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This thesis investigates the ways in which literary texts negotiate spatio-temporal movements and how, through the nature of narrative, they may offer models for expressing the lived experience of time and place. The theoretical framework traces developments in philosophies of time and space beginning with Henri Bergson’s concepts of duration and simultaneity. The desire to portray both of these informs Gilles Deleuze’s study of cinema to produce his writings on the image-temps and image-mouvement which highlight the constant change undergone in moving through space and time which he defines as différence. The transformative nature of our relationship with the space around us and the agency of the body in that transformation is seen by Deleuze as a positive creative force and one which demands a continual deterritorialisation and reterritorialisation evidenced in the literature studied. Henri Lefebvre further interrogates the importance of the body in the production of space and contributes to the debate around the creation of place and non-place taken up by Michel de Certeau, Edward Casey and Marc Augé, whose work on supermodernity articulates concerns about the absence of place at the end of the twentieth century. These theories provide a backdrop for a close reading of the literary texts published between 1989 and 2017. Each of the four authors selected interrogates spatio-temporal connections in their work and, in order to model our lived experience at the turn of the millennium they experiment with form, genre and language and raise questions about the formation, location and stability of the self. Patterns of repetition and rewriting in the works of Annie Ernaux and Patrick Modiano engage with non-linear approaches to narrative and problematize duration, stasis and the construction and accessibility of memory. The novels of Jean Echenoz explore non-places and liminal spaces in ways that suggest possibilities for the future of fiction and Marie Darrieussecq questions the centrality of the body in defining the self and its agency in creating place. My findings suggest that the desire to comprehend and mirror the lived experience of time and space motivates the literary project of the selected authors and that the nature of narrative, in its openness and fluidity, can replicate and respond to some of the anxieties around time, place and non-place at the end of the 20th and beginning of the 21st centuries.

O trabalho aborda a figura da mulher medieval, principalmente a partir do olhar da autora Christine de Pizan. No primeiro capítulo, A tradição na qual insere-se a obra de Christine de Pizan, é feita uma recuperação dos textos exempla e specula, tratados de educação, porque acreditamos que esse gênero literário serviu de modelo para os textos da autora. Durante os séculos XII e XIII os eruditos começaram a demonstrar sua preocupação com a educação e o comportamento de homens e mulheres. Por isso, os sermões e os textos com essa temática se multiplicaram. Essa preocupação pode ser mensurada pela quantidade de textos em forma de exemplum e speculum que surgem nessa época. Os livros Cité des dames e Trois vertus nos quais Christine aborda a educação da mulher, são exemplos desse gênero de texto. O capítulo faz uma análise das principais características de exemplum e speculum: suas origens, seus autores, seus principais títulos e datas. A diferença entre speculum e exemplum fica mais clara se cotejarmos as duas obras de Christine. Em Cité des dames, ela faz uso do exemplum, ela apresenta uma série com mais de cem exemplos de pequenas histórias de mulheres dignas de imitação. Já, em Trois vertus, Christine descreve o cotidiano das mulheres e seus comportamentos de acordo com a classe social. Segundo capítulo, Fortuna crítica e a descrição. Expomos uma cronologia com datas e nomes de autores que leram Christine, quais obras foram reeditadas, traduzidas e comentadas. Christine foi conhecida e lida por seus contemporâneos na França, Itália e Inglaterra. No século XV, após sua morte, elogios lhe foram feitos por diversos autores, suas obras traduzidas para o inglês e o português e reimpressas. Em seguida é apresentada uma descrição detalhada da estrutura das obras Cité des dames e Trois vertus; os principais assuntos tratados e a ordem de exposição. No terceiro capítulo, Uma resistência na aprendizagem da moral resignativa, apresentamos uma breve história da educação feminina entre os XII e XIV séculos. Após essa primeira parte, segue uma comparação entre os pontos de intersecção de Cité des dames, Trois vertus e Mesnagier de Paris. Faz-se notar a importância de observar a diferença entre os textos produzidos por autores masculinos, como o Mesnagier, tanto no que diz respeito ao tratamento dado às mulheres como à temática. Christine aborda o cotidiano das mulheres, desde as mais ricas até as