La première partie de ce mémoire, intitulée « Paradis crépusculaire », est un roman dont la narratrice, une jeune femme, est hantée par les pensées suicidaires. S’exprimant à la première personne, elle décrit elle-même son évolution psychologique provoquée par la rencontre d’un homme et les débuts d’une relation amoureuse. L’amour ravive les tentations suicidaires du personnage principal et l’entraîne dans un univers de peur qui côtoie la folie. L’histoire s’ancre dans la réalité quotidienne des deux personnages. La deuxième partie, « Impostures : Examen d’une démarche créatrice », est un essai qui traite de ma propre démarche d’écriture. Mes réflexions, tout d’abord personnelles, s’ouvrent vers le monde de la création littéraire, plus particulièrement romanesque, et sont reliées aux conceptions de différents critiques. L’essai s’élabore à partir du sentiment de l’imposteur qui m’a hantée durant tout le processus de création. / The first part of this M.A. Thesis, “Paradis crépusculaire”, is a novel. The narrator and main character is a young lady hunted by suicidal thoughts. She describes her own psychological development starting with the meeting of a man and with the beginning of their relationship. Love awakes her suicidal temptations and brings her in a universe of fear and madness. The story takes roots in the daily lives of both characters. The second part, “ Impostures : Examen d’une démarche créatrice ”, is an essay about my own writing experience. My personal thoughts on literary creation, especially about the production of a novel, are linked with different theories of literature. This essay elaborates on a feeling of imposture that has haunted me threw all my writing process.

La figure du monstre, au centre de notre thèse, participe d'une catégorie de personnages déterminés par leur situation hors de la norme. Nous nous intéressons tout particulièrement au monstre en tant que construction symbolique, et l'analyse de ce personnage littéraire hors du commun nous donnera la possibilité d'étudier les rouages textuels qui sont à l'origine de sa création. Nos travaux se portent sur le monstre re-présenté dans et par un texte fictionnel, permettant à ce texte une réflexion métatextuelle sur l'univers de la représentation. La créature monstrueuse est par essence une transgression absolue et c'est cela qui fascine le lecteur. Nous nous emploierons à analyser le monstre en tant que signe avertisseur, ce que d'ailleurs semble indiquer son étymologie, en effet, le terme "monstre" dérive étymologiquement du verbe latin "monstrare" dont le sens est "montrer", qui lui-même est issu du verbe "monere", signifiant "avertir". La créature monstrueuse serait donc un signe dont le sens resterait à déchiffrer pour celui qui le regarde. Notre intérêt se porte tout particulièrement sur la période de la fin du XIXème et le début du XXème siècle, cette époque charnière marque un tournant majeur où les angoisses fin-de-siècle vont être le ferment d'un renouveau de la littérature fantastique. Nos lectures interprétatives de notre corpus seront attentives à la circulation du désir dans les textes, aux formations textuelles inconscientes, ainsi qu'aux réécritures d'un substrat mythologique. Notre étude alliant une mythocritique et une textanalyse n'aura pas pour objectif de dresser un portrait-type du personnage du monstre fabriqué mais d'étudier sa complexité, sa composition littéraire, pour démontrer que le monstre avertit du pire tout en le faisant être là. La mythocritique nous offre la possibilité de mettre au jour les liens tissés entre l'imaginaire individuel de nos auteurs et un fonds anthropologique primordial. La lecture comparative nous permet l'exploration de l'intertextualité qui met tout texte en relation avec des mythes de manière patente ou latente. Enfin, à la lumière des théories freudiennes, nous tâcherons de pénétrer au cœur même de nos textes, il s'agira d'étudier le travail de l'inconscient de l'auteur, ce qui échappe à l'artiste par le mouvement même de l'écriture créatrice. / The abstract is available in French only

