A dissertação A volta do Horla estuda a recepção crítica e criativa de Guy de Maupassant (1850-1893) no Brasil, o contista francês mais representativo do século XIX. Esse escritor foi lido, traduzido e comentado nos jornais Gazeta de Noticias, Correio Paulistano, Jornal do Commercio, O Estado de São Paulo (A Provincia de São Paulo, até 1889), de 1880 a 1921, bem como nos principais estudos críticos e bibliográficos de historiadores da Literatura Brasileira, os quais compõem o corpus desta pesquisa. Sua presença é também encontrada em obras ficcionais no período que compreende o Realismo-Naturalismo e o Pré-Modernismo brasileiros, de que são exemplos os livros de contos de Monteiro Lobato (1882-1948). Esse corpus, aqui analisado e interpretado, mostra-nos as diversas leituras feitas pelas variadas correntes críticas em voga no Brasil. Tomam por base critérios literários ou não-literários, estimulados pela vasta produção e particular variedade da obra em questão e pelo conhecimento difundido da vida do autor. Permite-se aqui, portanto, mais um momento de releitura crítica desse escritor, revelado por olhares ora esquecidos e não raro desconhecidos dos estudiosos de Guy de Maupassant. / The dissertation The Horla Return studies the critical and creative reception of Guy de Maupassant (1850-1893) in Brazil, the most representative French storyteller of the 19th century. This writer was read, translated and commented in newspapers Gazeta de Noticias, Correio Paulistano, Jornal do Commercio, O Estado de São Paulo (A Provincia de São Paulo, up to 1889), between 1880 and 1921, as well as in the main critical and bibliographical studies of Brazilian Literature historians, which compose the corpus of this research. Its presence is also found in ficcional works in the period which includes Brazilian Realism-Naturalism and Pre-Modernism, of which the story books of Monteiro Lobato (1882-1948) are examples. This corpus, here analysed and interpreted, discloses diverse readings made for the various critical current in vogue in Brazil. It has as background literary or nonliterary criteria, stimulated for the vast production and internal variety of the work itself and by the knowledge difusion of author\'s life. It is allowed here, therefore an additional moment of critical reading of this writer, depicted through the eyes either forgotten or unknown of Guy de Maupassant\'s scholars.

En 1888, le romancier américain Henry James écrit dans ses carnets intimes «Ô esprit de Maupassant, aidez-moi.» Cette invocation de l’écrivain français qu’il avait rencontré lors d’un séjour à Paris en 1875-1876, marque un changement important dans l’œuvre de James et présage de l’évolution de sa production de récits brefs pendant les années 1890. L’objectif de cette étude est d’exposer et d’explorer les connections entre ces deux auteurs du 19ème siècle en analysant les essais critiques de James sur le réalisme français, ainsi que ses romans et nouvelles inspirées par l’œuvre de Maupassant.Cette analyse comporte cinq chapitres ainsi qu’une introduction faisant état d’un angle mort dans le champ critique des études sur le sujet. Le premier chapitre traite, selon une perspective historique, de l’évolution de Henry James en tant que critique littéraire dans ses essais sur le réalisme français de 1865 à 1878. Le chapitre deux relate l’année que le jeune auteur passe à Paris parmi les auteurs du cercle flaubertien. Le troisième chapitre démontre l’évolution de l’esprit critique de James en analysant ses essais critiques sur Guy de Maupassant (1888,1889) et une présentation de sa philosophie sur sa propre production de nouvelles. Le chapitre quatre explore la réception critique et la traduction des œuvres de James et de Maupassant. Le cinquième et dernier chapitre présente une analyse d’œuvres de James influencées par les contes et nouvelles de Maupassant.Grâce à l’influence de Maupassant, James poursuivra pendant une décennie l’esprit de cet auteur sans jamais vraiment y parvenir. Cette quête l’amènera néanmoins à une redéfinition significative de son propre style. / In 1888, Henry James wrote in his notebooks, "Oh spirit of Maupassant, come to my aid!" This invocation of the French writer whom he met in Paris in 1875-76 marked a major change in James' work and introduced an evolution in his production of short fiction during the 1890s. The purpose of this study is to present the connections between these two authors by analyzing James's critical essays on French realism as well as his short fiction inspired by Maupassant's work.This critical study consists of five chapters as well as an introduction which points to a "blind spot" in the critical field of Henry James studies in relation to Maupassant. The first chapter analyzes Henry James as a literary critic in his essays on French realism published from 1865 to 1878. Chapter two relates the year spent in Paris during James's youth among the literary giants of Flaubert's circle. The third chapter demonstrates the evolution of James' critical thinking by analyzing his essays on Guy de Maupassant (1888, 1899) and a presentation of his philosophy on his own literary production of short fiction. Chapter four explores the critical reception and translation these authors' works of fiction in country the language of the other. The fifth and final chapter presents a textual analysis of works by Henry James influenced by Maupassant's contes and nouvelles.Following his encounter and his reading of Maupassant, James will pursue the spirit of this writer during the decade of the 1890s. However, James does not fully succeed in his attempts to imitate Maupassant. This quest will nevertheless lead to a significant redefinition of his own style.

