O centro de organização da vida privada oitocentista é a família, instituição que recebe importante destaque na Comédie humaine, de Honoré de Balzac. No conjunto que forma essa obra, encontramos diferentes estruturas familiares, desde a elementar, exemplo mais tradicional de família, composta por pai, mãe e filhos, até as desordenadas, como é o caso dos Gobseck, objeto de estudo dessa dissertação. A família Gobseck é formada por duas cortesãs e um usurário. Sarah é mãe de Esther e sobrinha-neta de Jean-Esther van Gobseck. Nos episódios de suas vidas, narrados em alguns livros de Balzac, não percebemos momentos de interação e de convivência entre os três, contudo alguns traços fazem com que a influência do sangue prevaleça em distintos momentos da vida de cada um. Considerando, entre outros fatores, a constituição não tradicional dessa família, cujos componentes exercem profissões reprováveis pela sociedade, a falta de convívio e a ambição por dinheiro dos três, temos o objetivo de observar qual é o lugar dessa família na sociedade criada pelo escritor, qual o seu papel social em um mundo governado pelas leis do capital e quais as características individuais que fazem com que se aproximem ou se afastem. / The hub of the organisation of private life in the 1800s is the family, an institution which receives great distinction in the Comédie humaine, by Honoré de Balzac. On the whole which comprises this work, we find different familial structures, from the elementary, most traditional example of family, composed by a father, a mother and children, to the disorganised, such as the case of the Gobsecks, object of study of this thesis. The Gobseck family is composed of two courtesans and a usurer. Sarah is Esther\'s mother and grand-niece of Jean-Esther van Gobseck. In the episodes of their lives, narrated in some of Balzac\'s books, we do not perceive moments of interaction and intimacy between them, however, some traces make the influence of blood prevail in different moments of each one of their lives. Considering, among other factors, the non-traditional constitution of this family, whose components practice trades which are repproachable by society, the lack of intimacy and the greed for money all three have, our objective is observing what place this family has in the society created by the writer, what is their social role in a world ruled by the laws of capital and which individual characteristics make them get closer or draw apart.

O centro de organização da vida privada oitocentista é a família, instituição que recebe importante destaque na Comédie humaine, de Honoré de Balzac. No conjunto que forma essa obra, encontramos diferentes estruturas familiares, desde a elementar, exemplo mais tradicional de família, composta por pai, mãe e filhos, até as desordenadas, como é o caso dos Gobseck, objeto de estudo dessa dissertação. A família Gobseck é formada por duas cortesãs e um usurário. Sarah é mãe de Esther e sobrinha-neta de Jean-Esther van Gobseck. Nos episódios de suas vidas, narrados em alguns livros de Balzac, não percebemos momentos de interação e de convivência entre os três, contudo alguns traços fazem com que a influência do sangue prevaleça em distintos momentos da vida de cada um. Considerando, entre outros fatores, a constituição não tradicional dessa família, cujos componentes exercem profissões reprováveis pela sociedade, a falta de convívio e a ambição por dinheiro dos três, temos o objetivo de observar qual é o lugar dessa família na sociedade criada pelo escritor, qual o seu papel social em um mundo governado pelas leis do capital e quais as características individuais que fazem com que se aproximem ou se afastem. / The hub of the organisation of private life in the 1800s is the family, an institution which receives great distinction in the Comédie humaine, by Honoré de Balzac. On the whole which comprises this work, we find different familial structures, from the elementary, most traditional example of family, composed by a father, a mother and children, to the disorganised, such as the case of the Gobsecks, object of study of this thesis. The Gobseck family is composed of two courtesans and a usurer. Sarah is Esther\'s mother and grand-niece of Jean-Esther van Gobseck. In the episodes of their lives, narrated in some of Balzac\'s books, we do not perceive moments of interaction and intimacy between them, however, some traces make the influence of blood prevail in different moments of each one of their lives. Considering, among other factors, the non-traditional constitution of this family, whose components practice trades which are repproachable by society, the lack of intimacy and the greed for money all three have, our objective is observing what place this family has in the society created by the writer, what is their social role in a world ruled by the laws of capital and which individual characteristics make them get closer or draw apart.

