Alois Jirásek (1851 - 1930) was an important Czech writer and author of many historical novels and plays. Jirásek's work has always been very popular. After World War II and the onset of communism in Czechoslovakia Jirasek was promoted to the chief authority in interpreting Czech history. The thesis aims to deal with the second life of Alois Jirásek in the 1950's in the context of filmmaking. This thesis will primarily focus on the films Temno (Darkness, 1950), Psohlavci (The Dog Heads, 1955), Jan Hus (1954), Jan Žižka (1955), Proti všem (Against All, 1956) and Ztracenci (Lost Children, 1956).

[pt] A pesquisa tem como objetivo analisar os efeitos ético-políticos de escolhas realizadas por mim na tradução do romance histórico Exílio, de Christina Baker Kline (2020). Enfoca, nessa análise, a tensão entre a perpetuação de uma dominação histórica e a possibilidade de reparação social, baseando-se, para isso, na teoria da invisibilidade e nas definições de tradução domesticadora e estrangeirizante, de Lawrence Venuti, no conceito de habitus, de Pierre Bourdieu, e em posições teóricas sobre a confiabilidade histórica, de Anthony Pym. Adotando como metodologia de pesquisa a abordagem microtextual proposta por Lambert e Van Gorp, o trabalho articula alguns conflitos linguísticos, culturais e ideológicos enfrentados nessa instância particular de tradução literária e como tais escolhas tradutórias apontam para diferentes direções de recepção na língua de chegada. / [en] The research aims to analyze the ethical-political effects of choices made by me for the translation of the historical novel The Exiles, by Christina Baker Kline (2020). It focuses on the tension between the perpetuation of a historical domination and the possibility of social reparation, based on the theory of invisibility and on the definitions of domesticating and foreignizing translation, by Lawrence Venuti, on the concept of habitus, by Pierre Bourdieu, and theoretical positions on historical reliability by Anthony Pym. Adopting the microtextual approach proposed by Lambert and Van Gorp as a research methodology, the work articulates some linguistic, cultural and ideological conflicts faced in this particular instance of literary translation and how such translation choices point to different directions of reception in the target language.

Submitted by Neusa Fagundes (neusa.fagundes@unioeste.br) on 2018-03-02T19:00:40Z No. of bitstreams: 2 Marina_Rohde2017.pdf: 1356351 bytes, checksum: 1eccb9f26cb13ab47fc9693165771c4e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-03-02T19:00:40Z (GMT). No. of bitstreams: 2 Marina_Rohde2017.pdf: 1356351 bytes, checksum: 1eccb9f26cb13ab47fc9693165771c4e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-11-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Based on the studies of fictional narratives that re-read the historical past, the research in question analyzes different modalities of historical novels from the representation of Anita Garibaldi (1821–1849), in perspectives that may vary, from the corroboration of the official discourse to its refutation. Such images of this personality, therefore, extend from the perception that she was only a young woman in love and so as to live a great love she would face any obstacle, to the perception of an idealistic and questioning woman, who would take part in wars for political conviction regardless of his loving involvement with a revolutionary sailor. The corpus that provides us with the basis for the study comes from three different contexts: The United States, Brazil and Argentina. The selection of this material considered criteria such as: the belonging of one of the works to the traditional modality of the genre, whose discourse linked to Anita and Giuseppe Garibaldi (1807–1882) is apologetic; a deconstructive perspective of this character