Long before the publishing of Verlaine's Poetes maudits , it has been written and thought, in various circles and contexts, that writers of genius were doomed to an unhappy life. Nevertheless, it was only about 1760--1770 that the conditions allowing for the emergence of a myth of the unhappy writer were gathered. This myth affirms the christlike vocation of the author and associates greatness to unhappiness. This thesis seeks to understand this mythical phenomenon within a historical perspective. The first part recounts the three principal families of topoi associated, before 1770, to authorial unhappiness. These three series are those of melancholy, poverty and persecution. In the chapters concerning these topoi, the objective is to bring to light their specificity and also the representations and the exempla that they call to mind. Moreover, the goal is to identify the connections that are at work, in discourses, between melancholy and genius on the one hand, poverty and truth on the other hand, and finally persecution and merit. Even if one can't already consider that these various discursive connections are sufficient to build a mysticism of the unhappy man of letters, they still can be studied, in their context, for what they are: a pool of topoi where the writers would soon draw some discursive materials, and from which this myth will get its historical acceptability, its obviousness. The second part of the thesis is devoted to the study of this obviousness. After Rousseau, some believe that unhappiness is inseparable from genius, and that literary vocation is a curse spelled on the poet. From then on, the object of study is not anymore to follow each topos as if it was a separate thread, but instead, to see how all this acquires the value of commonplace (lieu commun ) between 1770 and 1840, in addition to imposing itself as an horizon of meaning. The last chapter and the epilogue show that the myth lives on, during the second half

There is no abstract available for this thesis.

Made available in DSpace on 2015-03-03T11:52:21Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-05-29Bitstream added on 2015-03-03T12:07:27Z : No. of bitstreams: 1 000810261.pdf: 1159233 bytes, checksum: 462ce96f368af0f7f0d31fea734a98c1 (MD5) / Dans un premier temps, ce travail fait la distinction parmi les plusieurs dénominations de ce que l’on appelle roman historique pour choisir seulement un type parmi eux. Selon divers critiques contemporains, le roman historique traditionnel est né avec l’oeuvre de Walter Scott, dans le Romantisme Anglais. Cependant, c’est la France du XIXe siècle qui a connu la plus grande expression de cet espèce de roman, avec la parution de Les chouans (1829) et Notre-Dame de Paris (1831). Il faut aussi distinguer le roman historique traditionnel des autres types de romans historiques, três célèbres et répandus dans la même époque, que tantôt utilisaient l’histoire comme toile de fond, tantôt romançaient cette même histoire (et là on peut citer, par exemple, La Reine Margot, paru en 1845). En effet, le parcous théorique part de théoriciens comme Louis Maigron (1866-1954), passe par Georg Lukàcs (1885-1971), allant jusqu’à Jean Molino (1945) et Claudie Bernard (sans date de naissance connue), dans la deuxième partie du XXe siècle. Donc, le travail de recherche consiste en la lecture, le réperage et l’analyse des extraits, nottament ceux liés à la description de l’espace, l’établissement de parallèles entre eux, et la compréhension du rapport espace-roman historique du XIXe siècle. Pour composer le corpus, un ‘microgenre’ a été établi (microgenre peut désigner, d’après Molino (1975), un groupe « d’oeuvres proches par le temps et par le lieu, qui appartiennent à un même ensemble culturel et entre lesquelles existent de nombreux liens de filiation, influence, ressemblance, etc. »). Ainsi, les romans choisis, Les Chouans (1829) de Honoré de Balzac, Quatrevingt-treize (1874) de Victor Hugo et Sous la hache (1883) de Élémir Bourges, appartiennent à la France du XIXe siècle. Il faut dire encore que le roman historique traditionnel français du XIXe siècle a été l’expression authentique... / Inicialmente o trabalho distingue as várias denominações desse tipo de romance para fazer a escolha de uma delas. De acordo com diversos críticos contemporâneos, o romance histórico tradicional nasceu pelas mãos de Sir Walter Scott, no Romantismo inglês. Entretanto, foi