Reproduction de : Thèse de doctorat : Littératures françaises et comparée : Paris 4 : 2006. / Titre provenant de l'écran titre. 152 références bibliographiques.

The death penalty occupies an essential place in Victor Hugo's work, notably in his narrative work where he emphasizes the rhetoric resources in attempts to convince his reader of the necessity of abolishing this practice which he considers "barbaric". This memoir suggests a reading of this rhetoric, concentrating on various specific Hugolian arguments and suggesting a global vision of his reasoning. The first chapter demonstrates that the opposition between law and his application lies at the root of the judicial criticism according to Hugo, from which also stems the question of death penalty to begin with. We then study the genesis and the functioning of multiple arguments depicting the consistency and persistency of Hugo's reasoning, these arguments being interpreted from novel to novel. Finally, in the third chapter, we analyze history's role as a meta-argument of the abolishment; the historical development often structuring the opposition of Hugo's theory regarding the excessive use of capital punishment.

Ceux qui s'intéressent à la littérature savent que la période la plus fructueuse de la carrière de Victor Hugo est celle des dix-huit années qu'il passa en exil aux îles de Jersey et Guernesey. Pendant ce temps son génie littéraire est en pleine floraison: il donne La Légende des Siècles, Les Contemplations, et Les Misérables. [...]

This thesis studies the theme of laughter in the works of Victor Hugo, distinguishing two topical networks: that of perverse gaiety and that of forced laughter. Part One (La Gaiete perverse) shows how Hugo, drawing various commonplaces related to cruel laughter in the gothic novel, creates a first family of characters whose laugh derives from their demented nature (the monster, the headsman, the priest, the outlaw, the mob, the court jester). Part Two (La Tristesse des justes) concerns the Hugo which, between 1845 and 1862, fashions a mythology of the People renewing with commonplaces related to perverse gaiety, which he now links to characters seen as pillars of the Second Empire (the tyrant, the soldier, the police officer). While the wicked laugh, the just man cries, and the laughter of the oppressed (the convict, the prostitute, the street urchin) is constrained. Part Three (Le Rire de force) considers three works dating from Hugo's exile, including L'Homme qui rit, where the author clearly defines what constitutes forced laughter: a victim's exultation caused by the perversity of his social torturer, the tyrant. This transition from perverse gaiety (which stems from individual perversion) to forced laughter (the result of society's perversion) will be interpreted as the reflexion of a shift in the identity of Hugo's implied reader. While the first Hugo wrote about the people, the later Hugo aspires to write for the people, which considerably affects the meaning conferred to various commonplaces used throughout his writing career.

Thesis (Ph. D.)--Bryn Mawr College, 1946. / Includes bibliographical references (p. 203. Bibliographical footnotes).

Thesis (Ph. D.)--Berne. / "Bibliographie": p. [199]-207.

Made available in DSpace on 2015-03-03T11:52:21Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-05-30Bitstream added on 2015-03-03T12:07:27Z : No. of bitstreams: 1 000809956.pdf: 11088567 bytes, checksum: f61da15ba3a27fcc67b4127bc0f80c4a (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / O objetivo deste estudo é analisar a categoria da espacialidade e o procedimento grotesco nos romances Notre-Dame de Paris (1831) de Victor Hugo e A tale of two cities (1859) de Charles Dickens, mostrando como esses procedimentos narrativos auxiliam na projeção das ações das personagens e como produzem efeito de sentido, revelando assim uma das infinitas leituras oferecidas pelas referidas obras. Em Notre-Dame de Paris (1831), Victor Hugo revela a miséria humana por meio da marca dos sentimentos opostos que habitam no homem; as contradições desses sentimentos existentes uma ao lado da outra, e não no predomínio de uma sobre a outra. Os espaços da narrativa hugoana são configurações de um novo tempo-espaço marcado pela modernidade da época, e representam uma extensão dos personagens desse romance. Em A tale of two cities (1859), Charles Dickens expressa a miséria que permeia as cidades em crise diante da mesma modernidade, evidenciando que a fome, a ausência de liberdade e de condições de vida adequadas para se viver na urbe moderna transformam o homem em um ser irracional e insensível / This study aims to analyse the spatiality category and the grotesque procedure in the novels Notre-Dame de Paris (1831) written by Victor Hugo and A tale of two cities (1859) written by Charles Dickens, the intention is to show how these narrative procedures help in the projection of the characters actions and how they can produce meaning effect, thereby revealing infinite readings which are offered by the referred works. In Notre-Dame de Paris (1831), Victor Hugo reveals the human misery through the opposite feelings which inhabit the human mind; the contradictions of those feelings exist one alongside another and not on the dominance of one over the other. The spaces in Hugo’s narrative are configurations of a new time-space defined by the modernity era, and they represent an extension of the characters in this novel. In A tale of two cities (1859), Charles Dickens expresses the misery that permeates the cities facing crisis in the same modernity, emphasizing that hunger, the lack of freedom and the appropriate living conditions in order to inhabit the modern metropolis transform man into an irrational and insensitive human being

