Zugl.: Diss. Univ. Göttingen, 2007. / Bibliographie: S. 485-510.

O romance de Claude Simon dialoga com muitos textos por meio de diversos procedimentos de composição, em especial devido à intertextualidade explícita em muitos casos. Ligado ao contexto estético do nouveau roman, o novo romance francês, o autor lida em sua escrita com aspectos linguísticos peculiares, dentre eles a perspectiva temporal, que evidenciam seu caráter literário. Evidencia-se, por consequência, para o crítico, a necessidade de entender como os diversos princípios de organização do texto se articulam em favor de sua unidade, feita de fragmentos que se colam e se deformam conforme as demandas do escritor, constituindo-se, assim, uma espécie de palimpsesto. O intertexto latino, ou seja, as relações entre um texto e a literatura romana antiga, tem papel fundamental na construção do texto simoniano, o que interfere também em nossa leitura de outros elementos que interagem com ele. Um dos romances em que se expõe com clareza esse fator intertextual na literatura de Simon é La Bataille de Pharsale (1969), nossa opção para objeto de estudo, dada à acentuação dos problemas postos pela presença da cultura clássica na obra por relações e transformações. Nesse romance, a guerra é um dos principais pontos de encontro derivados das relações entre antigos e modernos exercidas pela escrita, de modo que os outros aspectos composicionais do texto, como o tempo e a enunciação, parecem estabelecer uma interferência recíproca com o intertexto. Levando em conta esses fatores, nossa análise buscou se pautar na necessidade de reavaliar o percurso crítico feito sobre a obra do autor sob uma visão comparatista e multidisciplinar a fim de fornecer conclusões relevantes sobre nosso objeto. A partir desse estudo, fornecemos possibilidades de leitura do romance com base nessa discussão, bem como novas perspectivas para a compreensão da obra de Claude Simon e do romance moderno em relação à tradição clássica. / The novel of Claude Simon dialogues with many texts through various composition procedures, especially due to the explicit intertextuality in many cases. In the aesthetic context of the nouveau roman, the French \"new novel\", the author deals in his writing with peculiar linguistic aspects, including the time perspective, which demonstrate its literary character. Thus, there is a clear need to the critics to understand how the various text organizational principles articulate among themselves in favor of a unit, made of fragments that stick and deform according to the demands of the writer, being thus a kind of palimpsest. The Latin intertext, the relationship between a text and the ancient Roman literature, plays a key role in the creation of the Simonian text, which also interferes in our reading of other elements that interact with it. One of the novels which sets out clearly that intertextual factor in Simon\'s literature is La Bataille de Pharsale (1969), our option for object of study, given the rise of problems posed by the presence of classical culture in the work by relations and transformations. In this novel, the war is one of the main points derived from the relations between ancient and modern in writing, so that other compositional aspects of the text, as time and enunciation, seem to establish a reciprocal interference with the intertext. Taking into account these factors, our analysis had the aim of reassessing the critical path on the author\'s work in a comparative and multidisciplinary approach to provide relevant conclusions about our object. From this study, we provide reading possibilities for the novel based on our discussion, as well as new perspectives for the understanding of Claude Simon\'s work and the modern novel in relation to the classical tradition.

