Orientador: Marcia Azevedo de Abreu / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-15T18:08:03Z (GMT). No. of bitstreams: 1 Silva_OzangeladeArruda_M.pdf: 25616104 bytes, checksum: 683bbb9a435be4d196a06a32e9759e2c (MD5) Previous issue date: 2009 / Resumo: Esta dissertação buscou conhecer as formas de circulação dos romances em Fortaleza nas três últimas décadas do século XIX. Tornou-se clara, no decorrer da pesquisa, a existência de uma rede profissional que conectava os mercadores instalados em Fortaleza com livreiros e editores de diversas localidades brasileiras e algumas cidades europeias. Tendo isto em vista, buscou-se perceber os títulos e autores em circulação no período, bem como apresentar algumas estratégias de distribuição e divulgação dos romances utilizadas pelo mercado editorial do século XIX / Abstract: This dissertation investigates the circulation of novels in Fortaleza in the last three decades of the nineteenth century. During our research, a professional network that connects the merchants installed in Fortaleza with booksellers and publishers from various places in Brazil and some European cities, has come to light. Being aware of that, we have tried to elicit the titles and authors circulating along the period, as well as the strategies used for novel distribution in the editorial market / Mestrado / Historia e Historiografia Literaria / Mestre em Teoria e História Literária

Abstract Historical novels are widely published and read in Finland. During the last few decades both Finnish and Finland-Swedish writers alike have addressed such incendiary topics as the Finnish Civil War and the events of the Second World War. The object of the present study is Lars Sund’s Siklax trilogy: Colorado Avenue (1991), Lanthandlerskans son (1997, ’Son of a Country Shopkeeper’) and Eriks bok (2003, ’Erik’s Book’). These novels can be defined as postmodern historical novels, relatively rare as a genre in Finland and even less studied. The impact of historical novels on readers’ attitudes may be strong, and as a result it is necessary to contemplate the ways in which history is reproduced and interpreted. The present study analyses the ways Sund’s novels represent the past, their relation to historiography and the historical novel as a genre, as well as their conception of history. The aim of the study is to demonstrate what kind of connection exists between narrative techniques and representations of the past. This study utilizes narratological, intertextual and contextual approaches. Cultural narratology integrates features from both classical and postclassical narratology, in consequence the novel’s narrative structures are examined as active forces that both reflect and influence the cultural discourses of a given period. During the research process, the narrative structure of Sund’s novels has been analysed as well as intertextual allusions to other texts and to other cultural and social discourses. The narrative structure of Sund’s historical novels suffices to raise epistemological questions about the achievability and reliability of historical knowledge. The occurrences of other media on the story and discourse level, such as descriptions of paintings and photographs and filmic narration, as well as numerous intertextual allusions, accentuate the polyphony of history and the subjectivity of historical conclusions. The present study connects Lars Sund’s historical novels with the international, Nordic and domestic tradition. Additionally, the analysis of the visual features of the novels connects the study with the abounding discussion on the relationship between word and image. / Tiivistelmä Historiallisia romaaneja julkaistaan Suomessa runsaasti, ja laji on yhä lukijoiden suosiossa. Sekä suomen- että ruotsinkieliset kirjailijat ovat viime vuosikymmeninä käsitelleet maamme historian kipupisteitä, kuten kansalaissotaa ja toisen maailmansodan tapahtumia. Tutkimuksen kohteena on Lars Sundin Siklax-trilogia, jonka muodostavat romaanit Colorado Avenue 1991 (suom. Colorado Avenue 1992), Lanthandlerskans son 