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This thesis focuses on the 'challenge of the image' to self-perception and a central sense of selfhood. It suggests that, as a result of the trigger provided by this challenge, new intuitions of selfhood and new forms of representation have been developed in auto(bio)graphical writing. The dynamic reciprocity of challenge and response is studied in three strategically chosen authors, Jean-Jacques Rousseau, Paul Valéry and Roland Barthes, whose works span over more than three centuries and who allow a complete cycle of ideas on the self and the possibilities of self-representation to be explored in the perspective of the generating mechanism identified. The increasing reflexivity of Western consciousness as exemplified by each of these authors, is seen to engender by this means new and increasingly subtle forms of self-representation in order to convey adequately a progressively complexified view of the subject or self. In following the emergence and development of auto(bio)graphy in this way, the thesis contributes to an ongoing diagnosis of the nature and origin of a contemporary crisis in auto(bio)graphy, a crisis in which the relation between selfhood and its representational forms and language has been placed under increasing scrutiny or suspicion. It is argued here that there can be no simple expulsion of the subject from the domain of auto(bio)graphy. The challenge of the image suggests, on the contrary, that it is precisely the sense of a central 'I', however elusive and irreducible to theory this may be, which ultimately still provides the impetus for new and innovative auto(bio)graphical production.

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This doctoral thesis examines the literary series [collection litteraire], considered at one and the same time as a form of publication defined and redefined by the publisher since the invention of the printing press and as a paratextual component that has the ability to act on the process of reading the text: An original aspect of this work is that it combines in the same analysis fields of knowledge that are rarely studied together: the history of the book and of publishing, the sociology of literature and in particular the theory of the literary institution, the theory of paratextuality and reader response theory. This thesis examines separately the two dimensions of the topic but follows a logical progression that concludes with a third section. The first section explores the hypothesis that the literary series is the outcome of a long process of definition and specialization which has accompanied the evolution of French publishing and literature. It then goes on to examine cases illustrating the "convergence" of the two, such as the "Bibliotheque Bleue", the "Bibliotheque universelle des romans", the "Bibliotheque Charpentier", the collections of livraisons illustrees published in the 1850's, the "Collection Michel Levy" and a few collections published by Flammarion and Fayard. Following a rereading of the Genettien paratexte (1987) that reviews and further refines the parameters of the concept (its boundaries, its components and their functions) in order to increase its scope of action, the second section explores in depth the essence of the encounter between the series and literature itself and proposes a theory of the series which positions it in relation to a community of readers and recognizes a different functioning, different risks and effects depending on whether it is destined for a specialized public or the general public. Finally, the third section picks up the historical thread that the first section suspended at the beginning of the 20th century

Dialogue is a written text representing an oral exchange between two or more persons; it also includes catechisms and rhetorically formulated series of queries and responses presenting an argument. The purpose of my thesis is to identify the main non-dramatic dialogues published in France and Italy between 1800 and 1914 and--through their discursive analysis--to provide an assessment of their signification and their impact on modern social discourse. / The first part focuses on the general discourse elements of modern dialogue, such as narrativity, rhetorical devices, character definition and function, paratextual structures, etc. / The second part includes a series of text analyses that proposes a study of ideological tendencies of modern social discourse through the most representative dialogues of the age. / Finally, the third part concentrates on the literary value and the build-up of dialogue as an aesthetic structure towards the end of the XIXth century and at the turn of the XXth century.

This work attempts to trace back the models for the various Berenice stories in French literature. Two different trends seem to emerge. The first one is related to the unhappy relationship between Titus and Berenice, the Judaic queen of the first century A.D. The other goes back to the events of the Ptolemaic period when a series of queens also bear the name of Berenice. Present day literature tends thus to show a return to the facts that originally gave birth to the myth.