Esta tese de doutorado pretende fazer uma releitura do romance de estreia de Lima Barreto, Recordações do Escrivão Isaías Caminha. Dividida em quatro capítulos, o presente trabalho questiona a visão da crítica literária tradicional que analisa o livro como mero romance de chave com traços autobiográficos, uma leitura válida porém incompleta. Em seu lugar, o autor propõe uma interpretação intertextual do romance barretiano com Illusions Perdues, de Honoré de Balzac, do qual Lima Barreto faz um aproveitamento criativo da trajetória do protagonista e de temas como o mito de Napoleão, o homem de província na Capital e a crítica à imprensa industrial moderna. Também se apontam a presença de elementos de outras obras da literatura francesa e ocidental em Recordações do Escrivão Isaías Caminha, num grau menor que o do intertexto balzaquiano, e o processo de articulação dessas conexões usado por Lima Barreto para denunciar as contradições sociais da Primeira República Brasileira (1889-1930). / This PhD thesis aims to stablish a new approach for the first Lima Barreto\'s novel Recordações do Escrivão Isaías Caminha. Divided into four chapters, this work discusses the traditional view of literary criticism that analyzes the book as a mere roman à clef with autobiographical traits, an important but incomplet reading. Instead, the author proposes an intertextual approach between the Lima Barreto\'s novel with Illusions Perdues, by Honoré de Balzac, from which the Brazilian writer does a creative use of the protagonist\'s trajectory and themes like the myth of Napoleon, the provincial man in the Capital and the criticism against the modern industrial press. It\'s pointed out as well the presence of elements of other works from French and Western literatures in Recordações do Escrivão Isaías Caminha, in a smaller degree than the Balzatian intertext, and the process of articulation of these connections used by Lima Barreto to denounce the social contradictions from the First Brazilian Republic (1889-1930).

Esta tese de doutorado pretende fazer uma releitura do romance de estreia de Lima Barreto, Recordações do Escrivão Isaías Caminha. Dividida em quatro capítulos, o presente trabalho questiona a visão da crítica literária tradicional que analisa o livro como mero romance de chave com traços autobiográficos, uma leitura válida porém incompleta. Em seu lugar, o autor propõe uma interpretação intertextual do romance barretiano com Illusions Perdues, de Honoré de Balzac, do qual Lima Barreto faz um aproveitamento criativo da trajetória do protagonista e de temas como o mito de Napoleão, o homem de província na Capital e a crítica à imprensa industrial moderna. Também se apontam a presença de elementos de outras obras da literatura francesa e ocidental em Recordações do Escrivão Isaías Caminha, num grau menor que o do intertexto balzaquiano, e o processo de articulação dessas conexões usado por Lima Barreto para denunciar as contradições sociais da Primeira República Brasileira (1889-1930). / This PhD thesis aims to stablish a new approach for the first Lima Barreto\'s novel Recordações do Escrivão Isaías Caminha. Divided into four chapters, this work discusses the traditional view of literary criticism that analyzes the book as a mere roman à clef with autobiographical traits, an important but incomplet reading. Instead, the author proposes an intertextual approach between the Lima Barreto\'s novel with Illusions Perdues, by Honoré de Balzac, from which the Brazilian writer does a creative use of the protagonist\'s trajectory and themes like the myth of Napoleon, the provincial man in the Capital and the criticism against the modern industrial press. It\'s pointed out as well the presence of elements of other works from French and Western literatures in Recordações do Escrivão Isaías Caminha, in a smaller degree than the Balzatian intertext, and the process of articulation of these connections used by Lima Barreto to denounce the social contradictions from the First Brazilian Republic (1889-1930).

Como sabemos, as reflexões do filósofo político e contratualista Jean-Jacques Rousseau tornaram-se referência para muitos escritores que o sucederam, principalmente no que concerne às suas considerações a propósito da vida em sociedade, ambiente vil que degenera o homem, ser bom e piedoso por natureza. Tratase do célebre conceito rousseauniano do bom selvagem, teoria cuja repercussão pode ser encontrada em obras de muitos autores do período oitocentista, entre as quais podemos destacar a do romancista francês Honoré de Balzac e a do ficcionista português Camilo Castelo Branco. Isto porque, a partir de um estudo comparativo realizado entre volumes balzaquianos e camilianos, levantou-se a hipótese de que estes escritores, ao tecerem suas críticas sociais, dialogam com a mencionada teoria de Rousseau, muito embora cada um o faça a seu modo e finde por concatenar mundividências literárias distintas, únicas e inovadoras, que particularizam, de forma marcante, ambos os cânones ficcionais. Assim posto, e levando em consideração a ausência de estudos críticos a esse respeito, nosso intento é o de analisar uma questão inédita no que concerne à comparação entre a ficção balzaquiana e a camiliana: a diferente concepção que os respectivos narradores apresentam acerca dos efeitos sociais no homem, a partir de um diálogo estabelecido por ambos com o conceito rousseauniano do bom selvagem. Vale ressaltar que o estudo comparativo aqui proposto seguirá alguns pressupostos básicos da Literatura Comparada, sendo o principal deles a busca pelas particularidades de cada literatura (Cf. ABDALA Jr., 2003). / As we know, the reflections of the political and contractualist philosopher Jean- Jacques Rousseau became reference for many writers who succeeded him, mainly as concerns the considerations regarding the life in society, a vile ambience that degenerates man, a good and pious living being by nature. This is the renowned Rousseaunian concept of the noble savage, theory that can be found reverberated in many works of 19th century authors, among which we can highlight the one of the French novelist Honoré de Balzac and the one of the Portuguese fictionist Camilo Castelo Branco. That is because, from a comparative study realized between Balzacian and Camilian works, we hypothesized that these writers dialogue, as they construct their social criticisms, with the mentioned Rousseaus theory, although each one does it in his own way and ends by concatenating distinct literary worldviews, unique and innovative, that particularize, markedly, both of the fictional canons. Therefore, and taking into consideration the absence of critical studies regarding this, our intent is to analyze an unprecedented issue concerning the comparison between Balzacian and Camilian fiction: the different conception the narrators present about the social effects in man, through a dialogue established by both of them with the Rousseaunian concept of the noble savage. It is worth to stress that the comparative study proposed here will follow some basic assumptions of Comparative Literature, the main one being the research for the particularities of each literature. (Cf. ABDALA Jr., 2003).