1997 (suom. Puodinpitäjän poika 1998) ja Eriks bok 2003 (suom. Erikin kirja 2004). Nämä teokset edustavat postmodernia historiallista romaania, jota Suomessa on kirjoitettu suhteellisen vähän ja tutkittu vielä vähemmän. Historiallisten romaanien vaikutus lukijan asenteisiin voi olla suuri, ja siksi on tarpeen pohtia myös niitä keinoja, joilla historiaa tuotetaan ja tulkitaan. Tutkimuksessa analysoidaan Sundin romaanien tapoja representoida mennyttä, historiankäsitystä sekä suhdetta historiankirjoitukseen ja historiallisen romaanin lajiin. Tavoitteena on selvittää, millainen yhteys kerrontatekniikoiden ja menneisyyden representaatioiden välillä on. Tutkimuksessa yhdistyvät narratologinen, intertekstuaalinen ja kontekstuaalinen tarkastelutapa. Analyysin kohteena ovat teosten kerrontarakenteet sekä viittaussuhteet toisiin teksteihin ja muihin kulttuurisiin ja yhteiskunnallisiin diskursseihin. Lähestymistapaa kuvaa parhaiten klassisen ja postklassisen narratologian piirteitä yhdistävä kulttuurisen narratologian käsite, jossa teoksen kerronnallisia rakenteita tutkitaan sekä aikakautensa kulttuurisia diskursseja heijastavana että niihin vaikuttavana aktiivisena voimana. Sundin historialliset romaanit nostavat jo rakenteellaan esiin epistemologisia kysymyksiä tiedon saavutettavuudesta ja luotettavuudesta. Muiden medioiden, kuten elokuva-, maalaus- ja valokuvataiteen, esiintyminen niin tarinan kuin kerronnan tasolla sekä lukuisat intertekstuaaliset viittaukset korostavat historian moniäänisyyttä ja tulkintojen subjektiivisuutta. Tutkimus osallistuu kuvan ja sanan vuorovaikutuksesta käytyyn vilkkaaseen keskusteluun ja kytkee Lars Sundin historialliset romaanit osaksi niin kansainvälistä, pohjoismaista kuin kotimaista traditiota. / Abstrakt Historiska romaner publiceras det rikligt av i Finland och genren är fortfarande populär bland läsarna. Under de senaste decennierna har både finländska och finlandssvenska författare behandlat sådana nationella smärtpunkter som inbördeskriget, vinterkriget och fortsättningskriget. I denna avhandling forskas Lars Sunds Siklax-trilogi: Colorado Avenue (1991), Lanthandlerskans son (1997) och Eriks bok (2003). Dessa romaner representerar den postmoderna historiska romanen, som det till dags dato skrivits relativt litet om i Finland och ännu mindre forskats i. Historiska romaner konstruerar nationell identitet och deltar i den kulturella och politiska dialogen om det förflutna och nutiden. Deras inverkan på läsarens inställningar kan vara stark, och därför är det nödvändigt att reflektera på de medel med vilka historien produceras och uttolkas. I avhandlingen analyseras på vilket sätt det förflutna representeras i Sunds romaner; historieuppfattningen samt relationen till historieskrivningen och till den historiska romanen som genre. Syftet är att redogöra för hurdant förhållande det finns mellan berättarmetoder och representationer av det förgångna. I undersökningen förenas ett narratologiskt, intertextuellt och kontextuellt betraktelsesätt. Det gäller att analysera romanernas berättarstrukturer samt intertextuella referenser till andra texter och till andra kulturella och sociala diskurser. Betraktelsesättet skildras bäst med begreppet kulturell narratologi (cultural narratology), som förenar drag av den klassiska och postklassiska narratologin. Detta betyder att romanens narrativa strukturer granskas som en aktiv kraft, vilken både reflekterar tidens kulturella diskurser och påverkar dem. Själva konstruktionen av Sunds historiska romaner framför epistemologiska frågor om den historiska kunskapens åtkomlighet och pålitlighet. Andra mediers närvarande på historiens och på diskursens nivåer, så som beskrivningar av fotografier och målningar eller filmiskt berättande, och åtskilliga intertextuella hänvisningar, betonar historiens polyfoni och tolkningars subjektivitet. Undersökningen kopplar Lars Sunds historiska romaner till internationell, nordisk och finländsk tradition. Dessutom anknyter analysen av Sunds visuella material undersökningen till den livliga diskussionen om samspel mellan ord och bild.

