Este trabalho visa estabelecer uma relação entre literatura e psicanálise. Muito já se falou sobre o cruzamento entre essas duas práxis distintas, independentes e autônomas. Hoje, parece inevitável interligá-las, sobretudo, teoricamente. A idéia deste projeto nasce, inicialmente, do desejo de aproveitar uma relação pouco explorada entre dois autores franceses contemporâneos. Falecidos num intervalo de seis meses entre o final de 1981 e começo de 1982, Jacques Lacan e Georges Perec fizeram história na cena intelectual francesa do final do século XX. A fim de mostrar a amplitude dos estudos em torno da obra destes dois autores, cada um em seu território, é possível dizer que ambos se preocuparam, primordialmente, com a questão da letra, seja Lacan voltado para experiência analítica, seja Perec inteiramente imerso no campo literário. Situados na passagem do estruturalismo ao pós-estruturalismo francês, Lacan e Perec não se cruzaram diretamente. Gostaríamos de compreender as conseqüências de uma nova teoria do sujeito que se esboçava a partir da segunda metade do século XX, principalmente, a leitura que ambos fizeram de autores que freqüentaram e foram atravessados. Lacan deve ser visto como um analista. Perec tomado como um escritor. Porém, uma pesquisa de tal natureza pode se justificar pelos seguintes aspectos: 1. Ambos operam sobre o inconsciente. E daí decorre a enorme importância da obra e o ensino de Jacques Lacan. 2. Trata-se de difundir e disseminar um autor da maior envergadura, pouco conhecido e explorado no Brasil até hoje, que é o genial virtuose das letras e fenômeno literário internacional que é Georges Perec. / This dissertation aims to establish a relation between literature and psychoanalysis. A lot has been said about the crossing between those distinct praxis. Nowadays, it seams inevitable to interconnect at least theorically. The idea of this project arises initially from the wish to approach the relationship not explored until now from those two French contemporaneous authors. Deceased on interval of six months in the end of 1981 and the beginning of 1982, Jacques Lacan and Georges Perec made history in the intellectual French scene in the end of 20th century. To bring along the wideness of those researches, each one in your own territory, it´s possible to say that both are primordially with deep concern toward the subject of the letter. Lacan in the psychoanalytical experience and Perec submerse in the literary field. Lacan and Perec, placed from French structuralism and pos-structuralism, haven´t crossed directly. It would like to comprehend the consequences of the new theory of the subject that started from the second part of 20th century especially your studies across by other authors. Lacan must being seeing as an psychoanalyst. Perec as a writer. However a research of that nature must be justified by two aspects: 1. they operate of unconscious. This is the enormous importance of the work and teachings of Jacques Lacan. 2. It´s about to diffuse and disseminate a great author not known in Brazil until now, which is literary virtuous that is Georges Perec.

São poucos os estudos sobre as personagens femininas dentro de La Comédie Humaine, e estes se tornam ainda mais restritos quando tratam daquelas que aparecem no romance Le père Goriot. Nesse sentido, este trabalho pretende analisar como são construídas e organizadas dentro da narrativa, tendo em vista que sua composição é realizada de acordo com uma estratégia, bem como sua organização no texto. Outrossim, as personagens femininas são de grande importância na narrativa balzaquiana, apesar de aparentemente ocuparem apenas o segundo plano, pois são elas que, na maioria das vezes, vão auxiliar as personagens masculinas em seus projetos de ascensão social, a ponto de Rastignac, por exemplo, só ter conseguido sucesso por intermédio de sua tia, Mme de Beauséant. Isso sem contar a dona da pensão, Mme Vauquer, que é a primeira a ser descrita durante a narrativa e tem importância capital no destino de outras figuras hospedadas em seu estabelecimento. Por outro lado, a técnica mais conhecida utilizada por Balzac e que foi por ele desenvolvida é o retorno de personagens. No entanto, há outras de grande importância, e uma delas é o fato de que, para conseguir criar a quantidade de personagens existente dentro de La Comédie Humaine, foi necessário recorrer a um