hitherto idealized, in a critical production that presents the protagonist who sees in his partner someone to share ideals and for this reason does not accept to be relegated to live in the shadow of that relationship; and also a modality of historical novel whose ideology is mediative in comparison with these two previous productions, aiming at a configuration of Anita that conjugates the representation of both facets commonly evidenced: the lover and the politics. In this sense, each author, through the specificity of his chosen language and modality, approaches the character of historical extraction by a singular prism - the uncritical, the critical and the mediative. To make this analysis possible, in an interamerican dimension, the works selected are: I Am My Beloved: The Life of Anita Garibaldi (1969), written by the American Lisa Sergio, A Guerrilheira (1979), by the Brazilian João Felício dos Santos and Anita cubierta de arena (2003), by the Argentinian Alicia Dujovne Ortiz. Therefore, we show that the fictional images of Anita Garibaldi also trace a historical and sequential trajectory of the hybrid genre of history and fiction. Hence, the theoretical support of this approach, both to the character and to the different modalities of historical romance, finds support in the studies of Aínsa (1991), Menton (1993), Rodríguez (1996), Esteves (2010), Fleck (2011; 2017), Fernández Prieto (2003), to name but a few. / Com base nos estudos das narrativas ficcionais que releem o passado histórico, a pesquisa em questão analisa distintas modalidades de romances históricos a partir da representação de Anita Garibaldi (1821–1849), em perspectivas que buscam ora corroborar o discurso oficial, ora desconstruí-lo. Tais imagens dessa personalidade se estendem, portanto, da percepção de que ela era apenas uma jovem apaixonada e que, para viver um grande amor, enfrentaria qualquer obstáculo, até a percepção de uma mulher idealista e questionadora, que participaria de guerras por convicção política independentemente de seu envolvimento amoroso com um marinheiro revolucionário. O corpus que serve de base para o estudo parte de três contextos diferentes: Os Estados Unidos, o Brasil e a Argentina. A seleção desse material considerou critérios como: o pertencimento de uma das obras à modalidade tradicional do gênero, cujo discurso vinculado à Anita e Giuseppe Garibaldi (1807–1882) é apologético; uma perspectiva desconstrucionista dessa personagem até então idealizada, em uma produção crítica que apresenta a protagonista que vê em seu companheiro alguém para partilhar ideais e que não se deixa viver à sombra desse relacionamento; e, ainda, uma modalidade de romance histórico cuja ideologia é mediativa em comparação com essas duas produções anteriores, atentando para uma configuração de Anita que conjuga a representação de ambas as facetas comumente evidenciadas: a amante e a política. Nesse sentido, cada autor, por meio da especificidade de sua linguagem e modalidade escolhida, aborda a personagem de extração histórica por um prisma singular – o acrítico, o crítico e o mediativo. Para tornar essa análise possível, em uma dimensão interamericana, as obras selecionadas são: I Am My Beloved: The Life of Anita Garibaldi (1969), escrita pela estadunidense Lisa Sergio, A Guerrilheira (1979), do brasileiro João Felício dos Santos e Anita cubierta de arena (2003), da argentina Alicia Dujovne Ortiz. Desse modo, evidenciamos que as imagens ficcionais de Anita Garibaldi traçam, também, uma trajetória histórica e sequencial do gênero híbrido de história e ficção. A sustentação teórica dessa abordagem, tanto à personagem como às diferentes modalidades de romance histórico, encontra respaldo nos estudos de Aínsa (1991), Menton (1993), Márquez Rodríguez (1996), Fernández Prieto (2003), Esteves (2010), Fleck (2011; 2017), entre outros.