na França oitocentista que este tipo de romance alcançou sua maior expressão com obras como Les chouans (1829) e Notre-Dame de Paris (1831). É preciso distinguir também o romance histórico tradicional daqueles outros tipos muito célebres e comuns que, naquela época, utilizavam a história como pano de fundo, ou romanceavam essa mesma história (e aqui podemos citar, por exemplo, La Reine Margot, de 1845). Assim, o percurso teórico parte de teóricos como Louis Maigron (1866-1954) passa por Georg Lukàcs (1885-1971) até Gérard Gengembre (1949), Jean Molino (1945) e Claudie Bernard1, já na segunda metade do século XX. O trabalhou centrou-se em um embate direto com os textos literários, objetivando caracterizar a construção da espacialidade nos romances do corpus escolhido. A escolha dos romances partiu do conceito de micro-gênero (Molino, 1975), que estabelece a determinação de características em comum entre as obras a serem analisadas, como, por exemplo, o tema ou a data de publicação. Dessa forma, baseando-se na data e local de publicação (França do século XIX), foram escolhidos os seguintes romances: Les Chouans (1829) de Honoré de Balzac, Quatrevingt-treize (1874) de Victor Hugo e Sous la hache (1883) de Élémir Bourges. A partir da leitura e análise da realização de algumas reflexões a respeito dessas obras, pôde-se comprovar que, apesar da distância temporal entre a publicação delas, todas seguem o mesmo padrão de definição da espacialidade e fazem parte da mesma escola literária, o Romantismo. Resta dizer que o romance histórico tradicional francês do século XIX foi a expressão autêntica de um povo castigado pelas...

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2017. / Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2018-03-15T19:55:00Z No. of bitstreams: 1 2017_VerônicaMariaValadaresdePaiva.pdf: 7679764 bytes, checksum: 8cefc4c0c7d182a3c56e70c996b80e40 (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-04-17T17:28:01Z (GMT) No. of bitstreams: 1 2017_VerônicaMariaValadaresdePaiva.pdf: 7679764 bytes, checksum: 8cefc4c0c7d182a3c56e70c996b80e40 (MD5) / Made available in DSpace on 2018-04-17T17:28:01Z (GMT). No. of bitstreams: 1 2017_VerônicaMariaValadaresdePaiva.pdf: 7679764 bytes, checksum: 8cefc4c0c7d182a3c56e70c996b80e40 (MD5) Previous issue date: 2018-04-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES). / As adaptações literárias têm-se mostrado um fenômeno crescente, e poucas obras talvez tenham sido tão adaptadas quanto o romance Os miseráveis (1863), de Victor Hugo. Dentre as diversas adaptações, é possível considerar que a de maior influência seja a versão feita para o teatro musical — Les Misérables —, contrariando as expectativas de que uma obra com o teor dramático do romance de Hugo pudesse ser traduzida para um meio que ainda se acredita ser reservado para narrativas despretensiosas. Durante o processo de adaptação, porém, chama atenção o esmaecimento da crítica social e política do autor, que, ainda que não tenha sido retirada completamente, ganhou contornos difusos que distam da assertividade provocativa de Victor Hugo. Qual teria sido o propósito da suavização do conteúdo político do romance? Em que medida o público e as questões mercadológicas podem ser responsáveis pelo produto final de uma adaptação? E mais, o quão autônoma a arte consegue ser quando posta em grande circulação? / Literary adaptations have become a constant growing phenomenon, and perhaps few literary works have been as adapted as the novel Les Misérables (1863), by Victor Hugo. Amongst the many adaptations, it is possible to consider the version made for the musical theater, under the same name, as the one with the biggest weight, going against the expectations that a work with such dramatic content as Hugo’s novel could ever be translated into a media that was still believed to work exclusively with unassuming narratives. During the process of adaptation, however, it is possible to notice that the author’s social and political critique fades away; even if it is not completely dismissed, it acquires fuzzy outlines which are quite distant from Victor Hugo’s provocative assertiveness. Which could have been the purpose to this softening of the novel’s political content? To what measure the public and market interests can influence the final product of an adaptation? And, even more so, how autonomous is art able to be when released to the mainstream?