mais simples, indicando-lhes suas obrigações desde o levantar-se até o deitar, ela trata da questão de saber se portar segundo as prerrogativas sociais, etc. No entanto, ela não é prolixa dando explicações nos mínimos detalhes. Ela fala a seres que têm conhecimento e possuem inteligência. Por fim, é apresentada uma relação hierárquica das virtudes e dos defeitos presentes nas três obras. Como conclusão podemos verificar, pelas transformações apresentadas nos textos de Christine, que a autora fez uma adaptação dos textos masculinos. Adaptação esta que deu forma à voz de muitas mulheres que até então não tinham um representante de seus anseios na esfera literária. / The approach of this work is the medieval female figure, mostly from Christine the Pizans look. In the first chapter, The tradition in which Christine the Pizans work is inserted, its done a recovery of exempla and specula, education treats, because we believe that this literary genre was a model for the authors texts. During centuries XII and XIII the erudites started to demonstrate their concern with the education and behaviour of men and women. For that the sermons and treats on this issue multiplied. This concern might be measured by the quantity of texts in form of exemplum and speculum that came up at that time. The books Cité des Dames and Trois Vertus in which Christine approaches womans education, are examples of this genre of text. The chapter does an analysis of the main characteristics of exemplum and speculum: their origins, their authors, their main titles and dates. The difference between speculum and exemplum becomes clearer if we compare the two works by Christine. In Cité des Dames, she makes use of exemplum presenting a series of more than one hundred examples of womens short stories worthy of imitation. Whereas in Trois Vertus, Christine describes womens daily life and their behaviours according to their social classes. In the second chapter, Critical Fortune and Description, we expose the chronology with dates and authors names that read Christine, whose works were republished, translated and commented. Christine was known and read by her contemporaries in France, Italy and England. In XV century, after her death, she was praised by many authors, her works were translated into English and Portuguese and republished. Cité des Dames and Trois Vertus; the main issues approached and their order of appearance. In the third chapter, A resistance in learning the resignative moral, we present a short story of womans education between XI and XIV centuries. After this part, a comparison between the intersection points of Cité des Dames, Trois Vertus and Mesnagier de Paris. One might note the importance of observing the difference between the texts produced by male authors such as the Mesnagier, not only regarding the treatment given to women, but also to the theme, Christine approaches womens daily life, from the richest to the poorest ones showing their obligations from getting up, until the time they are going to bed, she treats the matter about knowing how to behave according to social prerogatives, etc. Notwithstanding she is not prolix giving explanations in every little detail. She speaks to witty cultured beings. Eventually, a hierarchical relationship between vices and virtues present in the three works is show. As a conclusion one may see that by the transformations presented in Christines text, that the author did an adaptation of male texts. Adaptation which gave shape to many womens voice that until that time had not a representative in the literary domain.

Este trabalho tem como objetivo analisar dois romances do escritor francês Jean Marie Gustave Le Clézio considerando a presença de um interdiscurso que caracteriza os textos. Nessa perspectiva, o romance Poisson d´or (1997) é, em parte, uma espécie de reescritura de sua obra-prima Désert (1980). Trata-se de dois discursos que se organizam um em relação ao outro garantindo uma permanente reconstrução temática que evoca dialeticamente a vida dos imigrantes marginalizados. Observa-se que as errâncias e os desejos das jovens protagonistas são o ponto comum entre as duas obras, Laïla e Lalla são duas e são uma só, elas representam um espelho identitário que reflete uma única face. A discussão acerca de identidade, imigração, exílio, retorno às origens e memória aponta para uma temática largamente debatida e explorada pela literatura lecleziana como mais uma forma de expressão dos marginalizados. Existem entre as narrativas inúmeras questões relativas à identidade do sujeito e ao declínio das tradições nas sociedades africanas e, como conseqüência dessa desestabilização social, o surgimento de novas identidades e a fragmentação do sujeito pós-colonial. Por fim, os romances têm como mesmo modelo o empreendimento de uma viagem de retorno ao espaço de origem, à pátria perdida, que se opõe severamente à acelerada