recurso de economia, ou seja, apresentar várias delas com características semelhantes, podendo ser ligadas duas a duas. Procuramos desenvolver esse aspecto ao longo deste trabalho, juntamente com as questões que permeiam o papel das figuras femininas, assim como o arrivismo e a sua importância para as masculinas. / There are few studies about the female characters in La Comedie Humaine, and these are even more restricted when they treat about those which appear in the novel Le Pere Goriot. Thus, this paper intends to examine how they are constructed and arranged within the narrative, considering that their composition is performed according a kind of strategy, as well as your organization in the text. Furthermore, the female characters are very important in Balzac\'s narrative, although apparently only occupying the background, because they are who, in most of the cases, will help the male characters in their projects of social mobility, until the point of Rastignac, for example, has only achieved success with the help of his aunt, Mme de Beauseant. This without counting the owner, Mme Vauquer, who is the first character to be described in the narrative and who has a capital importance in the destiny of other figures that are hosted on her property. Moreover, the technique most known and used by Balzac and which was developed for him is the return of characters. However, there are other techniques also very important, and one of them is the fact that, to achieve to create the amount of characters existing in La Comedie Humaine, it was necessary to apply a resource of economy, or, in other words, to present lots of characters showing similar characteristics and connected two by two. We were seeking to develop this aspect throughout this work, together with the questions that underlie the role of the female characters, as well as the arrivisme, and this importance for the male.

Baudelaire dedicou-se a Mon coeur mis à nu de 1859 a 1865. Tendo no horizonte as Confessions de Jean-Jacques Rousseau e o projeto nunca realizado My heart laid bare, de Edgar Allan Poe (de onde, aliás, o título Mon coeur mis à nu), Baudelaire tem consciência de que a realização do seu projeto não será fácil, expressando a dificuldade, e por vezes a própria sensação de impossibilidade, em muitas das suas cartas pessoais. Baudelaire morre em 1867, não concluindo o projeto. O que deixa são notas, planos de texto, parágrafos avulsos, trechos a serem incluídos em textos futuros, listas de assuntos a tratar. Poulet-Malassis, amigo e principal editor de Baudelaire, fica encarregado de ordenar e encadernar os manuscritos referentes a Mon coeur mis à nu. Já a primeira publicação integral ficará a cargo de Eugène Crépet, que escolhe chamar o texto, se é texto, de Journaux intimes, interpretando (erroneamente) um projeto literário, ou, em certo sentido, um texto literário em processo de escritura, como diário. No Brasil, dispomos de quatro (re)traduções: Meu coração desnudado (Nova Fronteira, 1981), de Aurélio Buarque de Holanda; Meu coração a nu (Nova Aguilar, 1995), de Fernando Guerreiro; Meu coração desnudado (Autêntica, 2009), de Tomaz Tadeu; e Diários íntimos (Caminho de Dentro, 2013), de Jonas Tenfen. Este trabalho tem como objetivo central a análise dessas (re)traduções. Pretende-se discutir ainda a noção de retradução nos estudos da tradução, percorrendo autores como Berman (1990), Gambier (1994; 2012), Ladmiral (2012) etc.; e revisar a crítica literária sobre Mon coeur mis à nu, buscando problematizar tanto a postura de enxergá-lo como diário íntimo quanto a tendência de encerrá-lo em uma poética do rascunho (DIDIER, 1973) relativamente estanque e estável. Compreendendo a retradução como um espaço ético (CARDOZO, 2007) de relações (tensas) entre modos de ler e dizer o texto, buscamos identificar as posturas tradutórias em jogo em cada (re)tradução brasileira, isto é, de que maneira entendem e dão a ver Mon coeur mis à nu no sistema literário brasileiro. Para isso, recorremos não somente às próprias (re)traduções, mas também ao material paratextual (RISTERUCCI-ROUDNICKY, 2008), lugares em que os tradutores apresentam mais explicitamente seus entendimentos não apenas do texto em tradução, mas do próprio ato tradutório. Identificando em Mon coeur mis à nu uma textualidade altamente movente, fundamentada em tensões insolúveis (projeto e obra; processo e