A dissertação A volta do Horla estuda a recepção crítica e criativa de Guy de Maupassant (1850-1893) no Brasil, o contista francês mais representativo do século XIX. Esse escritor foi lido, traduzido e comentado nos jornais Gazeta de Noticias, Correio Paulistano, Jornal do Commercio, O Estado de São Paulo (A Provincia de São Paulo, até 1889), de 1880 a 1921, bem como nos principais estudos críticos e bibliográficos de historiadores da Literatura Brasileira, os quais compõem o corpus desta pesquisa. Sua presença é também encontrada em obras ficcionais no período que compreende o Realismo-Naturalismo e o Pré-Modernismo brasileiros, de que são exemplos os livros de contos de Monteiro Lobato (1882-1948). Esse corpus, aqui analisado e interpretado, mostra-nos as diversas leituras feitas pelas variadas correntes críticas em voga no Brasil. Tomam por base critérios literários ou não-literários, estimulados pela vasta produção e particular variedade da obra em questão e pelo conhecimento difundido da vida do autor. Permite-se aqui, portanto, mais um momento de releitura crítica desse escritor, revelado por olhares ora esquecidos e não raro desconhecidos dos estudiosos de Guy de Maupassant. / The dissertation The Horla Return studies the critical and creative reception of Guy de Maupassant (1850-1893) in Brazil, the most representative French storyteller of the 19th century. This writer was read, translated and commented in newspapers Gazeta de Noticias, Correio Paulistano, Jornal do Commercio, O Estado de São Paulo (A Provincia de São Paulo, up to 1889), between 1880 and 1921, as well as in the main critical and bibliographical studies of Brazilian Literature historians, which compose the corpus of this research. Its presence is also found in ficcional works in the period which includes Brazilian Realism-Naturalism and Pre-Modernism, of which the story books of Monteiro Lobato (1882-1948) are examples. This corpus, here analysed and interpreted, discloses diverse readings made for the various critical current in vogue in Brazil. It has as background literary or nonliterary criteria, stimulated for the vast production and internal variety of the work itself and by the knowledge difusion of author\'s life. It is allowed here, therefore an additional moment of critical reading of this writer, depicted through the eyes either forgotten or unknown of Guy de Maupassant\'s scholars.

Esta pesquisa se debruça sobre a produção fantástica do escritor francês Guy de Maupassant (1850-1893), concentrando-se em um conto publicado pelo autor em três versões: Carta de um louco, de 1885 e O Horla, de 1886 e 1887. Para tanto, o trabalho realiza a leitura de autores representativos das principais teorias literárias acerca da literatura fantástica, identificando em cada um elementos que auxiliem na compreensão da obra de Maupassant, apontando as diferenças entre eles e, finalmente, optando por uma compreensão ampla do gênero fantástico, próxima àquela elaborada por Jean-Paul Sartre. À luz de tal compreensão, realizamos a leitura de algumas obras da contística maupassantiana, comparando-as com a de Edgar Allan Poe antecessor no gênero e referência para o autor e procurando entender a influência do pensamento positivista e cientificista na obra do autor. Ao identificar os principais traços da concepção de fantástico do próprio autor, buscamos estabelecer pontos de convergência entre seus contos realistas e fantásticos, chegando a uma forma de compreensão de sua produção fantástica que independa da presença ou sugestão de elementos sobrenaturais na narrativa. Por meio de uma articulação entre aspectos formais, temáticos e imagéticos, realizou-se então a leitura comparada das três versões do conto, dedicando especial atenção à posição do narrador em cada uma delas e à forma como a diminuição gradativa da distância estética aprofunda o sentimento de inquietante. / This research studies the production of fantastic literature by the French writer Guy de Maupassant (1850-1893), focusing on a short story published by the author in three versions: \"Letter of a madman\" (1885) and \"The Horla\" (1886, 1887). The research starts with a reading of representative authors associated to leading literary theories about fantastic literature, identifying elements that contribute to the understanding of Maupassant\'s work, indicating the differences among them and finally, selecting a comprehensive interpretation of the fantastic genre close to the one developed by Jean-Paul Sartre. In light of this interpretation, we read a selection of stories from Maupassant, comparing these works to Edgar Allan Poe\'s literature precursor of the genre and a key reference to Mauppasant , in order to understand the influence of positivist and scientism thinking on the author\'s work. By identifying the main features of Maupassant\'s own fantastic literature conception, we seek to establish points of convergence between his realistic and fantastic stories, which results in an understanding of his fantastic production that stands independently from the presence or suggestion of supernatural elements in the narrative. Building on the articulation between formal, thematic and imagery elements, a comparative reading of the three versions of the story was done, paying special attention to the narrator\'s position in each of the elements, and the manner in which the gradual decrease of the aesthetic distance deepens the feeling of disturbance.

