Romancier, essayiste, ancien secrétaire général de la Asociación Colegial de Escritores de España, Andrés Sorel (Ségovie, 1937) est surtout connu pour son activité de militant antifranquiste. Il a pourtant publié à ce jour quinze romans et un nombre considérable d'essais. Depuis les années soixante, toute son œuvre est écrite sous le signe de l’engagement, ce qui peut expliquer en partie une forme de mise à l'écart du marché éditorial. Cette thèse vise à analyser comment sa dissidence intellectuelle contre l’idéologie dominante se construit dans sa production romanesque. On tentera de définir les contours de l’engagement, que ce soit à travers son rôle d’intellectuel, dans ses aspects les plus controversés, ou à travers les caractéristiques de son écriture engagée, dans sa dimension textuelle et avant-textuelle. On analysera également comment les marqueurs de l’engagement se développent dans la construction du narrateur, de ses personnages et de la temporalité. En prêtant toujours une attention égale au contenu idéologique et à sa mise en forme, Sorel conçoit l’écriture comme un exercice de réhabilitation de la mémoire des vaincus, s'inscrivant ainsi – et d'une certaine façon inaugurant – le « roman de la mémoire » qui domine le panorama littéraire de l'Espagne de ces deux dernières décennies. Il s’agit donc d'analyser la tension dialectique qui se joue entre un récit fictionnel et des modalités qui empruntent au factuel, notamment à l'essai. À travers la pluralité des témoignages littéraires, les textes de Sorel cherchent ainsi à faire émerger les vérités cachées et à redonner une voix à ceux qui en ont été privés. On étudiera par quels dispositifs formels ses récits constituent un contre-pouvoir contre le discours dominant des régimes autoritaires, totalitaires ou démocratiques. En dernier lieu, on analysera la dimension pragmatique d’une écriture qui prétend transformer la réalité, pour saisir le degré de visibilité de son discours littéraire et de sa présence médiatique, ainsi que la façon dont ses romans sont perçus par la critique littéraire. On cherchera enfin à esquisser les typologies du lecteur véhiculées par le récit, que ce soit pour les légitimer ou pour les rejeter. / As a novelist, essayist, and former general secretary of the Asociación Colegial de Escritores de España, Andrés Sorel (Segovia, 1937) is best known for his anti-Franco activism. To this day, he has published fifteen novels and a considerable number of essays. Since the nineteen sixties, all his work has been written under the sign of commitment, which may partly explain his side-lining from the editorial market. This thesis aims at analyzing how his intellectual disagreement with the dominant ideology is built up in his novelistic production. We will attempt to define the outlines of commitment, whether through his part as an intellectual, in its most controversial aspects, or through the characteristics of his committed writing, in its textual and pre-textual dimension. We will also analyze how the markers of commitment develop in the construction of the narrator, his characters and temporality. By always paying equal attention to the ideological content and its shaping, Sorel conceives writing as an exercise of rehabilitation of the memory of the vanquished, thus becoming a part of – and in a certain way launching – the "novel of the memory" which has dominated the literary panorama of Spain for the last two decades. It is therefore a matter of analyzing the dialectical tension that is played out between a fictional narrative and a method that uses factual elements, especially experimenting. Through the plurality of literary testimonies, Sorel’s texts seek to bring out the hidden truths and give a voice to those who have been deprived of it. We will study the formal devices through which his stories establish a counter power against the dominant discourse of authoritarian, totalitarian or democratic regimes. Lastly, we will analyze the pragmatic dimension of a writing style that claims to transform reality, in order to grasp the degree of visibility of its literary discourse and its media presence, as well as the way in which his novels are perceived by literary criticism. We will finally try to outline the reader types conveyed by the story, whether to legitimize or to reject them.

Alejandro López Andrada, poète, romancier et essayiste appartenant à la « génération des fils » comme la nomme Juan Vila, retrace le passé perdu ou en voie de disparition de son Andalousie natale. Sa prose se démarque par son caractère élégiaque et en dépit de la diversité générique qui caractérise ses œuvres, celles-ci ont en commun l’expression d’un sentiment nostalgique. Cette étude s’attache à présenter, en premier lieu, la voix narrative qui s’exprime dans le corpus choisi ainsi que la subjectivité qui la définit, puis, dans un second temps, les modes d’expression de cette nostalgie à travers l’exaltation de l’enfance dans laquelle s’inscrit la représentation de la terre natale andalouse. Enfin, la dernière partie de ce travail est consacrée à l’humanisme chrétien qui se dégage des textes, lesquels traduisent ainsi la foi personnelle de l’auteur. Celle-ci se manifeste notamment par l’expression de l’amour de l’Autre, de la revendication de valeurs et modes de vie renvoyant à nouveau à la période de l’enfance de l’auteur et par le poids important du religieux dans l’ensemble de son œuvre. / Alejandro Lopez Andrada, a poet, novelist and essayist from the "generation of sons" as Juan Vila calls it, traces the lost or disappearing past of his native Andalusia.His prose is notable for its elegiac character and despite the generic diversity that characterises his works, they all express a feeling of nostalgia.This study aims to present, in the first instance, the narrative voice that is expressed in the chosen corpus as well as the subjectivity that defines it, and, secondly, the expression of this nostalgia through the exaltation of childhood, in which the representation of the Andalusian homeland is enshrined. Finally, the last part of this work is devoted to the Christian humanism that emerges from the texts, which reflect the author's own personal faith. This particularly manifests itself in the expression of love of the Other, in the demand for the values and way of life which hark back to the author's childhood and by the weight given to the importance of religion in all his work.

