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The aims of this thesis are to show that dialogue in Gide's correspondences is of primordial importance in helping Gide to establish and develop his artistic position and to provide adequate proof of the fact that artistic discussion in the correspondences hears fruit in Gide's literary work. Before undertaking this task, certain preliminary steps are taken in my Introduction and in Chapter One. The former contains a definition of dialogue which stresses the fact that, for Gide, it is essentially artistically orientated and most useful when it entails opposition. My choice of Gide's correspondences with Paul Valéry, Francis Jammes, Paul Claudel and Roger Martin du Gard is explained and justified. These correspondences are representative of Gide's development as a "being of dialogue" and cover Gide's literary career chronologically. In Chapter One, Gide's attitude to correspondence is explored in order to prove that the correspondences deserve closer study since they held an important and specific place in Gide's life, being intended for publication. The possible reasons for this are investigated and the conclusion is drawn that Gide wanted his public to participate in the moral and artistic dialogue which takes place in the most important of his correspondences. The purpose of such a study was to show that my decision to deal only with dialogue upon art was not an arbitrary one. Chapters Two, Three and Four concern the course of dialogue in the chosen correspondences. Chapter Two snows now dialogue with Valery helps Gide to build the foundations of his artistic position, Chapter Three now dialogue with Jammes and Claudel encourages Gide to establish and strengthen it, while Chapter Pour is witness to the fact that dialogue with Martin du Gard is Gide's insurance against artistic complacency. Chapter Five studies the relationship between Gide's correspondences and certain of his works ( Le Traité du Narcisse, Le Retour de l'Enfant prodigue and Les Faux- Monnayeurs ). Images and artistic preoccupations which appear in the correspondences studied are given parallel expression in Gide's literature. In addition, the nature of Gide's dialogue with his correspondents is also apparent in the manner in which he presents ideas in his literature. Chapter Five is intended as proof of my conclusion not only that dialogue in Gide's correspondences is, as much as his Journal, a bridge to his work but also that, for a fuller understanding of the artistic reflection which is the fundamental basis of Gide's work, his correspondences are essential reading.

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A comparison of the experiences of Side, Saint-Exupery, and Camus in North Africa and the Sahara Desert, and an assessment of the affect of these experiences on their lives and work. / Thesis / Master of Arts (MA)

Though Gide's homosexuality is well-documented, the theme of homosexuality plays a relatively minor role as it affects women in the récit. L'Immoraliste and Geneviève are the only ones in which the theme appears. Therefore, the reader will find little discussion of this subject per se in this work. This study will include only the récit, the art form which has come to be associated with Andre Gide. The récits include: L'Immoraliste (1902), La Porte étroite (1909), Isabelle (1911), La Symphonie pastorale (1919), L'Ecole des femmes (1929), Robert (1929), Geneviève (1936), and Thésée (1946).

No presente trabalho, estudamos as relações passíveis de ser estabelecidas entre três obras à primeira vista muito diferentes: as Bucólicasde Virgílio, Paludesde André Gide e Manderre, de Georges Perec. Nosso objetivo é mostrar uma espécie de percurso potencial de um personagem, Títiro, por meiodos textose as transformações por ele sofridas. Por meio de uma análise que leva em consideração o ponto de vista intertextual, tentamos compreender a apropriação feita por cada um dos autores, e as implicações causadas pelos diferentes contextos literários nos quais o personagem se insere. / In this research, we study the relations that can be established between three works at first sight very different: Virgils Eclogues, André Gides Paludesand Georges Perec Manderre. Our aim is to show some sort of potential path followed by acharacter, Tityrus, through the textsand the transformations undergone by him. Through an analysis that considers an intertextual point of view, we try to understand the appropriation made by each author, and the implications caused by different literary contexts in which the character is inserted.