Como sabemos, as reflexões do filósofo político e contratualista Jean-Jacques Rousseau tornaram-se referência para muitos escritores que o sucederam, principalmente no que concerne às suas considerações a propósito da vida em sociedade, ambiente vil que degenera o homem, ser bom e piedoso por natureza. Tratase do célebre conceito rousseauniano do bom selvagem, teoria cuja repercussão pode ser encontrada em obras de muitos autores do período oitocentista, entre as quais podemos destacar a do romancista francês Honoré de Balzac e a do ficcionista português Camilo Castelo Branco. Isto porque, a partir de um estudo comparativo realizado entre volumes balzaquianos e camilianos, levantou-se a hipótese de que estes escritores, ao tecerem suas críticas sociais, dialogam com a mencionada teoria de Rousseau, muito embora cada um o faça a seu modo e finde por concatenar mundividências literárias distintas, únicas e inovadoras, que particularizam, de forma marcante, ambos os cânones ficcionais. Assim posto, e levando em consideração a ausência de estudos críticos a esse respeito, nosso intento é o de analisar uma questão inédita no que concerne à comparação entre a ficção balzaquiana e a camiliana: a diferente concepção que os respectivos narradores apresentam acerca dos efeitos sociais no homem, a partir de um diálogo estabelecido por ambos com o conceito rousseauniano do bom selvagem. Vale ressaltar que o estudo comparativo aqui proposto seguirá alguns pressupostos básicos da Literatura Comparada, sendo o principal deles a busca pelas particularidades de cada literatura (Cf. ABDALA Jr., 2003). / As we know, the reflections of the political and contractualist philosopher Jean- Jacques Rousseau became reference for many writers who succeeded him, mainly as concerns the considerations regarding the life in society, a vile ambience that degenerates man, a good and pious living being by nature. This is the renowned Rousseaunian concept of the noble savage, theory that can be found reverberated in many works of 19th century authors, among which we can highlight the one of the French novelist Honoré de Balzac and the one of the Portuguese fictionist Camilo Castelo Branco. That is because, from a comparative study realized between Balzacian and Camilian works, we hypothesized that these writers dialogue, as they construct their social criticisms, with the mentioned Rousseaus theory, although each one does it in his own way and ends by concatenating distinct literary worldviews, unique and innovative, that particularize, markedly, both of the fictional canons. Therefore, and taking into consideration the absence of critical studies regarding this, our intent is to analyze an unprecedented issue concerning the comparison between Balzacian and Camilian fiction: the different conception the narrators present about the social effects in man, through a dialogue established by both of them with the Rousseaunian concept of the noble savage. It is worth to stress that the comparative study proposed here will follow some basic assumptions of Comparative Literature, the main one being the research for the particularities of each literature. (Cf. ABDALA Jr., 2003).