Quand un écrivain est-il né ? Nous tentons de répondre à cette question en ce qui concerne Guy de Maupassant (1850-1893). Nous examinons d’abord les œuvres de jeunesse, écrites dans les années 1870, poésie, théâtre et prose, où Maupassant rejette le romantisme sentimental et exprime sa vision matérialiste du monde, en s’attachant au corps et à la nature. Dans ces exercices poétiques, il acquiert un art descriptif impressionniste aussi bien que ses principes littéraires comme l’originalité et l’indépendance. Nous abordons ensuite la transformation du poète en prosateur, en nous focalisant sur la nouvelle « Boule de suif » (1880). Lorsque le poète projette ses regards autour de lui, il peut enfin objectiver sa propre vision. La prose lui permet de socialiser son regard critique. La découverte de cette potentialité de la prose est suivie de celle du journalisme, qui aide notre écrivain à élargir son monde littéraire. En suivant par étapes l’activité journalistique de Maupassant, nous constatons la consolidation de son esthétique réaliste, où faire vrai et faire beau ne font qu’un, l’esthétique et l’éthique s’unissant solidement. De plus, en unissant le fait divers et la fiction, il trouve dans le récit bref sa propre forme littéraire susceptible de toucher le lecteur. Enfin Une vie (1883), premier roman, en rassemblant toutes les caractéristiques de la prose de Maupassant, représente pleinement sa vision personnelle du monde, désabusée et pessimiste. Notre étude permettra de comprendre que la naissance d’un écrivain ne s’est pas faite en un jour. En suivant le parcours de l’écrivain, il sera ainsi possible d’éclairer les sens des expériences et de la maturité d’un homme. / When was a writer born? We try to answer this question in the case of Guy de Maupassant (1850-1893). We examine at first his young works, left in the 1870s, such as the poetry, the theater plays and the prose, in which Maupassant rejects the sentimental romanticism, and expresses his materialistic vision of the world, by growing attached to the body and to the nature. In these poetic exercises, he acquires the impressionistic descriptive art as well as his own literary principles such as originality and independence. Then, we consider the conversion of the poet to the prose-writer, by focusing on the “Boule de suif” (1880). When the poet throws his eyes around him, he can finally objectivize his own vision. The prose allows him to socialize his critical eye. The discovery of this potentiality of the prose is followed by that of the journalism, which helps our writer to enlarge his literary world. By following stage by stage the journalistic activity of Maupassant, we notice the consolidation of his realistic aesthetics, where to make really and to make beautiful are only one, the aesthetics and the ethics uniting firmly. Furthermore, by uniting the news item and the fiction, he finds in the brief narrative his own literary shape susceptible to touch the reader. Finally Une vie (1883), the first novel, collecting all the characteristics of the prose of Maupassant, represents completely his personal vision of the world, disenchanted and pessimistic. Our study allows us to understand that the birth of a writer is not made in one day. By following the career of the writer, we can enlighten the meanings of the experiments and of the maturity of a man.