L’objectif de ce mémoire est d’analyser une praxis, la mienne, au moyen des techniques de la praxéologie, en tentant ainsi de réaffirmer le bien-fondé de mon travail d’auteure au service de la foi. En effet, la rédaction de Saffia, femme de Smyrne, débutée après une quinzaine d’années de vie professionnelle active en tant qu’écrivaine, me laisse croire que ce roman historique et sa présentation sont des outils adaptés pour transmettre l’Évangile. Ma recherche débute par une présentation générale de l’œuvre de fiction Saffia, femme de Smyrne ainsi que des conférences qui en découlent. Je mettrai ensuite en mots l’observation du discours secondaire, composé des appréciations ou des impressions de lecteurs. Mon interprétation ou mon hypothèse surgiront de ma problématisation par la question praxéologique Pourquoi est-ce que je fais ce que je fais et seront formulées au moyen des cinq fonctions d’élaboration. La partie ayant trait à la transmission de l’Évangile sera évaluée par des lectures en théologie, qui mettent en exergue les études d’auteurs : Jean-Guy Nadeau, Pierre Vadeboncœur, et Norbert Greinacher tandis que celle référant aux sciences humaines sera étudiée au moyen des œuvres de spécialistes Gérard Delteil, Régis Debray, Félix Moser et Antoine Compagnon. Soutenue par ces différentes études, je serai en mesure de mieux définir ce que la fiction en général peut apporter à la transmission de l’Évangile en m’appuyant sur l’étude de la fiction en théologie faite par des auteurs comme Paul Ricœur et Joseph Moingt. Je conclurai par une réflexion sur le mode de transmission de Saffia, femme de Smyrne et, je l’espère, par une explication de la raison pour laquelle je continuerai à utiliser la fiction pour transmettre l’Évangile. Une courte nouvelle me permettra d’appliquer mon étude et ainsi d’ouvrir ma réflexion dans une praxis. / The objective of this dissertation is to analyze a praxis, mine, using praxeology techniques, in an attempt at reaffirming the validity of my work as an author serving faith. As a matter of fact, the writing of Saffia, femme de Smyrne, which started after about fifteen years of an active professional life as a writer, lead me to believe that this historical novel and its presentation are tools adapted for the transmission of the Gospel. My research begins with a general presentation of the work of fiction, Saffia, femme de Smyrne, as well as the ensuing conferences. I then put into words the observation of the secondary discourse composed of readers’ opinions or impressions. My interpretation and/or hypothesis arise from my problematisation defined by the praxeological question Why do I do what I do and through the five development functions. The part relating to the transmission of the Gospel is evaluated through readings in theology which highlight the studies of authors such as Jean-Guy Nadeau, Pierre Vadeboncœur, and Norbert Greinacher, while that referring to the social sciences is studied using works of specialists such as Gérard Delteil, Régis Debray, Félix Moser and Antoine Compagnon. Supported by these different studies, I am in a better position to define what fiction can bring to the transmission of the Gospel based on studies of fiction in theology by authors such as Paul Ricœur and Joseph Moingt. I conclude with a reflection on the transmission method of Saffia, femme de Smyrne and, I hope, with an explanation, namely, of why I continue using fiction to transmit the Gospel. A short story makes it possible for me to apply my study and, thereby, to open my reflection in a praxis.

L’émergence du postmodernisme aux Etats-unis, mouvement esthétique rejetant les dogmes modernistes, date des années 1960. En s’imposant, durant les dernières décennies du 20ème siècle, comme le paradigme esthétique de l’architecture, des arts et de la littérature, le postmodernisme a également créé les conditions propres à une renaissance du roman historique. Cependant, la fiction historique postmoderne constitue maintenant une nouvelle forme du genre basée sur la parodie, l’ironie et le scepticisme envers les discours dominants. Cette nouvelle forme ne se limite plus à la présentation des récits dans un cadre historique réaliste. Elle remet plutôt en question la validité et par conséquent la nature même du discours historique, problématisant et mettant ainsi à l’avant le processus d’interprétation et de reconstruction du passé. Dans cette optique, la fiction historique contemporaine reflète les débats actuels sur les formes de l’historiographie, débats lancés par Hayden White. Dans les