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2014. / Submitted by Andrielle Gomes (andriellemacedo@bce.unb.br) on 2015-06-30T16:13:13Z No. of bitstreams: 1 2014_GuilhermedeSousaSantos.pdf: 14650215 bytes, checksum: 5824a2b86cc1fdc24efd31392942c50b (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2015-07-02T14:54:02Z (GMT) No. of bitstreams: 1 2014_GuilhermedeSousaSantos.pdf: 14650215 bytes, checksum: 5824a2b86cc1fdc24efd31392942c50b (MD5) / Made available in DSpace on 2015-07-02T14:54:02Z (GMT). No. of bitstreams: 1 2014_GuilhermedeSousaSantos.pdf: 14650215 bytes, checksum: 5824a2b86cc1fdc24efd31392942c50b (MD5) / Victor Hugo serviu-se, ao longo de sua vida, de romances, dramas, poesia, textos teóricos, discursos, desenhos e pinturas para expressar toda sua criatividade. Entrelaçando essas diferentes expressões intelectuais e artísticas, observa-se um grande fundo imaginativo, no qual temas importantes ao homem do século XIX se fazem presentes. Através de uma análise sincrônica da obra de Hugo, observa-se que a figura do bufão é recorrente nas obras produzidas em um período que se inicia com a publicação do romance Han d’Islande (1823) e se encerra com a do romance L’Homme qui rit [O Homem que Ri] (1869), tendo essa servido ao autor como mordaz instrumento de crítica política, social e artística. Assim, no cerne desta pesquisa, busca-se analisar e compreender como o imaginário de Victor Hugo materializa-se na figura do bufão em seus textos literários e pictóricos, bem como nas correlações que se estabelecem entre essas duas formas textuais. Busca-se ainda demonstrar como essa figura integra um projeto literário maior, embasado na estética do grotesco, com reflexos e expressões em diversas obras do autor. Procura-se, por fim, demonstrar quais as convergências e divergências dessas duas formas de expressão artística: Literatura e Artes Visuais, quanto à representação do imaginário hugoano em torno da figura do bufão, no período da gênese do romance L’Homme qui rit. ______________________________________________________________________________________________ ABSTRACT / Along his life, Victor Hugo made use of romances, dramas, poetry, theoretical texts, discourses, drawings and paintings to express all his creativity. By mixing these different intellectual and artistic expressions, we can observe a big imaginative ground in which important issues to the nineteenth century man are present. Through a synchronic analysis of Hugo’s work, we can notice that the figure of the buffoon is recurrent in those works produced in a period starting with the publication of Han d’Islande (1823) and finishing with L’Homme qui rit [The Man Who Laughs] (1869). We must highlight that this last one has served to the author as a hard instrument of political, social as well as artistic critique. Thus, in the core of this research, we aim to analyse and understand how Victor Hugo’s imaginary embodies the figure of the buffoon in his literary and pictorial texts, as well as in the correlations between these two textual forms. We still aim to demonstrate how this figure integrates a major literary project, based on the grotesque aesthetics, having reflections and expressions in many other Hugo’s works. At last, we want to show the convergences and divergences of these two forms of artistic expressions: Literature and Visual Arts, regarding the representation of Hugo’s imaginary concerning the figure of the buffoon, in the period of the genesis of L’Homme qui rit.