Le propos de « l'amitié dans l'œuvre de Guy de Maupassant » consiste à découvrir, étudier et analyser les occurrences de cette thématique dans le corpus maupassantien afin d'autoriser une nouvelle lecture de cette œuvre parfois ancrée dans certaines visions restrictives et tranchées comme le pessimisme qui la caractérise trop souvent alors qu'elle offre de multiples visages et notamment de plus favorables et humains. À cette fin, il est important d'une part de mettre en avant le comportement dans l'amitié de l'écrivain ainsi que celui de son entourage à son égard et d'autre part d'aborder également cette notion relationnelle et émotionnelle dans les domaines philosophique et littéraire afin d'en déterminer efficacement les différents aspects, tout en observant les liens et les rapprochements avec ces conceptions et ces visions de l'amitié qui peuvent constamment apparaître dans les textes (romans, contes, nouvelles, chroniques, essais, poèmes, pièces dramatiques mais également la correspondance) de l'auteur. L'étude à proprement parler du corpus non seulement confirme la présence de ce thème inabordé jusque là, mais dévoile en outre un traitement singulier de l'amitié par Maupassant parmi les thématiques qui sont les siennes dans son œuvre. Ce traitement souligne une place exceptionnelle, rare et privilégiée accordée à l'amitié qui semble préservée et mise à part dans la conception maupassantienne des échanges humains. La présence de l'amitié et la manière de l'exploiter à travers les divers genres du corpus permet ainsi de porter un nouveau regard sur l'œuvre de l'homme de lettres, un regard nettement plus humain et sympathique. / The aim of « friendship in the work of Guy de Maupassant » consists in discovering, studying and analyzing the occurrences of this thematic in the writer's corpus in order to allow a renewed reading of this work which is sometimes too set in some restrictive and clear-cut visions such as the pessimism which characterizes it too often while it offers multiple faces, in particular more favorable and human ones. To that purpose, it is important on one hand to point up the behavior in friendship of the writer as well as that of its circle of acquaintances towards him and on the other hand to address also this relational and emotional notion on the philosophic and literary domains to determine effectively the various aspects, while observing the links and the connections with these concepts and visions of the friendship which can constantly appear in the different texts (novels, tales, short stories, chronicles, essays, poems, dramatic plays but also the correspondence) of the writer. The study strictly speaking of the corpus not only confirms the presence of this unapproached theme so far, but reveals furthermore a singular handling of friendship from Maupassant among the themes which are his ones in his work. This handling underlines an exceptional, rare and privileged place granted to friendship which seems protected and set apart in the Maupassant's idea of the human exchanges. The presence of friendship and the way of exploiting it through the various genres of the corpus allows then to take a new gaze at the work of Maupassant, a gaze clearly more human and filled of sympathies.

Thèse--Zurich. / Bibliography: p. 106-108.

Thèse--Zurich. / Bibliography: p. 106-108.

Submitted by Kedrini Domingos dos Santos (keds_dom@yahoo.com.br) on 2018-07-14T02:50:45Z No. of bitstreams: 1 Kedrini Santos.pdf: 2435191 bytes, checksum: 07c6040775628d88db092f42635d548a (MD5) / Approved for entry into archive by Aline Aparecida Matias null (alinematias@fclar.unesp.br) on 2018-07-16T17:20:21Z (GMT) No. of bitstreams: 1 santos_kd_dr_arafcl.pdf: 2435191 bytes, checksum: 07c6040775628d88db092f42635d548a (MD5) / Made available in DSpace on 2018-07-16T17:20:21Z (GMT). No. of bitstreams: 1 santos_kd_dr_arafcl.pdf: 2435191 bytes, checksum: 07c6040775628d88db092f42635d548a (MD5) Previous issue date: 2018-05-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Cette thèse vise à réaliser une étude comparative entre les écrivains Guy de Maupassant et Villiers de L'Isle-Adam (1838-1889), d'importants écrivains français de la seconde moitié du XIXe siècle. En réunissant ces deux écrivains, avec des esthétiques si distinctes (Villiers est souvent associé au Symbolisme / Décadentisme tandis que Maupassant est lié au Réalisme / Naturalisme), nous cherchons à voir comment ils développent, de manière personnelle et unique, le thème de l'illusion et l'amour dans ses œuvres, notamment dans les romans L'Ève future (1883), de Villiers, et Fort comme la mort (1889), de Maupassant. Dans ces deux œuvres, l'amour et l'illusion sont associés à la figure féminine, centrale au monde civilisé, considérée avec suspicion. En outre, nous trouvons dans les deux romans la critique à la société française contemporaine et à ses valeurs. L'artiste, au milieu de ce monde illusoire et superficiel, se trouve face au dédoublement du bien-aimé, aspect qui laisse entrevoir la fracture entre le soi et le monde et penser la question de l'existence humaine et de sa finitude / Esta tese tem por objetivo realizar um estudo comparado entre os escritores Guy de Maupassant e Villiers de L’Isle-Adam (1838-1889), importantes escritores franceses da segunda metade do século XIX. Ao aproximar esses dois escritores, com estéticas tão distintas (Villiers é comumente associado ao Simbolismo/Decadentismo, enquanto Maupassant é relacionado ao Realismo/Naturalismo), buscamos observar como eles desenvolvem, de forma pessoal e única, a temática da ilusão e do amor em suas obras, especialmente nos romances L’Ève future (1883), de Villiers, e Fort comme la mort (1889), de Maupassant. Nestas duas obras, o amor e a ilusão associam-se à figura feminina, central no mundo civilizado, a qual é vista com desconfiança. Além disso, encontramos nos dois romances a crítica à sociedade francesa contemporânea e a seus valores. O artista, em meio a esse mundo ilusório e superficial, depara-se com o desdobramento do ser amado, aspecto que permite entrever a fratura entre o eu e o mundo e pensar a questão da existência humana e de sua finitude. / This thesis aims to conduct a comparative study between the writers Guy de Maupassant and Villiers de L'Isle-Adam (1838-1889), important French writers of the second half of the nineteenth century. By approaching these two writers, with so distinct aesthetics (Villiers is commonly associated with symbolism/decadent, while Maupassant is related to realism/naturalism), we seek to observe how they develop, in a personal and unique way, the thematic of illusion and love in their works, especially in the novels L’Ève Future (1883), De Villiers, and Fort comme la mort (1889), of Maupassant. In these two works, love and illusion are associated with the female figure, central to the civilized world, considered with suspicion. In addition, we find in both novels criticism of contemporary French society and its values. The artist, in the midst of this illusory and superficial world, finds himself confronted with the doubling of the beloved, an aspect that suggests the fracture between the self and the world and the question of human existence and its finitude. / 88882.180354/2018-01