Made available in DSpace on 2014-06-11T19:32:48Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-07-28Bitstream added on 2014-06-13T20:04:20Z : No. of bitstreams: 1 fiuza_aaf_dr_assis.pdf: 1161946 bytes, checksum: 9f341e2fae5b39fbe336c8d5ff5e40f8 (MD5) / Este estudo propõe-se a investigar, em uma perspectiva comparatista, como ocorre a releitura da história e a retomada da memória esquecida da Espanha franquista, por meio do discurso da ficção. Tendo como corpus os romances Galíndez (1990) e Autobiografía del general Franco (1992) do escritor Manuel Vázquez Montalbán, a pesquisa enfatiza o estudo da metaficção historiográfica e o papel de relevância destas obras, como modelo estético para outras narrativas que surgiriam, posteriormente, no campo da literatura espanhola e que também abordariam a temática da Guerra Civil e do franquismo. A tese indaga sobre como estas narrativas históricas se inserem no contexto de uma estética da Pós-Modernidade, sem, no entanto, deixar que a relativização da história amenize os horrores da violência, da repressão e do abuso de poder presentes nas ditaduras trujillista e franquista. Portanto, apesar destas narrativas de Manuel Vázquez Montalbán se construírem com os recursos estéticos característicos da metaficção historiográfica, como a metaficção, a paródia, o pastiche, a ironia, as relações intertextuais e a autorreflexividade, não abandonam o caráter de reivindicação por uma estética da ética e de uma história não oficial das ditaduras / This study investigates, in a comparative perspective, the process of rereading history and reviving the forgotten memory of Francoist Spain by the fictional discourse. Based on the novels Galíndez (1990) and Autobiografía del general Franco (1992) by Manuel Vázquez Montalbán, this research highlights the study of the historiographic metafiction and the role played by these works as aesthetic models for other narratives which would later arise in the Spanish literature, and which would also address the subject of the Spanish Civil War and the Francoism. This study investigates how these historical narratives arise in the context of an aesthetics of Postmodernity, without, however, letting the relativization of history fade the horrors of violence, repression and abuse of power seen in Trujillo‟s and Franco‟s dictatorial governments. Therefore, although these narratives by Manuel Vázquez Montalbán incorporate the typical aesthetic resources of historiographic metafiction, such as metafiction, parody, pastiche, irony, intertextuality and self-reflexivity, they do not abandon the characteristic of claiming for an aesthetics of ethics and an unofficial history of the dictatorships

Orientador: Antonio Roberto Esteves / Banca: Maria Dolores Aybar Ramirez / Banca: Silvia Inês Cárcaro de Arcuri / Banca: Magnolia Brasil Barbosa do Nascimento / Banca: Cátia Inês Negrão Berlini de Andrade / Resumo: Este estudo propõe-se a investigar, em uma perspectiva comparatista, como ocorre a releitura da história e a retomada da memória esquecida da Espanha franquista, por meio do discurso da ficção. Tendo como corpus os romances Galíndez (1990) e Autobiografía del general Franco (1992) do escritor Manuel Vázquez Montalbán, a pesquisa enfatiza o estudo da metaficção historiográfica e o papel de relevância destas obras, como modelo estético para outras narrativas que surgiriam, posteriormente, no campo da literatura espanhola e que também abordariam a temática da Guerra Civil e do franquismo. A tese indaga sobre como estas narrativas históricas se inserem no contexto de uma estética da Pós-Modernidade, sem, no entanto, deixar que a relativização da história amenize os horrores da violência, da repressão e do abuso de poder presentes nas ditaduras trujillista e franquista. Portanto, apesar destas narrativas de Manuel Vázquez Montalbán se construírem com os recursos estéticos característicos da metaficção historiográfica, como a metaficção, a paródia, o pastiche, a ironia, as relações intertextuais e a autorreflexividade, não abandonam o caráter de reivindicação por uma estética da ética e de uma história não oficial das ditaduras / Abstract: This study investigates, in a comparative perspective, the process of rereading history and reviving the forgotten memory of Francoist Spain by the fictional discourse. Based on the novels Galíndez (1990) and Autobiografía del general Franco (1992) by Manuel Vázquez Montalbán, this research highlights the study of the historiographic metafiction and the role played by these works as aesthetic models for other narratives which would later arise in the Spanish literature, and which would also address the subject of the Spanish Civil War and the Francoism. This study investigates how these historical narratives arise in the context of an aesthetics of Postmodernity, without, however, letting the relativization of history fade the horrors of violence, repression and abuse of power seen in Trujillo‟s and Franco‟s dictatorial governments. Therefore, although these narratives by Manuel Vázquez Montalbán incorporate the typical aesthetic resources of historiographic metafiction, such as metafiction, parody, pastiche, irony, intertextuality and self-reflexivity, they do not abandon the characteristic of claiming for an aesthetics of ethics and an unofficial history of the dictatorships / Doutor

