Adaptant la théorie d’Ivan Jablonka sur les rapports entre l’histoire et la littérature ainsi que la théorie de la micro-histoire de Carlo Ginzburg, ce travail se propose d’étudier l’écriture de l’histoire (au sens d’historiographie) dans l’œuvre de deux écrivains contemporains issus de deux aires culturelles et géographiques différentes : l’écrivain français Patrick Modiano et le romancier iranien Amir Hassan Cheheltan. L’étude se concentre sur un choix sélectif des textes des deux auteurs. Le corpus des textes de Modiano est formé par les œuvres suivantes : La Place de l’étoile (1968), La Ronde de nuit (1969), Les Boulevards de ceinture (1972) et Dora Bruder (1997) ; de Cheheltan sont abordées les œuvres suivantes : La Salle des miroirs (Talâr-e aïné, 1990), La Mandragore (Mehr-e giâh,1998), Téhéran, ville sans ciel (Tehran, shahr-e bi asséman, 2001) et L’Aube iranienne (Sépidédam-e irani, 2005). Notre étude démontre que malgré l’omniprésence de l’histoire dans ces textes, ils ne respectent pas les critères du traditionnel roman historique et se rapprochent plutôt d’une littérature science-sociale qui, au moyen du raisonnement et de la narration, vise à dire la vérité sur le monde sans pour autant vouloir représenter ou recréer les grands événements historiques ou mettre en scène ses personnages notoires. « Romans-Histoire », ils invitent le lecteur à réfléchir sur les versions officielles de l’Histoire. Quant à Dora Bruder, il s’identifie plutôt à un « texte-recherche » (Jablonka) ou à une enquête micro-historique sans toutefois que la quête modianesque aboutisse à une réponse définitive. Une analyse de nature thématique montre que les deux auteurs s’intéressent à des figures problématiques ou marginalisées dans deux métropoles qui sont le théâtre de l’histoire : Paris (Modiano) ou Téhéran (Cheheltan). En dernier lieu, nous nous penchons sur l’aspect formel et esthétique des deux œuvres pour montrer la diversité des formes mobilisées par les deux auteurs, chacun à l’intérieur de son œuvre et l’un par rapport à l’autre. Il s’agit donc de comparer le traitement thématique, formel, esthétique mais aussi épistémique que ces écrivains réservent à l’Histoire et d’analyser les principales modalités de son inscription dans leurs œuvres. / Adapting Ivan Jablonka’s theories on the relationship of history and literature, and Carlo Ginzburg's notion of “microhistory”, this work aims at studying how two contemporary writers from different cultural and geographical spheres—the French author, Patrick Modiano and the Iranian novelist, Amir Hassan Cheheltan—set about writing history, in the historiographic sense of the term. With a particular focus on Modiano’s La Place de l'Étoile (Place de l'étoile, 1968), The Night Watch (La Ronde de nuit, 1969), Ring Roads (Les Boulevards de ceinture, 1972) and Dora Bruder (1997) and the novels The mirror room (Talar-e aineh, 1990), Mandragora (Mehr-e giah, 1998), Tehran, city without sky (Tehran, shahr-e bi asseman, 2001) and Iranian Dawn (Sepidedam-e irani, 2005) by Cheheltan, this study demonstrates that, despite the omnipresence of history in these texts, none of them actually respect the criteria of the traditional historical novel genre. Rather, it will be suggested, they approach something akin to social-science literature; that is, their narratives endeavor to tell the truth about the world without explicitly representing or re-creating great historical events or portraying great historical figures. Instead, as “Novel-Histories”, these works invite the reader to think about the nature and status of official History. As for Dora Bruder, it can be viewed as “text-search” or a “micro-historical inquiry”; but unlike its more traditional counterparts Modiano’s quest never offers a definitive answer. A thematic analysis will illustrate that the two authors are particularly interested in writing about problematic or marginalized figures in the two metropolises that feature in their work—Paris (Modiano) and Tehran (Cheheltan)—, geographical spaces which are also the theater of history. Finally, the formal and aesthetic aspects of the two works will be explored, with a view to demonstrating their literary and artistic diversity. So, it is a question of comparing how both authors engage with history from a thematic, formal, aesthetic but also epistemic perspective and analyzing the main modes by which history is inscribed in their works.

