Esta tese tem como objetivo verificar os processos de transposição histórica e biográfica para três peças do dramaturgo irlandês Frank McGuinness, Innocence (1986), Mutabilitie (1997) e Speaking like Magpies (2005), e a interculturalidade deles resultante. Ela também se baseia na hipótese de que todos os processos se estruturaram a partir da ficcionalização de informações contidas em textos históricos e biográficos sobre os assuntos tratados em cada uma dessas peças, como uma crítica às narrativas que visam à objetividade. Este estudo constatou que, em relatos inconclusivos e em perfis de um famoso pintor italiano, de um renomado poeta inglês e de um controverso rei escocês da Inglaterra, modelados na Renascença a partir de suas obras e feitos, o dramaturgo encontrou uma oportunidade de mostrar a história e a biografia segundo a perspectiva irlandesa. / This dissertation aims at verifying the processes of historical and biographical transposition to three plays by Irish playwright Frank McGuinness, Innocence (1986), Mutabilitie (1997) and Speaking like Magpies (2005), and the interculturality resulting from them. It is also based on the hypothesis that all of the processes are structured from the fictionalization of the data contained in historical and biographical texts about the issues dealt with in each of these theatrical plays, as a way to criticize the narratives that target objectivity. In this study, it has been noticed that, in inconclusive reports and in the profiles of a famous Italian painter, of a renowned English poet, and of a controversial Scottish king of England, modeled in the Renaissance according to their works and deeds, the playwright found an opportunity to show history and biography from the Irish perspective.

Esta tese tem como objetivo verificar os processos de transposição histórica e biográfica para três peças do dramaturgo irlandês Frank McGuinness, Innocence (1986), Mutabilitie (1997) e Speaking like Magpies (2005), e a interculturalidade deles resultante. Ela também se baseia na hipótese de que todos os processos se estruturaram a partir da ficcionalização de informações contidas em textos históricos e biográficos sobre os assuntos tratados em cada uma dessas peças, como uma crítica às narrativas que visam à objetividade. Este estudo constatou que, em relatos inconclusivos e em perfis de um famoso pintor italiano, de um renomado poeta inglês e de um controverso rei escocês da Inglaterra, modelados na Renascença a partir de suas obras e feitos, o dramaturgo encontrou uma oportunidade de mostrar a história e a biografia segundo a perspectiva irlandesa. / This dissertation aims at verifying the processes of historical and biographical transposition to three plays by Irish playwright Frank McGuinness, Innocence (1986), Mutabilitie (1997) and Speaking like Magpies (2005), and the interculturality resulting from them. It is also based on the hypothesis that all of the processes are structured from the fictionalization of the data contained in historical and biographical texts about the issues dealt with in each of these theatrical plays, as a way to criticize the narratives that target objectivity. In this study, it has been noticed that, in inconclusive reports and in the profiles of a famous Italian painter, of a renowned English poet, and of a controversial Scottish king of England, modeled in the Renaissance according to their works and deeds, the playwright found an opportunity to show history and biography from the Irish perspective.

Étudier la représentation de l’écrivain dans son rapport à l’Histoire permet d’analyser les enjeux d’un retour de l’Histoire dans la fiction, accompagné d’une volonté auctoriale référentielle, sans retour d’un auteur démiurge ou d’une littérature purement référentielle. Il s’agit alors d’analyser comment Imre Kertész et Antonio Tabucchi conjuguent fictionnalisation de l’Histoire et fictionnalisation de l’écrivain en privilégiant les liens entre littérature et politique, et en s’appuyant sur la place du lecteur dans la construction du sens afin de déterminer une responsabilité des écrivains, dans l’oblicité de la représentation et du témoignage. Les désastres du XXe siècle font retour de manière spectrale dans les récits et la définition d’une poétique de l’inquiétude constitue alors le pivot entre la responsabilité du lecteur et celle des auteurs, pour l’émergence d’une littérature responsable. / Studying the way a writer is represented in his relationship to history allows us to analyse the stakes of a return of history within fiction, along with an author’s referential will, without witnessing any coming back of a demiurgic author or of a purely referential literature. The question, then, is to find out how Imre Kertész and Antonio Tabucchi combine fictionalization of history with fictionalization of the writer by emphasizing the links between literature and politics and by relying upon the reader’s role in the elaboration of the meaning, in order to give rise to a responsibility of writers for oblique representation and testimony. In all the narrations, the disasters of the XXth century are recurrent in a ghostly manner and then the definition of a poetics of disquiet constitutes the pivot between the reader’s responsibility and the authors’ in order to lead to responsible literature.