texto), percebemos que as (re)traduções brasileiras atenuam, ou mesmo apagam, essas tensões, fazendo escolhas tradutórias e editoriais que homogeneízam o texto, suprimem suas variabilidades e virtualidades e inscrevem Mon coeur mis à nu na memória do diário íntimo, da escritura puramente confessional, cujo valor reside mais no pessoal do que nas suas tensões e contradições, latências e potencialidades. Apontamos, como desdobramento, a necessidade de uma (re)tradução brasileira que se baseie exatamente na dimensão processual e variável de Mon coeur mis à nu, não na busca de restituir um suposto processo cronológico, mas na tentativa de construir, via tradução, um espaço escritural (GALÍNDEZ-JORGE, 2009) em que o leitor possa ser confrontado exatamente com esse assombramento e com essa monstruosidade (GALÍNDEZ-JORGE, 2010) que estão (em latência) na base mesma de Mon coeur mis à nu. / Baudelaire dedicated himself to Mon coeur mis à nu from 1859 until 1865. With the horizons of Jean-Jacques Rousseaus Confessions and the always unconcluded Edgard Allan Poes project My heart laid bare (from where Mon coeur mis à nus title comes, by the way), Baudelaire is aware that the accomplishment of his own project will not be easy, and he expresses it, sometimes, by writing down the very sense of impossibility in many of his personal letters. Baudelaire dies in 1867, leaving his project unconcluded. What remains are notes, scraps, unattached paragraphs, sequences to be included in future texts, subject lists do be dealed with. Poulet-Malassis, Baudelaires friend and main editor, was in charge of giving order to and binding the manuscripts referring Mon coeur mis à nu. The first full edition, however, was treated by Eugène Crépet, that chooses to call the text, if so, Journaux intimes, interpreting (mistakenly) it as a literary project or, in a certain way, a literary text in progress of being written, like a journal. In Brazil, we are offered with four (re)translations: Meu coração desnudado (Nova Fronteira, 1981), by Aurélio Buarque de Holanda; Meu coração a nu (Nova Aguilar, 1995), by Fernando Guerreiro; Meu coração desnudado (Autêntica, 2009), by Tomaz Tadeu; and Diários íntimos (Caminho de Dentro, 2013), by Jonas Tenfen. The present work aims mainly to analyze these (re)translations. It is also intended to (a) discuss the notion of retranslation in translation studies, by means of authors such as Berman (1990), Gambier (1994; 2012), Ladmiral (2012) etc., and (b) to review the literary criticism on Mon coeur mis à nu, trying to question both the attitude of interpreting it as an intimate journal and the tendency to categorizing it definitely as a draft poetics (DIDIER, 1973), relatively impervious and stable. If retranslation is believed to be an ethical space (CARDOZO, 2007) of (tense) relations among ways of reading and saying the text, we seek to identify the translation attitudes at stake in each Brazilian (re)translation, that is, answering in which way they understand and reveal Mon coeur mis à nu at the Brazilian literary system. For this purpose, we employ not only (re)translations themselves, but also paratextual materials (RISTERUCCI-ROUDNICKY, 2008), places where translators present more explicitly their comprehension of the translation in progress, but also of the translational gesture itself. Identifying in Mon coeur mis à nu a highly moving textuality, based in unsolvable tensions (project and work; process and text), we do realize that Brazilian (re)translations mitigate, or even erase, these tensions, making translational and editorial choices that homogenize the text, suppress their variabilities and virtualities, and inscribe Mon coeur mis à nu in the memory of the intimate journals, of the purely confessional writings, whose value resides more in the personal aspect than in its tensions and contradictions, latencies and potentialities. As an unfolding of this analysis, we point out the need of a Brazilian (re)translation based exactly on the procedural and variable dimension of Mon coeur mis à nu, not in quest of restoring an allegedly chronological process, but as an attempt of building, through translation, a scriptural space (GALÍNDEZ-JORGE, 2009) in which the reader can be confronted precisely with this haunting and with this monstrosity (GALÍNDEZ-JORGE, 2010) that are (latently) in Mon coeur mis à nu basis itself.