O romance de Claude Simon dialoga com muitos textos por meio de diversos procedimentos de composição, em especial devido à intertextualidade explícita em muitos casos. Ligado ao contexto estético do nouveau roman, o novo romance francês, o autor lida em sua escrita com aspectos linguísticos peculiares, dentre eles a perspectiva temporal, que evidenciam seu caráter literário. Evidencia-se, por consequência, para o crítico, a necessidade de entender como os diversos princípios de organização do texto se articulam em favor de sua unidade, feita de fragmentos que se colam e se deformam conforme as demandas do escritor, constituindo-se, assim, uma espécie de palimpsesto. O intertexto latino, ou seja, as relações entre um texto e a literatura romana antiga, tem papel fundamental na construção do texto simoniano, o que interfere também em nossa leitura de outros elementos que interagem com ele. Um dos romances em que se expõe com clareza esse fator intertextual na literatura de Simon é La Bataille de Pharsale (1969), nossa opção para objeto de estudo, dada à acentuação dos problemas postos pela presença da cultura clássica na obra por relações e transformações. Nesse romance, a guerra é um dos principais pontos de encontro derivados das relações entre antigos e modernos exercidas pela escrita, de modo que os outros aspectos composicionais do texto, como o tempo e a enunciação, parecem estabelecer uma interferência recíproca com o intertexto. Levando em conta esses fatores, nossa análise buscou se pautar na necessidade de reavaliar o percurso crítico feito sobre a obra do autor sob uma visão comparatista e multidisciplinar a fim de fornecer conclusões relevantes sobre nosso objeto. A partir desse estudo, fornecemos possibilidades de leitura do romance com base nessa discussão, bem como novas perspectivas para a compreensão da obra de Claude Simon e do romance moderno em relação à tradição clássica. / The novel of Claude Simon dialogues with many texts through various composition procedures, especially due to the explicit intertextuality in many cases. In the aesthetic context of the nouveau roman, the French \"new novel\", the author deals in his writing with peculiar linguistic aspects, including the time perspective, which demonstrate its literary character. Thus, there is a clear need to the critics to understand how the various text organizational principles articulate among themselves in favor of a unit, made of fragments that stick and deform according to the demands of the writer, being thus a kind of palimpsest. The Latin intertext, the relationship between a text and the ancient Roman literature, plays a key role in the creation of the Simonian text, which also interferes in our reading of other elements that interact with it. One of the novels which sets out clearly that intertextual factor in Simon\'s literature is La Bataille de Pharsale (1969), our option for object of study, given the rise of problems posed by the presence of classical culture in the work by relations and transformations. In this novel, the war is one of the main points derived from the relations between ancient and modern in writing, so that other compositional aspects of the text, as time and enunciation, seem to establish a reciprocal interference with the intertext. Taking into account these factors, our analysis had the aim of reassessing the critical path on the author\'s work in a comparative and multidisciplinary approach to provide relevant conclusions about our object. From this study, we provide reading possibilities for the novel based on our discussion, as well as new perspectives for the understanding of Claude Simon\'s work and the modern novel in relation to the classical tradition.

Thesis (doctoral)--Rijksuniversiteit te Leiden, 1992. / Summary in Dutch. Includes bibliographical references (p. 247-257).

Texte remanié de: Diss.--Philosophische Fakultät--München--Ludwig-Maximilians-Universität, 1990.

Submitted by Chaylane Marques (chaylane.marques@ufpe.br) on 2015-03-09T17:50:11Z No. of bitstreams: 2 Dissertaçao Taís Leme.pdf: 1599783 bytes, checksum: 5f386111a7781e7134f2e1c1b24a7664 (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) / Made available in DSpace on 2015-03-09T17:50:11Z (GMT). No. of bitstreams: 2 Dissertaçao Taís Leme.pdf: 1599783 bytes, checksum: 5f386111a7781e7134f2e1c1b24a7664 (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Previous issue date: 2013-02-26 / CNPQ / Este trabalho consiste no estudo comparado do neobarroco nas obras Perdidos e achados, narrativa de Nova, novena (1994), de Osman Lins, e Triptyque (2006), romance de Claude Simon, novo romancista francês. Osman Lins e Claude Simon compreendiam o processo de escritura como uma luta. Luta contra a linguagem instituída e a percepção caótica que se tem do mundo. Combate que, de algum modo, representa a revolta humana contra o não-sentido, a tentativa de reunir e recriar os fragmentos dispersos da realidade em um conjunto significativo que reflita certa unidade. Contudo, não se trata de uma unidade apolínea, fechada, mas dionisíaca, barroca, que somente pode ser contemplada considerando-se os elementos apreendidos em sua totalidade, não individualmente. É, sobretudo, nesse sentido que associamos as ficções desses escritores à bricolagem, trabalho artesanal que reporta à ideia de unidade heterogênea. Além disso, a concepção de Osman Lins e de Claude Simon da escritura literária como uma atividade manual também pode ser aproximada do ofício dos bricoleurs. Ambos os escritores são marcados pela enfatização dos procedimentos de escrita em lugar da fábula, o que deixa margem para que o texto seja tomado pelo jogo lúdico contido no erotismo da linguagem, na escritura fragmentária entrelaçando-se, procurando superar a condição de descontinuidade dentro da unidade global do texto.

