O objetivo desta pesquisa é analisar as marcas linguísticas que compõem as relações de sentido no que diz respeito ao humor da crônica de Aldir Blanc. A partir da percepção da estrutura da Língua Portuguesa, verificar quais as ações na produção textual da crônica sejam estas morfológicas, gramaticais, lexicais, sintáticas, fonéticas, estilísticas ou semânticas que, ao aliar-se à práxis cotidiana (contexto) oferecida pelos jornais, propiciam o discurso humorístico do autor. Os pressupostos teóricos que corroboram as respectivas demarcações linguísticas terão ênfase no tocante aos aspectos semânticos, com Stephen Ullman, Pierre Guiraud e Edward Lopes. Os traços característicos da crônica, o humor e a ironia como recursos discursivos, a seleção lexical, as inferências, o jogo lúdico da grafia das palavras, as formas textuais serão inferidos dialogicamente em grande parte pelos estudos estilísticos de Marcel Cressot, Pierre Guiraud, Mattoso Câmara, Nilce SantAnna Martins e José Lemos Monteiro. Desse modo, apontamos para um estudo da língua sob uma ótica semântico-discursiva, levando em conta sua expressividade estilística. Dessa forma, à valorização do manuseamento linguístico, quer pela escritura, quer pela leitura, acrescenta-se o dado crítico da língua através do discurso presente no humor, tendo em vista o gênero textual que é a crônica e sua grande penetração social pelos jornais de grande circulação / The objective of this research is to analyze the linguistic marks that comprise the relationship of meaning with regards to the mood of Aldir Blancs chronicles. From the perception of the structure of the Portuguese language, check what actions in the textual production of the chronicle - be them morphological, grammatical, lexical, syntactic, phonetic, stylistic or semantic - that, by allying with the daily practice (the context) provided by newspapers, provide the author's humorous speech. The theoretical assumptions that support the linguistic demarcations will emphasize the semantic aspects with Stephen Ullman, Pierre Guiraud and Edward Lopes. The characteristics of the chronicle, humor and irony as discursive resources, the lexical selection, the inferences, the playful game of spelling, the textual forms will dialogically be inferred in large part by studies of style by Cressot Marcel, Pierre Guiraud, Mattoso Câmara Nilce Sant'Anna Martins and José Lemos Monteiro. Thus, we point to a study of language in a semantic-discursive perspective, taking into account its expressive style. Therefore, the enrichment of language handling, either by writing or reading, is added to the critical form of language through the speech present in his humor, given the textual genre that is the chronicle and its deep social penetration by newspapers of wide circulation

O presente trabalho tem como objetivo apresentar considerações e os resultados obtidos a partir da pesquisa de mestrado: A Trajetória editorial da obra de Gabriel Soares de Sousa. Pretende-se levantar aspectos filológicos cuja análise resultará nos fundamentos basilares para a confecção de uma edição crítica digital futura a ser elaborada após a obtenção do título de Mestrado, ou seja, essa edição se destina a ser desenvolvida posteriormente no Doutorado. Partindo da transcrição da primeira parte do manuscrito Roteiro Geral ... os aspectos observados na transcrição irão pautar toda a análise feita. A resultante direta desta etapa será a categorização dos aspectos linguísticos, e filológicos, e outros ainda necessários ao estruturamento da pesquisa; bem como uma classificação dos fenômenos encontrados no texto, cujo objetivo maior e mais amplo é delinear os problemas relativos à confecção da edição crítica digital futura. / The starting point for this study was the observation of a rare and unusual editorial path of the publishing history of Gabriel Soares de Sousas work, composed in the sixteenth century and printed only 250 years later. G. S. Sousa wrote two essays on the territory which he occupied as a settler in the Northeast region in Brazil: Roteiro Geral com Largas Informações de toda a Costa do Brasil and Memorial e Declaração das Grandezas da Bahia de Todos os Santos, de sua fertilidade, e das notáveis partes que tem. These manuscripts were presented in 1587 as a treatise entitled Notícia do Brasil. However, only in 1851 the text was printed in an edition commented and analyzed by F. A. Varnhagen, with the title Tratado Descriptivo do Brasil de 1587. This research analises some hypotheses in order to explore some differences found in the texts as well as to point out some passages which are worthy of further analysis.