Avec la conscience grandissante de la constructibilité de l’histoire, l’historiographie et les sciences littéraires se sont beaucoup rapprochées dans les dernières années. Hayden White a montré, dans son livre Metahistory (1973), que dans la construction de l’histoire, les historiens utilisent, pour construire leur récit, des techniques de narration semblables à celles utilisées par les écrivains. La narratologie devient ainsi une discipline qui rend possible le dialogue entre l’historiographie et les sciences littéraires. Par ce dialogue entre les deux disciplines, les théories (post)modernes de l’historiographie et les concepts de la métafiction dans la littérature s’influencent réciproquement. Dans ce contexte, il est d’autant plus intéressant d’analyser le roman Novembre 1918 de l’écrivain allemand Alfred Döblin (1878-1957), qui anticipe sur cette évolution de l’historiographie et de la littérature, mais qui, malgré sa modernité, reste paradoxalement très peu connu et quasiment ignoré par la critique littéraire. Dans son roman historique, Döblin combine le récit épique des faits historiques avec l’analyse existentielle des protagonistes, en vue de décrire l’histoire comme procès. Du point de vue formel, il combine les moyens narratifs expérimentaux et avant-gardistes, avec la conviction traditionnelle de l’auteur réaliste, c’est-à-dire qu’un récit de fiction puisse dire la vérité sur la réalité et l’histoire. Ainsi il crée une forme singulière de récit entre tradition et innovation, forme qu’il caractérise dans ses essais poétologiques à partir de deux concepts clés : « modernes Epos » et « Tatsachenphantasie », « épopée moderne » et « fantaisie de la réalité ». Dans ma thèse, j’entends définir ces concepts clés de la poétique d’Alfred Döblin pour ainsi établir le cadre théorique de l’interprétation du roman Novembre 1918. L’auteur lui-même définit dans ses essais esthétiques la « fantaisie de la réalité » comme union entre des faits réels et des faits fantastiques. C’est pourquoi ma thèse se concentre sur ce jeu fictionnel entre réalité et fantaisie, entre les éléments du récit réaliste et ceux du récit fantastique. « L’incursion de la démonie » et « le narrateur démiurge » sont deux concepts innovateurs de ma thèse qui aideront à mieux comprendre et définir la poétique du roman d’Alfred Döblin. / As a result of the acute understanding of the constructibility of historical writings, the historiography and the literary sciences have come closer in the last few years. Hayden White shows in his book Metahistory (1973) that the narrative techniques historians use in their historical writings are similar to those used by the authors of literary writings. The narratology has also become a discipline, which allows the dialogue between historiography and literary sciences. Thus, the (post)modern theories of historiography and the concepts of metafiction in literature have an impact on one another. In this context, it is more than challenging to analyse the historical novel November 1918 written by the German author Alfred Döblin (1878-1957), as he already anticipates in the 1920es this evolution of historiography and literature. His historical novel November 1918 is, despite its modernity, a relatively unknown novel, not only to the public, but also to the literary critics. Döblin combines in this novel the monumental realistic description of historical events with the existential analysis of his protagonists. As far as the formal aspects are concerned, he combines the experimental narrative techniques of the avant-garde with the traditional elements, thus unveiling the conviction of the traditional realist author that a fictional literary work can bring out a hidden truth about history and reality. Therefore, he creates a unique form of literature linking tradition and innovation. He caracterises this form, in his poetological writings by means of two key-concepts: “modernes Epos” and “Tatsachenphantasie”: “modern epos” and “fantasy of the real”. In my dissertation I intend to define these key-concepts in Alfred Döblin’s poetics with a view to establish the theoretical setting for the interpretation of his novel November 1918. Since Döblin himself defines in his theoretical essays the “fantasy of the real” as portrayal of