Cette étude porte sur les procédés narratifs et les dispositifs rhétoriques auxquels certains romanciers du XVIIIe siècle ont recours pour jouer avec les attentes de leurs lecteurs. En effet, ces auteurs ne cessent de revendiquer la véridicité de leurs textes et pourtant, simultanément, utilisent deux stratégies visant à forcer le lecteur à se distancer de ce qui lui est raconté: d’une part ils mettent en scène un arsenal de lieux communs si connus que le lecteur reconnaît ceux-ci comme des signaux de fictionnalité; d’autre part ils multiplient les indices empêchant de croire à la réalité des récits qu’ils relatent. Cette étude en tire un certain nombre de conséquences et propose quelques hypothèses théoriques pour rendre compte de cette poétique paradoxale du jeu. Elle en examine également les effets et les implications – principalement rapportés à la figure du lecteur – et interroge la notion, à première vue contradictoire, de ‘vérité de la fiction’. / This dissertation analyzes the narrative devices and rhetorical techniques used by eighteenth-century novelists in order to play with the expectations of their readers. These authors present their fictional narratives as true accounts. At the same time, however, they use strategies that force the readers to distance themselves from what they read: on the one hand, these authors present a series of literary topoï, which are so familiar to the readers that they can only be taken as a sign of fictionality; and on the other hand, the authors give a series of clues that prevent the readers from believing what is said. This study examines the consequences of these procedures and offers several theoretical hypotheses in order to understand the paradoxical poetics of play. It questions the effects and the implications of this poetics on the reader and proposes the apparently contradictory concept of “fictional truth” as a way to think through the various notions of play in eighteenth-century fiction.

Cette thèse se propose d’étudier un ensemble de romans portant sur l’histoire dynastique,composés entre les années 1630 et les années 1730. Nous lisons ces œuvres à partir de la notion de monde impérial, en désignant par ce terme les représentations du réel où l’institution régnante sert de point de repère, aussi bien pour s’orienter dans l’espace et dans le temps, que pour expliquer les mouvements d’ordre et de désordre qui affectent l’ensemble des vies. L’objet central de cette étude est de saisir ce qui vacille et se transforme dans les manières d’ordonner des mondes impériaux au sein des romans composés durant cette période.Pour ce faire, nous nous proposons de relire ces œuvres à partir d’une série de ruptures qui travaillent les usages ou les conceptualisations de notions clés du discours néo-confucéen :les deux couples guo 國 et tianxia天下 (monde et dynastie), su 俗 et minjian 民間(vulgaire et populaire), et les trois notions de yanyi 演義 (développement du sens/ histoire exemplaire), zhi 知 (l’étape ultime du discernement) et gong 公(sens public). Une telle approche nous permet de mettre en évidence des liens qui restaient invisible dans le discours critique entre les romans sur l’histoire dynastique et un ensemble d’évolutions sociales et intellectuelles qui ont lieu entre les années 1630 et les années 1730, et qui touchent à des objets aussi divers que l’organisation spatiale et ethnique de l’empire, les formes d’activisme social, ou les termes dans lesquels sont pensés les discours moraux, et historiographiques.Corpus principal : Écrits oubliés des Sui (Suishi yiwen隨史遺文，préface 1633) ;Deuxième collection du Lac de l’ouest (Xihu erji 西湖二集, années 1640) ;Second bord de l’eau (Hou Shuihu zhuan後水滸傳，fin des Ming, début des Qing) ;Histoire exemplaire et vulgarisée du bûcheron (Qiaoshi tongsu yanyi樵史通俗演義, début desQing) ; Suite au bord de l’eau (Shuihu houzhuan水滸後傳，préface 1664) ; Histoire exemplaire des Sui et des Tang (Sui Tang yanyi隋唐演義, préface 1695) ;Histoire non-officielle des immortelles (Nüxian waishi女仙外史, préface 1711) ; Récit complet des Tang (Shuo Tang quanzhuan 說唐全傳, années 1730) / This dissertation deals with a set of novels about dynastic history written