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-graduação em Literatura, 2015. / Submitted by Tania Milca Carvalho Malheiros (tania@bce.unb.br) on 2016-01-26T12:14:05Z No. of bitstreams: 1 2015_PriscilaFernandesdeOliveira.pdf: 5029391 bytes, checksum: 44bdcdc440817270faf8c12a4a2ca464 (MD5) / Approved for entry into archive by Marília Freitas(marilia@bce.unb.br) on 2016-01-26T12:25:39Z (GMT) No. of bitstreams: 1 2015_PriscilaFernandesdeOliveira.pdf: 5029391 bytes, checksum: 44bdcdc440817270faf8c12a4a2ca464 (MD5) / Made available in DSpace on 2016-01-26T12:25:39Z (GMT). No. of bitstreams: 1 2015_PriscilaFernandesdeOliveira.pdf: 5029391 bytes, checksum: 44bdcdc440817270faf8c12a4a2ca464 (MD5) / A relação entre literatura e dança é antiga e ocorre sob diversas formas. A escritura frequentemente serve como referência para criações coreográficas, assim como a dança insere-se como elemento fundamental em algumas narrativas. Os estudos sobre a dança na literatura são numerosos. Entretanto, pesquisas que perfazem o caminho oposto, analisando a transposição da obra literária para a dança, são praticamente inexistentes, deixando uma série de indagações a respeito dessa forma de recriação. Portanto, identificar e questionar as dinâmicas envolvidas no processo de metamorfose de um código para outro, ou seja, da palavra escrita ao movimento, constitui o cerne desta pesquisa. Com o propósito de tentar responder a essas questões e analisar o diálogo intersemiótico entre essas artes, propomos um estudo comparativo entre o romance Notre-Dame de Paris de Victor Hugo e a adaptação coreográfica desta obra para o ballet neoclássico realizada pelo coreógrafo Roland Petit. No processo de análise das obras, focaremos nas relações de amor e monstruosidade, investigando as principais divergências e convergências entre ambas as obras. ________________________________________________________________________________________________ ABSTRACT / The link between literature and dance is a longstanding relationship and it occurs in various forms. The scripture often serves as a reference for choreographic creations, as well as dancing is part of a fundamental element in some narratives. The studies about the dance in the literature are numerous. However, researches that make up the opposite way, analyzing the transposition of the literary oeuvre to the dance, are almost non-existent, leaving a number of inquiries concerning this form of recreation. Therefore, to identify and question the dynamics involved in the process of metamorphosis from one code to another, i.e. the written word to the motion, is at the heart of this research. With the purpose of try to answer these questions and analyze the intersemiotic dialogue between these arts, we propose a comparative study of the novel Notre-Dame de Paris by Victor Hugo and the choreographic adaptation of this oeuvre to the neoclassical ballet performed by the choreographer Roland Petit.In the process of analysis of the oeuvres, we will focus on the relations of love and monstrosity, investigating the main differences and similarities between the two artworks.