both real and fantastic elements, my dissertation focuses on this fictional tension between reality and fantasy, between the elements specific to the realist writings and those specific to the fantastic ones. The “incursion of the demonic” and “the narrator demiurge” are two innovative concepts I present in my dissertation. These concepts should lead to a better definition and understanding of Döblin’s novel poetics. / Die Historiographie und die Literaturwissenschaft haben sich in den letzten Jahren sehr viel angenähert. Durch sein bahnbrechendes Buch Metahistory (1973) bringt Haydn White ans Licht, dass sowohl die Schriftsteller als auch die Historiker sich ähnlicher narrativer Verfahren bedienen, um die Wirklichkeit zu beschreiben. Durch dieses Bewusstsein der Konstruktivität und Narrativität von Geschichte ist die Narratologie zur verbindenden Wissenschaft geworden. Darum ist es interessant, sich Alfred Döblins historischem Roman November 1918, einem der großen historischen Romane der deutschen Literatur, zuzuwenden, weil er vieles davon vorwegnimmt, was die (post)modernen Theorien der Historiographie und die metafiktionalen Konzepte der Literatur ins Blickfeld rücken. Aufgrund unglücklicher Rezeptionsbedingungen wurde Döblins Roman bis heute kaum beachtet, sowohl vom Publikum als auch von der literarischen Kritik. In seiner Darstellung der deutschen Revolution verknüpft Döblin die experimentell-avantgardistischen Erzählverfahren und das Misstrauen gegenüber der Erzählbarkeit der Geschichtsprozesse mit der traditionellen Einstellung, dass eine fiktive Erzählung die Wahrheit über Wirklichkeit und Geschichte sagen kann. Dementsprechend schafft er eine einzigartige Erzählform zwischen Tradition und Innovation, die er bereits in seinem Berliner Programm anhand von zwei Schlüsselbegriffen definiert: „modernes Epos“ und „Tatsachenphantasie“. Meine Arbeit versucht, Döblins Geschichtsepos November 1918 im Lichte dieser zwei Begriffe zu analysieren und zu zeigen, wie Döblin sein ästhetisches Postulat der „Tatsachenphantasie“ in seinem Roman literarisch realisiert. Da Döblin selbst die „Tatsachenphantasie“-Ästhetik als Verbindung der wirklichen und der phantastischen Fakten und Elementen definiert, befasse ich mich in meiner Arbeit mit diesem Zusammenspiel zwischen den narrativen Formen der realistischen Erzählung und denjenigen Motiven und Elementen, die in den phantastischen Erzählungen vorkommen. „Der Einbruch des Dämonischen“ und „der Erzähler als Demiurg“ sind zwei innovative Schlüsselkonzepte meiner Arbeit, die zu einer besseren Begriffsbestimmung von Döblins „Tatsachenphantasie“-Ästhetik führen werden. / Thèse réalisée en co-tutelle avec l'Université Libre de Berlin, Institut für Deutsche und Niederländische Philologie

Cette thèse se propose d'étudier les différentes manifestations de l'ironie dans la poétique romanesque de L'Homme qui rit de Victor Hugo selon trois axes d'étude. Le premier s'organise autour d'une analyse de l'énonciation polyphonique dans le roman. Qui prend en charge le récit et avec quelles intentions? Les propos des personnages sont souvent empreints d'ironie, et sont commentés par le narrateur ou l'auteur. Nous observons surtout la fonction de ses paroles dans l’énoncé : comment leur insertion influence-elle le déroulement du récit? Pourquoi favorisent-elles les manifestations de l’ironie? Puis, le deuxième axe de notre réflexion s'interroge sur le mélange des genres qui favorise également l’émergence de la parole ironique. L'utilisation de l’ironie permet à Victor Hugo de porter un regard critique sur son travail d'écrivain en reconsidérant ses pratiques d’écriture. Dans son roman L'Homme qui rit,il se veut, d’abord, poète en proposant une écriture proche de celle du texte poétique où l’image figure les idées et favorise aussi le registre ironique. L’auteur endosse aussi le rôle de dramaturge en mettant en scène la parole pour la rendre plus ironique et, en même temps, le travail de sape permanent de l’ironie ne fait qu’amplifier les visées politiques et littéraires de l’auteur. Victor Hugo dénonce certaines pratiques politiques afin de remettre en question aussi sa propre expérience d’homme politique. Enfin, le dernier axe de cette étude se propose d'observer la dimension métaphysique de l’ironie au