sense, in the field of the compared literature, it is possible to notice that his tale entitled \"Les quatre talismans\" shares some similarities with the following stories of Les mille et une nuits: prologue- frame, \" Histoire du pêcheur\", \"Histoire du roi grec et du médecin Douban\", \" Histoire de trois calenders fils de rois et de cinq dames de Bagdad\", \"Histoire du seconde calender\", \"Histoire du petit bossu\" , \"Histoire que raconta le marchand chrétien\" - all of them translated by Galland from the Arabian manuscript of Nights - \"Histoire d\'Aladdin\" and \"Histoire de l\'aveugle Baba-Abdalla\"- both absent in Nights, corresponding, therefore, insertions from the orientalist in his version. Comparatively, the analyses of elements, such as narrative technique, the themes and the reasons of the stories, certify not only the appropriation of Nodier from Les mille et une nuits, but also the originality of the author itself, that transforms the model of the stories from Nights and from the narratives inserted by Galland, criating, thus, a peculiar tale.

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