vida moderna. Nessa fantasia de busca do paraíso perdido, encontra-se o possível estabelecimento de uma verdadeira identidade que porá fim ao dilema da errância dos desenraízados. / The purpose of this work is the analysis of two novels written by the french writer Jean Gustave Le Clézio considering the presence of an interdiscourse that characterizes the texts. In this perspective the novel Poisson dor (1997) is partly a kind of rewriting of his masterpiece Désert (1980). It is about two discourses that are organized one in relation of the other guaranteeing a permanent thematic reconstruction that evokes dialectly the life of marginalized immigrants. The wanders and wishes of the young main characters are the common point of both novels, Laïla and Lalla are two and one at the same time, they represent an identitary mirror that reflects a single face. The discussion about identity, immigration, exile, return to the origins and memory points out to a subject widely studied and debated by the specialists in Le Clézio as one more way of expression for the marginalized people. In the narratives there are many questions related to the identity of the subject and to the decline of the traditions in African societies and, as a consequence of this social desestabilization, to the appearance of new identities and the fragmantation of the postcolonial subject. At last, the novels have as the same model a journey of return to the origin space, to the lost country, that opposes strictly the accelerated pace of modern life. In this fantasy of search for the lost paradise, we can find the possible establishment of a true identity that will put an end to the dilemma of the wander of the people who live far from their country

Eighteenth-century opéras comiques often turn around moments of sympathy--moral and affective bonds through which the Enlightenment imagined a natural basis for the social order as well as the pleasures and transformative potential of art. Through musico-literary analysis informed by models of moral and aesthetic relationality that I derive from Dubos, Marivaux, Rousseau and Diderot, I argue that opéras comiques written and performed between 1835and the Revolution feature three distinct forms of sympathy: 1) a worldly-sensuous sympathy most typically found in the common subgenre of the sentimental pastorale and characterized by a happy blending of moral and sensual connections; 2) an amorous intersubjectivity found occasionally in sentimental comedies and characterized by a sometimes empowering, sometimes trying encounter with an other experienced as a site of subjective freedom; and finally 3) a sacrificial sympathy found most frequently in Michel-Jean Sedaine's sometimes pointedly anti-worldly, morally sober lyric dramas and characterized by an obstacle-triggered leap into an identificatory, affective imagination. Although there is much that distinguishes these forms of sympathy, they are all shaped by eighteenth-century empiricist assumptions as to the existence of a basic relationality between the self and his or her social environment and thus resist a standard critical model that sees such emotional ties as merely the effect of some more fundamental separation between self and other.

This dissertation engages French-language films in the 'moraliste' tradition. The French word 'moraliste' has no exact English equivalent. It does not evoke the didactic sense of “moralist;” rather a 'moraliste' is someone who explores the inner workings of the mind, rather than the outer actions of a character. Beginning with the publication of Montaigne’s Essays in 1580, 'moralistes' including Descartes, La Rochefoucauld, Pascal, and La Bruyère created moral literature – literature concerned with personal reflections and the feelings of an individual over the dogma of good society. The emergence of film in the late nineteenth century provided a new medium for raising questions in the 'moraliste' tradition. Éric Rohmer, for example, described his Six Moral Tales as “films in which a particular feeling is analyzed and where even the characters themselves analyze their feelings and are very introspective. That’s what 'conte moral' (moral tale) means.” I argue that the films of Bresson, Rohmer, and the Dardennes are narratively, thematically, and stylistically interrelated in their connection to the specifically French 'moraliste' tradition. I contend that these films surfaced in post-World War II France – growing out of the deep ambiguities that existed in French society in the aftermath of occupation and liberation – and continue to appear in the increasingly transnational landscape of contemporary European cinema. This new approach to film history offers a counterweight to the narrative of French New Wave cinema, which privileges the work of more explicitly political and experimental filmmakers such as François Truffaut and Jean-Luc Godard.

