Perçu pendant fort longtemps comme un saint anaphrodite et « castré » avant d’être reconnu comme l’écrivain le plus sensuel des Lettres grecques modernes, Alexandre Papadiamantis (1851-1911), auteur prolifique de près de cent quatre-vingt nouvelles et de trois romans et trésor national hellène, est un artiste antinomique qui ne cesse d’intriguer la critique et de susciter des débats contradictoires. Le présent travail propose une lecture de son œuvre complète axée sur un sujet controversé dont aucune étude systématique n’a été entreprise, malgré un siècle de surabondante critique littéraire : le désir érotique, que nous entendons essentiellement comme le rapport à un objet de convoitise explicitement ou implicitement désigné comme tel, humain ou inhumain, vivant ou inanimé, suscitant un certain nombre de réactions physiques et/ou psychiques et sollicitant un réseau complexe de sens, de sensations, de méditations, d’excitations et de significations représentées par le biais des mots. Une telle définition emphatise l’imbrication de la pulsion et du langage et distingue le désir de l’amour, ce dernier constituant plutôt une stase du désir, un arrêt et une fixation sur l’« autre ». Notre objectif est de comprendre comment l’érotisme ainsi défini s’exprime dans les textes, quels en sont les enjeux psychologiques, les interconnexions avec les techniques narratives, les choix stylistiques et les particularités linguistiques et quelles transformations littéraires il subit dans l’œuvre, en somme, quels sont sa destinée mythique, son aboutissement idéologique et son apothéose thématique, en somme son issue dans l’écriture. / Viewed for ages as an anaphrodite and « castrated » saint before being recognized as the most sensual writer in modern Greek literature, Alexandros Papadiamantis (1851-1911), prolific author of approximately one hundred and eighty short stories, and three historical novels, and deemed to be a Hellenic national treasure, is an antinomic artist who keeps intriguing critics and arousing open debates. The present thesis offers a reading of his complete work based on a controversial subject of which no systematic study has been undertaken before, despite a century of numerous literary comments : erotic desire, defined as the connexion with an objet of lust explicitely or implicitely defined as such, human or inhuman, alive or inanimated, and which rises a number of physical and/or psychological reactions, a complex network of meanings, sensations, meditations, actions and fantasies represented through words. This definition emphasizes the interweaving of drive and language and discerns between desire and love, the latter being rather a stasis of desire, and a fixation on the « other ». Our goal is to understand how eroticism thus defined is expressed throughout the texts, to point out the psychological issues associated with it, its interconnections with the narrative techniques, stylistic choices and linguistic particularities and the literary transformations it undergoes throughout the Papadiamantian opus, that is to say its mythic destiny, its ideological culmination and its thematic apotheosis, in short its outcome in writing.