The main goal of this thesis is to examine the sings of fictionalization in Czech daily press. We will apply out hypothesis that news in daily papers are permeated with signs of fiction. In the theoretical part we will explain some of the most important media-related terms as "news", "publicism", "journalism" etc plus we will devote one chapter to the definition of fiction. We will also explain the meaning of fictionalization and describe fields where it can take effect. As our main source we are choosing Czech daily paper called "Mladá fronta DNES" in the period from August 2009 till January 2010. In the analytical part we will analyse the news and describe all the signs of fictionalization that we find (if we find some). We will focus on domestic, global and economical news. After the analysis we will be able to ether confirm or disprove the hypothesis. All our findings will be detailed in the summary.

Le but de cette recherche qui de déplie en trois parties est de montrer comment l’Histoire en tant que champ cognitif peut, par l’intermédiaire de l’art romanesque, dévoiler des vérités profondes concernant la vie et la pensée contemporaine. Plus précisément, dans le cadre de la première partie, en traçant d’abord brièvement le portrait du roman historique classique, nous présentons sept romans européens de notre époque qui ont comme thématique commune des grands événements historiques. Nous expliquons de quelle époque traite chacun d’eux et quels lieux ils présentent comme lieux d’action de leurs histoires ; nous commentons alors la signification historique majeure du temps et de l’espace choisis. Par la suite, nous mettons l’accent sur les personnages romanesques de notre corpus dans le but de découvrir comment leur appartenance à une époque historique précise influence leur existence et comment surgit conséquemment le besoin de déchiffrer leur monde. De plus, nous nous intéressons à la relation éprouvée entre la puissance de la mémoire, qui hante les personnages se battant pour se réconcilier avec elle, et la construction de leur identité narrative, une identité tant individuelle que collective. Finalement, dans une dernière partie, nous tentons de faire le lien entre le temps de chaque roman et la structure narrative que son écrivain a choisie en suggérant qu’il joue un rôle considérable dans le processus de réception de la littérature. Cette dernière occupera ensuite notre réflexion : nous nous interrogerons donc sur les paramètres qui déterminent la façon dont l’écrivain et le lecteur perçoivent effectivement ces œuvres littéraires. / The purpose of this research, divided in three parts, is to show how History, as cognitive field, can reveal deep truths of contemporary life and thought through the art of novel. More precisely, in the first part, after briefly drawing the portrait of classic historical novel, we present seven modern novels that have as common ground important historical facts. We explain which time each novel deals with and which places it presents as sites of action of its story. We comment, as well, on the considerable historical meaning of the chosen times and places. Afterwards, we focus on the fictional characters of our corpus so as to discover how their belonging to a precise historical time influences their existence and how, consequently, the need to fathom out their world is provoked. Furthermore, we are interested in the proven relation between the power of memory that haunts the characters who are fighting so as to be reconciled with it and the construction of narrative identity, equally individual and collective. Finally, in the last part, we try to show the connection between the time of each novel and the narrative structure that each writer has chosen for it by suggesting the importance of its role in the process of the literary reception. The latter will subsequently make us wonder about the parameters that determine the way the writer and the reader receive effectively these literary works.

