L’écriture des femmes a évolué d’une manière spectaculaire depuis le début du 20ème siècle. La création féminine a connu un essor remarquable. Ecrivaines occidentales et orientales, en position de défense ont pris une place prépondérante dans la littérature de leur temps. Leurs écrits ont tellement de points communs et si peu de divergences qu’il est possible d’en conclure qu’elles ont donné naissance à une expression littéraire nouvelle qui se distingue de l’écriture masculine. Le féminin émerge de la quête de soi et laisse apparaître des aspirations inédites. Les femmes s’expriment sous des formes créatrices et esthétiques spécifiques. Leur littérature révèle une omniprésence du corps et de la sexualité en lien étroit avec la société. Duras, Aleramo, Djebar et Mernissi, romancières brillantes ont reçu prix et honneurs venus du monde entier. Les critiques ont enfin remarqué leur talent d’auteure, poète, dramaturge alors que la société ne reconnaissait depuis longtemps que l’écriture masculine. L’écriture féminine ne cesse de gagner du terrain et s’impose désormais dans le milieu littéraire. Ces excellentes romancières se permettent d’aborder leur intimité et celle de leurs semblables. La plupart d’entre elles ont publié à l’âge de la maturité. Leurs biographies respectives montrent le lien qui les unit. Le sentiment d’injustice est le socle de leurs récits, injustice à l’égard du colonisé, à l égard de la femme dans le couple, et de la femme en général. Le fait féminin influence leur écriture qui exprime les malaises sociaux, l’isolement, la solitude, la violence et en imprègne le système scriptuel. L’étude de cette écriture est inséparable du contexte social et historique des textes, personnages et thèmes. Un rapprochement des œuvres de ces romancières est non seulement plausible mais indispensable pour comprendre l’essor de la littérature féminine. Au-delà de la langue, ces auteures, de pays, cultures et générations différents ont pris le chemin de l’écriture autobiographique, amorçant les traits distinctifs de l’écriture féminine. Elles ont en commun le choix essentiel de personnages féminins dont certains iront jusqu’au suicide pour échapper à l’aliénation. Il s’agit de mettre en exergue la quête identitaire des femmes dans une société donnée. Cette thèse centre son étude sur 4 romans : Una Donna, L’Amant de la Chine du Nord, Femmes d’Alger dans leur appartement, et Dreams of Trespass. L’être- femme est représenté dans un rapport à la violence masculine mais aussi à sa propre violence sur arrière-plan d’aliénation sociale et culturelle. / Women’s writing has developed in a spectacular way since the beginning of the 20th century. Feminine creation has known a remarkable growth .Western and eastern she-writers have then stood defensively and predominantly in the literature of their time. Their narrations have so many common points and so few divergences that it’s easy to conclude they’ve given birth to a new literary expression differing from men’s writing. The feminine aspect emerges from the self-quest and let original aspirations appear. Women express themselves under creative and specific aesthetic forms. Their literature reveals an omnipresence of the body and sexuality closely connected with society. Duras, Aleramo, Djebar and Mernissi, very gifted novelists have been granted awards and honours from the whole world. Critics have at last noticed their talent as authoress or poet in a society which had only recognized masculine writing for ages. Women’s writing is gaining more and more ground, imposing itself in the world of literature. These excellent novelists allow themselves to approach their intimacy as well as other women’s. Most of them have published at mature age. Their respective biographies do show the link connecting the one with the other. The feeling of injustice is the basis of their narrations, injustice towards the colonized, towards the woman in the couple, or women in general. The feminine fact influences their writing which expresses social uneasiness, isolation, solitude, violence thus soaking their scriptural system. Studying their writing goes necessarily with considering the social historic context of the characters, themes and texts. Connecting the four novelists’works is not only plausible but indispensable to understand the growth of feminine literature which is increasing and increasing. Beyond the language, these novelists of different countries, cultures and generations have taken the same road of autobiography, creating the distinctive features of feminine writing. They have in common the essential choice of female characters, some of whom will touch suicide to escape from alienation. It’s all about underlining women’s quest for identity. This thesis focuses its study on four novels: Una Donna, L’Amant de la Chine du Nord, Femmes d’Alger dans leur appartement, and Dreams of Trespass. The female-being is represented in her relation to male violence, but also to her own violence on a social and cultural background of alienation.