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura e práticas sociais, 2014. / Submitted by Larissa Stefane Vieira Rodrigues (larissarodrigues@bce.unb.br) on 2015-01-30T12:14:11Z No. of bitstreams: 1 2014_MarceloDanielSegalerbaBourdette.pdf: 3218002 bytes, checksum: 09b0811b4f54f95287e1cd11374e2cf0 (MD5) / Rejected by Ruthléa Nascimento(ruthleanascimento@bce.unb.br), reason: Oi Larissa, tudo bem? O arquivo submetido está diferente dos metadados. Você pode trocar e submeter novamente? Abraços! Ruthléa on 2015-02-12T17:24:16Z (GMT) / Submitted by Larissa Stefane Vieira Rodrigues (larissarodrigues@bce.unb.br) on 2015-02-27T15:36:53Z No. of bitstreams: 1 2014_JocileideDaCostaSilva.pdf: 2207403 bytes, checksum: b63587b0127288b8c77258e6ebcb4384 (MD5) / Approved for entry into archive by Raquel Viana(raquelviana@bce.unb.br) on 2015-03-04T18:24:36Z (GMT) No. of bitstreams: 1 2014_JocileideDaCostaSilva.pdf: 2207403 bytes, checksum: b63587b0127288b8c77258e6ebcb4384 (MD5) / Made available in DSpace on 2015-03-04T18:24:36Z (GMT). No. of bitstreams: 1 2014_JocileideDaCostaSilva.pdf: 2207403 bytes, checksum: b63587b0127288b8c77258e6ebcb4384 (MD5) / O romance constitui um mundo imaginário criado pelo autor e para realizá-lo este vê-se obrigado a fazer alusão diretamente à realidade e a situá-lo em um certo tempo e espaço. Tal como acontece com outros elementos que compõem todo texto ficcional, o espaço necessariamente apresenta significações relevantes para a compreensão do enredo e para a construção das personagens, dentre outros aspectos importantes. Pensando no espaço como produtor de sentidos no universo literário e na sociedade é que essa pesquisa foi desenvolvida. Foi escolhido como objeto de análise o romance Bug-Jargal de Victor Hugo, na sua edição publicada em 1826. Tal obra narra a história de um triângulo amoroso que se forma durante o regime escravocrata na ilha de São Domingos, antiga colônia francesa, hoje Haiti. O romance conta ainda detalhes da insurreição dos escravos que ficou conhecida como a “Revolução dos Negros”, iniciada em 1791, que deu origem ao primeiro país latino-americano independente. Nesse romance, verificou-se que os espaços são representativos de três grandes tipos, o da escravidão, o da revolução e dos personagens da trama. É pelo espaço que os personagens negros conquistaram seu poder e que, em contrapartida, com sua perda, os brancos desestabilizaram-se e não tinham mais o domínio nem sobre si mesmos, nem sobre os escravos. Como embasamento teórico dessa pesquisa trabalhou-se com os pressupostos filosóficos de Gaston Bachelard referentes ao espaço e com autores brasileiros, seus seguidores, que refletiram sobre o espaço literário. Além da Filosofia, esse estudo dialogou igualmente com a História, com a Sociologia e com os Estudos Literários. _____________________________________________________________________________________ ABSTRACT / The novel constitutes an imaginary world created by the author who, in order to make this world real, is obliged to make a direct allusion to reality and to situate the story in a certain time and space. As well as it happens with other elements which compose the fictional text as a whole, the space necessarily presents relevant significances to the plot's comprehension and to the construction of characters among other important aspects. This research was developed considering the space as a producer of senses in the literary universe and in the society, having chosen as object of analysis the novel Bug-Jargal by Victor Hugo in its 1826 edition. Such work states the story of a romance triangle formed during the slave regime in Hispaniola island, former French colony, currently Haiti. The novel tells yet details of the slaves insurrection which has become known as “Haitian Revolution”, started in 1791, giving rise to the first independent Latin American country. It has been verified in the novel that the places are representative of three major kinds: slavery, revolution, and the characters of the plot. It is throughout the spatial element that black characters conquered their power; and, in exchange, the loss from white characters destabilized not only their domain over slaves but also their domain over themselves. This research has been developed through a theoretical foundation concerning philosophical premises by Gaston Bachelard referring to the narrative space. The works of some Brazilian authors, his followers, were also used in order to reflect on the literary space. Besides Philosophy, this study dialogues equally with History, Sociology, and Literary Studies.