années 1980, la fiction historique a de nouveau fleuri dans l'espace culturel allemand tout comme ailleurs. Le présent mémoire analyse des formes postmodernes de la fiction historique en se basant sur trois romans historiques de langue allemande parus entre 1981 et 2005: Die Schrecken des Eises und der Finsternis de Christoph Ransmayr, Die Vermessung der Welt de Daniel Kehlmann et Marbot : Eine Biographie de Wolfgang Hildesheimer. L’analyse s'appuie sur divers modèles de la fiction postmoderne, en particulier sur le schéma de catégorisation du roman historique élaboré par Ansgar Nünning. Le mémoire montre dans quelle mesure ces romans appliquent des moyens stylistiques typiques pour le postmodernisme et portent un regard critique ou comique sur l’histoire et la culture allemande et autrichienne. / Postmodernism, an aesthetic movement that rejects modernist dogmas, emerged in the U.S.A. in the 1960s and became, over the last decades of the twentieth century, the paradigmatic aesthetic in architecture, literature and the arts. Postmodernism also created the conditions for a renaissance of the historical novel. However, the postmodern historical novel now constitutes a new form of the genre which confronts the dominant discourses with parody, irony and skepticism. This new form does not limit itself to narratives situated in a realist historical setting. Rather, it questions the validity and, consequently, the very nature of historical discourse, problematizing and often foregrounding the process of interpretation and reconstruction of the past. In this manner, contemporary historical fiction reflects current debates about the forms of historiography, debates triggered by the work of Hayden White. The 1980s saw a renewed flowering of historical fiction in the German cultural space and elsewhere. This paper examines postmodern forms of historical fiction through an analysis of three postmodern historical novels in the German language published between 1981 and 2005: Christoph Ransmayr’s Die Schrecken des Eises und der Finsternis, Daniel Kehlmann’s Die Vermessung der Welt and Wolfgang Hildesheimer’s Marbot: Eine Biographie. The analysis is based upon various models of postmodern fiction, in particular Ansgar Nünning’s five level categorization schema of the historical novel. This paper illustrates the extent to which these novels deploy postmodern stylistic devices and comment critically and comically upon German and Austrian history and culture. / Die Postmoderne, eine ästhetische Bewegung, die modernistische Dogmen ablehnte, entstand in den USA in den 1960er Jahren und wurde in den letzten Dekaden des 20. Jahrhunderts die paradigmatische Ästhetik in der Architektur, der Literatur und den Künsten. Die Postmoderne schuf ebenfalls die Voraussetzungen für eine Renaissance des historischen Romans. Jedoch stellt der postmoderne historische Roman eine ganz neue Form der Gattung dar, die herrschenden Diskursen parodistisch, ironisch und skeptisch begegnet. Es handelt sich nicht mehr um eine Erzählung mit einem realistischen historischen Rahmen. Diese neue Form historischer Fiktion stellt das Wesen des historischen Diskurses in Frage und rückt häufig den Vorgang der Sinngebung und die historische Rekonstruktion der Vergangenheit in den Vordergrund. Somit spiegelt diese postmoderne Literaturgattung gegenwärtige Debatten über die Formen der Geschichtsschreibung, wie sie von Hayden White angestoßen wurden. In den 1980er Jahren setzte eine neue Blütezeit des historischen Romans auch im deutschen Kulturraum ein. Das Ziel meiner Arbeit ist, postmoderne Formen des historischen Romans zu untersuchen, und zwar durch eine Analyse dreier deutschsprachiger historischer Romane die zwischen 1981 und 2005 erschienen sind: Christoph Ransmayrs Die Schrecken des Eises und der Finsternis, Daniel Kehlmanns Die Vermessung der Welt und Wolfgang Hildesheimers Marbot: Eine Biographie. Die Romane werden anhand verschiedener narratologischer Modelle analysiert, insbesondere des von Ansgar Nünning entwickelten fünfstufigen Modells des historischen Romans. Meine Arbeit veranschaulicht, in welcher Weise diese Romane postmoderne Stilmittel einsetzen und Geschichte und Kultur Deutschlands und Österreich auf kritische und komische Weise beleuchten.

2 The exploratory interest of the thesis, Emperor Augustus in Two Successful Novels, focuses Augustus' belletristic interpretation. The thesis provides analysis of two novels and their subsequent comparison with sources and literature. Special emphasis is given to political milestones in Augustus' life.