De tous les auteurs français du XIXe siècle, Balzac fut le plus connu en Europe centrale et orientale. Sa réception fut moins marquante avant 1918, tranquille en 1918-1948 et glorieuse en 1948-1989. Pourquoi Balzac a-t-il obtenu ce quasi monopole ? Pourquoi Balzac et non Flaubert, Zola ou Maupassant ? Nous avons analysé les postfaces et les critiques de ses chefs-d´œuvre ainsi que le contexte historique et culturel. Après 1948 le pouvoir communiste cherche quelqu'un sur qui s´appuyer en littérature et Balzac en sort victorieux. Son époque forte arrive pour tous les pays alliés de l´URSS. Son œuvre fait l´objet de dizaines de milliers de tirages, les maisons d´édition nationales se l´arrachent, subventionnent sa promotion littéraire en le liant avec Lénine ou très souvent avec Marx, Engels qui servent de caution pour lui ouvrir une grande voie. En quarante ans, Balzac est partout. Après 1989, la littérature classique est déjà installée mais c´est aussi sa fin. Balzac n´est plus nourri par les maisons d´édition : celles-ci étant devenues privées, publient ce qu´elles veulent. Que cinq livres de Balzac sont édités. Point d´intérêt pour l´auteur de La Comédie humaine, pourtant, la culture slovaque est imprégnée de son souvenir. / Of all the French authors in the XIXth century, Balzac was the best known in Central and Eastern Europe. His reception was less remarkable before 1918, quiet in 1918-1948 and glorious in 1948-1989. Why did Balzac obtain this almost monopoly? Why Balzac and not Flaubert, Zola or Maupassant? We analysed the postscripts and the criticisms of his masterpieces as well as the historical and cultural context. After 1948 the communist power is searching for someone who they can lean on in literature and Balzac emerged victoriously. His powerful era is visible in all the allied countries of the USSR. His work is the subject of ten thousand of the prints, the national publishing houses compete for him, subsidize his literary promotion by linking him with Lenin or very often with Marx, Engels who serve as a surety to open a great way for him. In forty years, Balzac is everywhere. After 1989, the classical literature is already installed but it is also its end. Balzac is no longer fed by the publishing houses: they become private and publish what they want. Only five books are edited. Point of interest of the author of the Human Comedy, however, the Slovak culture is impregnated in his memory.

In this thesis, I will study two manifestations of the legacy of Jean-Jacques Rousseau’s educational and political theories between 1832 and 1833: George Sand’s Indiana (1832) and Honoré de Balzac’s Eugénie Grandet (1833). I will argue that both novels treat the difficulties that uneducated or domestically educated young women face when they first encounter the artificial relationships of society, and that both authors attribute their protagonists’ situation to the lack of connection between the ideology of their upbringing and that of society. Furthermore, I will view these texts within the context of Romanticism, which buoyed the influence of Rousseauvian thought in the early nineteenth century by declaring nature preferable to society, a critical tenet of Rousseau’s theories. Social and political changes, however, led to Romanticism’s decline as the nineteenth century progressed, and this waning influence, coupled with the rise of Realism, can be observed in Indiana and Eugénie Grandet. The first chapter of this work will discuss the ideas that Rousseau presents in Emile, ou de l’éducation (1762) and the Discours sur l’origine et les fondements de l’inégalité parmi les hommes (1754). Although women are painted as independent in the original state of Nature, Rousseau argues in Emile that they should be domesticated in society, and he outlines the male and female educations that he believes will best prepare men and women for their assigned gender roles in society. The two chapters that follow treat the interpretations of Rousseau’s theories that Sand and Balzac put forward in Indiana and Eugénie Grandet. Sand refutes the nineteenth-century discourse concerning women’s innate “irrationality,” attributing Indiana’s difficulties with love and social norms to the distance between her “natural” education on Ile Bourbon and the artificiality of French relationships, eventually rejecting the possibility that reformed education can purge society of its corruption. Balzac, meanwhile, traces Eugénie’s transition from naïve young woman to true adulthood, when she is versed in the relations of “intérêt” that govern those around her. Eugénie, raised to base her relationships on true affection, is eventually isolated by her education, but Balzac does not envision her possible escape from society. / text

La période de 1838-1839 se distingue dans la production de l’écriture romanesque de Balzac par la présence d’emprunts considérables à l’oeuvre de Théophile Gautier. Alliée à un large éventail de pratiques intertextuelles à divers degrés, cette présence nous incite à découvrir de quelle façon les éléments intertextuels sont insérés dans la création balzacienne et comment ils contribuent au développement raisonné d’un vaste réseau de significations. Cette thèse se construit alors autour de deux des exemples, qui sont les plus représentatifs de la création balzacienne à cette époque : Une fille d’Ève et Béatrix. L’analyse intertextuelle de ces romans, complétée par une étude génétique, permet de mettre en évidence la poétique intertextuelle du romancier. / In 1838-1839, Balzac’s writing is marked by the presence of significant borrowings in the works of Théophile Gautier. This presence, along with the vast range of intertextual practices of varying degree, incites us to discover how the intertextual elements are introduced in the novelist’s creative process and in what ways they contribute to the deliberate elaboration of an extensive network of meaning. This thesis is based upon two novels, Une fille d’Ève and Béatrix, chosen as best representations of Balzac’s creations at the time. The intertextual analysis of those two texts, together with a study of their genesis, highlights the author’s own concept of intertextuality.

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.