La littérature gabonaise, forte de son dynamisme, voit davantage d’écrivains faire le choix de décrire les réalités sociales dans une langue française réappropriée. Ce qui consiste pour eux à réinventer le français, à l’image de leur société, et à en faire leur propre langue d’écriture. Notre thèse se propose d’étudier ce phénomène dans le polar gabonais, ce genre en plein essor représenté par Janis Otsiémi, et de démontrer que la créativité du point de vue de la langue reste indissociable de l’engagement et de la conviction de l’écrivain gabonais, et afro-subsaharien par extension. En premier abord, il est question de distinguer la langue d’écriture de l’écriture de la langue. Pour cela, étudier les stratégies d’écriture de l’écrivain, relever les divers gabonismes et africanismes présents dans le roman d’Otsiémi et les fonctions propres à chacune des particularités linguistiques, nous permet de faire état de l’esthétique littéraire et des pratiques langagières gabonaises. En second lieu, l’objectif est pour nous de procéder à une herméneutique de l’oeuvre d’Otsiémi pour dégager grâce à la subversion de l’écriture la poétique subversive de son oeuvre. Pour ce faire, situer le style de l’auteur revient à évaluerl’engagement de l’auteur vis-à-vis de la langue et de l’écriture, à faire face à une écriture hybride résultant du foisonnement des intertextes, et à aborder l’identité à la fois revalorisée et déconstruite par l’auteur, respectant ainsi le principe élémentaire du polar qu’est celui d’écrire le noir. / The Gabonese literature, strong in its dynamism, sees more writers make the choice to describe social realities in a French language reappropriated. What is for them to reinvent the French, in the image of their society, and to make their own language of writing. Our thesis proposes to study this phenomenon in the Gabonese crime novel, this booming genre represented by Janis Otsiemi, and to demonstrate that creativity from the point of view of language remains inseparable fromthe commitment and conviction of the Gabonese writer, and afro-sub-Saharan by extension. At first, it is a question of distinguishing the language of writing from the writing of the language. To do this, to study the writer's writing strategies, to identify the various gabonisms and Africanisms present in Otsiemi's novel and the functions proper to each linguistic peculiarity, allows us to describe literary aesthetics and Gabonese languages practices. In the second place, the objective is for us to proceed with a hermeneutic of the work of Otsiemi to free, thanks to the subversion of writing, the subversive poetics of his work. To do this, situating the author's style amounts to evaluating the author's commitment to language and writing, to coping with a hybrid writing resulting from the proliferation of intertexts, and to approach the identity both revalorized and deconstructed by the author, thus respecting the elementary principle of the crime novel that is to write black.

Vladimir Giorgio Scerbanenco naît à Kiev en 1911, s’installe en Italie à six mois et meurt à Milan en 1969. Auteur d’une centaine de romans, de plusieurs nouvelles et de nombreux articles, il pratique avec aisance tous les genres littéraires, véritable « machine à écrire » qui n’obtient qu’une gloire assez brève auprès du public et de la critique avec ses romans noirs de la fin des années soixante. Le protagoniste récurent y est alors Duca Lamberti, un jeune médecin expulsé de l’Ordre pour avoir pratiqué l’euthanasie qui devient une sorte de détective privé travaillant aux côtés de la police de Milan. Dans ces romans, pour la première fois en Italie, il ne s’agit pas seulement de résoudre une énigme, mais plutôt de représenter et comprendre la sphère des souffrances individuelles dans ses déterminations sociales plus larges, qui pèsent fatalement sur la possibilité d’expérimenter rationnellement la réalité. A la forme toujours égale des romans policiers, Scerbanenco ajoute des éléments référentiels nouveaux qui nous placent face au paradoxe continuel du couple dialectique « répétition/innovation ». En effet, c’est avec ces romans violents reposant sur ce personnage, Duca Lamberti, que la littérature de masse, grâce à l’accumulation hyperréaliste des éléments les plus évidents de la contemporanéité, commence à montrer la transformation rapide de la vie quotidienne italienne. / Vladimir Giorgio Scerbanenco was born in Kiev in 1911, but moved to Italy as a child and died in Milan in 1969. Author of more than a hundred novels, several short stories and numerous articles, he practiced all literary genres and reached a brief critic and public success only with his hard boiled novels from the late sixties, who see as a recurrent protagonist Duca Lamberti, a young doctor expelled from the Order for practicing euthanasia who becomes a sort of private detective, working with the Milan police. For the first time in Italy, these novels are not only about solving an enigma, but rather representing and understanding the sphere of individual suffering amid its wider social determinations, which inevitably compromise one’s opportunity to rationally experience reality. Scerbanenco added new referential elements to the formal identity of the detective novel that leave us facing the continuous repetition of the dialectic couple « repetition / innovation » paradox. Indeed, thanks to the hyper-realistic accumulation of the most evident elements of contemporaneity, it is with these novels, centered on the character of Duca Lamberti, that mass literature begins to reveal in a violent form the rapid transformation of the Italian daily life.