between the 1630sand the 1730s. My point of departure is the following : A) I study the way these novels structure representations of the imperial world – that is,representations of space, time, and social order that are organized in reference to the imperialinstitution.B) I reinsert these representations of the imperial world within contemporary ru (儒Neo-confucian) discourses. I do so by focusing on the way five notions or set of notions, thatare both central to ru discourses and to these novel are conceptualized and used : the twinnotions of guo (國 “imperial institution” / “country”) and tianxia (天下 “the world”) ; su (俗“vulgar”) and minjian (民間 “popular”); the notions of yanyi (演義 “development ofmeaning”, “exemplary narrative”); gong (公, “public”) ; and zhi (知 “moral recognition”). In doing so, this dissertation highlights a web of connections that were previouslyinvisible between novelistic representations of the imperial world and a set of evolutions withinthe ru world that are contemporary to the writing of these novels.Main primary sources : Forgotten Tales of the Sui (Suishi yiwen 隨史遺文，preface 1633) ; Second West Lake Collection (Xihu erji 西湖二集, ca1640) ; Second Water Margins (Hou shuihu zhuan後水滸傳 late Ming- early Qing ) ; Exemplary and Popularized History of the Woodcutter (Qiaoshi tongsu yanyi樵史通俗演義,early Qing) ; A sequel to the Water Margins, (Shuihu houzhuan水滸後傳，preface 1664) ; Exemplary History of the Sui and Tang ( Sui Tang yanyi 隋唐演義, preface 1695) ; Non-Official History of the Female Immortals (Nüxian waishi女仙外史, preface 1711) ; Complete History of the Tang (Shuo Tang quanzhuan說唐全傳, ca 1730)

The aim of this thesis is to cover the structure and functioning of archetypes, stereotypes or emblems in selected genres of popular literature - the romance novels and comics. A similar structure of mythization in the popular genres is revealed through mutual comparison. Selected works are analyzed on the basis of Jungian psychology and its concepts of the unconscious and the archetypal image. The original myths, fairy tales, other popular genres and some works of the European fictional tradition are involved in the comparison. Among others, this thesis also draws from approaches included in various works of sociology, ethnography, Religious Studies and feminist literary criticism. The comparative analysis has shown that provable connection between popular literature and the original myth structures can be traced and the collective unconscious serves as a transmission medium. The genres of popular literature are worthy of further research because they reflect not only contemporary social situation but also essential structures of the human psyche. This thesis clearly demonstrates that the romance novels and comics are valid parts of the literary sphere and suggests one of the possible ways suitable for further study of the subject.

Guillaume Apollinaire est incontestablement l’un des poètes français les plus célèbres du XXe siècle. Celui qui a participé aux mouvements d’avant-garde et écrit des poèmes comme «Le Pont Mirabeau» et «La Chanson du Mal-Aimé», s’est pourtant livré à une autre activité littéraire moins connue du grand public. En effet, la «prose d’imagination»—contes et romans—de l’écrivain est conçue dans les règles de «l’esprit nouveau», et selon une poétique de « la surprise » qui caractérise aussi ses vers. Friand de curiosa et de bizarreries de toutes sortes, le prosateur Apollinaire manifeste une prédilection pour les hérétiques, les aventuriers, les maniaques, les poètes disgracieux et les artistes originaux. Il n’a pas peur d’aborder des sujets étonnants, voire hétérodoxes, à la recherche du renouvellement esthétique. Cette écriture très particulière peut s’inscrire dans une certaine lignée de la littérature, parmi les genres et les ouvrages des auteurs voués à ce qui est fantastique, mystérieux, anticlérical ou subversif. Comme la vie et l’œuvre sont inséparables dans le monde apollinarien, il est naturel que la curiosité et le goût du bizarre de l’écrivain laissent des empreintes dans sa bibliothèque personnelle, ses agendas et dans ses chroniques anecdotiques. Et c’est effectivement