Made available in DSpace on 2016-04-26T18:15:20Z (GMT). No. of bitstreams: 1 Regina Tavares de Menezes dos Santos.pdf: 12059174 bytes, checksum: 77be833c49cf111360962ede900cf585 (MD5) Previous issue date: 2015-10-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study epistemological objective is the communicational dimension of memory. From its empirical perspective, it was developed as a case study related to São Paulo city Zona Leste, considering its urging need for the conception of physical environments directed to the evocation and storage of memory. Our empirical targets were, therefore, the Centro de Comunicação e Educação Popular de São Miguel Paulista and the Centro de Memória e Cultura da Zona Leste. It was launched the following research inquiring: to what extend is there a relation between the recollection maintenance in spaces dedicated to memory and the process of building up individual and colective memory? Our hypothesis establishes that architectural and cultural heritages are impacted by the media influence in relation to their conception as communicative vehicles necessary to the evocation and storage of memory as well as towards the construction of memory communicative links based on a defined community experiences. Our general objective in this research is to understand how the effort to interchange memory to physical spaces deals with communication in its interactive and media dimensions, whereas its specific aims are: the establishement of considerations about communication and media environments developed in order to past portrayal; and the understanding between recollection and memory. This qualitative research is, therefore, based on study cases and field research, both using documental and bibliographical sources, as well as evidentiary method. Its theoretical basis about memory are found in the works of Jeudy (1990), Benjamin (1994), Bergson (1999) Huyssen (2000), Halbwachs (2004), Rossi (2010) and Dosse (2013). Concerning the distinctions between memory and recolletion, we make use of Lazzarato´s (2006), Tarde´s (2007) and Didi-Huberman´s (2013) studies. We also add to our considerations related to heritage concept the debates proposed by Meneses (1998), Harvey (2000), Ferrara (2002) and so. Concerning the debates about mediatization, interactions, fictionalization and identity, there are, respectively, the works of Braga (2008); Braga (2012); Augé (1998) and Bhabha (2013). In such authors we look for their understanding of memory using a critical perspective, as an object made invisible by historiography, and, therefore, the remains, the nighmares, the ghosts, the residual images, the silence / Este estudo teve como objeto de pesquisa epistemológico a dimensão comunicacional da memória. Já a investigação empírica tomou como estudo de caso a Zona Leste do município de São Paulo e sua necessidade preeminente de conceber espaços físicos destinados à evocação e ao armazenamento da memória. Como exemplares do objeto empírico, definiu-se o Centro de Comunicação e Educação Popular de São Miguel Paulista e o Centro de Memória e Cultura da Zona Leste. Lançamos o seguinte problema de pesquisa: Qual a relação comunicativa existente entre a manutenção da lembrança presente em espaços físicos dedicados à memória e o processo de construção da memória individual e coletiva? Nossa hipótese supõe que os patrimônios culturais arquitetônicos são impactados pelo aspecto midiático no que tange à sua concepção como veículos comunicativos necessários à evocação e ao armazenamento da memória e à construção dos vínculos comunicativos da memória a partir das vivências de uma comunidade. O objetivo geral desta pesquisa foi compreender como o esforço de transmutação da memória para espaços físicos lida com a comunicação em sua dimensão interativa e midiática. Já os específicos foram: estabelecer reflexões sobre a comunicação e os ambientes midiáticos criados para as representações do passado; compreender a relação entre lembrança e memória. Além dos métodos de estudo de caso, pesquisa de campo, documental e bibliográfico, este trabalho qualitativo contemplou o método indiciário. Basicamente, o amparo teórico sobre memória advém de Jeudy (1990), Benjamin (1994), Bergson (1999) Huyssen (2000), Halbwachs (2004), Rossi (2010) e Dosse (2013). Sobre a distinção entre as concepções de memória e lembrança, destacam-se Lazzarato (2006), Tarde (2007) e Didi-Huberman (2013). Às reflexões referentes aos conceitos de patrimônios, integram-se ao debate: Meneses (1998), Harvey (2000), Ferrara (2002) etc. Sobre midiatização; interação; ficcionalização e identidade somam-se, respectivamente, Braga (2008); Braga (2012); Augé (1998) e Bhabha (2013). Tais autores se relacionam na medida em que entendem memória numa perspectiva crítica, como aquilo que foi tornado invisível pela historiografia, portanto, os vestígios, os pesadelos, os fantasmas, as imagens sobreviventes, o silêncio