cœur de la poétique en soulignant les différentes influences des mouvements de pensées philosophiques. Dans L’Homme qui rit, on peut distinguer deux choses : l’ironie classique, définie et utilisée au cours de l’Antiquité, et l’ironie moderne, apparaissant à la fin du 18ème siècle, qui correspond à l’émergence de l’ironie romantique. Dans le roman, l’ironie verbale s’inspire des procédés rhétoriques employés par les philosophes de l’Antiquité mais aussi de l’antiphrase, arme favorite des philosophes des Lumières pour qui la littérature ne se présente plus seulement comme un témoignage ou la critique d’une époque, mais elle devient aussi un intermédiaire entre l’écrivain et son lectorat afin que ce dernier s’interroge davantage sur sa condition et sur tout ce qui l’entoure. Dans L'Homme qui rit, l’utilisation de l’ironie n'a pas seulement pour vocation de railler, elle permet au lecteur d’étendre et d’approfondir sa réflexion sur sa propre condition. / This thesis suggests studying the various appearances of irony in the romantic poetics of The Man who laughs by Victor Hugo according to three axes of study. The first one gets organized around an analysis of the polyphonic statement in the novel. Who takes care of the narrative and what are the intentions? The comments of the characters are often tinged with irony, and are commented upon by the narrator or the author. We observe especially the function of his words in the statement: how does their insertion influence the unfolding of the narrative? Why do they favor the demonstrations of irony? Then, the second axis of our reflection leads us to wonder about the mixture of the genres which also favors the emergence of the ironic word. The use of irony allows Victor Hugo to take a critical look at his work of writer by reconsidering his practices of writing. In his novel The Man who laughs, he is meant to be, at first, a poet by proposing a writing close to that of the poetic text where the image represents the ideas and also favors the ironic register. The author also assumes the role of playwright by staging the word to make it more ironic and, at the same time, the permanent undermining of irony is only amplifying the political and literary aims of the author. Victor Hugo denounces some political practices to question also his own experience as a politician.

Après avoir distingué trois aspects explicatifs propres au roman (aspects psychologique, social ou romanesque) et défini, grâce à eux, trois types de romans (romans de caractères, de mœurs ou d’intrigue), ce travail s’intéresse plus particulièrement au roman de mœurs à l’époque de la Restauration et de la Monarchie de Juillet. Héritant de toute une tradition, ce genre s’illustre particulièrement dans le roman historique à la Walter Scott, puis dans le roman contemporain des physiologies. Balzac, d’abord influencé par le roman de mœurs en tant que tel, développe dans La Comédie humaine une forme hybride (mêlant aspects social et psychologique, roman de caractères et roman de mœurs), que l’on peut appeler roman réaliste (on y note un surinvestissement du vraisemblable romanesque). Cette définition du réalisme n’aplanit en rien les différences entre tel ou tel auteur ; elle permet, au contraire, de prendre la mesure des poétiques bien particulières développées par des romanciers comme Stendhal, George Sand ou Champfleury. / After having distinguished three explicative aspects of the novel (the psychological, social and plot-driven aspects) and defined three corresponding types of novels (novels of characters, manners and plot), this work focuses on the novel of manners during the Bourbon Restoration and the July Monarchy. Heir to quite an old tradition, this genre is at its peak with the Scottian historical novel and the novel of contemporary manners of the 1820’s. Balzac, first influenced by the novel of manners, develops in The Human Comedy a hybrid form (combining social and psychological aspects, novel of characters and novel of manners), which we may call the realistic novel (characterized by an overloading of verisimilitude). This definition of realism does not erase the differences between the authors; it allows, on the contrary, to appreciate the specific poetics developed by Stendhal, George Sand or Champfleury.