dans le domaine du journalisme que se trouvent maintes «authentiques faussetés» d’un Apollinaire conteur, qui excelle à mêler le réel et l’imaginaire. Une telle tendance fusionnelle se traduit aussi par le mélange des genres artistiques et littéraires dans sa fiction, laquelle témoigne d’une volonté d’inventer au-delà de certains «modèles», de créer une nouvelle esthétique libre de contraintes formelles, tout en restant fidèle aux principes défendus par le poète Guillaume Apollinaire. / Guillaume Apollinaire is undoubtedly one of the most famous French poets of the twentieth century. However, apart from being a key figure in the early avant-garde movements and the author of The Mirabeau Bridge (“Le Pont Mirabeau“) and The Song of the Ill-Beloved (“La Chanson du Mal-Aimé“), the poet played another literary role less known to the public today. In fact, the “imaginative prose” (“la prose d’imagination“)—short stories and novels—of Apollinaire was written in the spirit of “l’esprit nouveau“ and in accordance with a poetics of “surprise“ which also shaped his poetry. Being an avid reader of curiosa and other unusual texts, the prosateur Apollinaire had a predilection for heretics, rogues, maniacs, ungraceful poets and eccentric artists. He was not afraid to write about shocking or unconventional subjects while aiming for aesthetic renewal. This very distinctive fiction writing belongs probably to a certain tradition in literature, where Apollinaire and some of his works remain among the genres and the authors who devoted themselves to fantastic tales, mysteries, anticlerical stories or other subversive texts. Since worldly experience and literary enterprise are inseparable in Apollinaire’s world, it is natural to notice many signs of the writer’s curiosity and his taste for the bizarre in his private library, his journals and his magazine columns. In fact, a large number of the so-called “true falsities“ (“authentiques faussetés“)—a term invented by Apollinaire himself who, as a brilliant raconteur, excelled in mixing reality with fantasy—can actually be found in the writer’s journalistic writing. As for his work of fiction, a similar tendency for mixing also reveals itself in the fusion of different artistic and literary genres. The “imaginative prose“ shows the author’s will to invent out of some existing “frameworks“, to create a new aesthetic free of genre constraints, while remaining faithful to the principles defended by the poet Guillaume Apollinaire.

This dissertation is mainly based on the reading of three American novels to explore how female characters deal with their illegitimate pregnancies and how their solutions re-shape their futures and affect their inner growth. Chapter 1 discusses Dorinda Oakley's premarital pregnancy in Ellen Glasgow's Barren Ground and draws the circle of limits from Barbara Welter's "four cardinal virtues" (purity, submissiveness, domesticity, and piety) which connect to the analogous female roles (daughter, sister, wife, and mother). Dorinda's childless survival reconstructs a typical household from her domination and absence of maternity. Chapter 2 examines Ántonia Shimerda's struggles and endurance in My Ántonia by Willa Cather before and after Ántonia gives birth to a premarital daughter. Ántonia devotes herself to being a caring mother and to looking after a big family although her marriage is also friendship-centered. Chapter 3 adopts a different approach to analyze Charlotte Rittenmeyer's extramarital pregnancy in The Wild Palms by William Faulkner. As opposed to Dorinda and Ántonia who re-enter domesticity to survive, Charlotte runs out on her family and dies of a botched abortion. To help explain the aftermath of illicit pregnancies, I extend or shorten John Duvall's formula of female role mutations: "virgin>sexually active (called whore)>wife" to examine the riddles of female survival and demise. The overall argument suggests that one way or another, nature, society, and family are involved in illegitimately pregnant women's lives, and the more socially compliant a pregnant woman becomes after her transgression, the better chance she can survive with her baby.