A tese se detém no estudo dos três primeiros romances de Graciliano Ramos, Caetés, S. Bernardo e Angústia, procurando investigar a figuração do escritor e intelectual propiciada pela caracterização dos três protagonistas envolvidos, cada uma à sua maneira, no exercício ficcional. Pretende-se analisar o projeto literário delineado pela constante referência nos três romances à criação literária e seus desdobramentos, projeto que se mantém coerente ao longo de toda a obra de Graciliano Ramos. Além disso, o entrelaçamento entre as questões de ordens estética e políticosocial será observado na tese, bem como a consequente dificuldade de inserção do autor nas correntes literárias de sua época. / This doctoral dissertation focuses on the studies of the first three novels by Graciliano Ramos, Caetés, S. Bernardo e Angústia, in order to investigate the representation of both the writer and intellectual in the characterization of the three main characters involved, each in their own manner, in the fictional exercise. The purpose is to analyze the literary project outlined through constant reference in the three novels to the literary creation and its unfolding, project that remains consistent throughout the works of Graciliano Ramos. Moreover, the interlacing of elements from aesthetics and sociopolitical orders will be observed in the dissertation, as well as the consequent difficulty of insertion of the author in the literary currents of his time.

[pt] Leitura de traços convergentes que atualizam a questão da modernidade na obra de Miguel Torga. A escolha dos tópicos, centrada na análise de determinados marcadores textuais, objetiva evidenciar os elementos agenciadores do discurso, bem como estabelecer os mecanismos que levam à busca de um sentido de identidade e de um sentimento de universalidade, propiciadores da descoberta da unidade, que se fundamenta na redescoberta de si mesmo e da terra portuguesa. / [en] A reading of converging outlines that bring up to date the question of modernity in Miguel Torga work. The choice of themes, centered on the analisys of certain textual traits, has the purpose of turning clea the structural elements of the discourse, as well as establishing the mechanism that lead to the search of a sense of identy and a communal feeling, facts that favour the unveiling of unity, which is based in the rediscovery of self and of the portuguese land.

A tese se detém no estudo dos três primeiros romances de Graciliano Ramos, Caetés, S. Bernardo e Angústia, procurando investigar a figuração do escritor e intelectual propiciada pela caracterização dos três protagonistas envolvidos, cada uma à sua maneira, no exercício ficcional. Pretende-se analisar o projeto literário delineado pela constante referência nos três romances à criação literária e seus desdobramentos, projeto que se mantém coerente ao longo de toda a obra de Graciliano Ramos. Além disso, o entrelaçamento entre as questões de ordens estética e políticosocial será observado na tese, bem como a consequente dificuldade de inserção do autor nas correntes literárias de sua época. / This doctoral dissertation focuses on the studies of the first three novels by Graciliano Ramos, Caetés, S. Bernardo e Angústia, in order to investigate the representation of both the writer and intellectual in the characterization of the three main characters involved, each in their own manner, in the fictional exercise. The purpose is to analyze the literary project outlined through constant reference in the three novels to the literary creation and its unfolding, project that remains consistent throughout the works of Graciliano Ramos. Moreover, the interlacing of elements from aesthetics and sociopolitical orders will be observed in the dissertation, as well as the consequent difficulty of insertion of the author in the literary currents of his time.