Made available in DSpace on 2014-06-11T19:32:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-12-05Bitstream added on 2014-06-13T18:44:15Z : No. of bitstreams: 1 fleck_gf_dr_assis.pdf: 1496681 bytes, checksum: b239b26acf221258c987f20810cb64d4 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Apoiado nos pressupostos da literatura comparada, o presente estudo investiga as principais produções de romances no contexto da poética do descobrimento em terras americanas, cujas produções incluem obras que revelam desde o discurso apologético ao paródico e carnavalizado. Tais releituras se alimentam das imagens dicotômicas de Colombo, expostas tanto pela historiografia tradicional como pela nova história e pelo romance histórico. Partindo de um corpus bastante amplo, com romances produzidos em diferentes períodos, objetiva-se, primeiramente, destacar o discurso apologético presente nas produções norte-americanas desde o romantismo até a contemporaneidade para, em seguida, ao abordar a produção hispano-americana da temática – iniciada na década de 70 do século XX – mostrar que esta modalidade de novo romance histórico acabou influenciando as produções sobre o descobrimento em todo o território americano, levando determinados romancistas norteamericanos a se alinharem com os logros estéticos da literatura hispano-americana. Como conseqüência deste processo, temos, na literatura norte-americana contemporânea, um conjunto de obras que inclui a dialética da apologia e da paródia em relação à poética do descobrimento, fato que revelamos pela análise de um corpus específico. O procedimento de seleção do corpus levou em conta, para sua delimitação, os seguintes critérios: obras que pertencessem à modalidade romance histórico americano contemporâneo; que fossem oriundas de cada uma das três Américas; e que fossem representativas de cada uma das modalidades contemporâneas de romance histórico em língua espanhola e inglesa... / Supported by the principles of Compared Literature, the present study investigates the main novels’ productions on the poetry of the discovery in America, whose fictional production includes works with different discourses, from the apology to parody and carnivalization. Such re-elaborations have as one of their sources the dichotomic images of Columbus widespread by both the traditional historiography and the new history, as well as the historical novel. Based on a comprehensive corpus of historical novels produced in different periods in America, we firstly intend to prove that this literary genre in North America has produced a discourse of apology since Romanticism until contemporary times, and then, by approaching the Hispanic American fictional production of the theme – which started around the 70s of the 20th century –, to show that this kind of historical novel has eventually influenced the whole fictional production on the discovery in the whole American continent. This fact made some of the North American novelist align themselves with the aesthetic aspects achieved by the Hispanic American Literature. As a consequence of this process, the current North American Literature presents a number of works including the dialectic of apology and parody in relation to the discovery, which can be confirmed by the analyses of works from our corpus. In the selection of this corpus, we considered the following criteria: works classified as contemporary American historical novels; works produced in each of the three Americas; and works which are representative of the different... (Complete abstract click electronic access below)

Orientador: Antonio Roberto Esteves / Banca: Heloisa Costa Milton / Banca: Maria Dolores Aybar Ramirez / Banca: Silvia Inês Cárcamo / Banca: Lygia Rodrigues Vianna Peres / Resumo: Este trabalho tem como objetivo analisar os seis romances que constituem a série El capitán Alatriste (1996-2006), do escritor espanhol Arturo Pérez-Reverte, com o intuito de comprovar a tese de que a reescritura do século XVII espanhol elaborada pela série tem a pretensão de veicular um conhecimento "objetivo e verdadeiro" da história, por meio de uma visão monológica dos fatos históricos ficcionalizados, reafirmando, assim, pressupostos da narrativa histórica clássica. Para tanto, apoiamos nossa análise na investigação do hibridismo formal, que se configura por meio da exploração simultânea de gêneros, tais como a narrativa histórica, as memórias, o romance de formação, o romance picaresco e o romance-folhetim, cujo paradigma é ditado pela obra de Alexandre Dumas. Na análise da releitura do folhetim, servimo-nos das teorizações de Umberto Eco (1964 e 1978) sobre a literatura de massa, procurando demonstrar que as narrativas assumem formas recorrentes, nas quais detectamos homologias entre as estruturas narrativas, o enredo e as proposições ideólogicas do autor No exame dos procedimentos narrativos, analisamos, dentre outros aspectos, as características do personagem-narrador, o qual funciona como intérprete autorizado dos acontecimentos históricos ficcionalizados, na medida em que se configura também como porta-voz do sistema de valores preconizado nos romances. Assim sendo, demonstramos que a revisitação da história espanhola proposta pelos romances tende a enaltecer as dimensões heróicas da história imperial espanhola. / Abstract: This research was carried out to analyze the six novels of the series El capitán Alatriste (1996- 2006), by the Spanish writer Arturo Pérez-Reverte, to prove the thesis that the rewriting of the Spanish 19th century organized by the series claims at spreading an "objective and true" knowledge of history, by means of a monological vision of historical facts turned into fiction, thus reaffirming the presuppositions of classical historical narrative. Therefore, our analysis is based on the investigation of the formal hybridism which is formed by means of the simultaneous exploitation of genres, such as the historical narrative, memoirs, the didactic novel, the picaresque novel and the serial novel whose paradigm is provided by Alexandre Dumas' works. In the analysis of serial rewriting, we made use of Umberto Eco's theorizations (1964 and 1978) about mass literature, trying to prove that narratives takes on recurrent forms, in which one may find out homologies between the narrative structures, the plot and the author's ideological propositions. In the examination of the narrative procedures, among other features we analyzed the characteristics of the character-narrator, who acts as an authorized interpreter of the historical events turned into fiction, to the extent that he also takes the shape of a spokesman of value system confirmed in the novels. In that case, we proved that the revisiting of the Spanish history proposed in novels tends to exalt the heroic dimensions of the Spanish imperial history. / Doutor