No description available.

Thèse : Lettres : Zurich : 1987-88. / Bibliogr. p. 229-236.

Pendant cinquante ans, de 1833 à 1883, Juliette Drouet écrivit environ vingt-deux mille lettres à Victor Hugo. Le corpus étudié, composé de 653 lettres plus une enveloppe, propose la lecture continue des lettres, transcrites et annotées. Il s’inscrit dans un projet de l’édition intégrale de cette correspondance, dont Florence Naugrette, Professeur à l’Université Paris-Sorbonne, est la directrice. Ces lettres ont un triple intérêt : biographique, historique et littéraire. Juliette Drouet décrit la nouvelle vie de famille de Victor Hugo qui a décidé de réunir ses petits-enfants, sa belle-fille ainsi que Juliette Drouet, dans le même immeuble du 21 de la rue de Clichy, à des étages différents. Ce déménagement est annoncé dès le début de l’année 1874 et occupe nombre de lettres, tout comme l’aménagement du second étage où habite Juliette Drouet et où Victor Hugo travaille et reçoit ses invités lors de ses dîners et ses soirées. De plus, ces lettres sont un témoignage de la vie quotidienne d’une maîtresse de maison à la fin du XIXe siècle, et de ses domestiques. Elles évoquent aussi la proximité avec les animaux, l’usage des médicaments et donnent des renseignements précieux sur les relations entre les malades, la santé et la médecine. Leur intérêt littéraire se révèle dans les comptes rendus de l’accueil de Quatre-vingt-treizième et des lectures du Rappel, en plus du genre hybride de journal épistolaire que ces lettres possèdent. Beaucoup plus que la maîtresse, Juliette Drouet apparaît comme l’épouse de Victor Hugo. Il légitime cette relation par les cinq lettres qu’il lui écrit chaque année et montre que Juliette Drouet est bien la pierre angulaire de son existence. / For fifty years, from 1833 to 1883, Juliette Drouet wrote about twenty-two thousand letters to Victor Hugo. The corpus studied, 653 letters more one envelope, offers the continuous reading of the letters, transcribed and annotated. It is part of a project of the complete edition of this correspondence, which Florence Naugrette, Professor at the University Paris-Sorbonne, is the Director. These letters have a triple interest : biographical, historical and literary. Juliette Drouet describes new family life of Victor Hugo who decided to meet her grandchildren, daughter-in-law and Juliette Drouet, different floors in the same building of the 21 street of Clichy. This move is announced early in the year 1874 and occupies number of letters, just as the development of the second floor where lives of Juliette Drouet and where Victor Hugo works and receives his guests at his dinner and his evenings. Moreover, these letters are a testimony of the daily life of a housewife at the end of the 19th century, and her servants. They also evoke the proximity with animals, the use of drugs and give valuable information on the relationships between patients, health and medicine. Their literary interest is revealed in the reviews of Quatrevingt-Treize and the readings of Le Rappel, in addition to the hybrid kind of epistolary diary that these letters have. Victor Hugo legitimate this relationship with the five letters that he write her every year and shows that Juliette Drouet is the cornerstone of his existence.

Among the various studies written on the voluminous artistic production relating to the clownish figure in the XIXth century, more specifically on its melancholic form in the second half of the century, very few have carried interest to the novel. The objective of this master's thesis is to study the clown as a novel character, through Gavroche (Victor Hugo, Les Miserables ), Kenwell and Cox (Jules Claretie, Le Train 17) and the brothers Zemganno (Edmond de Goncourt, Les Freres Zemganno ). We will focus on the way those hyperbolic figures spread out their marginality, their laughter and their illusions within the novel, thus providing information on this one. Our analysis of the clown's passage through the novel, which always deploys in three phases (the marginal entrance, the ascension and the fall), demonstrates the incompatibility between the realistic material from the XIXth century and this nevertheless infinitely novelistic being.