Ce projet de thèse, choisi en vue de l’obtention du doctorat des littératures française, francophones et comparée, consiste en une démarche littéraire comparatiste, axée sur dix romans rattachés, en théorie, au genre historique, et traitant tous de l’Antiquité. Le corpus des œuvres, établi sur une période recouvrant les XIXe et XXe siècles, comprend quatre romans français : Les Martyrs de Chateaubriand (1809), Le Roman de la momie de Théophile Gautier (1858), Salammbô de Gustave Flaubert (1862), Mémoires d’Hadrien de Marguerite Yourcenar (1951) ; et six romans étrangers : The Last Days of Pompeii d’Edward G. Bulwer-Lytton (1834), Quo vadis ? de Henryk Sienkiewicz (1895), Siddhartha. Eine Indische Dichtung de Hermann Hesse (1922), Der Tod des Vergil de Hermann Broch (1945), Aztec de Gary Jennings (1980) et Creation de Gore Vidal (1981). Cet échantillonnage représentatif du genre archéo-fictif tient compte principalement de la notoriété des romans historiques, de leur diversité géographique et culturelle, et de leur adhérence au sujet de thèse. En effet, chaque roman s’apparente à une tentative remarquable de reconstitution « archéologico-littéraire » d’une civilisation antique anéantie par l’érosion du temps : l’Egypte ancienne, Carthage, Rome, Pompéi, la Grèce, la Perse, l’Inde, le Cathay (la Chine antique) et l’empire aztèque. « Les destinées et les croyances religieuses » constituent le sujet unificateur qui relie ces romans à leur contexte littéraire. Le problème générique du roman historique ; le substrat religieux dans l’anastylose archéofictive ; la transfiguration religieuse des lieux et du langage dessinent les principales orientations littéraires de la thèse. / This Ph.D thesis, chosen for the doctoral degree of French, French-speaking and comparative literatures, consists in a comparative literary approach, axed on ten historical novels, theoretically attached to the historical genre, and dealing all with antiquity. The corpus of works, established on a period covering the 19th and the 20th centuries, includes four French novels: Les Martyrs by François-René de Chateaubriand (1809), Le Roman de la momie by Théophile Gautier (1858), Salammbô by Gustave Flaubert (1862), Mémoires d’Hadrien by Marguerite Yourcenar (1951); and six foreign novels: The Last Days of Pompeii by Edward G. Bulwer-Lytton (1834), Quo vadis ? by Henryk Sienkiewicz (1895), Siddhartha by Hermann Hesse (1922), Der Tod des Vergil by Hermann Broch (1945), Aztec by Gary Jennings (1980) and Creation by Gore Vidal (1981). This representative selection of samples from the archaeo-fictive genre takes mainly into account the notoriety of the historical novels, their geographical and cultural diversity, and their adhesion to the subject of the thesis. Indeed, each novel is akin to a remarkable « archaeologico-literary » recovery’s attempt of an ancient civilization annihilated by the erosion of time: the Ancient Egypt, Carthage, Rome, Pompeii, Greece, Persia, India, Cathay (Ancient China) and the Aztec empire. The generic problem of the historical novel; the religious substratum in the archaeofictive anastylosis; the transfiguration of the landscape and the language draw the main literary and thematic lines of the thesis.

Os romances Memorial do Convento, de José Saramago, e A gloriosa família: o tempo dos flamengos, de Pepetela, são considerados como novos romances históricos, cuja forma tem origem tanto na estrutura do romance histórico de matriz realista, teorizado por Lukács, quanto nos primeiros novos romances históricos criados em Cuba, por Alejo Carpentier, a partir de 1949, consideradas suas singulares diferenças em relação aos contextos de origem, pois confirmam diálogos com certos elementos da tradição dos romances produzidos em cada um de seus sistemas literários. Assim, por pertencerem a um subgênero que estabelece uma ruptura com o paradigma dos romances históricos produzidos no momento do Romantismo e do Realismo, essa nova forma apresenta características próprias, cujos discursos projetam tanto as ideologias dominantes de época quanto outras formas de pensamento, as quais asseguram um contradiscurso que percorre os textos, como enunciados secundários, articulados a partir de discursos primários. Os posicionamentos enunciativos, bem como a configuração de seus narradores revelam lugares sociais considerados excêntricos, assim como os discursos que veiculam em relação à história oficial, à qual procuram tanto parafrasear, estilizar quanto parodiar. E, algumas vezes, lidam com apropriações do texto histórico canônico, exatamente com o objetivo de subverter o sentido dessa escrita como um discurso bem sucedido das elites do tempo histórico-diegético, privilegiando