Esta dissertação procura construir uma trajetória que atravesse pontos concernentes à enunciação em quatro livros de André Gide: La Symphonie pastorale, La Porte étroite, Les Faux-monnayeurs e Le Prométhée Mal Enchaîné. A enunciação será aqui pensada junto do artigo de Émile Benveniste intitulado Da subjetividade na linguagem, em que o autor propõe que a subjetividade não seja vista como a substância psíquica sujeito, mas como um posicionamento tomado diante da língua. Não existiria, em outras palavras, sujeito anterior às coordenadas linguísticas que indicam o seu lugar de habitação donde a tentativa de construção, em minha dissertação, de um espaço enunciativo em Gide. Levando em conta as publicações mencionadas, dividi as questões enunciativas em duas principais regiões: a primeira será lida do ponto de vista do pronome eu (La Symphonie pastorale e La Porte étroite) e a segunda, escrita sobretudo com o emprego da dita terceira pessoa (Les Faux-monnayeurs e Le Prométhée Mal Enchaîné), será pensada como, ela também, uma possibilidade enunciativa isto é, como uma possibilidade de presença a partir da emergência do conector mas. O foco na enunciação designa aqui um esforço em deslocar o olhar de determinados jargões que habitam os estudos literários (como o autor ou o narrador), de modo a fundar um campo em que a enunciação possa ser pensada em suas próprias condições de emergência. Ademais, pensar essas condições é também e sobretudo não ignorar o ponto de vista crítico, mas assumi-lo como parte integrante do espaço enunciativo gideano. Assim, junto da reflexão em torno da enunciação em Gide, elabora-se uma tentativa integrada de reflexão de minhas próprias condições para enunciar qualquer coisa que seja dentro desta dissertação. / This dissertation aims at building a path that would cross some points concerning the enunciation in four of André Gides books: La Symphonie pastorale, La Porte étroite, Les Faux-monnayeurs e Le Prométhée Mal Enchaîné. The enunciation will be thought with Émile Benvenistes article Subjectivity in language, in which the author proposes that subjectivity would rather be seen as position taken towards language than as a psychical subject. In other words, there is not a possible subject preceding the language coordinates that indicate its dwelling place from this point, I attempt to build, in this dissertation, an enunciative space in Gide. Taking into consideration the referred publications, I divided the enunciative issues in two main regions: the first will be read under the perspective of the I (La Symphonie pastorale and La Porte étroite) and the second, written mostly with the use of the third person (Les Faux-monnayeurs and Le Prométhée Mal Enchaîné), will be thought such as an enunciative possibility which means a possibility of presence from the emergence of the connector but. The focus on enunciation designates in this text an effort to dislocate the point of view of some jargons occupying today the literary studies (such as author or narrator) in order to establish a field in which the enunciation can be thought in its own emergence conditions. Moreover, thinking this conditions is also and above all not to overlook the critics point of view, but to assume it as an integral part of Gides enunciative space. So with the reflection on Gide, I elaborate an integrated attempt of thinking about my own conditions of enunciating anything within this dissertation.