Étudier l’événement historique dans l’œuvre de Claude Simon sous un nouvel angle, voilà l’objectif de cette thèse. Pour ce faire, l’analyse de l’événement historique comprend l’attente, c’est-à-dire qu’elle couvre la période qui précède l’événement en soi. Ainsi, il s’agit d’étudier la place de l’attente dans l’œuvre romanesque simonienne. Depuis un nouvel horizon d’attente exemplifié par la Révolution française jusqu’à ne plus avoir d’attentes dans l’enfer de la Deuxième Guerre mondiale, l’écriture de l’événement historique comprend aussi son attente. Et partant, l’individu est pris dans une Histoire qui le dépasse. Se concentrant sur quelques romans de Claude Simon, cette thèse analyse sur la relation entre l’attente, les événements historiques et l’écriture. Elle considère moins l’événement en soi que ce qui le précède. De l’Histoire nationale d’un pays à l’histoire traumatique d’un individu, cette thèse souligne combien l’expérience personnelle de l’événement historique est influencée par l’attente. Enfin, à travers ses romans, Claude Simon décrit la déception d’une expérience immédiate de l’événement historique, déception provoquée par une conception de l’Histoire rejetée depuis les événements abominables qui parsèment le XXe siècle. Ainsi, la représentation de l’Histoire est constamment mise en cause dans les romans de Claude Simon, ce qui nous conduit à établir une vision simonienne de l’Histoire. / Through a selection of Claude Simon’s novels, this thesis aims to consider the historical event from an innovative point of view. In order to do so, the historical event will be analysed not as something that has already happened, but as something that is still to come. In other words, if Claude Simon writes the historical event from the writing present than the period preceding the event must also be considered in this act. As such, Claude Simon describes, more often than not, the interval before the historical event, rather than the historical event itself. However, in waiting there is also an expectation that something should happen in a certain way. And yet, expectations often lead to disappointment in Claude Simon’s novels. Based on historical representations from history books and famous paintings, a certain image of history is portrayed and subsequently deconstructed. This thesis analyses the manner in which Claude Simon develops his own vision of history based on his immediate experience of historicals events. From the French Revolution to the Second World War, Claude Simon shows us how an individual is caught up in a history that he can never fully understand. Therefore, this thesis aims to show the relationship between waiting, expecting, the historical event, the individual and writing. From a shared national history to that of one individual’s traumatic experience, this thesis underlines how much the past and the present are influenced by the notions of waiting and expectation. Hence, it is through his novels that Claude Simon shares his deception, provoked by a false conception of history, since rejected after the historical events of the 20th century.

Cette thèse met en valeur les liens que les temps verbaux et la construction textuelle du point de vue entretiennent avec la composition des romans de Claude Simon écrits à partir du Vent (1957). En nous appuyant sur la théorie des systèmes de temps et en la revisitant à partir de l’emploi des temps verbaux dans ses romans, nous montrons en quoi l’écriture de l’écrivain conteste des systèmes verbotemporels et un système narratif historiquement datés au regard d’une écriture qui s’émancipe des schémas qui les motivent. Nous démontrons de même que la temporalité et la construction textuelle du point de vue dans ces romans sont au service de la plasticité de la composition romanesque. L’analyse verbotemporelle de notre corpus s’articule, conjointement à celle de la ponctuation, de la syntaxe, de l’énonciation et du point de vue narratif, avec la composition des romans. L’approche stylistique de tous ces aspects se conjugue à l’approche génétique, qui permet dans de nombreux cas d’expliquer plus justement le processus d’élaboration de la composition et du style. La prise en compte de la composition nous paraît s’imposer au vu des ruptures radicales avec un système romanesque périmé, qui nous amènent à déplacer le champ des repères de l’analyse critique. On pourrait dire, en paraphrasant Mallarmé, que dans les romans de Claude Simon, la composition rémunère le défaut des repères traditionnels du temps. De même que la syntaxe et la ponctuation ne se pensent plus à l’échelle de la phrase, chez Claude Simon, nous considérons que les temps verbaux et la notion de point de vue doivent aussi s’envisager à l’échelle du roman et de ses macrostructures, ce qui nous conduit à mettre particulièrement en valeur la composition de deux romans, La Route des Flandres et Le Jardin des Plantes, qui, faisant alterner temps présent et temps du passé, permettent de bien rendre compte de leur composition verbotemporelle. Cette recherche, qui s’intéresse en premier lieu au renouvellement de la langue littéraire par Claude Simon, contribue par voie de conséquence au renouvellement de la méthodologie critique qui permet de la mettre en valeur. Elle montre à partir de l'étude stylistique et génétique du roman simonien comment la littérature conduit à revoir l'approche linguistique de la langue au-delà de la phrase mais aussi comment la poétique narrative rouvre l'usage de la langue. / This thesis highlights the relations between verb tenses and textual viewpoint construction and the composition of Claude Simon’s novels as of Wind (1957).Adopting the tense systems theory and revisiting it in connection with the use of verb tenses in the author’s novels, we show how his writing challenges verb-tense systems and a narrative system historically dated with respect to a writing that breaks free from the frames that motivate them. We shall equally show that in these novels temporality and textual viewpoint construction contribute to the plasticity of the novelistic composition. The verb-tense analysis of our corpus, together with that of punctuation, syntax, enunciation, and narrative viewpoint, is articulated in keeping with the composition of the novels. The stylistic approach of all these aspects is combined with the genetic approach, in many instances allowing to explain more accurately the elaboration process of composition and style. Composition must be kept in mind if we consider the radical breaks with a dated novelistic system that lead us to shift the field of reference of the critical analysis. We might say, paraphrasing Mallarmé, that in Claude Simon’s novels, composition makes up for the absence of the traditional timeline. Just as syntax and punctuation are no longer conceived on the scale of the sentence, in Claude Simon we consider that verb tenses and the notion of viewpoint should also be analyzed on the scale of the novel and its macrostructures. This induces us to dwell particularly on the composition of two novels, The Flanders Road and Le Jardin des Plantes: by alternating present time and past time they allow to fully account for their verb-tense composition. This study, that above all concerns Claude Simon’s renewal of the literary idiom, as a consequence contributes to the renewal of the critical methodology allowing to highlight it. Starting from the stylistic and genetic study of Simon’s novels, it shows how literature incites to revise the linguistic approach to language beyond the sentence, but also how narrative poetics reopen the use of language.