Le récit enchâssé émerge comme concept au début du XXe siècle, à la faveur des travaux formalistes sur le recueil de nouvelles. Il ne se développe véritablement que dans les années soixante, sous la plume de Todorov et de Genette. Mais alors, il est moins étudié qu’effleuré. Aucune définition consensuelle ne se dégage chez les narratologues. On prête au dispositif une origine millénaire, sans bien expliquer la persistance intacte d'un procédé d'écriture depuis l'Inde ancienne. Le récit enchâssé a été davantage un mythe critique qu'un objet d'étude. Cette thèse se propose de reprendre la conceptualisation là où elle s'est arrêtée : à l'intuition que certains textes contiennent des récits en surplus. Par des décrochages typographiques, par un changement d'énonciateur, par une variation temporelle, par une série de marquages spécifiques, un récit peut être mis en relief dans l'espace textuel. L'enchâssement, alors, ne serait que le fait de cette mise en relief, qu'elle s'effectue ou non dans un texte littéraire, qu'elle porte ou non sur un texte narratif. Y a-t-il légitimité, dès lors, à parler d'un « récit enchâssé » ? A-t-il existé dans l'histoire une technique homogène de mise en relief d'un récit ? En posant cette question sur les récits courts du XIXe siècle (1800-1890), cette thèse s'efforce également d'expliquer l'apparition de la notion. Car c'est au XIXe siècle que, pour la première fois, le recueil de nouvelles est comparé à une fiction indépendante, en l'occurrence, une nouvelle. Analyser ce rapprochement permet de découvrir comment a été préparée la possibilité de penser le « récit enchâssé ». / At the beginning of the twentieth century, embedded narrative emerged as a concept, thanks to the research that Russian formalists had carried out on a collection of short stories. But the category came into bloom only in the 1960s, under Todorov and Genette's pens. At that time though, the subject was broached rather than dealt with in depth. No definition based on consensus ever arose from narratology; and the seamless persistence of this narrative technique, dating back to Ancient India, has never been well accounted for. Embedded narrative has always been a critical myth rather than a subject to be studied. The aim of this dissertation is to start where the first tentative conceptualization stopped: the feeling that some texts do contain extra narratives. Inserted stories can be enhanced through typography layouts, changes of narratee, time-related alterations, or by sets of specific markings. Embedding might then mean emphasizing rather than inserting. Is it then legitimate to comment on 'embedded narratives' as such? Was there ever a consistent technique to emphasize narratives? By raising these issues, this dissertation aims at getting to the root of the notion, and addresses the topic by drawing on a large number of short stories published between 1800 and 1890. For during the nineteenth century short stories collections came for the first time closer to independent fiction, precisely to short story. Analyzing this rapprochement will enable us to discover how the very notion of 'embedded narrative’ could come up.