In this essay, I examined the significance of graphic novels as polyvalent texts that hold the potential for creating an aesthetic sense of flow for readers and consumers. In building a justification for the rhetorical examination of comic book culture, I looked at Kenneth Burke's critique of art under capitalism in order to explore the dimensions between comic book creation, distribution, consumption, and reaction from fandom. I also examined Victor Turner's theoretical scope of flow, as an aesthetic related to ritual, communitas, and the liminoid. I analyzed the graphic novels Green Lantern: Rebirth and Y: The Last Man as case studies toward the rhetorical significance of retroactive continuity and the somatic potential of comic books to serve as equipment for living. These conclusions lay groundwork for multiple directions of future research.

Depuis 1984 (1949) de George Orwell, la télévision et les regards (panoptiques et synoptiques) qu’elle engendre constituent un leitmotiv du genre dystopique. Dans les dystopies Acide sulfurique (2005) d’Amélie Nothomb et Les Sorcières de la République (2016) de Chloé Delaume, ils occupent une place centrale. Imposant une façon de voir au moyen du cadrage de la caméra et transmettant le contenu filmé à un nombre illimité de téléspectateurs, ils sont responsables de l’horrible traitement des protagonistes. Les héroïnes, Pannonique et la Sybille, sont exposées sans leur accord sur les écrans des habitants de leur pays qui se divertissent de leurs malheurs. Les œuvres des autrices à l’étude critiquent toutes deux, chacune à leur manière, la « société du spectacle » (Guy Debord, 1967) qu’encourage la télévision. Suivant des perspectives intermédiales et féministes, ce mémoire s’intéresse aux conséquences de la contamination non seulement des personnages féminins mais également du genre romanesque lui-même par les regards télévisuels. Il semble avant tout qu’ils aient un effet non négligeable sur les protagonistes, puisqu’elles sont jugées selon leur apparence par les téléspectateurs et que leur sexe conditionne l’image qui leur est attribuée (la sorcière, la vierge, l’amoureuse, etc.). Or, l’impact des regards télévisuels ne se limite guère à l’intrigue des romans, puisqu’ils contaminent aussi la forme, la structure et la narration des œuvres. Acide sulfurique et Les Sorcières de la République apparaissent comme des « livres-écrans » qui font adopter la position de téléspectateur à leur lectorat et accueillent simultanément le virus télévisuel au sein du livre, tout en le combattant de l’intérieur. / Since George Orwell’s 1984 (1949), television and the (panoptic and synoptic) gazes that it generates have been a leitmotif of dystopian fiction. In the dystopian novels Acide sulfurique (2005) by Amélie Nothomb and Les Sorcières de la République (2016) by Chloé Delaume, they play a central role. By imposing a way of seeing through the framing of the camera and by transmitting the filmed content to an unlimited number of viewers, televisual gazes are responsible for the horrible treatment of the protagonists. The heroines, Pannonique and Sybille, are exposed without consent on the screens of fellow citizens who are entertained by their misfortunes. The works by the two authors examined both critique, each in their own way, the “society of the spectacle” (Guy Debord, 1967) that television encourages. From an intermedial and a feminist perspective, this research analyses the televisual gazes’ contamination of the novel that occurs through the portrayal of the female characters, but also through the form of the works themselves. Firstly, it seems that they have a significant effect on the protagonists, since they are judged by the viewers according to their appearance and because their sex conditions the image assigned to them (the witch, the virgin, the lover, etc.). However, the impact of televisual gazes is not limited to the intrigue of the novels : they also contaminate the form, structure and narration of the works. Acide sulfurique and Les Sorcières de la République appear as “screening books” inviting readers to adopt a viewer’s role and hosting televisual gazes like a virus, all while fighting them from the inside.

This study takes a structuralist approach to the development of the novel, arguing that eighteenth-century writers build progressive narrative by rendering abstract, then conflating, literary theories of gendered time that originate in the Renaissance with seventeenth-century scientific theories of motion. I argue that writers from the Renaissance through the eighteenth century generate and regulate progress-as-product in their narratives through gendered constructions of time that corresponded to the generation and regulation of economic, political, and social progress brought about by developing capitalism.