abstract: Globalization has brought a renewed interest in the discourses of the past and national/ethnic identities that has been reflected in the cultural production and the social sciences around the globe. Historical novel (and their sequel telenovelas), a literary field closely linked to historiography, reflects, and has contributed to (re)shape the discourses of the past and identity in Latin America. Since the first decades of the 19th century until nowadays, Colombian novelists have explored Colombian identity through historical novels. Their plots and characters are highly influenced by new historiographical trends. During the19th and the first half of the 20th century, Romantic and Realist novels were generally constructed over historicist assumption of the past: the belief that it is possible to acquire a completely “objective” knowledge of the past. However, some outstanding Colombian historical novels, such as La Marquesa de Yolombó (1928), challenged this notion of the past. Since the last decades of the 20th century, Colombian historical novels share an attitude toward the past that Linda Hutcheon has defined as Historiographical Metafiction. This approach to history challenges the idea of an objective total history, and emphasizes the importance of the personal experiences, the subjectivity, of their characters and of the narrative voices. Donde no te Conozcan (2007), Trí¬ptico de la Infamia (2016), and Mancha de la Tierra (2014) are three Colombian historical novels written in the 21st century that share this attitude towards history. They question the nineteenth-century interpretations of Colombian history, especially those related to the role of Jews, Moors, Indigenous, Africans, and mestizos in the colonial social dynamics, and, therefore, in Colombian culture. / Dissertation/Thesis / Doctoral Dissertation International Letters and Cultures 2018

CoordenaÃÃo de AperfeiÃoamento de NÃvel Superior / A busca por uma revelaÃÃo do passado, durante o romantismo, concretizou-se no romance histÃrico, o qual, mesmo tendo perdido popularidade entre os escritores com o advento da influÃncia de teorias cientificistas ao final do sÃculo XIX, nÃo foi de todo abandonado e, tomando um novo fÃlego a partir do segundo quartel do sÃculo XX, chegou aos nossos dias com variadas nomenclaturas. Essa diferenciaÃÃo entre os termos à considerada vÃlida e està sendo usada em diversas pesquisas e anÃlises de romances contemporÃneos de fundo histÃrico. O que se levanta na presente pesquisa, no entanto, pÃe em dÃvida o conceito contemporÃneo do subgÃnero, pois o questionamento de grandes verdades atravÃs da ironia jà estava em uso desde o sÃculo XIX no Brasil. Daà vem a ideia de analisar as obras e os conceitos de romance histÃrico e metaficÃÃo historiogrÃfica a partir de suas semelhanÃas e nÃo de suas diferenÃas â como enfatizam os estudos fundamentados no conceito de Linda Hutcheon â, baseando-se em observaÃÃes decorrentes de estudos anteriores, que incluem a anÃlise de As Minas de Prata (1865), do escritor Josà de Alencar, os quais indicaram serem os romances do autor brasileiro tÃo inovadores e questionadores da âverdade histÃricaâ quanto os romances de cunho historiogrÃfico ditos pÃs-modernos, que se adequam ao termo âmetaficÃÃo historiogrÃficaâ, mais precisamente para as obras surgidas a partir da dÃcada de sessenta do sÃculo XX. Intenta-se investigar, o âfazer historiogrÃficoâ de um autor do sÃculo XIX e um do sÃculo XX, sendo Josà de Alencar e Josà Saramago, respectivamente, os escolhidos para a anÃlise, atravÃs dos romances Guerra dos mascates (1958) e Memorial do convento (2011). A investigaÃÃo aborda a configuraÃÃo de romance de cada um, a construÃÃo dos personagens, a abordagem das personalidades histÃricas presentes nas obras e sua relaÃÃo com os personagens ficcionais e, por fim, a construÃÃo do mundo ficcional a partir de perspectivas tÃo distantes temporalmente / The search for a revelation of the past during Romanticism was achieved in the historical novel, which, although having lost its popularity among writers with the advent of the influence of scientific theories at the end of the nineteenth century, was not entirely abandoned and, taking a new breath from the second quarter of the twentieth century, came to our days with varied nomenclatures. This distinction among the terms is considered valid and is being used in several researches and analyzes of contemporary historical background novels. What is raised in the present research, however, calls into question the contemporary concept of the subgenre, once the questioning of great truths through irony was already in use since the nineteenth century in Brazil. Hence the idea of analyzing the works and concepts of historical novel and historiographic metafiction from their similarities and not from their differences â as emphasized by the studies based on Linda Hutcheon‟s concept â, basing itself on observations from previous studies, which include the analysis of the novel Minas de Prata (1865), by the writer Josà de Alencar, which indicated that the Brazilian author‟s novels are as innovative and questioning of âthe historical truthâ as the so-called postmodern historiographical novels that fit the term âhistoriographic metafictionâ, more precisely for the works that emerged from the sixties of the twentieth century. It is attempted to investigate, the âhistoriographical makingâ of an author of the nineteenth century and one of the twentieth century, being Josà de Alencar and Josà Saramago, respectively, the ones chosen for the analysis, through the novels Guerra dos mascates (1958) and Memorial do Convento (2011). The research deals with the novel configuration of each one, the construction of the characters, the approach of the historical personalities present in the works and its relation with the fictional characters and, finally, the construction of the fictional world from such temporarily distant perspectives.