a visão dos narradores e das personagens excêntricos. Dessa maneira, os discursos excêntricos possuem algumas temáticas que se alinham à história percebida como pesadelo, enfatizadas em ambos os romances e desveladas pelos implícitos e inferências, como a crítica aos Impérios e seus valores; crítica ao Monopólio e suas dinâmicas; à dominação de outros povos e grupos por meio da força bruta; ao caos existencial gerado pelas elites sobre as dinâmicas sócio-culturais dos grupos submetidos; à ideologia monódica, em confronto com outras formas culturais; aos prejuízos materiais e emocionais impostos pelas elites às classes subalternas: às desigualdades sociais como geradoras de exclusões, entre outras. Trazem implícitos, também, os discursos sobre a formação de identidades singulares pela constante mestiçagem ou pela exclusão racial ou social. / Memorial do Convento a novel, by José Saramago, and A gloriosa família: o tempo dos flamengos, a novel by Pepetela, are considered new historical novels, their form has its origin in the structure of the historical novel of realistic matrix theorized by Lukács, as well as in the first new historical novels written in Cuba by Alejo Carpentier, since 1949, considering their natural differences in relation to the original contexts, for they confirm dialogues with certain elements of the tradition of novels produced in each literary system. Thus, they belong to a subgenre that provides a rupture with paradigm of historical novels in Romanticism and Realism this new form has its own characteristics, whose discourses project the dominant ideologies of the time as well as other forms of thought, which provide a counter-discourse throughout the texts, as secondary enunciator, articulated from the primary discourse. The enunciation placements, as well the configuration of the narrator reveal social places considered ex-centric, similar to the speeches that propagate in relation to the official history, which intend to paraphrase, style as well as parody. Sometimes, they deal with appropriations of canonical historical text, intending to subvert the meaning of this text into a successful discourse of historical-diegetic time elites, favoring the narrators view and excentric characters. Thus, the ex-centric discourses have themes that align with history perceived as nightmares, emphasized in both novels and unveiled by implicit inferences, as a criticism of Empires and of their values; criticism of Monopoly and its dynamics, the domination of other people and groups by brute force, the existential chaos generated by elites on the social an cultural dynamics groups submitted to the monodic ideology in comparison with other cultural forms, the emotional and material damages imposed by the elites onto lower classes: social inequalities which lead to social exclusion, among others. They bring implicit discourses about a singular forming of identities caused by a constant miscegenation or by racial or social exclusion.

As obras do escritor norte-americano Edgar Lawrence Doctorow aqui estudadas desenham um panorama criticamente iluminador da história dos Estados Unidos no século XX. Em The Book of Daniel, acompanhamos a trajetória da Esquerda americana dos anos 30 aos anos 60. Em Ragtime, o cenário histórico é a Belle Époque e a era do ragtime, do começo do século XX até a Primeira Guerra Mundial. Em Homer & Langley, o arco temporal se expande para abrigar grande parte do século da Primeira Guerra aos anos 80. Nos três romances há uma dialética entre o impulso de suscitar conexões e de figurar um quadro histórico e social mais amplo e a dificuldade de se realizar esse projeto por meio da própria linguagem e lógica da fragmentação, que impedem as articulações e emperram a representação. Nessa tese, procuro ler as ambiguidades e hesitações da forma nesses três romances como incertezas produtivas potenciais lições para o pensamento crítico contemporâneo, o qual tateia certezas num mundo em crise. Romances como Ragtime, The Book of Daniel e Homer & Langley são animados mais por uma hermenêutica da concretude do que por uma poética da relativização. A análise das estratégias de figuração do material histórico que compõe essas obras mostra como essas três narrativas revigoram o romance histórico na contemporaneidade / The novels by E. L. Doctorow studied here draw a critically illuminating panorama of American History in the 20th century. In The Book of Daniel, we follow the trajectory of the American Left from the thirties up to the sixties. In Ragtime, the historical scenery is the Belle Époque and the ragtime era, from the beginning of the century up to World War I. In Homer & Langley, the time frame is