Submitted by Murilo Eduardo dos Reis (muriloreis86@gmail.com) on 2018-05-22T18:59:51Z No. of bitstreams: 1 Dissertação.pdf: 887470 bytes, checksum: 62c272ce95724a2dc2d2dd10ab4f0489 (MD5) / Approved for entry into archive by Milena Maria Rodrigues null (milena@fclar.unesp.br) on 2018-05-23T19:26:12Z (GMT) No. of bitstreams: 1 reis_me_me_arafcl.pdf: 887470 bytes, checksum: 62c272ce95724a2dc2d2dd10ab4f0489 (MD5) / Made available in DSpace on 2018-05-23T19:26:12Z (GMT). No. of bitstreams: 1 reis_me_me_arafcl.pdf: 887470 bytes, checksum: 62c272ce95724a2dc2d2dd10ab4f0489 (MD5) Previous issue date: 2018-04-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O tema do trabalho é a caracterização do romance policial de Rubem Fonseca, tendo em vista a importância desse gênero em sua obra. O objetivo é verificar, em três livros do autor, o modo como ele se apropria de recursos clássicos desse tipo de composição, trazendo ou não contribuição para o gênero em pauta. O corpus é composto pelos romances O caso Morel, de 1973, A grande arte, de 1983, e Agosto, de 1990. Para a concretização da proposta, realizamos análise detida de cada livro em particular. A história, as personagens, a narração, a focalização, bem como o espaço e o tempo, serão objeto de exame com o intuito de se estabelecer a maneira como, atuando organicamente ou não, tais elementos constituem romances que são classificados como policiais. Entre tais componentes, no que se refere à história, levantamos e analisamos a menção a um homicídio já realizado, cujo autor deve ser descoberto na sequência da narrativa, e o leitor acompanha as investigações. No que diz respeito às personagens, é examinada a presença de detetives, delegados, policiais, advogados, etc., como também a sua caracterização superficial ou mais profunda. Para que os objetivos sejam atingidos, é fundamental a investigação das figuras do narrador (quem fala) e do focalizador (quem vê). O espaço social e a ambientação construída na obra também serão levados em conta, bem como a representação ou não de determinado período histórico do país. Além dos livros pertencentes ao corpus, há inserções relativas a obras anteriores e posteriores de Rubem Fonseca, pois existem elementos dessas obras mencionados nos objetos de nossa pesquisa, como também de autores que o influenciaram. Para isso, tomamos como apoio teórico textos críticos e analíticos de estudiosos que tratam do romance policial, da obra de Rubem Fonseca e de aspectos da narrativa, tais como Ernest Mandel, Boileau e Narcejac, Sandra Lúcia Reimão, Vera Lúcia de Follain Figueiredo, Alfredo Bosi, Tânia Pellegrini e Gérard Genette. / The theme of the work is the characterization of Rubem Fonseca's detective novel, considering the importance of this genre in his work. The objective is to verify, in three books by the author, the way in which he appropriates classical resources of this type of composition, whether or not making a contribution to the genre in question. The corpus is composed by the novels O caso Morel (1995), A grande arte (1990) and Agosto (1990). For the purpose of the proposal, we carry out a detailed analysis of each book in particular. History, characters, narration, focus, as well as space and time, will be examined in order to establish how, acting organically or not, such elements constitute novels that are classified as criminal. Among such components, as far as history is concerned, we raise and analyze the mention of a homicide already made, whose author must be discovered following the narrative, and the reader accompanies the investigations. With regard to the characters, the presence of detectives, delegates, police officers, lawyers, etc., is examined, as well as their superficial or deeper characterization. In order for the objectives to be achieved, it is fundamental to investigate the figures of the narrator (who speaks) and the focus (who sees). The social space and the atmosphere built in the work will also be taken into account, as well as the representation or not of a certain historical period of the country. In addition to the books belonging to the corpus, there are insertions concerning Rubem Fonseca's previous and later works, because there are elements of these works mentioned in the objects of our research, as well as of authors that influenced him. For this, we take as theoretical support critical and analytical texts of researchers dealing with the police novel, the work of Rubem Fonseca and aspects of the narrative, such as Ernest Mandel, Boileau and Narcejac, Sandra Lúcia Reimão, Vera Lúcia de Follain Figueiredo, Alfredo Bosi, Tânia Pellegrini and Gérard Genette.