Ce travail, qui propose une lecture de l’ensemble de l’œuvre autobiographique de Beauvoir, ne vise pas l’exhaustivité. Il cherche plutôt à restituer une image plus exacte de la trajectoire, de l’évolution et des infléchissements de ce projet monumental. De nombreux écrits jusque-là ignorés ont été publiés, dans des temps récents, de façon posthume. Ces textes nouveaux contribuent à ébranler une image simplificatrice ou réductrice de Beauvoir – celle qui le plus souvent se profile, de manière exclusive, soit à travers Le Deuxième sexe, soit à travers le couple Sartre-Beauvoir, soit à travers la conversion politique. Lire de manière méthodique les écrits autobiographiques de Beauvoir, c’est tenter de comprendre comment une intellectuelle et une écrivaine se construit et se distingue. Elle prend certes le contre-pied de ses origines familiales et culturelles. Mais elle va aussi parfois à l’encontre de ses propres tropismes. Une lecture précise, chronologique, mettant en rapport les différentes strates du texte, révèle de telles contradictions. Dans ce dispositif, les Cahiers de jeunesse, récemment publiés en 2008, jouent un rôle particulier. Ils montrent comment la vie intellectuelle de Beauvoir est d’abord une vie intérieure, spirituelle, qui prend même parfois des allures mystiques. Ils montrent surtout, au départ de la vocation littéraire et philosophique, une veine introspective qui fut contrariée un temps par deux tendances antinomiques : d’une part la fascination pour le roman (genre nettement valorisé aux yeux du couple Sartre-Beauvoir) et d’autre part, l’obsession grandissante à l’égard de l’Histoire majuscule. A ces deux facteurs, il faut en rajouter un troisième : le refoulement lié à la défiance à l’égard de l’intime, nettement alimentée par le compagnonnage intellectuel avec Sartre. Dans cette perspective, il m’a paru essentiel de confronter les journaux de Beauvoir, en particulier son Journal de guerre, au texte des Mémoires, qui d’ailleurs y fait constamment référence – sans compter qu’ils intègrent parfois des fragments de journal. Il apparaît, d’une façon générale, que la relecture des journaux, œuvre de toute une vie, a été constante, qu’elle a nourri l’écriture des Mémoires, que celle-ci, conséquemment, a oscillé, selon un mouvement pendulaire, entre l’introspection et la rétrospection. Les Mémoires sont à l’évidence une reconstruction du passé comme tout récit mémorial. Ils le sont plus encore lorsqu’on songe au texte princeps qui les a précédés, et lorsqu’on prête attention à leur archéologie.L’entreprise des Mémoires se présente comme une solution de compromis à l’égard de ces pulsions contradictoires. Elle propose une combinaison originale entre l’écriture de l’intime et l’écriture de l’Histoire, l’écriture de soi et l’écriture des autres. Mais c’est l’ensemble du projet, l’ensemble des écrits autobiographiques qui met en évidence la complexité des intentions et des registres, c’est cet ensemble qui donne pleinement la mesure du projet singulier de Beauvoir.Tous les gestes d’écriture qui composent l’entreprise mémoriale sont indissolublement liés, et en même temps, ils ne se ressemblent pas tout à fait. Une telle diversité des écrits intimes et mémoriels, à la fois totalisatrice et foisonnante, pourrait contribuer à revisiter une théorie parfois un peu figée de l’autobiographie qui tend à classer des sous-genres cloisonnés en les rapportant à des critères distincts, ou en les considérant sous la catégorie générale de l’écriture de soi. / This study, which offers a reading of all the autobiographical writings of de Beauvoir, is not intended to be exhaustive. Its aim is rather to provide a more exact picture of the trajectory, the evolution and the shifting movement of her massive project. Many previously unknown writings have been published posthumously in recent times. These new texts contribute to the undermining of a simplistic and reductive image of de Beauvoir, an image drawn exclusively either from The Second Sex, from the Sartre - de Beauvoir couple, or from her political conversion.In a methodical reading of de Beauvoir’s autobiographical writings, one can attempt to grasp how a woman intellectual and writer constructs herself and marks herself off from others. She undoubtedly turns against her familial and cultural origins, but she is also capable of going against her own tropisms. A precise chronological reading that relates the different strata of the text reveals such contradictions. In such an approach, the Cahiers de jeunesse, published in 2008, play an important role. They show how de Beauvoir’s intellectual life is at first an interior, spiritual life that sometimes even has something mystical about it. Above all, at the outset of a literary and philosophic vocation, the Cahiers show an introspective vein that was for a time thwarted by two opposite tendencies: on the one hand a fascination with the novel (a genre that was highly valued in the Sartre-de Beauvoir couple), on the other hand a growing obsession with History. To these two factors a third must be added: a repression linked to a distrust of the intimate that was clearly fed by the intellectual companionship with Sartre. In this perspective, I thought it essential to confront de Beauvoir’s journals, in particular her Journal de guerre, to the text of the Mémoires, which in any case constantly refer to it and even integrate fragments from it. It would appear in a more general way that her re-reading of the journals, the work of her entire life, was constant, that it fed into the writing of the Mémoires, which as a consequence oscillate in a pendulum movement between introspection and retrospection. The Mémoires are clearly a reconstruction of the past, like all memoir narratives, but that becomes even more true when one thinks of the original text that preceded them and when their archaeology is taken into account.The Mémoires as a project are to be seen as a compromise between these contradictory urges. The enterprise provides an original combination of writing the intimate, writing History, writing the self and writing the other. However it is the project in its totality, the entire autobiographical corpus, that demonstrates the complexity of intention and register, it is this totality that makes it possible to take the measure of de Beauvoir’s singular project.All the gestures of writing that make up the memorial enterprise are indissolubly linked and at the same time different from one another. Such a diversity of intimate and memorial writing, at once systematic and multiple, may contribute to a revisiting of a somewhat rigid theory of autobiography that tends either to isolate sub-genres, classifying them by reference to distinct criteria, or else to bring everything back to the general category of writing the self.