broadened to include almost the entire century from World War I up to de eighties. In those novels, we find a dialectical relationship between the impulse to bring forth connections and represent a larger social and historical picture, and the difficulty of achieving such a project through the very language and logic of fragmentation which obstructs the making of articulations and renders representation difficult. In this work, I try to read the ambiguities and hesitations of the form in those three novels as productive uncertainties potential lessons to contemporary critical thinking. Novels such as Ragtime, The Book of Daniel e Homer & Langley are animated more by a hermeneutics of the concrete than by a poetics of relativity. The analysis of the representational strategies those novels employ to depict the historical material from which they are made shows how those narratives reinvigorate the historical novel today

Made available in DSpace on 2016-04-28T19:58:40Z (GMT). No. of bitstreams: 1 Mariana Bittencourt Faraco.pdf: 1210670 bytes, checksum: 3856d3f080a43c49b8c7a15f0234b8d4 (MD5) Previous issue date: 2011-05-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study discusses the effect of hybridization of the historical and the detective novels approaches from the perspective of Latin America (contemporary literature). Emerged in Europe in the 19th century, these two novel subgenres has achieved a prominent position in the literary scene. Since its genesis, both historical and detective novels deal with the question of the search for truth. The objective of this study is to detect how the enigma element, when combined with a historical narrative, reorganizes the belief in the official version of historical events. This study does a comparative analysis of two novels: Agosto, written by the Brazilian Rubem Fonseca, and Santa Evita, written by the Argentinian Tomás Eloy Martinez. Written in the 90's, both noveis look back to the 50's historical events and characters. The research recovers the criticism of both Fonseca and Martinez work, and then examines the long and traditional uneasy relations between literature and history, from Aristotle to Linda Hutcheon's historiographic metafiction. By addressing the origins and transformations of both historical and detective novels, this dissertation shows the evolutions of the subgenres and also puts into dialogue current studies of the hybrid detective-historical novel. The analysis of Agosto and~ Santa Evita, following the methodology of Comparative Literature, focuses specially on the different ways how both novels are constructed. The results demonstrate that the enigma element, when inserted into a historical narrative, contributes to a destabilization of the official report, through a multifaceted view. However, each author's different narrative strategies reveal distinct effects of this destabilization which are discussed in the present study / Este trabalho discute os efeitos da hibridização entre o romance histórico e o romance policial, sob a perspectiva da contemporaneidade latino-americana. Surgidos na Europa, no século XIX, esses dois subgêneros do romance têm alcançado posição de destaque na cena literária. Como ambos, desde sua génese, gravitam em torno da questão da busca pela verdade, o objetivo deste trabalho é detectar como o elemento enigma, ao ser estruturado em uma narrativa de extração histórica, reorganiza a crença na versão oficial dos fetos. Para tanto o estudo faz uma análise comparativa dos romances Agosto, do brasileiro Rubem Fonseca, e Santa Evita, do argentino Tomás Eloy Martinez, que colocam o olhar dos anos 90 sobre acontecimentos e personagens históricos dos anos 50. O estudo recupera a critica sobre a obra dos dois autores para em seguida abordar as relações desde sempre intranquilas entre literatura e história, retomando o pensamento de Aristóteles até a perspectiva da metaficção historiográfica cunhada por Linda Hutcheon. Ao tratar das origens e transformações tanto do romance histórico quanto do romance policial, o trabalho mostra as transformações pelas quais os subgêneros têm passado e põe em diálogo estudos atuais sobre o híbrido policial-histórico. A análise das duas obras, que segue a metodologia da Literatura Comparada, focaliza principalmente as diferentes formas como os romances são construidos. Os resultados demonstram que o elemento enigma, ao ser inserido em uma narrativa de extração histórica, colabora para uma desestabilização do relato oficial, impregnando-o de multiplicidade. No entanto, as diferentes estratégias narrativas de cada autor apontam para efeitos distintos dessa desestabilização, que são discutidos no presente estudo