Le roman policier français entre 1970 et 2000. La thèse suivante procède à l’analyse littéraire de romans policiers français de la fin du XXème siècle. L’intention est alors de montrer que si ces romans policiers peuvent être analysés avec les outils de l’analyse littéraire, ces romans peuvent alors être considérés comme des œuvres littéraires et leurs auteurs comme des écrivains à part entière. Le corpus contient les principaux romans de quatre auteurs répartis sur les quatre dernières décennies du XXème siècle : Jean-Patrick Manchette, Frédéric H. Fajardie, Didier Daeninckx et Tonino Benacquista. Les outils d’analyses choisis sont ceux liés aux personnages de romans, aux lieux dans lesquels se déroulent ces romans et aux différents types d’intrigues proposées par les auteurs. Il s’agit des travaux d’Yves Reuter, d’Isabelle Krzywkowski ou Paul Larivaille. Ces auteurs ont permis l’analyse des textes choisis et ont aussi permis à l’auteur de confronter ces mêmes textes aux outils d’analyse littéraires en usage académique. C’est ainsi que l’analyse littéraire produite par l’auteur permet d’avancer l’idée que les textes des romans policiers, en étant analysés avec ces outils, peuvent faire partie du corpus ordinaire de la littérature / The French crime novel from 1970 to 2000The following thesis conducts literary analysis on French crime novels of the late twentieth century. The intention is then to show that if these detective novels can be analyzed with the tools of literary analysis, these novels can then be considered literary works and their authors as writers in their own right. The corpus contains the main novels of four authors spread over the last four decades of the twentieth century: Jean-Patrick Manchette, Frederick H. Fajardie, Didier Daeninckx and Tonino Benacquista. The tools selected for analysis are those related to novels characters, the places in which these novels take place and different types of plots offered by the authors. This is the work of Yves Reuter, Isabelle Krzywkowski and Paul Larivaille. These authors have allowed the analysis of selected texts and also allowed the author to confront these same texts to literary analysis tools in academic use.Thus literary analysis produced by the author allows him to advance the idea that the texts of detective novels, being analyzed with these tools, can be part of the regular corpus of literature.