Introduced in French Salons as a parlor game, the literary portrait appears in mid Seventeenth-Century. It is similar to the literary portraits inserted in Roman à clé but it does not hide the identity of the subject behind a pseudonym, it depicts the individual as is. In a self-portrait subjects look at, observe, evaluate then describe themselves. They offer themselves to the gaze of others and propose a true reading of what they are. The self-portrait attempts to harmonize the appearance and the inner being, to render visible the essence of the person. However, in the Seventeenth Century, people reinvent themselves, and the answer to the question "who am I?" changes under the gaze of a sophisticated society where everyone must play the role assigned by their class and their gender. The nobility and the cultured elite want to be a work of art; the art of pleasing, the art of conversation, the art of story telling, and also the art of knowing others. Everything is hyperbole: nobles are gods and goddesses-when they are not fairies-and life is a vast performance where self-image and representation are tirelessly adjusted because the observer is looking to catch what is behind the façade. At court or in Salons, gazes interpret more than what is on display because they observe signs: body language and facial expressions convey feelings visibly and communicate them better than words. Charles Le Brun, painter of the Court of Louis XIV, stated that the face is not the mirror of the soul but the readable expression of passions. This study examines literary and artistic representations of three representative individuals: Mademoiselle de Montpensier, the Duc de La Rochefoucauld, and the Cardinal de Retz, with the intention of demonstrating that, for the Seventeenth-Century, the portrait is the place where the conflict between "the inner being" and "appearances", the discomfort of the visible and the veiled, and also the uneasy co-existence of honnêteté and amour-propre, converged.

Orientador: Norma Wimmer / Banca: Giséle Manganelli Fernandes / Banca: Nelson Luís Ramos / Banca: Andressa Cristina de Oliveira / Banca: Kênia Maria de Almeida Pereira / Resumo: Com o intuito de evidenciar como a loucura é formalmente construída nas narrativas de Guy de Maupassant (1850−1893), analisamos vinte e três narrativas breves do autor francês - a saber, "Fou ?" (1882); "La folle" (1882); "Madame Baptiste" (1882); "Un parricide" (1882); "Denis" (1883); "La main d'écorché" (1975); "La reine Hortense" (1883); "L'enfant" (1883); "Lui ?" (1883); "Mademoiselle Cocotte" (1883); "La chevelure" (1884); "Un fou ?" (1884); "La petite Roque" (1885); "Lettre d'un fou" (1885); "Un fou" (1885); "L'auberge" (1886); "Un cas de divorce" (1886); "Le Horla" (primeira versão, 1886); "Le Horla" (segunda versão, 1887); "L'homme de Mars" (1887); "Madame Hermet" (1887); "Qui sait ?" (1890) e "Le docteur Héraclius Gloss" (1921) - com claras referências à loucura de alguma de suas personagens. Entendemos a loucura, conforme Michel Foucault, como um fenômeno socialmente percebido, o que pode ser demonstrado pelas diferentes maneiras como o louco foi tratado em cada época, mantendo constante apenas sua posição marginalizada na sociedade. Como um discurso dissonante em relação ao discurso racional, a palavra do louco desafia a ordem vigente, expondo as falhas e contradições na maneira como compreendemos o mundo, tornando-se um discurso incômodo e indesejado. Isso explica por que a palavra do louco tem sido sistematicamente silenciada (seja investindo essa palavra de alguma sabedoria oculta ou considerando-a apenas como artigo de curiosidade: a palavra do louco nunca é... / Abstract: In order to show how madness is formally constructed in the narratives of Guy de Maupassant (1850-1893), we have analyzed twenty-three short narratives by the French author - namely, "Fou?" (1882); "La folle" (1882); "Madame Baptiste" (1882); "Un parricide" (1882); "Denis" (1883); "La main d'écorché" (1975); "La reine Hortense" (1883); "L'enfant" (1883); "Lui ?" (1883); "Mademoiselle Cocotte" (1883); "La chevelure" (1884); "Un fou ?" (1884); "La petite Roque" (1885); "Lettre d'un fou" (1885); "Un fou" (1885); "L'auberge" (1886); "Un cas de divorce" (1886); "Le Horla" (first version, 1886); "Le Horla" (second version, 1887); "L'homme de Mars" (1887); "Madame Hermet" (1887); "Qui sait ?" (1890) and "Le docteur Héraclius Gloss" (1921) - with clear references to the madness of some of its characters. We understand madness, according to Michel Foucault, as a socially perceived phenomenon, which can be demonstrated by the different ways in which the madman was treated in each age, keeping only his marginalized position in society. As a discordant discourse in relation to rational discourse, the madman's speech defies the prevailing order, exposing the flaws and contradictions in the way we understand the world, making itself an unwelcome and unwanted speech. This explains why the speech of the madman has been systematically silenced (either by