This dissertation addresses the challenges of translating the Contemporary Mexican crónica from Spanish into English. The crónica, being a type of nonfiction literature and possessing unique features particularly with regards to its ability to be read like a novel, presents distinctive challenges in translation. This dissertation looks closely at the particularities of translating Elena Poniatowska’s Amanecer en el Zócalo (Mexico: Planeta, 2007), a crónica based on the 2006 federal election in Mexico and the subsequent civil resistance movement inspired by the outcome. This dissertation addresses questions surrounding the translation of the crónica: What challenges are unique in translating this genre and why? Why are there so few crónicas translated into English? What decisions can the translator make in order to resolve these particular difficulties? In order to attempt to answer these questions, I first looked into the genre of the crónica and attempted to situate it within the Mexican system of literature and culture. The result found was that, based on some recent theories of systems in culture and translation, the crónica, as a genre of literature that always seeks to address current issues in society and foster positive social development, is in itself a vehicle for social change. I then looked at other crónicas that have been translated into English and compared other translators’ decisions to the ones I made—or have yet to make—within my own translation of Poniatowska’s text. Finally, in observing the ways in which the translator of the crónica tends to alter the genre of the text in translation, I showed how the text, in English, loses some of the defining characteristics of the crónica and serves a different purpose in the target culture—it educates the reader on past (and present) social issues in other cultures, and it appeals to a different type of audience in the target culture—it attracts readers interested in studying another culture rather than readers who feel an intimate connection with the crónica’s context.

This dissertation addresses the challenges of translating the Contemporary Mexican crónica from Spanish into English. The crónica, being a type of nonfiction literature and possessing unique features particularly with regards to its ability to be read like a novel, presents distinctive challenges in translation. This dissertation looks closely at the particularities of translating Elena Poniatowska’s Amanecer en el Zócalo (Mexico: Planeta, 2007), a crónica based on the 2006 federal election in Mexico and the subsequent civil resistance movement inspired by the outcome. This dissertation addresses questions surrounding the translation of the crónica: What challenges are unique in translating this genre and why? Why are there so few crónicas translated into English? What decisions can the translator make in order to resolve these particular difficulties? In order to attempt to answer these questions, I first looked into the genre of the crónica and attempted to situate it within the Mexican system of literature and culture. The result found was that, based on some recent theories of systems in culture and translation, the crónica, as a genre of literature that always seeks to address current issues in society and foster positive social development, is in itself a vehicle for social change. I then looked at other crónicas that have been translated into English and compared other translators’ decisions to the ones I made—or have yet to make—within my own translation of Poniatowska’s text. Finally, in observing the ways in which the translator of the crónica tends to alter the genre of the text in translation, I showed how the text, in English, loses some of the defining characteristics of the crónica and serves a different purpose in the target culture—it educates the reader on past (and present) social issues in other cultures, and it appeals to a different type of audience in the target culture—it attracts readers interested in studying another culture rather than readers who feel an intimate connection with the crónica’s context.

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This dissertation addresses the challenges of translating the Contemporary Mexican crónica from Spanish into English. The crónica, being a type of nonfiction literature and possessing unique features particularly with regards to its ability to be read like a novel, presents distinctive challenges in translation. This dissertation looks closely at the particularities of translating Elena Poniatowska’s Amanecer en el Zócalo (Mexico: Planeta, 2007), a crónica based on the 2006 federal election in Mexico and the subsequent civil resistance movement inspired by the outcome. This dissertation addresses questions surrounding the translation of the crónica: What challenges are unique in translating this genre and why? Why are there so few crónicas translated into English? What decisions can the translator make in order to resolve these particular difficulties? In order to attempt to answer these questions, I first looked into the genre of the crónica and attempted to situate it within the Mexican system of literature and culture. The result found was that, based on some recent theories of systems in culture and translation, the crónica, as a genre of literature that always seeks to address current issues in society and foster positive social development, is in itself a vehicle for social change. I then looked at other crónicas that have been translated into English and compared other translators’ decisions to the ones I made—or have yet to make—within my own translation of Poniatowska’s text. Finally, in observing the ways in which the translator of the crónica tends to alter the genre of the text in translation, I showed how the text, in English, loses some of the defining characteristics of the crónica and serves a different purpose in the target culture—it educates the reader on past (and present) social issues in other cultures, and it appeals to a different type of audience in the target culture—it attracts readers interested in studying another culture rather than readers who feel an intimate connection with the crónica’s context.