The thesis focuses on the description of the Scottish landscape, especially the Hebrides archipelago (The Lewis Trilogy - The Blackhouse, The Lewis Man, The Ches Man), in a contrast to the description of nature and landscape in the epic series of novels from the European continent (The Enzo Files) by Scottish regional author Peter May. In comparison with the description of nature and landscape and of the French countryside in The Critic, the work includes the author's narration of the city environment in the novel Extraordinary People. The work characterizes the genre of May's novels (Criminal Thriller) and examines the relationship between the descriptions of the landscape and the location of the plot with the elements of the genre mentioned (motives of tension and mystery, violence, crime and emotionally escalated life situations). The work also tries to watch the author's relationship with the region and the tradition of Scottish regional literature.

Le roman policier espagnol écrit au cours des trois dernières décennies se définit essentiellement comme un roman social urbain. Les déplacements des détectives mettent en lumière la cartographie d’un espace urbain espagnol en mutation, en accord avec les transformations subies par la société espagnole. Cette thèse se propose, à partir d’œuvres de quatre écrivains, Alicia Giménez Bartlett, Antonio Lozano, Juan Madrid et Andreu Martín, de dégager les lectures possibles de l’espace urbain qui permettent de mieux comprendre l’évolution de la société espagnole. Nous verrons d’abord un espace de proximité constitué d’une combinaison de lieux anthropologiques ; puis, un espace traversé de frontières visibles et invisibles qui entravent le mouvement d’une partie de la population ; enfin, un espace dans lequel la mobilité se généralise accentuant les inégalités entre ceux qui y ont accès et ceux qui sont condamnés à l’immobilité. Cette thèse propose une approche littéraire et sociologique du roman policier espagnol contemporain. / The Spanish crime novel that has been written over the last three decades can be essentially defined as an urban social novel. The movements of the detectives reveal the cartography of a Spanish urban space which is in mutation, reflecting the transformations undergone by Spanish society. Based on the work of four authors, Juan Madrid, Andreu Martín, Alicia Giménez Bartlett and Antonio Lozano, this thesis proposes various possible ways of interpreting that urban space, thus enabling a better understanding of the evolution of Spanish society. First of all, we encounter a space of proximity comprising a combination of places - as defined by Marc Augé ; then a space across which visible and invisible frontiers run, hindering mobility for a part of the population ; finally a space in which mobility is widespread, so emphasizing the inequality between those who have access to it and those who are condemned to staying put. This thesis thus proposes a literary and sociological approach to the contemporary Spanish crime novel.

The reading and buying market for Afrikaans fiction is limited due to historical and economical reasons. It can thus be argued that in order to expand the market for South African Afrikaans trade publishers and authors' novels, a work needs to be translated via the selling of translation rights with the assistance of the publisher or literary agents, into a language that has similar needs in terms of cultural consumption, for example book reading culture. Due to the colonial influence of the Dutch on South African culture and the development of Afrikaans, this study explores the selling of translation rights of Afrikaans fiction to trade publishers in The Netherlands and Belgium. The polystem theory is also used to illustrate the movement of languages from a peripheral position to semi-peripheral and central position within a global literary polysystem. A qualitative and exploratory research design is used. Secondary research in the form of a literature review combines theoretical information, clarifies terms and provides context from which primary research develops. In terms of primary research, interviews with key informants in the Belgian, Netherlands and South African publishing industry were conducted. Case studies of South African crime author Deon Meyer, and historical romance author Irma Joubert provide in-depth analysis of success factors, process and factors that influenced the selling of subsidiary rights to Dutch trade publishers. Lastly, visibility and discoverability of Afrikaans fiction on an international rights trading platform, as well as interaction amongst South African and foreign publishers were observed, at the largest book rights fair, the Frankfurt Book Fair. The findings of this study provide practical information and act as reference guide to role players in the publishing industry, including authors, trade publishers and literary agents. Recommendations for best practice in the selling of subsidiary rights are included, as well as initiatives for further research, experimentation, investment and development of the selling of subsidiary rights to European trade publishers to ultimately grow the Afrikaans fiction book buying and reading markets. / Dissertation (MIT)--University of Pretoria, 2017. / Information Science / MIS / Unrestricted