Orientador: Flávia Cristina de Sousa Nascimento Falleiros / Banca: Karina Chianca Venâncio / Banca: Márcio Thamos / Resumo: Denis Diderot, autor de uma obra vasta e multifacetada, é tido como uma personalidade muito importante para as ciências humanas. La Promenade Vernet, trecho integrante do Salão de 1767, reflete bem a complexidade da obra do filósofo como um todo, pois é nele em que se observam traços de diferentes gêneros como ficção, ensaio e crítica. Esse curto texto é um "passeio" em que Diderot descreve com maestria uma série de sete "sítios", com o pretexto de discutir diversas questões de natureza filosófica e estética. O que o leitor não sabe - e só vem a saber no final - é que as descrições dos elementos das paisagens não fazem referência a sete campanhas, mas sim a sete quadros de um famoso paisagista francês, Joseph Vernet. No "Passeio", Diderot e o Abade, seu interlocutor e personagem fictício, discutem, dialogicamente, em longas jornadas, sobre suas convicções quanto à arte, ao lugar do homem no mundo e a questões morais. Esta pesquisa visa colocar em foco os dispositivos retóricos utilizados pelo autor, especialmente a ekphrasis e o hieróglifo, ambos associados, direta ou indiretamente, à relação entre o verbal e o imagético (ut pictura poesis). Para o desenvolvimento da pesquisa, são utilizados autores de variadas épocas, como Horácio (18 a.C.), que cunhou o termo ut pictura poesis; Lessing (1768), que foi determinante para o desenvolvimento da retórica; e Lichtenstein (1994), cuja obra traça um percurso aprofundado da história da retórica pictórica e na qual esta dissertação se apoia com certo destaque. No texto de Diderot, nota-se significativa importância de referências clássicas, portanto, alguns artigos que esclarecem a obra de Diderot por esse olhar também foram elencados para a constituição da pesquisa. Além desse aparato teórico, recorre-se a alguns textos da obra de Diderot que não são especificamente o Salão... / Abstract: Denis Diderot, the author of a vast and multidimensional work, is a renowned personality to the Human Sciences. Promenade Vernet, an integral part of the 1767 Salon, reflects the complexity of the work of the philosopher in its entirety as we can observe some traces of genres such as fiction, essay, and criticism. The short text is a "walk" in which Diderot masterfully describes a series of seven "sites" under the pretext of questioning various subjects of a philosophical and aesthetic nature. What the reader does not have access to - and only learns at the end - is that descriptions of landscape elements do not refer to seven campaigns, but to seven paintings by the famous French landscape artist, Joseph Vernet. During the "Walk", Diderot and the abbé, his interlocutor and fictitious character, discuss dramatically, in long journeys, the beliefs about art, the position of man in the world and morality. This research aims to highlight the rhetorical devices used by the author, especially ekphrasis and hieroglyph, both associated, directly or indirectly, with the relationship between verbal and imagery (ut pictura poesis). For the development of the research, authors from different periods are used, such as Horace (18 b.C.), who coined the term ut pictura poesis; Lessing (1768), which was fundamental to the development of rhetoric; and Lichtenstein (1994), whose work traces an in-depth journey into the history of rhetoric of figures and on which this memoir is based with a ... / Resumé: Denis Diderot, auteur d'une œuvre vaste et pluridimensionnelle, est une personnalité très reconnue et importante aux Sciences Humaines. La Promenade Vernet, partie intégrante du Salon de 1767, reflète bien la complexité de l'œuvre du philosophe dans son intégralité car on peut observer des traits caractéristiques à plusieurs genres de texte tel que la fiction, l'essai et la critique. Le court texte est une « promenade » dans laquelle Diderot décrit avec maîtrise une série de sept « sites » sous prétexte de mettre en cause diverses sujets de nature philosophique et esthétique. Ce que le lecteur n'a pas d'accès - et arrive à apprendre seulement à la fin - est au fait que les descriptions des éléments des paysages ne font pas référence à sept campagnes, mais à sept tableaux d'un célèbre paysagiste français, Joseph Vernet. Pendant la « Promenade », Diderot et l'abbé, son interlocuteur et personnage fictif, débattent, dramatiquement, en longues journées, les convictions quant à l'art, à la position de l'homme dans le monde et aux mœurs. Cette recherche vise mettre en évidence les dispositifs rhétoriques utilisés par l'auteur, spécialement l'ekphrasis et le hiéroglyphe, tous les deux associés, directe ou indirectement, au rapport entre le verbal et l'imagerie (ut pictura poesis). Pour le développement de la recherche, des auteurs des époques variés sont utilisés, tel que Horace (18 a.C.), qui a inventé le terme ut pictura poesis ; Lessing (1768), qui a été fondamental au développement de la rhétorique ; et Lichtenstein (1994), dont l'œuvre trace un parcours approfondi de l'histoire de la rhétorique visuelle et sur laquelle ce mémoire se base avec un certain accent. Dans le texte de Diderot, on remarque une importance significative de références classiques, ainsi, des articles qui éclairent-ils l'œuvre de Diderot par ... / Mestre

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