Este estudo tem por objetivo refletir sobre uma figura literária pouco estudada, Manuel Pinheiro Chagas (1842-1895), escritor português considerado pela crítica principalmente como romancista histórico. Ao eleger o romance histórico como narrativa romântica, parece que Chagas tenta disputar espaço com o romance realista/naturalista, mesmo depois da consolidação do Realismo. Por meio da análise de quatro de seus romances, A virgem Guaraciaba (1865), A máscara Vermelha (1873) e a sua continuação O juramento da Duquesa (1873), e A descoberta da Índia. Contada por um marinheiro (1890), verificamos como o projeto literário deste escritor, que se inicia com a efabulação da História, vai convergindo para um realismo pouco romantizado, que ele denominou de estudo histórico romântico. / This study is intended to reflect about the literary understudied character, Manuel Pinheiro Chagas (1842-1895), portuguese writer considered by public opinion mainly as historical novelist. Choosing the historical novel as romance narrative, seems that Chagas tries to establish space with the realistic/naturalist novel, even after the Realism consolidation. Analyzing four of his novels, A virgem Guaraciaba (1865), A máscara Vermelha (1873) and its continuation O juramento da Duquesa (1873), and A descoberta da Índia. Contada por um marinheiro (1890), we could verify how the literary project from this author, that initiates itself with the history creation, starts to converge to a type of less romanticized realism, that he defines as romantic historical study.

Este trabalho compara três romances históricos brasileiros do século XIX: Guerra dos Mascates (1873-4), de José de Alencar, O matuto (1878) e Lourenço (1881), ambos de Franklin Távora. Os três romances se ambientam na Guerra dos Mascates, conflito civil ocorrido em Pernambuco no início do século XVIII. Para o estudo comparativo de tais obras, levou-se em conta o interesse de cada um dos autores ao escrever os romances, bem como suas visões distintas a respeito de tal gênero, que ficaram bastante claras na polêmica das Cartas a Cincinato. Para melhor compreender as obras, este trabalho analisa não só as Cartas críticas de Távora a Alencar, mas a resposta altiva do segundo em seu prefácio Bênção paterna; esse debate será permeado neste trabalho por uma análise breve do contexto romântico do período e seus ideais e mudanças, especialmente no que tange ao romance histórico. Além disso, este trabalho tece uma breve apresentação da Guerra dos Mascates, bem como de sua historiografia, especialmente aquela a que Alencar e Távora podem ter tido acesso. / This paper compares three Brazilian historical novels from the 19th century: Guerra dos Mascates (1873-4), by José de Alencar, O matuto (1878) and Lourenço (1881), both by Franklin Távora. The three novels talk about Mascates War, a civil war that took place in the state of Pernambuco, Brazil, in the early 18th century. To the comparative study of these novels, the interests of both of the writers were taken into consideration. Besides, their different points of view about the historical novel were also considered. These points of view became very clear after Cartas a Cincinato controversy. In order to better understand the books, this paper analyses not only the critical Letters from Távora to Alencar, but also Alencars haughty response called Benção Paterna; this debate will be followed by a short analysis of the Romantic period and its ideals and changes, especially about the historical novel. Furthermore, this paper will briefly present the Mascates War and the historiographical debate about it, especially those documents Alencar and Távora could have read.