La présente étude vise à explorer les mécanismes scripturaux d’oeuvres littéraires qui thématisent le retour au pays natal. À partir d’un corpus formé de romans publiés par des écrivains expatriés, elle ambitionne de démontrer l’adéquation de leur forme à leur contenu. À cet égard, La contrainte de l’inachevé d’Anthony Phelps, Pays sans chapeau de Dany Laferrière et Les urnes scellées d’Émile Ollivier répondent au critère de fictions qui associent étroitement thème et structure, sens et composition, fond et forme. Ces trois romans, en effet, procèdent de choix structurels et thématiques qui découlent du principe du retour, défini comme la propension à se soumettre à un mouvement régressif ou, pour le dire plus clairement, à évoluer à reculons dans le temps aussi bien que dans l’espace. Deux axes sont ainsi retenus afin de mettre en évidence le fil conducteur de notre recherche : le retour définitif au pays natal et le retour en alternance entre le pays d’accueil et le pays d’origine. Le premier axe prend en considération la volonté de réinstallation permanente dans leur société de provenance de certains personnages de roman exilés, l’enquête, la répétition, l’interprétation, le rituel, l’affiliation constituant les manifestations textuelles du parcours de ces individus. Quant au deuxième axe, il est focalisé sur l’aller-retour entre deux territoires de personnages romanesques, et se traduit par l’affleurement dans les récits de l’entre-deux, du motif du double, de l’autoréférentialité, de la mise en abyme et par la place réservée aux zombis, aux sosies, aux rêves ou aux miroirs. La recherche est ainsi parvenue à établir que le retour, comme signification, va de pair avec le retour, comme principe de composition, dans les romans analysés. Sur le plan de l’énonciation, chez Ollivier, Laferrière et Phelps, des procédés scripturaux font toujours écho, sur le plan de l’énoncé, au geste régressif des personnages de fiction. / The purpose of this study is to explore the scriptural mechanisms of literary works that thematize the return to the homeland. Based on a corpus of novels published by expatriate writers, it aims to demonstrate the adequacy of their form to their content. In this regard, La contrainte de l'inachevé by Anthony Phelps, Pays sans chapeau by Dany Laferrière, Les urnes scellées by Émile Ollivier meet the criteria of fictions which closely associate theme and structure, meaning and composition, substance and form. These three novels are based on structural and thematic choices that stem from the principle of return, defined as the propensity to submit to a regressive movement or, to put it more clearly, to evolve backwards in time as well as in space. Two axes are thus chosen to highlight the main theme of our research: the definitive return to the country of birth and the return alternately between the host country and the country of origin. The first axis takes into consideration the will for permanent resettlement in their society from certain exiles, the investigation, the repetition, the interpretation, the ritual, the affiliation constituting the textual manifestations of what animates these migrants. As for the second axis, it is focused on the round trip between two territories of fictional characters and is reflected in the stories by the outcrop in the narratives of the motif of the double, the in-between, self-referentiality, of the mise en abyme and by the place reserved for zombies, doppelgangers, dreams, mirrors, etc. This research has thus managed to establish that return as meaning goes hand in hand with return as a principle of composition in the novels analyzed. In Ollivier, Laferrière and Phelps, with the regressive gesture of the fictional characters, on the level of the statement, always echoes in the texts, on the level of the enunciation, the scriptural processes characterized by the principle of return.

99 Summary The topic of this Diploma thesis focuses on Fictionalization of History in History Teaching. This area is closely connected with Eduard Štorch. Eduard Štorch was an amateur archaeologist, a very good writer and an undervalued teacher. Based on topics which he drew from a variety of archaeological research projects he created and wrote adventure stories which can be classified as somewhere between fiction and popular science stories in which he described oldest periods of Czech history. His books are still recognised today as the very best of their kind and they have been translated into a number of foreign languages. As a teacher, Štorch did his utmost to improve children's education. At his own expense and almost single-handedly he built a "Children's Farm" on Libeňský ostrov in Prague. It was meant as a place for educating children not only inside a classroom but also in the middle of nature. Children from other schools in Prague were encouraged to use the outdoors facilities there in their free time as well. Eduard Štorch tried to promote and enforce changes in the teaching of all school subjects but concentrated on the teaching of history. For this purpose he published several books such as "The Reform of the History Taught at Schools" (Reforma školního dějepisu; 1905), "The New History"...