Esta dissertação tem como objetivo a descrição e análise de documentos do arquivo literário de João Guimarães Rosa salvaguardado no Instituto de Estudos Brasileiros da Universidade de São Paulo, agrupados sob a designação de Estudos para Obra. Esses papéis, compostos ou coletados pelo autor de Grande sertão: veredas, formam um volumoso e diversificado material de apoio à criação literária, no qual podemos visualizar três grandes usos e funções que apresentaremos separadamente: o registro das experiências cotidianas, na forma de diários e apontamentos avulsos; o arquivamento de notas de leitura, pesquisas temáticas e estudos linguísticos; a experimentação literária, por meio de numerosas listas de elaborações textuais fragmentárias e planos poéticos, ficcionais e ensaísticos. Dialogando com a Crítica Genética, os estudos de Intertextualidade e as reflexões sobre as práticas de arquivamento do escritor, demonstraremos como Guimarães Rosa se utilizava de fontes variadas para a escrita de seus textos e daremos a ver diferentes aspectos que envolvem seu processo de criação literária. / This work aims to describe and analyzedocuments that are part of João Guimarães Rosa\'s literary archive kept by the Institute of Brazilian Studies of University of São Pauloand aregrouped under the classification of Estudos para Obra. These documents, composed or collected by the author of Grande sertão: veredas, assumesthe form a voluminous and varied material that supported his literary creation, havingat least three primary functions: the recording of everyday events in diaries or sparse notes; the preservation of reading notes, researches and linguistic studies; literary experimentation achieved by the composition of lists of textual fragments and plans for poems, narratives and essays. Dialoguing with Genetic Criticism, Intertextuality and studies on literary archives,we intend to show Guimarães Rosa\'s practice of using multiple resources for writing his texts, and presentdifferent aspects that are involved inhis literary creation.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A presente dissertação tem como objetivo refletir sobre a imagem do artista na obra de Silviano Santiago, mais precisamente sobre a figura do narrador-escritor da novela Uma história de família (1992), em abordagem comparativa com outros artistas, cuja produção e aparecimento na mídia problematizaram as primeiras décadas do HIV/AIDS, tais como Cazuza e o artista visual Leonilson, que posavam midiaticamente como perigosos. Pretende-se apontar, na obra de Silviano Santiago, uma performance do artista (soropositivamente) perigoso, na qual a relação entre enfermidade, dor, prazer e labor literário é verificável. Outros artistas são estudados, tais como o escritor Jean-Claude Bernardet, a artista visual Teresa Margolles e o performer Ron Athey, assim como os já citados Cazuza e Leonilson. Partindo da tese de Doutorado e da dissertação de Mestrado de Marcelo Secron Bessa, este trabalho procura avançar com algumas questões que, para tanto, recorrem ao conceito de performatividade, em Judith Butler, à noção do corpo como um Outro radical, de Henri-Pierre Jeudy, e à análise da relação entre AIDS e a discursividade empreendida por Susan Sontag. Os textos críticos de Silviano Santiago também fundamentam o presente estudo, mais precisamente na análise daqueles da relação entre dor e prazer na criação literária e da noção de uma homossexualidade astuciosa em resposta às discursividades heteronormativas / The dissertation intends to discuss on the representation of the artist in Silviano Santiagos literary productions, focusing mainly on the figure of writer-narrator of the novel Uma história de família (1992), in comparative analysis with other writers and artists whose their literary and artistic productions had dealt with the first decades of HIV/AIDS, such as the pop-rock singer Cazuza, and the visual artist Leonilson, who had made a pose of dangerous individuals in Brazilian mass media. Therefore, the dissertation places emphasis in Silviano Santiagos productions that can be named as the performance of the dangerous (HIV-positively) artist, in which the relationship among disease, pain, pleasure, and literary labour can be verified. Other artists are analyzed, such as the writer Jean-Claude Bernardet, the visual artist Teresa Margolles, the performer Ron Athey as well as the above quoted Cazuza, and Leonilson. The Doctorship thesis and the Mastership dissertation of Marcelo Secron Bessa are the point of departure of this study, which aims to dialogue with the concept of performativity by Judith Butler, the Henri-Pierre Jeudys notion of body in the art as a radical Other, and the Susan Sontags analysis about the relationship between HIV/AIDS and metaphorical discursivities. The critical texts from Silviano Santiago are also fundamental tools to this study, specifically in their analysis about the relationship between pain and literary creation as well as their notion of an astute homosexuality in response to heteronormative discourses