Notre travail s'inscrit dans une perspective d'histoire de la littérature et cherche à conduire une réflexion globale sur la nature, la signification et la portée de l’utilisation de l’apocryphe chez l'écrivain espagnol Max Aub (Paris, 1903, Mexico, 1972). Le procédé sous-tend l'ambitieux projet de "El Laberinto Mágico" _Le Labyrinthe Magique ̶, qui regroupe les œuvres consacrées à la guerre civile espagnole. Max Aub rompt avec une première pratique expérimentale de la littérature pour se focaliser désormais sur le jeu d’un personnage résolument plongé dans l’Histoire, et la création du personnage apocryphe prend chez l'auteur une valeur de témoignage existentiel, qui dépasse la dimension ludique du mélange entre fiction et réalité. Dans un siècle caractérisé par les guerres et la violence, chez un auteur profondément marqué par la guerre civile espagnole et la douloureuse expérience du déracinement, le personnage apocryphe renvoie aussi à la question identitaire, autant qu’à l’expérience de l’altérité et à l’exploration d’autres possibles itinéraires existentiels. Cette exploration des limites du genre narratif contribue à la résolution de la « crise du roman » des années vingt, s'inscrit dans une double perspective européenne et nationale, et s'ancre dans l'Histoire au point de donner de celle-ci une vision nouvelle. / This doctoral thesis has benn aproached in a perspective of history of literature, and aims to consider a global thought about the nature, the meaning and the impact of the use of the apocryphal for the Spanish writer Max Aub (Paris, 1903, Mexico City, 1972). The process underpins the ambitious project of "El Laberinto Mágico" ̶The Magic Labyrinth ̶, which groups together the works dedicated to the Spanish Civil War. Max Aub breaks with a first experimental practice of literature to focus from this point onward on the game of a character firmly immersed in History. The creation of the apocryphal character takes for the author a value of existential testimony, which goes beyond the playful dimension of the fiction and reality mix. In a century characterized by wars and violence, in an author deeply marked by the Spanish Civil War and the painful uprooting experience, the apocryphal character also goes back to the question of identity, as well as the otherness experience , and the exploration of the other possible existential paths. This exploration of the limits of the narrative genre contributes to the resolution of the "crisis of the novel" in the twenties, it is also part of a double perspective, national and European, and is anchored in History, to the point where it gives of it a new vision.

Cette thèse analyse comment la fiction espagnole contemporaine renoue avec la tradition de l’exemplarité littéraire, à travers l’étude d’un corpus de sept œuvres publiées au tournant du XXe (1998-2004). Elle tente de mettre en lumière l’évolution de la notion d’exemplarité dans une perspective diachronique mais aussi synchronique, à travers le prisme du paradigme de pensée contemporain centré sur la notion d’individu. Les nouvelles modalités de l’exemplarité au sein de la prose narrative actuelle sont appréhendées à partir de la réactivation de son support traditionnel — la figure du héros — mais aussi des possibilités nouvelles qu’offrent le questionnement des frontières génériques et l’ambiguïté du pacte de lecture. Dans un monde dépourvu de consensus idéologique, les auteurs du corpus forgent leur propre grille d’interprétation du réel et substituent des réponses éthiques particulières, mais toutefois crédibles et acceptables par le lecteur, à l’imposition de vérités globales et universelles. L’exemplarité, telle qu’elle est à l’œuvre dans le roman actuel, entraîne alors une nouvelle forme d’engagement caractérisée par l’énoncé d’une éthique consubstantielle à la création littéraire. / This thesis analyses how the contemporary Spanish fiction revives the tradition of literary exemplarity, through the study of seven novels published at the turn of the XXth and the XXIst centuries (1998-2004). This work tries to underline the evolution of the exemplarity notion in both diachronic and synchronic perspectives, and the study of the current analytical paradigm focused on the individual. The new forms of exemplarity in contemporary literature are considered through the reactivation of its traditional shape —the hero— but also with the new possibilities given by the questioning of boundaries between genre and the ambivalence of the reading pact. In a world devoid of ideological consensus, the authors of the corpus shape their own frames of understanding. Rather than a universal moral, they suggest subjective ethical answers that can be shared by the reader. The exemplarity, in its actual forms, produces new types of commitment that are based on an ethic inseparable from literary creation.