Desde Horácio e sua célebre expressão Ut pictura poesis, diversos autores tentaram estabelecer um paralelo entre a literatura e a pintura ao longo dos séculos. Vários são os exemplos de obras literárias e pictóricas unidas por temas e inspirações em comum, que se desenvolveram em caminhos paralelos durante uma determinada época, numa determinada sociedade. Menos freqüentes, porém, são as ocorrências de elementos que configurem um verdadeiro diálogo, uma convergência ou uma interferência entre as artes visuais e a arte literária. Neste trabalho, pretendemos identificar uma influência do olhar impressionista na literatura francesa da segunda metade do século XIX. Para isso, analisaremos seqüências descritivas de obras de Gustave Flaubert e de Émile Zola. Através da análise da construção das pinturas impressionistas e da construção das seqüências descritivas na literatura, pretendemos demonstrar que esses dois sistemas de representação não estão unidos apenas por temas e inspirações em comum, como havia sido o caso até então, mas também pelas técnicas e metodologias utilizadas e pelas reações que essas mesmas técnicas provocaram e provocam até hoje no espectador e no leitor. / From the time of Horace and his famous phrase Ut pictura poesis, several authors have attempted to draw a parallel between literature and painting. There are many examples of literary and pictorial works linked by common topics and inspirations that have taken parallel paths across time and across societies. Less frequent, however, are the examples of a real dialogue, a convergence or interference between the visual and the literary arts. In this study, we aim at identifying an influence of the impressionist view in the French literature of the second half of the 19th century. For this purpose, we will examine descriptive sequences of the works of Gustave Flaubert and Émile Zola. By analysing the process through which Impressionist paintings were made and the descriptive sequences were written, we aim at demonstrating that these two systems of representation are not united only by common topics and inspirations, as had been the case to date, but also by common techniques and methodologies, in addition to being united by the reactions that these same techniques provoked and still provoke today in the spectator and the reader.

Notre travail se penche sur la réécriture de quelques mythes du point de vue féminin afin de proposer une (re)construction de la généalogie des femmes. Quelles sont les figures représentatives du couple mère/fille, et comment se construisent-elles ? Dans quels mouvements s’inscrivent les reprises des mythes classiques ? Faut-il détourner les mythes créés par les hommes afin de parvenir à une nouvelle généalogie féminine ? Ce travail relève d’une double approche comparatiste, il propose tout d’abord l’analyse des figures archétypales mères-filles dans une perspective mythocritique, puis sur un plan culturel et linguistique, rapprochant des textes de la littérature française et polonaise. Ainsi, les figures bibliques d’Ève et Marie s’unissent aux représentations des mythologies païennes, telles Déméter et Perséphone, Iphigénie et Clytemnestre, ou enfin Médée. Ces figures anciennes de la maternité reviennent en force, revisitées par des écrivaines françaises et polonaises contemporaines, et ce pour redéfinir la perception du couple mère/fille. Les œuvres analysées sont nombreuses, d’Hélène Cixous à Christine Angot pour le corpus français. Quant aux textes polonais, c’est pour le lecteur français toute une littérature à découvrir qui est présentée, explorée et analysée. Nous nous intéressons à des auteures polonaises qui ont contribué à la naissance d’une écriture féminine plus intime après 1989. Nous attribuons une place considérable à la traduction des extraits des textes étudiés, ceci dans l’optique d’une traduction complète ultérieurement. Malgré les contextes socio-culturels différents dans lesquels évoluent les deux littératures, un véritable dialogue s’établit au niveau des paradigmes mythiques exploités. Ce rapprochement permet d’envisager une certaine universalité inscrite dans les mythes anciens évoquant les figures de la maternité. Il s’agit in fine d’une quête commune des femmes à la recherche d’une histoire pour la refondation d’une nouvelle généalogie. / This dissertation examines the rewriting of some myths from the female point of view in order to propose a (re)construction of women's genealogy. What are the representative figures of the mother/daughter relationship, and how are they constructed? In which movements do the rewritings of classical myths fit? Should the myths created by men be diverted in order to achieve a new female genealogy? This work is based on a double comparative approach ; first, it proposes an analysis of archetypal mother-daughter figures in a mythocritical perspective ; second, it brings together texts from French and Polish literature on cultural and linguistic levels. Thus, the biblical figures of Eve and Mary are compared with representations of pagan mythologies, such as Demeter and Persephone, Iphigenia and Clytemnestra, or finally Medea. These ancient figures of maternity return in force, revisited by contemporary French and Polish writers, to redefine the perception of the mother/daughter relationship. The works analyzed are numerous; for the French corpus, they range from Hélène Cixous to Christine Angot, and for the Polish texts, this dissertation focuses on women’s literature after 1989, when a more intimate literature emerged. These texts will be presented and analyzed so that the French reader can usefully discover them in tandem with the French texts. Considerable importance is given to the translation of extracts from these texts, in view of a complete translation later on. Despite the different socio-cultural contexts in which the two literatures have evolved, a real dialogue is established at the level of mythical paradigms. This rapprochement makes possible to imagine a universality inscribed in the ancient myths evoking the figures of motherhood. It is ultimately a common quest of women searching for a history in order to find foundations for a new genealogy.