Made available in DSpace on 2016-04-28T19:33:47Z (GMT). No. of bitstreams: 1 Claudia Neli Borragini Abuchaim de Oliveira.pdf: 11979768 bytes, checksum: a2653c7e6da79705cf0b3db3d3a11cbb (MD5) Previous issue date: 2014-03-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Women's magazines, in contemporary times are, as so many other written papers, source of information for the study of the evolution and transformation of the uses of language and, consequently, social, moral, and rhetorical changes. It s through introjection in the dominant discourse that rhetorical tricks, while reflecting the world changes, empower the instituting discourse and settle, by moving the passions, new ways of saying and understanding the constitution of existing values. It is quite clear that women's magazines seek to mirror behaviors and modify them, drawing on the rhetoric of the passions to the discursive construction of the "happy and fulfilled" woman. Thus, the goal of this research is to analyze the rhetorical constitution of the feminine in Claudia magazine, in order to check whether the journal, through time, has renewed its values to accompany his audience. This study is based on a qualitative approach, focused on a main corpus of six editorials of Claudia magazine: October 1961, November 1971, August 1981, October 1991, 2001 and 2011. This study sought to investigate how the rhetoric discourse of Claudia magazine, in fifty years, established, using persuasive tricks, the adornment of the feminine ethos and consolidated happiness and modernity pathos. This study sought to ask also what were the main devices used to fulfill the three basic principles of rhetoric: movere, delectare and docere. Studies of Aristotle (2000) and Perelman and Olbrechts-Tyteca (2000), which guided the research of Reboul (2004), Meyer (2007) and Ferreira (2010), are the analytical basis of this research. The analysis is also based upon certain assumptions of Critical Discourse Analysis of Fairclough (2008). To create the rhetorical context, we draw a historical overview of society and women in Brazil. To prove the persuasive means, we analyze, through the facilities allowed by rhetorical analysis, the effectiveness of the discourse of Claudia magazine. At the end of the investigation, we conclude that, in Claudia, as imagined in the case of this study, the historical subservience of women is abandoned to discursively construct a scenario of happiness, combining the professional with the personal context (often in that order) through "recipes" of good living. With the authority of the media, old speeches are renewed, new discourses stand to live and condition the way of being in the world by rhetorical potential that drives universal or particular audiences, and provide new existential truth". From what we can see, although the language has been modernized through years of publication, there was no change of discursive practices in the magazine in fifty years, since Claudia magazine, from the very beginning, adorns its own ethos and seduces the reader by presenting itself as a kind of "survival manual for women" in society. Claudia magazine built an ethos that accompanied the social changes of its target audience and since its first edition seduced (movere) the auditorium presenting itself as the best friend of women (delectare) and proposing, through its articles (docere) to make all women s life much easier / As revistas femininas, na contemporaneidade, são, como tantos outros veículos escritos, fonte de informações para o estudo da evolução e transformação dos usos da língua e, por consequência, das mudanças sociais, morais e, sobretudo, retóricas. É pela introjeção no discurso dominante que as artimanhas retóricas, enquanto refletem o mundo, potencializam um discurso instituinte e sedimentam, pelo movimentar das paixões, novas formas de dizer e de compreender a constituição dos valores vigentes. É bastante nítido que as revistas femininas buscam espelhar comportamentos e também modificá-los, valendo-se da retórica das paixões para a construção discursiva da mulher feliz e realizada . Assim, o objetivo da pesquisa é analisar a constituição retórica do feminino na revista Claudia, a fim de verificar se o periódico, ao longo do tempo, renovou seus valores para acompanhar seu auditório. O estudo, com abordagem qualitativa, debruçou-se sobre um corpus principal constituído por seis editoriais: outubro de 1961, novembro de 1971, agosto de 1981, outubro de 1991, 2001 e 2011. A fim de subsidiar a análise retórica, lançou-se um breve olhar sobre a capa, o sumário e o conteúdo de cada uma das edições. Investiga-se como o discurso retórico da revista Claudia, em cinquenta anos, estabeleceu, pelas artimanhas persuasivas, o adorno do ethos feminino e consolidou o pathos da felicidade e da modernidade. Indaga-se, também, quais os principais artifícios utilizados para cumprir os três princípios básicos da retórica: movere, delectare e docere. Constituíram base analítica os estudos de Aristóteles (2000) e Perelman e Olbrechts-Tyteca (2000), que orientam as pesquisas de Reboul (2004), Meyer (2007) e Ferreira (2010). A análise toma também por base alguns pressupostos da Análise Crítica do Discurso de Fairclough (2008). Para a criação do contexto retórico, traça-se um panorama histórico e geral da sociedade e da mulher. Para a comprovação dos meios persuasivos analisa-se, por meio dos recursos permitidos pela análise retórica, a eficácia do discurso da revista Claudia. Ao término da investigação, conclui-se que, em Cláudia, como se imaginava na hipótese deste trabalho, a subserviência histórica da mulher é abandonada para a edificação discursiva de um cenário de felicidade, que se constrói no conjugar do âmbito profissional com o pessoal (quase sempre nessa ordem), por meio de receitas de bem viver. Com a autoridade da mídia, velhos discursos se revestem de novo, novos discursos se interpõem ao viver e condicionam o ser e estar no mundo pela potencialidade retórica que move auditórios universais ou particulares, e constituem novas verdades existenciais. Pelo que se pode constatar, embora a linguagem tenha se modernizado em função do tempo de publicação, não houve mudança discursiva no periódico, em cinquenta anos, uma vez que a revista Claudia, desde seu lançamento, adorna o próprio ethos e seduz a leitora ao se apresentar como uma espécie de manual de sobrevivência feminina na sociedade. Claudia construiu um ethos que acompanhou as mudanças sociais de seu público alvo e desde sua primeira edição seduziu (movere) o auditório ao apresentar-se como a amiga confidente (delectare) e propõe, com matérias e sugestões (docere), facilitar a vida da leitora