La chronique de Maupassant reste le genre problématique par excellence dansl’oeuvre de l’écrivain, sa part d’ombre, sa part maudite.Celui-ci ne les regroupa pas de son vivant comme il le fit pour ses contes et sesnouvelles qu’il exhuma des pages du Gaulois et de Gil Blas pour les publier enlibrairie. Car la chronique porterait la marque d’une certaine mauvaise conscienced’un auteur tiraillé par un surmoi littéraire flaubertien s’inscrivant dans le texte commeun symptôme.Dès lors, cette chronique dont l’indéniable vitesse d’écriture dictée par les contrainteset les impératifs journalistiques favorisa l’affleurement de l’inconscient dans le texte,déclinera les matériaux scripturaires de l’inconscient.Douées d’une énergie propre, les chroniques de Maupassant, outre le fait qu’ellesdévelopperaient des perspectives narratives interactives entre le lecteur et l’écrivain,brosseraient un portrait intérieur de son auteur en proie à ses fantasmes, à sesphobies et à ses angoisses. Ces textes s’ouvriraient ainsi à une herméneutiquespécifique, relevant de la psychanalyse freudienne. / The “chronique” in Maupassant’s work archetypically represents its problematicgenre, its accursed share.The author didn’t collect these columns during his lifetime, as he had done with histales and short stories which he exhumed from the pages of dailies such as LeGaulois and Gil Blas to have them published in book form. It would thus appear thatthe “chronique” is stamped with the bad conscience of a writer which, overwhelmedby a Flaubertian superego, registers within the text as symptom.Therefore, the “chronique” whose undeniable hasty redaction resulted from theconstraints and dictates of journalism fostered the subconscious’s coming to the foreof the text by displaying its scriptural materials.Alive with its own energy, the “chronique” by Maupassant, beyond opening upnarratological interactive prospects between reader and writer, sketches the author’spsyche as beset by fantasies, phobias, obsessions and fears.The Maupassantian column may lead to a specific hermeneutics in the light of theFreudian psychoanalysis.

My intellectual interests span the Atlantic and are anchored in early modern narrative. Balancing original research, literary analysis and humanist literary criticism, my dissertation, “The Conundrums of Narrative: Cervantes in the Context of the Crónicas de Indias” attempts to bring a fresh understanding on the reciprocal relationship between emerging discourses of the New World and Spain –in particular, the kinds of narrative that coalesce into the (early) modern novel and the equally complex and imaginative forms of narrative on display in the Crónicas de Indias. My inquiry takes up two key sixteenth-century historiographical accounts of the Americas which include Gonzalo Fernández de Oviedo’s Sumario de la natural historia de las Indias and Bernal Díaz del Castillo’s Historia verdadera de la conquista de la nueva España. I deploy these texts, which problematize the relationship of history to ‘poetry’ (a category which for early moderns included imaginative prose), to shed new light on the narrative strategies employed in Don Quixote and the Persiles. Along the way, I argue that the significant role that memory and mnemonics play in Cervantes’s imitation of literary models contributes to the epistemological and narratological concerns produced by the New World encounter, and I examine the use of memory in the construction of textual authority. For example: the first portion of my dissertation analyzes the writings of Juan Luis Vives (1492- 1540) as a means to explore the humanist thinking on the writing of history. Vives’ contribution to the practice and rhetoric of history allows me to examine difficulties and paradoxes posed by the interplay of history and poetry in Cervantes.