This master thesis written in French language "Le topos de Prague dans la littérature francaise" is analysing literature pieces: Le Passant de Prague and Zone, Guillaume Apollinaire, L'insoutenable légèreté de l'être, Milan Kundera, HHhH, Laurent Binet, La vie brève de Jan Palach, Anthony Sitruk, Mémoires d'outre-tombe, René de Chateaubriand, Les Lettres, Prosper Mérimée and poem Charles Bridge from Cycle de Prague, Serge Patrice Thibodeau. In the main part of the work emphasis is placed on the use of the unique topos of Prague, the purpose of its selection, its role and function in the literary text, as well as intertextual interconnection with other works working with the motifs of Prague. In the introduction, a literary theoretical concept is defined and demonstrated on other examples than this capital city, as there are more definitions and ambiguity in the understanding of this concept could cause difficulties in interpreting the results of text analysis. The result of the work is a limited number, yet three centuries and several genres covering a set of francophone texts that work with the topos of Prague. This is at the end enriched of work with a didactic outline of the use of results, actually the topic of this work in general, in French language lessons in Czech schools. KEYWORDS topos;...

Les quarante "Miracles de Nostre Dame par personnages" constituent l'immense majorité du corpus dramatique de langue française du XIVe siècle. Malgré cette importance historique majeure, ces pièces n'ont jusqu'à aujourd'hui pas fait l'objet d'une étude littéraire spécifique. Victimes du manque de légitimité poétique que l'on prête au théâtre médiéval en général, mais aussi tributaires de leur apparente simplicité, ces drames présentent pourtant de nombreuses similarités qui témoignent de l'homogénéité stylistique du corpus. Envisageant tour à tour le corpus en tant que texte, spectacle et livre, le présent travail vise donc à rendre raison de sa concertation dramaturgique. L'étude se donne d'abord pour objet de repérer les lois implicites du recueil : tandis qu'une analyse en synchronie permet de dégager les lois structurelles et discursives du corpus, une étude en diachronie permet de comprendre ses lois de composition, élaborées au fil du temps et des expériences scéniques. C'est finalement dans le dialogue incessant entre la scène et les spectateurs que s'élabore la spécificité du Miracle dramatique, dont la dramaturgie propose une approche singulièrement subtile de son public. Cette relation étroite entre la scène et les spectateurs se poursuit lors du passage des pièces de l'espace scénique à l'espace du livre. Mises en drame, en scène et en texte, ces quarante histoires miraculeuses offrent finalement l'évidence de la profonde cohérence de leurs transpositions successives. Témoignages de la vocation éducative des confréries, elles s'avèrent être de riches et étonnants objets de théâtre, dont la portée esthétique ne s'est pas tout à fait éteinte. / The forty "Miracles de Nostre Dame par personnages" stand for the immense majority of the dramatic French-language corpus of the fourteenth century. Despite this major historical importance, these plays have not been the subject of a specific literary study. Despised for the lack of poetic legitimacy attributed to medieval theater in general and for their apparent simplicity, these dramas present many similarities which show the evidence of the stylistic homogeneity of the corpus. Considering in turns the corpus as a text, a show and a book, this work aims to reveal the dramaturgical project behind the plays. First of all, this study intends to identify the implicit laws of the collection. A synchronic analysis allows to identify the structural and discursive laws of the corpus, while a diachronic study reveal its laws of composition, created by succesives scenic experiences. Finally, the specificity of the dramatic Miracle appears to be based on this constant dialogue between the stage and its audience. This close relationship continues as the pieces move from the stage space to the book space. Dramas, stagings and texts, these forty miraculous stories offer the evidence of the deep coherence of their successive transpositions. As these plays are proofs of the brotherhoods' educational vocation, they turn out to be amazing theater objects, whose aesthetic significance has not quite extinguished.