A dissertação traz uma aproximação entre os poetas simbolistas Alphonsus de Guimaraens e Georges Rodenbach por meio da análise dos temas da cidade morta e da noiva morta. Inicialmente, é feita uma leitura panorâmica da obra em verso e prosa do poeta mineiro, em que se pontua a discussão acerca da religiosidade em sua produção, a fim de mostrar que a presença desse tema está a serviço de um projeto estético consciente e contribui com a criação de uma atmosfera de mistério comum às cidades mortas e de devoção à amada morta, da mesma forma como ocorre no romance Bruges-la-morte. Nesse romance de Georges Rodenbach, a cidade morta aparece como uma espécie de entidade mística, e sua imagem confunde-se com a imagem da mulher morta, num jogo de espelhamentos. Baseado, em especial, no conceito de espelhamento de Starobinski, este estudo pôde evidenciar nas obras de Alphonsus e Rodenbach a percepção das cidades como estados de alma e a imagem da noiva morta como consequência dessa condição anímica. Essa proximidade entre as obras dos dois autores é evidência de como Alphonsus poderia ter se apropriado de temas advindos da obra de Rodenbach, da qual ele era leitor. Isso deixa em aberto a possibilidade de certos temas conhecidos da obra de Alphonsus, normalmente associados à sua vida pessoal, advirem da influência que sofreu das tendências a ele contemporâneas da poesia e prosa europeia. / The dissertation brings an approximation between the Symbolist poets Alphonsus de Guimaraens and Georges Rodenbach through the analysis of the themes of the dead city and the dead bride. Initially, a panoramic reading of the works in verse and prose of the Brazilian poet is done, in which a discussion concerning religiousness in his work is pointed out with the intention of showing that the presence of such theme serves a conscious aesthetic project and contributes with the creation of a mysterious atmosphere, which appears both in the dead cities and in the devotion to the dead loved one, just like it happens in the novel Bruges-la-morte. In this novel by Georges Rodenbach, the dead city appears as a kind of mystical entity and its image mixes with that of the dead bride, in a mirroring game. Based mainly on Starobinskis concept of mirroring, this study was able to evidence the perception of the cities as states of mind and the image of the dead bride as a consequence of such psychic condition in the works of Guimaraens and Rodenbach. These proximities between the works of both authors is evidence of how Guimaraens could have appropriated themes from the works of Rodenbach, of whom he was a reader. That leaves open the possibility that certain themes known in the works of Guimaraens, which are usually associated with his personal life, may have come from the influence he suffered from the European poetry of his time.

A dissertação traz uma aproximação entre os poetas simbolistas Alphonsus de Guimaraens e Georges Rodenbach por meio da análise dos temas da cidade morta e da noiva morta. Inicialmente, é feita uma leitura panorâmica da obra em verso e prosa do poeta mineiro, em que se pontua a discussão acerca da religiosidade em sua produção, a fim de mostrar que a presença desse tema está a serviço de um projeto estético consciente e contribui com a criação de uma atmosfera de mistério comum às cidades mortas e de devoção à amada morta, da mesma forma como ocorre no romance Bruges-la-morte. Nesse romance de Georges Rodenbach, a cidade morta aparece como uma espécie de entidade mística, e sua imagem confunde-se com a imagem da mulher morta, num jogo de espelhamentos. Baseado, em especial, no conceito de espelhamento de Starobinski, este estudo pôde evidenciar nas obras de Alphonsus e Rodenbach a percepção das cidades como estados de alma e a imagem da noiva morta como consequência dessa condição anímica. Essa proximidade entre as obras dos dois autores é evidência de como Alphonsus poderia ter se apropriado de temas advindos da obra de Rodenbach, da qual ele era leitor. Isso deixa em aberto a possibilidade de certos temas conhecidos da obra de Alphonsus, normalmente associados à sua vida pessoal, advirem da influência que sofreu das tendências a ele contemporâneas da poesia e prosa europeia. / The dissertation brings an approximation between the Symbolist poets Alphonsus de Guimaraens and Georges Rodenbach through the analysis of the themes of the dead city and the dead bride. Initially, a panoramic reading of the works in verse and prose of the Brazilian poet is done, in which a discussion concerning religiousness in his work is pointed out with the intention of showing that the presence of such theme serves a conscious aesthetic project and contributes with the creation of a mysterious atmosphere, which appears both in the dead cities and in the devotion to the dead loved one, just like it happens in the novel Bruges-la-morte. In this novel by Georges Rodenbach, the dead city appears as a kind of mystical entity and its image mixes with that of the dead bride, in a mirroring game. Based mainly on Starobinskis concept of mirroring, this study was able to evidence the perception of the cities as states of mind and the image of the dead bride as a consequence of such psychic condition in the works of Guimaraens and Rodenbach. These proximities between the works of both authors is evidence of how Guimaraens could have appropriated themes from the works of Rodenbach, of whom he was a reader. That leaves open the possibility that certain themes known in the works of Guimaraens, which are usually associated with his personal life, may have come from the influence he suffered from the European poetry of his time.