The first part of the thesis comprises Chapters 1 to 40 of the novel, written under a pseudonym, followed by a synopsis of the remaining chapters, 41 to 155. The potential jacket copy will refer to the protagonists, a male and a female detective. The second part of the thesis is a critical study of the novel. Literary theory and critical methods are used to investigate the writing process and to explicate the text’s layers of meaning, not all of which were clear to the author at the time of writing. Chapter 1 considers literary and creative writing theory, paying particular attention to conceptualisations of author and reader. In Chapter 2, the chosen pseudonym is explained and compared with those of other authors; the novel’s title is also examined. Chapter 3 covers the issue of genre, looking at theories and discussing both crime novel and Gothic fiction. In Chapter 4, critical approaches to character are applied. Chapter 5 does the same with plot. Chapters 6 and 7 take account of the manifestations of power. Chapter 6 covers the body and gender, while Chapter 7 deals with race and class. As a conclusion, Chapter 8 describes how the first draft was transformed to one acceptable for publication.

In Italia il genere “giallo”, definibile anche “poliziesco”, “thriller”, e ultimamente “noir”, fra il ventennio conclusivo del Novecento e il primo decennio del Duemila mostra interessanti linee evolutive, che si collegano con i flussi della storia recente e le paure di fine millennio. Da un lato si assiste all’affermarsi del “giallo metropolitano”, cioè al proliferare di scrittori che si legano alla propria città, d’origine o di elezione, in particolare con Milano, che conquista la palma di città più “nera” d’Italia; dall’altro al consolidarsi del legame fra autori e territori più vasti, tanto da poter parlare di un nuovo regionalismo “giallo”. Ma la novità più interessante consiste nell’entrata in scena di nuovi aspetti: la fusione con elementi propri della fantascienza, o addirittura fantastici, che colorano il giallo di una sfumatura soprannaturale, tra commissari che sentono i pensieri delle vittime di omicidio, o hanno visioni mistiche, e assassini guidati dal sussurro del diavolo. Il giallo storico presenta a sua volta tutti questi aspetti, mostrando come l’ambientazione storica diventi spesso un pretesto per mettere in scena i problemi del presente. / In Italy the crime novel, that can be also defined “detective story”, “thriller”, or more recently “noir”, between the last twenty years of Twentieth century and the first decade of Two Thousand, shows an interesting evolution, that can handle with some recent historical events, or can be linked with the end of Millennium fears. On the one hand, we can see the rise of “metropolitan crime novel”, in which many writers set their novels always in the same city, their native one or the city in which they live; Milan is the most important in this list and wins the prize of “crime city” in Italy. On the other hand, many novelists establish a strong relationship with their own region, creating a new “crime” regionalism. The most interesting trend is that science fiction and supernatural events enter the crime novel, with policemen that can hear the thoughts of the victims, or have mystic visions, and killers that are guided by a whispering devil. All these aspects appear also in the historical crime novel, that shows how history is often a sort of pretext to stage some problems of the current society.

The objective of this work is the overall analysis of imaging the literary figures of journalists who appear in contemporary detective and crime novels in North America. Result of work is the creation of basic typology of literary figures journalists - detectives (men), who dominates in these novels. In the first part the author deals with the problems of literary characters and its analysis. Author presents a basic overview of the most significant literary figures of journalists who appeared in the literature across the provenances and history. In the second chapter Helena Eliášová deals with the history and main characteristics of detective and crime fiction. The third chapter is focused on the position of journalists in North America and briefly outlines the North American media system and the dominant elements in it. The fourth chapter presents the basic typology of journalists - a man in the contemporary criminal detective novel of North America. In the fifth chapter, the author deals with the problem of creating and eliminating myths of journalist as a detective character. It focuses on displaying his physiognomy and abilities and characteristics. In the final chapter, the author focuses on the stereotypes that are associated with the figure of the classic journalists and shows the variations...