Au XIXe siècle, différents genres du prétoire apparaissent pour représenter les procès, devenus publics avec la Révolution. À partir de 1825 avec le premier quotidien judiciaire, la Gazette des tribunaux, cette médiatisation du tribunal ne cesse de prendre de l’importance, aussi bien dans les journaux politiques que plus tard dans la presse bon marché et en 1887 leSyndicat de la Presse Judiciaire est fondé. Le genre journalistique repose sur deux prototypes : le grand compte rendu sténographique pour la cour d’assises et la petite chronique comique pour les débats de police correctionnelle. Non dépourvu de potentialités littéraires, celles-ci sont développées au cours du siècle dans des avatars de l’article venantenrichir sa poétique. Une presse spécialisée non quotidienne avec des titres comme L’Audience (1839) ou Le Tribunal illustré (1879) se révèle particulièrement innovante. De plus l’influence d’autres genres se fait sentir : la « cause célèbre du jour » désigne la chaîne médiatique entre fait divers et compte rendu qui se forme lors de procès retentissants, la« nouvelle chronique judiciaire » des années 1880 naît au confluent du compte rendu et du reportage, tandis que des rubriques comme les « souvenirs judiciaires » oscillent entre histoire et fiction. Enfin la rencontre des trois champs, littéraire, médiatique et judiciaire entraîne la création de « fictions du prétoire », prenant à la fois le procès pour objet et structure. On retrouve celles-ci dans différents domaines, la littérature panoramique, le roman mais aussi le théâtre. / In the 19th Century, new Court genres appeared to represent trials, which became public after the Revolution. Since 1825 when the first Court newspaper the Gazette des tribunaux was created, the popularization through the media of the Court became more and more successful, first in political newspapers, then later at the end of the century in cheap newspapers and in 1887 when the Court Press Union was founded. The newspaper genre is based on two prototypes: the stenographic report of the Crown Court and the comic little chronicle for the debates of the magistrate’s Court. They contained literary qualities, which were developed during the century in some changes of the article, which enriched her poetics. A specializedpress, which was not daily, entitled L’Audience (1839) or Le Tribunal illustré (1879) turned out to be very innovative. But other genres were also influential: the “ cause célèbre du jour” was a media chain between a “fait divers” and a report created during resounding trials; the new “ Court chronicle “ of the 1880s appeared between a review and a report and some columns like « les souvenirs judiciaires » were situated between History and Fiction. Finally, when the literary, media, and Court fields met, it created the « court fictions », in which trial was at the same time the main subject and the structure. We find them in different fields: in panoramic literature, in novels and also in plays.

Au XIXe siècle, alors que triomphe le texte imprimé, on assiste à une valorisation inédite de la parole : la causerie et la conversation sont érigées en mythes et considérées comme des éléments constitutifs de l’identité française, et de nombreuses formes écrites font de la parole un modèle d’écriture. La presse en particulier reconfigure des modèles discursifs pour s’adresser à un public qui se massifie au cours du siècle, et dont la captation devient un enjeu économique et politique. De 1836-1884, période considérée dans ce travail, la transposition de la causerie dans le journal renvoie tout à la fois à une modalité d’écriture influencée par les formes conversationnelles et épistolaires, dont le style se construit dans une tension entre sérialité et originalité, et, par métonymie, à des articles spécifiques. Si l’écriture causée peut être cultivée de façon macrostructurale – elle caractérise toute l’écriture du petit journal notamment –, on considérera plus spécifiquement trois déclinaisons journalistiques de la causerie : la critique littéraire (incluant la critique dramatique, forme majeure de la critique journalistique à l’époque), la chronique journalistique, ainsi que des formes originales de journalisme personnel. Plus qu’un simple dispositif textuel, ou une écriture de repli pour des journaux privés de matière politique, la causerie journalistique porte des enjeux poétiques et génériques notables – l’essor du recueil, des écritures personnelles, polyphoniques ou humoristiques notamment gagnent à être reconsidérées de ce point de vue. En outre, elle participe directement aux reconfigurations du statut de l’homme de lettres au XIXe siècle, à qui elle offre un support pour gérer son image publique et orchestrer son positionnement sur la scène littéraire. / During the 19th century, while the printed text is predominant, we witness a new importance of speech : talk and conversation are erected as myths and considered elements of the French identity, and various written media make speech a model of writing. The press in particular reconfigured discursive models to reach a public that had been growing over the century, and the captivation of whom was becoming an economic and political issue. In 1836-1884, the period considered by the study, the transposition of chatting into newspaper columns recalled both a writing mode influenced by the conversation and epistolary forms, whose style builds itself in a tension between seriality and originality, and, by metonymy, to specific articles. If the spoken writing can be cultivated in a macrostructural way (it characterizes all the writing of the « petit journal » in particular), we will consider more specifically three journalistic versions of the talk : the litirary criticism (including theatre criticism, major form of journalistic criticism at the time), the journalistic chronicle as well as original forms of personal journalism. More than a simple textual device, or a fall backwriting form for newspapers lacking political content, the journalistic talk has important poetic and generic issues  the rise of collections, of personal, polyphonic, or humorous writing in particular merit being reconsidered from this point of view. Besides, it participates to the redefinition of the media writer’s status during the nineteenth century, to whom it offers a way to manage his public image and his position on literary front.