Translating a Swahili literary work into French poses specific problems due to the small number of translations existing so far and the imaginary representations associated with these two languages in the translator’s mind. In the case of Euphrase Kezilahabi’s novels Nagona (1990) and Mzingile (1991), the task is complicated by the very peculiar nature of these narratives, whose apocalyptic substratum does not refer to an identifiable cultural universe but to the interstitial space between a world condemned to die and a world yet to be born. In this article I will provide some insights from my experience of translation of these two Swahili novels.

Le présent mémoire, s’articulant autour de quatre œuvres de Bernard-Marie Koltès, se propose de problématiser les rapports intersubjectifs mis en scène dans l’œuvre de l’auteur à partir du motif du désir. Il s’agira de comprendre sous quelle forme de désir s’élaborent les rapports interhumains représentés par Koltès. Plutôt que de fonder notre approche sur une lecture psychanalytique, notre perspective se déploie à partir du concept de désir tel que forgé par le philosophe et anthropologue René Girard. Cette approche particulière nous a permis de dégager une certaine logique des comportements apparemment arbitraires et contradictoires chez les protagonistes. Nous avons relié entre eux des gestes, des attitudes, des renversements émotifs qui apparaissent souvent étrangers les uns aux autres afin de donner à voir une facette différente aux textes koltésiens. Le premier chapitre est consacré au statut des objets dans l’œuvre de Koltès ; même s’ils sont au centre des interactions entre personnages, leur fonction est essentiellement de servir de prétexte à leurs échanges. Le deuxième chapitre a pour objet l’ambivalence des rapports intersubjectifs qui unissent les protagonistes ; il s’agit de comprendre sur quoi se fonde cette dualité (amour/haine) qui caractérise les rapports entre les sujets koltésiens. Par un détour à travers les théories de la reconnaissance, le troisième chapitre traite des stratagèmes mis en place par les protagonistes pour entretenir des relations nécessaires au développement de leur être sans pour autant admettre leur besoin existentiel des autres. Ultimement, il s’agit pour nous de comprendre ce qui unit des personnages ouvertement hostiles les uns envers les autres. / This thesis, based on four works by Bernard-Marie Koltès, proposes to problematize the intersubjective relationships staged in the author's work according to the motif of desire. Its aim is to understand the form of desire on which the interhuman relationships represented by Koltès are built. Rather than basing our approach on a psychoanalytical reading, our perspective is based on the concept of desire as forged by the philosopher and anthropologist René Girard. This particular approach allowed us to identify a certain logic in the apparently arbitrary and contradictory behaviors of the protagonists. We linked together gestures, attitudes, and emotional reversals that often appear foreign to each other in order to show a different facet of the Koltesian texts. The first chapter is devoted to the status of objects in Koltès' work; even if they are at the center of the exchanges, their function is essentially that of a pretext. The second chapter treats the ambivalence of the intersubjective relationships that unite the protagonists; the aim here is to understand the basis of this duality (love/hate) which characterizes the relations between the Koltesian subjects. By a detour through the theories of recognition, the third chapter discusses the stratagems put in place by the protagonists to maintain intersubjective relations necessary to the development of their being without admitting their existential need of others. Ultimately, it is about understanding what unites characters who are openly hostile to each other.

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