investing that speech from some hidden wisdom or by considering it only as an article of curiosity: the madman's speech is never considered ... . / Résumé: Afin de montrer comment la folie est formellement construite dans les récits de Guy de Maupassant (1850-1893), nous avons analysé vingt-trois récits courts de l'auteur français - à savoir, « Fou ? » (1882) ; « La folle » (1882) ; « Madame Baptiste » (1882) ; « Un parricide » (1882) ; « Denis » (1883) ; « La main d'écorché » (1975) ; « La reine Hortense » (1883) ; « L'enfant » (1883) ; « Lui ? » (1883) ; « Mademoiselle Cocotte » (1883) ; « La chevelure » (1884) ; « Un fou ? » (1884) ; « La petite Roque » (1885) ; « Lettre d'un fou » (1885) ; « Un fou » (1885) ; « L'auberge » (1886) ; « Un cas de divorce » (1886) ; « Le Horla » (première version, 1886) ; « Le Horla » (deuxième version, 1887) ; « L'homme de Mars » (1887) ; « Madame Hermet » (1887) ; « Qui sait ? » (1890) et « Le docteur Héraclius Gloss » (1921) - avec des références claires à la folie de certains de leurs personnages. Selon Michel Foucault, la folie est perçue comme un phénomène socialement perceptible, comme en témoignent les différentes manières dont le fou a été traité à chaque époque, ne conservant que sa position marginalisée dans la société. Discours discordant par rapport au discours rationnel, la parole du fou défie l'ordre dominant, révélant les défauts et les contradictions de la façon dont nous comprenons le monde, ce qui en fait un discours importun et non désiré. Cela explique pourquoi la parole du fou a été systématiquement réduite au silence (soit en investissant cette parole dans une sagesse ... / Doutor

My dissertation investigates significant changes in the way the Nazi occupation of France and the Holocaust have been portrayed in fiction. Two novels published in 2006 - Didier Daeninckx's Itineraire d'un Salaud Ordinaire and Jonathan Littell's Les Bienveillantes - are essential for this study. Both of these controversial books shook existing literary models concerned with the memory of the victims of the war by making the perpetrators of atrocities central characters. These two novels allow me to contextualize the full evolution of such literary actors, beginning with the work of Robert Merle and Louis-Ferdinand Celine. My dissertation examines the portrayal of the character of the salaud (villain) in French novels, arguing that, by narrating the Holocaust from the point-of-view of the perpetrators, the author is paradoxically creating another way to remember its victims. The study of literary Nazis and their French counterparts led me to explore what Hannah Arendt called the "banality of evil," a concept that is often invoked to explain an individual's conduct, but that does not fit as well when applied to a literary character's sexuality; while the Nazis and their collaborators are depicted as "ordinary men', a terminology given special meaning though the work of Christopher Browning, their sexual preferences and lives are far from ordinary.

The literatures of Immigration from North Africa to France represent one of the constitutive fields of investigation for Postcolonial Francophone studies. As such, approaches to this are often locked in a postcolonial perspective. Through my courses in 20th century literature, I discovered several aspects of literature of immigration that relate to French popular literature. In light of this, my dissertation establishes a link between these two literary genres by analyzing the evolution of urban spaces in the Parisian periphery. The primary objective of this dissertation is to translate aspects of the contemporary issues of the French banlieues from a purely postcolonial perspective to questions of institutional choices in French city planning over the course of the past hundred and fifty years. The underlying assumption is that the spatial transformation that has taken place has affected the social interactions of the inhabitants and contributed to the evolution of a working class mentality. The expectation is that in-depth understanding of this interaction will allow me to explore the socio-cultural situation in France’s suburbs today. Beginning with the renovation of Paris, undertaken by Haussmann in the second half of the nineteenth century, each of the five chapters of my dissertation corresponds to a particular moment of this evolution. For every chapter, I analyze the characters’ relationships with their spatial surroundings, as well as the nature of their social interactions with other residents. The first novels are the only ones of my corpus set in the interior part of Paris. As more and more of the urban working class is driven outside of the city limits by the renovations and the rapidly developing industry in the periphery, the texts illustrate the increasing social isolation and loss of agency for the characters. In aligning popular literature and literature of immigration on the same axis, my focus lies primarily on the geographical space, the banlieue, and its transformation in time.