Thèse : Lettres : Uppsala : 1991. / Résumé en Anglais.

O objetivo deste trabalho é analisar como se deu a recepção ao \"novo romance\" no Brasil, notadamente no \"Suplemento Literário\", caderno cultural que integrava o jornal O Estado de São Paulo, e foi publicado entre os anos de 1956 e 1974. Inicialmente, foi feita uma apresentação geral do \"novo romance\", destacando-se suas principais obras e o contexto histórico-social do qual fazia parte. O \"novo romance\", movimento surgido em meados dos anos 1950 na França, causou um abalo nas estruturas da arte do romance, levando certos autores a questionar e a rejeitar as técnicas tradicionais - notadamente as de inspiração balzaquiana - da concepção romanesca, que consideravam desgastadas e ultrapassadas. Entre os autores que fizeram parte do movimento e que são abordados neste trabalho, pode-se ressaltar Alain Robbe-Grillet, Michel Butor, Nathalie Sarraute e Claude Simon. Apesar de haver outros escritores integrantes do \"novo romance\", esses foram os que tiveram maior divulgação no \"Suplemento Literário\". Um dos capítulos é dedicado a Claude Simon, cujo enfoque está no prêmio Nobel de Literatura que o escritor ganhou em 1985. Neste capítulo, são estudados diversos artigos de jornais e revistas que comentaram o assunto à época, e que reagiram de forma variada a essa conquista. Alguns artigos foram analisados isoladamente mas, sempre que possível e havendo pontos de contato entre eles, procurei fazer um cotejo, visando estabelecer semelhanças e diferenças, salientando opiniões contrárias e favoráveis. Para proceder à análise dos artigos e entender a reação da crítica diante das obras dos novos romancistas, tomei como base a teoria da recepção de Hans Robert Jauss, que estabelece a instância do leitor na realização da obra, a partir do conceito de \"horizonte de expectativas\". / The aim of this thesis is the analysis of the reception to the \"nouveau roman\" through the articles presented by \"Suplemento Literário\", a book of reviews published by O Estado de São Paulo, from 1956 to 1974. Firstly, we presented the general characteristics of the \"nouveau roman\" by introducing its main writers and its social and historic background. The \"nouveau roman\" was a literary movement started in the late 50\'s of the twentieth century that changed the way to produce and read novels, by rejecting the traditional techniques, mainly those related to Balzac\'s style of writing, considered as obsolete. Amongst all of the writers belonging to the \"noveau roman\" movement, we pointed out Allain-Robbe Grillet, Michel Butor, Nathalie Sarraute and Claude Simon. Even considering the fact that there were other important writers, those were the ones most referred by the authors who wrote articles to the \"Suplemento Literário\". One of the chapters of the thesis is dedicated to Claude Simon, Nobel Prize in Literature in 1985. In this chapter, we collected articles published in 1985 from newspapers and magazines in order to analyse the repercussion of the award granted to him. Some of the articles were studied separately, but, when we could find common ideas in their contents, we examined the articles in a way to emphasize differences and similarities, and different points of view. The reception theory, created by Hans Robert Jauss, was our point of reference to settle the approach of the articles as well as to understand all the reaction of the experts who criticize the novels produced by the writers of \"nouveau roman\".