La première partie de ce mémoire, intitulée « Paradis crépusculaire », est un roman dont la narratrice, une jeune femme, est hantée par les pensées suicidaires. S’exprimant à la première personne, elle décrit elle-même son évolution psychologique provoquée par la rencontre d’un homme et les débuts d’une relation amoureuse. L’amour ravive les tentations suicidaires du personnage principal et l’entraîne dans un univers de peur qui côtoie la folie. L’histoire s’ancre dans la réalité quotidienne des deux personnages. La deuxième partie, « Impostures : Examen d’une démarche créatrice », est un essai qui traite de ma propre démarche d’écriture. Mes réflexions, tout d’abord personnelles, s’ouvrent vers le monde de la création littéraire, plus particulièrement romanesque, et sont reliées aux conceptions de différents critiques. L’essai s’élabore à partir du sentiment de l’imposteur qui m’a hantée durant tout le processus de création. / The first part of this M.A. Thesis, “Paradis crépusculaire”, is a novel. The narrator and main character is a young lady hunted by suicidal thoughts. She describes her own psychological development starting with the meeting of a man and with the beginning of their relationship. Love awakes her suicidal temptations and brings her in a universe of fear and madness. The story takes roots in the daily lives of both characters. The second part, “ Impostures : Examen d’une démarche créatrice ”, is an essay about my own writing experience. My personal thoughts on literary creation, especially about the production of a novel, are linked with different theories of literature. This essay elaborates on a feeling of imposture that has haunted me threw all my writing process.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A presente dissertação tem como objetivo refletir sobre a imagem do artista na obra de Silviano Santiago, mais precisamente sobre a figura do narrador-escritor da novela Uma história de família (1992), em abordagem comparativa com outros artistas, cuja produção e aparecimento na mídia problematizaram as primeiras décadas do HIV/AIDS, tais como Cazuza e o artista visual Leonilson, que posavam midiaticamente como perigosos. Pretende-se apontar, na obra de Silviano Santiago, uma performance do artista (soropositivamente) perigoso, na qual a relação entre enfermidade, dor, prazer e labor literário é verificável. Outros artistas são estudados, tais como o escritor Jean-Claude Bernardet, a artista visual Teresa Margolles e o performer Ron Athey, assim como os já citados Cazuza e Leonilson. Partindo da tese de Doutorado e da dissertação de Mestrado de Marcelo Secron Bessa, este trabalho procura avançar com algumas questões que, para tanto, recorrem ao conceito de performatividade, em Judith Butler, à noção do corpo como um Outro radical, de Henri-Pierre Jeudy, e à análise da relação entre AIDS e a discursividade empreendida por Susan Sontag. Os textos críticos de Silviano Santiago também fundamentam o presente estudo, mais precisamente na análise daqueles da relação entre dor e prazer na criação literária e da noção de uma homossexualidade astuciosa em resposta às discursividades heteronormativas / The dissertation intends to discuss on the representation of the artist in Silviano Santiagos literary productions, focusing mainly on the figure of writer-narrator of the novel Uma história de família (1992), in comparative analysis with other writers and artists whose their literary and artistic productions had dealt with the first decades of HIV/AIDS, such as the pop-rock singer Cazuza, and the visual artist Leonilson, who had made a pose of dangerous individuals in Brazilian mass media. Therefore, the dissertation places emphasis in Silviano Santiagos productions that can be named as the performance of the dangerous (HIV-positively) artist, in which the relationship among disease, pain, pleasure, and literary labour can be verified. Other artists are analyzed, such as the writer Jean-Claude Bernardet, the visual artist Teresa Margolles, the performer Ron Athey as well as the above quoted Cazuza, and Leonilson. The Doctorship thesis and the Mastership dissertation of Marcelo Secron Bessa are the point of departure of this study, which aims to dialogue with the concept of performativity by Judith Butler, the Henri-Pierre Jeudys notion of body in the art as a radical Other, and the Susan Sontags analysis about the relationship between HIV/AIDS and metaphorical discursivities. The critical texts from Silviano Santiago are also fundamental tools to this study, specifically in their analysis about the relationship between pain and literary creation as well as their notion of an astute homosexuality in response to heteronormative discourses

L'écriture créative est aujourd'hui une composante importante du systèrl1e littéraire angle-saxon. Reconnue en tant qu'activité artistique, elle l'est également, dans une certaine mesure, en tant que discipline universitaire, que des diplômes sanctionnent. En moyenne aujourd'hui, on recense environ deux cents programmes de Masters (M.F.A.) dans le monde, dont pas moins de quatre-vingt-quinze pour cent aux États-Unis. Cependant, quel est le statut de l'écriture créative ? Qu'est-ce que l'écriture créative en tant que discipline ? Si l'écriture est un vrai travail sur l'imaginaire, la langue, la pensée, elle est surtout le résultat d'un processus. Ainsi, pour refléter ce processus et dénouer les questionnements annoncés, cette recherche s'articule autour de trois axes principaux : penser l'identité du texte, la dialectique travail/plaisir et l'enseignabilité du processus de création littéraire. / Creative writing has become an important component of the Angle-Saxon literary system. Not only is it acknowledged as an artistic activity, but it is also recognized as a program in higher education. There are about two hundred creative writing Master of Fine Arts programs around the world, ninety-five per cent of which are concentrated in the United States of America. However, a lot of questions around the status of creative writing. as a subject remain unanswered-indeed, what is creative writing as a subject? While writing involves a great deal of imagination, a certain proficiency in language and some thinking kills, it is mainly a process: Thus, to reflect this inquiry, this research first explores the ontological reality of the text, before investigating the articulation of pleasure and work in the process of writing. The final focus is on creative writing in the Anglo-Saxon educational system, from high school to university.