Cette thèse se propose d’étudier le style indirect libre dans l’œuvre de Pier Paolo Pasolini à travers un axe de recherche qui peut, schématiquement, se rattacher à deux champs: le champs poétique, concernant l'activité littéraire et cinématographique de l'auteur et le champs théorique, où le problème de la forme esthétique devient l'occasion pour l'étude des principes linguistiques etsémiotiques qui en permettent la réalisation. Ce double parcours s'articule à son tour en quatre phases de développement: la phase de la « régression » théorisée dans les années quarante pour expliquer divers processus relatifs à l’emploi du dialecte en littérature ; celle de la « connexion sentimentale », notion tirée des Cahiers de prison de Antonio Gramsci pour décrire le rapport entre les intellectuels et les classes subalternes ; celle du discours indirect libre en tant que tel, qui se trouve à la base de lapoétique des romans romains des années cinquante, et qui est également présent dans d’autres œuvres élaborées plus tard ; et finalement la phase de la subjective indirecte libre, théorisée dans les années soixante pour décrire le style indirect libre au cinéma.La régression, la connexion sentimentale, le discours indirect libre, la subjective libre indirecte constituent le point de contact entre le parcours poétique et dans le même temps théorique de l'auteur. La régression dans la parole de l’autre, ou, comme au cinéma, dans le regard de l’autre, représente en dernière instance la tentative de l’auteur de traduire sur le plan littéraire et cinématographique la réalité de conflits historiques et existentiels. / This doctoral thesis studies the free indirect style in Pasolini's works through a double path of research. On one hand it takes into account his literary and cinematic production; on the other it studies the linguistic and semiotic principles on which its free indirect style hinges. This double path has been crossed in the light of four notions that Pasolini developed in his theoretical essays along his artisticactivity. The first one is the “regression”, elaborated in the 40s in order to describe the usage of the Friulian dialect of his early poems. The second one is the “sentimental connection”, which Pasolini discovered in Gramsci's Prison Notebooks and he employed to analyse the relationship between intellectuals and subaltern classes. The third one concerns the free indirect discourse used in Pasolini's Roman novels of the 50s and studied from a linguistic and semiotic point of view in some essays. The last one is the free indirect subjective theorised in the 60s to describe the cinematic adaptation of the free indirect style.Regression, sentimental connection, free indirect discourse and free indirect subjective are the most important notions of Pasolini's free indirect style. They show how the author established itslinguistic, political and sentimental relationship with the subalterns that populates his literary works aswell as his movies.

[pt] Em 1960, Pier Paolo Pasolini publicou pela editora Einaudi seu livro de ensaios poéticos, intitulado Passione e Ideologia. Essa obra reflete a relação afetiva e intelectual do autor com a poesia dialetal italiana. Partindo do recolhimento dos cantos dialetais feitos por folcloristas do Oitocento, tais como Pitrè, Tommaseo e Nigra, Pasolini elucubrou a poesia dialetal como a poesia popular italiana por excelência. Nesse sentido, pretende-se demonstrar como Pasolini, mediado pela leitura dos trabalhos dos críticos Benedetto Croce e Gianfranco Contini, promoveu um mapeamento das principais referências que justificariam as possíveis afinidades da poesia em dialeto com a poesia dita popular. Autores como Dante, Vico, Rousseau, Herder e Giovanni Pascoli foram mobilizados por ele dentre aqueles que pensavam a poesia como sendo a primeira linguagem entre os homens, sendo ela proveniente do vulgo e, sobretudo, como fruto de uma atividade sentida e imaginada. / [en] In 1960, Pier Paolo Pasolini published by Einaudi publishing his book of poetic essays entitled Passione e Ideologia. That work reflects the emotional and intellectual relationship of the author with the Italian dialectal poetry. Starting from the gathering of dialectal songs done by folklorists of the Italian Oitocento such as Pitrè, Tommaseo and Nigra, Pasolini thought over the dialectal poetry as a popular Italian poetry par excellence. In this sense, we intend to demonstrate how Pasolini, refereed by reading the works of the critics Benedetto Croce and Gianfranco Contini, promoted a mapping of the main references that justify the possible affinities of poetry in dialect with a alleged folk poetry. Authors such as Dante, Vico, Rousseau, Herder and Giovanni Pascoli were mobilized by him among those who thought poetry as the first language of men, coming from the vulgar, and above all, as the result of a felt and imagined activity.