Dissertação (mestrado)—Universidade de Brasília, Departamento de Línguas Estrangeiras e Tradução, Programa de Pós-Graduação em Estudos da Tradução, 2013. / Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2014-04-04T14:54:50Z No. of bitstreams: 1 2013_DennysdaSilvaReis.pdf: 1359959 bytes, checksum: fb0f5118b8f31c3db071915a6a1c618c (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2014-04-24T10:49:28Z (GMT) No. of bitstreams: 1 2013_DennysdaSilvaReis.pdf: 1359959 bytes, checksum: fb0f5118b8f31c3db071915a6a1c618c (MD5) / Made available in DSpace on 2014-04-24T10:49:28Z (GMT). No. of bitstreams: 1 2013_DennysdaSilvaReis.pdf: 1359959 bytes, checksum: fb0f5118b8f31c3db071915a6a1c618c (MD5) / Claude Gueux, de Victor Hugo, escrito em 1834, considerado pelos especialistas como um texto inclassificável no tocante ao gênero literário, ainda é pouco conhecido no Brasil, e neste estudo iniciamos a divulgação desta obra a partir de suas traduções brasileiras. Comparado às traduções de outros romances de Hugo, empreendidas já no século XIX, Claude Gueux só passou a ser traduzido entre nós na segunda metade do século XX. Objetivamos analisar a qualidade dessas traduções na perspectiva da Linguística Textual, concebendo o texto literário como uma textualidade autoral que, ao ser traduzida, será retextualizada na nova língua, mostrando a possibilidade teórica de intersecção de Linguística, Estudos Literários e Estudos da Tradução. Partimos do princípio de que o “texto literário” é a materialidade linguística para que o “evento texto literário” aconteça, visto que os textos literários se configuram primeiramente em código linguístico – com toda sua profusão de recursos estilísticos – para, diante do leitor, se tornar ato/evento de literatura. Todavia, para que o “evento texto literário” ocorra, a materialidade “texto literário” necessita de elementos que lhe permitem ser texto literário. Chamamos a junção desses elementos de textura ou textualidade. Logo, a tradução literária, enquanto processo, será a textualização em outra língua de uma textura já existente numa primeira língua, ou seja, a produção de uma retextura. ______________________________________________________________________________________ ABSTRACT / Claude Gueux, by Victor Hugo, written in 1834, is considered by experts as an unclassifiable text regarding to literary genres. In Brazil, it is still little known, and this study aims to disseminate it by having as a starting point its Brazilian translations. Compared to other translations of novels by Hugo, undertaken in the nineteenth century, Claude Gueux just happened to be translated in Brazil in the second half of the twentieth century. This study also aims to analyze the quality of these translations from the perspective of Text Linguistics, conceiving the literary text as an authorial textuality which, when translated, is going to be retextualized in the new language, showing the theoretical possibility of intersection of Linguistics, Literary Studies and Translation Studies. We assume that the "literary text" is the linguistic materiality for the "literary text event" to happen, as literary texts are configured primarily on language code - with all its profusion of stylistic features - for, before the reader, become a literary act/event. However, for the "literary text event" to occur, "literary text" materiality needs elements that allow it to be a literary text. We call the combination of these elements texture or textuality. Therefore, literary translation, when considered to be a process, is the textualization in another language of an existing texture in a first language, that is the production of a retextualization.

The influence of Sir Walter Scott was strongly felt in all branches of French Romantic literature. The dramatists went repeatedly to the Waverley Novels for their plots, and many of the more original plays of the period show positive traces of the influence of Scott in character, dialogue and incident. The poets and novelists learned from Scott the art of portraiture and of landscape painting. To this must be added the far greater skill of combining character and background in such a manner as to bring out the salient traits of the former. This was Scott's greatest and most original contribution. Hugo, one of the first French writers to come under the influence of the author of Waverley, was also unquestionably the most strongly affected. His early critical writings show the keen interest with which he followed the translations of the Waverley. Furthermore, it was from his first readings of Scott that Hugo conceived the method of novel-writing which he was to use with such great success in his later prose works. The current Romantic interest in the picturesque stemmed largely from Scott. The glittering pageantry of the Middle Ages, the spirited account of battles and tournaments, all of which were already to be found in their own literature, came to French writers principally through the medium of Scott. Coupled with this search for the picturesque in all its forms was the quest for local colour. The combination of these two elements in Scott and their further development in Hugo, gave to French fictional literature a verisimilitude hitherto unattained. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate