Esta tese traz a análise das personagens arrivistas femininas das obras romanescas de Machado de Assis e Marcel Proust. São elas: Guiomar, Helena e Sofia, de A mão e a luva, Helena e Quincas Borba, respectivamente, e Odette e Madame Verdurin de À la recherche du temps perdu. Em A Mão e a luva e Helena, Machado engendra as tramas no Rio de Janeiro dos anos 1850, período estável do Segundo Reinado. A trajetória ascensional de Guiomar e Helena, em uma época de pouca mobilidade social, justifica-se pelo fato de serem personagens singulares, dotadas de grande habilidade. Aqui, o destino repara o equívoco do nascimento desprivilegiado. Quincas Borba, por outro lado, ambientado entre 1867 e 1871, apresenta uma sociedade mais dinâmica e fluida. A mudança gradativa de classes operada por Sofia e Cristiano Palha se deve ao grande senso de oportunismo nos negócios e às ações pouco escrupulosas do casal. De todo modo, as narrativas brasileiras tratam predominantemente do desejo de pertencer à burguesia rica. Em À la recherche du temps perdu, Proust mostra uma sociedade complexa e estratificada, em que a burguesia e a nobreza, a despeito da Revolução Francesa, continuam divididas em várias subcategorias na Belle Époque. Por isso, Odette e Madame Verdurin têm de cumprir muitas etapas no decorrer de quatro décadas para conquistarem seu espaço no faubourg Saint-Germain. Considerando as diferenças históricas e espaciais dos romances brasileiros e franceses, analisamos a construção das figuras femininas citadas através do cotejamento de trechos das obras. Com isso, foi-nos possível apontar pontos de aproximação como o casamento, a maternidade e a importância dos salões, vistos sob os pontos de vista das condições sócio-culturais de cada país. / This thesis provides an analysis of female social-climber characters in the novels of Machado de Assis and of Marcel Proust. They are: Guiomar, Helena, and Sofia, from A mão e a luva, Helena, and Quincas Borba, respectively; and Odette and Madame Verdurin, from À la recherche du temps perdu. In A Mão e a luva and in Helena, Machado unwinds his plot in the Rio de Janeiro of the 1850s, a stable period of the Second Reign. The upwards trajectory of Guiomar and Helena during a time of limited social mobility is justified by the fact that they are singular characters, gifted with great abilities. Here, destiny corrects the mistake of underprivileged birth. Quincas Borba, on the other hand, set between 1867 and 1871, presents a more dynamic and fluid society. The gradual changes in class accomplished by Sofia and Cristiano Palha is a result of the couples enormous sense of opportunism in business and the relative lack of scruples in their actions. Regardless, the Brazilian stories deal predominately with the desire to belong to the wealthy bourgeoisie. In À la recherche du temps perdu, Proust shows a complex and stratified society where the bourgeoisie and nobility, in spite of the French Revolution, continue to be divided into various categories of the Belle Époque. As a result, Madame Verdurin has to pass through many stages during a period of four decades to conquer her space in the faubourg of Saint-Germain. Considering the historical and spatial differences between the Brazilian and French novels, we analyze the construction of the abovementioned female characters through a comparison of excerpts from the works. In so doing, it was possible for us to show points of similarity, such as marriage and maternity and the importance of salons, viewed through the eyes of each countrys sociocultural conditions.

Temps de solitude et de patience, de silence et de lenteur : la dimension de l’attente amoureuse pourrait paraître un sentiment désuet, peut-être archaïque, donc vidé de sens à l’époque de la globalisation, de l’abolition des distances et de la vitesse des communications. Ses représentations romanesques au XXe siècle nous démontrent, au contraire, comment l’attente amoureuse peut se révéler un paradigme très intéressant pour comprendre, à travers la littérature, les contradictions de l’homme moderne. Le but de la présente étude comparatiste est de définir une sorte de « modèle » des représentations romanesques de l’attente amoureuse au XXe siècle à travers une comparaison entre trois grandes œuvres narratives du siècle passé : A la Recherche du temps perdu (1913-1927) de Marcel Proust, Joseph und seine Brüder (1933-1943) de Thomas Mann et El amor en los tiempos del cólera (1985) de G. García Márquez. En se fondant sur les réflexions sur l’attente amoureuse offertes par Roland Barthes (Fragments d’un discours amoureux, 1977 et Le discours amoureux, 2007) et en ouvrant la comparaison à d’autres textes romanesques et dramatiques du siècle passé, cette recherche se propose d’étudier le rapport entre le temps impalpable et suspendu de l’attente et les problèmes de la fiction romanesques, tel qu’il se présente dans tout au long du XXe siècle. / Love waiting is a time of patience and solitude, silence and slowness: it may seem like an obsolete and archaic sentiment, deprived of all meaning in the age of globalization, shortening of distance and rapidity of communications. Its representations in the 20th century novel, instead, show how the love waiting proves to be an interesting paradigm to understand the contradictions of contemporary humanity through the literature. This comparative research aims to define a sort of “model” of representations of the love waiting in the 20th century novel by the comparison between three important novels of the last century: Marcel Proust’s A la Recherche du temps perdu (1913-1927), Thomas Mann’s Joseph und seine Brüder (1933-1943) and Gabriel García Márquez’s El amor en los tiempos del cólera (1985). Drowing inspiration from Roland Barthes’ ideas about love waiting (Fragments d’un discours amoureux, 1977 and Le discours amoureux, 2007) and also widening the comparison to other narrative texts and pieces of the last century, this work aims to analyse the relation between the suspended and impalpable time of waiting on one side and the complex form of novel on the other side, as it occurs over the 20th century.

Analisando alguns fragmentos de À lombre des jeunes filles en fleurs de Marcel Proust e articulando-os ao conjunto de À la Recherche du temps perdu, esta dissertação de mestrado destaca alguns aspectos do processo de criação do narrador proustiano. Assim, da apresentação teatral da personagem Berma ao encontro com a personagem Albertine no litoral de Balbec, seguimos o herói a procura da sua vocação. Para isso, adotamos conceitos da crítica genética e problematizamos as instâncias do herói, do personagem, do narrador e do escritor que determinam a elaboração da escritura e o lugar privilegiado que ocupa o leitor diante do texto. Como resultado deste percurso, propusemos a idéia de Balbertinec como um recorte de leitura que, articulando dois signos marcantes deste volume da Recherche - Albertine e Balbec -, permite prever aspectos singulares do processo de criação do narrador, onde o leitor da Recherche apreende um novo sentido de literatura. / Analysing some fragments of À lombre des jeunes filles en fleurs of Marcel Proust and articulating them with the ensemble of À la Recherche du temps perdu, this masters dissertation underlines some aspects of the criation process of the Proustian narrator.Thus, from the theatrical presentation of the character Berm to the meeting with the character Albertine on the coast of Balbec, we follow the hero in search of his/her nature. In order to do that, we adopted concepts of the genetic criticism and questioned the instances of the hero, the character, the narrator and the writer which determine the production of the writing and the privileged place occupied by the reader before the text. As a result of this process, we considered the idea of Balbertinec as a fashion of reading that, articulating two remarkable signs of this volume of Recherche, Albertine and Balbec, allows us to infer distinctive characteristics of Prousts creative process, according to which the active reader of Recherche acquires a new meaning towards literature.

Esta tese traz a análise das personagens arrivistas femininas das obras romanescas de Machado de Assis e Marcel Proust. São elas: Guiomar, Helena e Sofia, de A mão e a luva, Helena e Quincas Borba, respectivamente, e Odette e Madame Verdurin de À la recherche du temps perdu. Em A Mão e a luva e Helena, Machado engendra as tramas no Rio de Janeiro dos anos 1850, período estável do Segundo Reinado. A trajetória ascensional de Guiomar e Helena, em uma época de pouca mobilidade social, justifica-se pelo fato de serem personagens singulares, dotadas de grande habilidade. Aqui, o destino repara o equívoco do nascimento desprivilegiado. Quincas Borba, por outro lado, ambientado entre 1867 e 1871, apresenta uma sociedade mais dinâmica e fluida. A mudança gradativa de classes operada por Sofia e Cristiano Palha se deve ao grande senso de oportunismo nos negócios e às ações pouco escrupulosas do casal. De todo modo, as narrativas brasileiras tratam predominantemente do desejo de pertencer à burguesia rica. Em À la recherche du temps perdu, Proust mostra uma sociedade complexa e estratificada, em que a burguesia e a nobreza, a despeito da Revolução Francesa, continuam divididas em várias subcategorias na Belle Époque. Por isso, Odette e Madame Verdurin têm de cumprir muitas etapas no decorrer de quatro décadas para conquistarem seu espaço no faubourg Saint-Germain. Considerando as diferenças históricas e espaciais dos romances brasileiros e franceses, analisamos a construção das figuras femininas citadas através do cotejamento de trechos das obras. Com isso, foi-nos possível apontar pontos de aproximação como o casamento, a maternidade e a importância dos salões, vistos sob os pontos de vista das condições sócio-culturais de cada país. / This thesis provides an analysis of female social-climber characters in the novels of Machado de Assis and of Marcel Proust. They are: Guiomar, Helena, and Sofia, from A mão e a luva, Helena, and Quincas Borba, respectively; and Odette and Madame Verdurin, from À la recherche du temps perdu. In A Mão e a luva and in Helena, Machado unwinds his plot in the Rio de Janeiro of the 1850s, a stable period of the Second Reign. The upwards trajectory of Guiomar and Helena during a time of limited social mobility is justified by the fact that they are singular characters, gifted with great abilities. Here, destiny corrects the mistake of underprivileged birth. Quincas Borba, on the other hand, set between 1867 and 1871, presents a more dynamic and fluid society. The gradual changes in class accomplished by Sofia and Cristiano Palha is a result of the couples enormous sense of opportunism in business and the relative lack of scruples in their actions. Regardless, the Brazilian stories deal predominately with the desire to belong to the wealthy bourgeoisie. In À la recherche du temps perdu, Proust shows a complex and stratified society where the bourgeoisie and nobility, in spite of the French Revolution, continue to be divided into various categories of the Belle Époque. As a result, Madame Verdurin has to pass through many stages during a period of four decades to conquer her space in the faubourg of Saint-Germain. Considering the historical and spatial differences between the Brazilian and French novels, we analyze the construction of the abovementioned female characters through a comparison of excerpts from the works. In so doing, it was possible for us to show points of similarity, such as marriage and maternity and the importance of salons, viewed through the eyes of each countrys sociocultural conditions.

Ce travail s’attachera au questionnement, le comment des stratégies de la traduction littéraire moderne face au style de l’œuvre de Proust ainsi qu’à l’analyse des raisons des choix des traducteurs et des différents effets qu’elles produisent. L’examen du développement de la traduction et de la réception de Proust en Chine permet d’apercevoir les interactions actives entre la traduction de Proust et les contextes multidimensionnels en mouvance en Chine, ainsi que les impacts réciproques des activités de traduction sur les études proustiennes et les créations littéraires chinoises. En comparant systématiquement l’original d’À la Recherche du temps perdu avec ses deux retraductions en langue chinoise argumentées de leurs traitements du style, la thèse tente de mettre à jour certaines modalités propres à la traduction du style de Proust. L’exploitation des stratégies de traduction s’effectuera surtout par le biais de méthodes statistiques et de l’approche proposée par la traductologie de corpus, encore peu appliquées à l’étude de la traduction de Proust mais ayant fait leur preuves quant à leur capacité à fournir des renseignements bien précis sur la structure lexicale et phrastique des deux retraductions en chinois. Grâce à une lecture trans-culturelle de la sociologie et de la linguistique, on découvre que les stratégies choisies pour la traduction du style peut être conduites dans un cas particulier comme celui de Proust jugé intransposable jusqu’à quel degré trans-culturelle. En espérant que les valeurs culturelles et linguistiques révélées seraient source d’enrichissement dans l’étude de la traduction du style, la thèse cherchera à créer plus de points d’entrées concernant ce sujet. / This thesis aims at investigating the strategies of literary translation applied to the style of Proust's work, as well as at analyzing the potential reasons for the translation choices and their respective consequences. Through reviewing the translation and reception of Proust's literature in China, we are able to uncover the reciprocal interactions between the translation of Proust's work and the dynamic and multidimensional Chinese environment. It further reveals the interactive impact among the translation of Proust's literature, the studies of Proust’s literary concept and the Chinese literary creations. Systematically comparing the French original text of “In Search of Lost Time” with two Chinese translations, this thesis highlights the distinctive translation choices for the literary style and offers an original methodology to investigate the notion of style in translation. Taking advantage of multiple recently developed statistical methods and corpus-based translation approaches, we are capable to qualitatively and quantitatively investigate the structure of the vocabulary and the syntax in the two Chinese versions. In terms of cross-cultural studies in sociology and linguistics, we are able to detect various attitudes achieved through different translation styles, especially as regards Proust’s so-called “untranslatable” work. The cultural and linguistic values described here can probably enrich the studies and methodologies used to translate literary style.

The question of how far A la Recherche du temps perdu, Proust's enormous 'metaphor of life',¹ is, in terms of its writing as well as in terms of its themes, influenced by the emergence of new media technologies in the late nineteenth century has increasingly been the focus of critical interest for the last twenty years.² There is now little doubt that besides traditional media such as painting and music, A la Recherclze foregrounds specific photographic and filmic techniques as well as, to give just one example, the telephone, which the narrator calls 'a premonition ( ... ) of an eternal separation!' {IS III, 148/R II,134).· If one can argue that emergent media as thematicized in A la Recherche are not only the product of the narrator's creation of memory but that they also have a bearing on the text, then it is nevertheless important to take note of the fact that they are in their turn already the product of another medium called writing. [Aus dem Volltext]

This essay explores the concept of style in Gilles Deleuze’s Proust and Signs. While the concept of style in Deleuze’s thinking in general indeed has been the subject of some examination, his specific understanding of style in Proust and Signs has, until now, not been properly investigated. The book was first published in 1964, with a second part and a conclusion added in 1970 and 1976 respectively, which explored new themes in Proust’s novel. Here, the concept of style is approached through two main questions: How is the concept of style constituted in the two parts constituting Proust and Signs? What is its significance with regard to the theme of individuation central to Deleuze’s reading of Proust? The first chapter examines Deleuze’s concept of style in relation to Proust’s own thoughts about style. The second and the third chapter analyze and compare the relationship between style and the essence in the two parts of Proust and Signs respectively. Despite some differences in how the concept of style is presented in 1964, when the Search is seen from the viewpoint of the subject (or the apprentice), and in 1970, when it is seen from the viewpoint of the artwork, the essay argues that there is a kind of continuity in the concept of style, which is above all a matter of individuation. Through the subject’s divergent repetition of the essence’ singular and individuating difference, and through the artwork’s production of haecceities, the concept of style renders the subject of thought as something that is never pre-given, but created in, through and with the artwork.

NO ROMANCE DE MARCEL PROUST Em busca do tempo perdidodesfilam ante os olhos do leitorum compêndio de seres enigmáticos, fragmentários, que oferecem em si, ao longo da obra, uma gama de novas imagens e possibilidades. Desse complexo conjunto de seres imprevisíveis, há um caso particular de uma personagem secundária. Figuraaparentemente dentro da narrativa como um ser anedótico, apenas para compor um ambiente cômico, pueril dentro de Combray, a cidadezinha prosaica de infância do herói do romance: a tia Léonie. O objetivo do trabalho que apresentamos não é somente analisar esse ser aparentemente risório, a eterna doente de Combray. Sobretudo, pretende-se mostrar dentro dopróprio romance proustiano que Léonie, como os tantos personagens desse trajeto rumo à descoberta da verdadeira vocação do herói, também colocará sua pequena pedra na composição monumental da obra por vir, pois, ao seu modo, também contribuirá para a composição daquele que renunciará à vida, se reservando apenas o essencial, para compor seu romance. / IN THE NOVEL OF MARCEL PROUST\'S \"In Search of Lost Time\", parade before the reader\'s eyes, a compendium of enigmatic, fragmentary beings, offering itself, throughout the work, a range of new images and possibilities. In this complex set of unpredictable beings, there is a particular case of a secondary character, apparently figuring in the narrative as being anecdotal, just to make a comic, childlike environment in Combray, the prosaic town of the novel heros childhood: Aunt Léonie. The objective of the present work is not only to analyze this seemingly be risorius, \"the eternal sick of Combray.\" Above all, it presents in the Proustian novel itself that Léonie, as so many characters that path towards the discovery of the true vocation of the hero, also put your little stone in monumental composition of the work to come, for, in his own way, also contribute for the composition that he would resign to life, reserve to itself only the essentials, in order to compose his novel.

Pesquisa de teoria literária sobre o romance Em busca do tempo perdido, de Marcel Proust. Tem como objetivo refletir sobre a unidade do romance Em busca do tempo perdido, por meio de uma análise da personagem de Charles Swann. Este trabalho principia pelo levantamento do projeto global do ciclo romanesco, a partir de um trecho d´A Prisioneira em que o narrador-protagonista estabelece dois tipos de unidade para a obra de arte: uma lógica e outra vital. O segundo capítulo expõe as dificuldades que esse projeto coloca: como criar uma obra artística que seja viva e aberta, ao mesmo tempo que coesa e íntegra? A resposta é encontrada nos vasos comunicantes, nas transversalidades capazes de dar ao ciclo romanesco, não uma unidade lógica, mas vital. O terceiro capítulo analisa um dos nós, um dos pontos para o qual convergem essas transversalidades: a personagem de Charles Swann. Por meio da reconstituição desta personagem, são discutidos aqui alguns temas importantes para o romance: a formação do artista, assim como a relação entre a arte e a vida. Vemos em seguida que, em contraponto a Swann, cuja trajetória é vista como uma vocação artística frustrada, a expressão do romance proustiano busca condensar as experiências de um indivíduo para se tornar escritor. Finalmente, o excerto reflete sobre o caráter realista do romance: tendo por base um ensaio de Antonio Candido, \"Realismo (via Marcel Proust)\", e levando em conta um acontecimento-chave para o escritor francês, analisamos aqui o papel desempenhado pelo caso Dreyfus na narrativa. A hipótese mais geral desta pesquisa é a de que certos temas, representados pela personagem do diletante Charles Swann e por seu engajamento no caso Dreyfus, tornam difícil o acabamento do romance e lhe dão uma forma crítica, polêmica, viva. Esta não retira sua unidade da perspectiva de um artista profissional, cujo ofício participa da divisão do trabalho e do conhecimento de nossa sociedade; mas vincula-se à percepção de um diletante, cujo ponto de vista conserva algo de maravilhoso e mágico para as criações artísticas, como se a arte oferecesse mais do que obras e fosse capaz de ensinar a ler a vida. Lembramos neste sentido que a narrativa proustiana, desde seu começo até seu final, acompanha o ponto de vista não de um artista formado, mas de um apaixonado pelo universo artístico: o protagonista que deseja criar uma obra de arte e a imagina capaz de organizar a vida à imagem de sua complexidade. / A literary theory research on Marcel Proust´s novel In Search of Lost Time. The objective is to discuss the unity of Proust´s novel through an analysis of Charles Swann´s character. The first chapter of this work is a survey of the novel\'s global project, taking a passage of The Captive as a starting point, where the novel\'s narrator identifies two kinds of unity for the work of art, a logical one and a vital one. We remind then some difficulties that this project brings along with it: how can we create a work of art which is open and live, as well as coherent and complete? The answer is found in the communicant vases, in the transversalities able to provide the novel with a vital unity, not a logical one. In the third chapter, we analyse one of the points into which these transversalities converge: Charles Swann´s character. By a reconstitution of this character, we discuss certain important motifs of Proust´s novel: the education of the artist, as well as the relationship between art and life. In comparison with Swann, who represents a frustrated artist, we recognize that Proust´s literary expression seeks to condense someone\'s experiences to become a writer in the actual society. Finally, in the last part, we study the realistic aspects of the novel, based on Candido´s essay, \"Realism (according to Proust)\", and, taking into account an important political experience for the writer, we review the role of Dreyfus\'s Affair in the narrative. The general hypothesis of this research is that some themes, represented by Charles Swann´s diletantisme and his political engagement at the Affair, make it difficult to finish the novel and also give it a critical, polemical and live form. This form does not take its unity from a professional artist´s perspective, which participates in the division of the work and knowledge of our society, but from the dilettante condition, which point of view preserves something magical and wonderful for the artistic creations, as if art could give more than artworks and teach to read life. In this sense, we remind that Proust´s novel follows the point of view of a passionate for arts rather than a professional writer: the hero who wants to create a work of art and who believes it capable to organize the world at its complexity.

Embora o romance Em busca do tempo perdido seja incontestavelmente uma obra inacabada, não se trata, entretanto, de uma obra incompleta. Seu fechamento circular, promovido pelo diálogo entre o primeiro e último volumes, foi tema de grande parte da crítica proustiana. Com relação à sua composição, seu processo escritural passou por diversas mudanças e a construção, equiparada à execução de uma catedral, poderia igualmente ser caracterizada pela colagem, montagem ou costura dos fragmentos textuais esboçados nos setenta e cinco cadernos de rascunho. A busca pela unidade em meio a essa profusão de textos levou o escritor à atividade incessante de releitura e reescritura e, consequentemente, ao inacabamento da obra. O trabalho que ora apresentamos tem por objetivo o estudo dessa composição, a partir da leitura e análise dos cadernos 53 e 55, ambos consagrados à elaboração da história de Albertine. / Although the novel In Search of Lost Time is certainly unfinished, it is not an incomplete work. Its round ending, promoted by the dialogue between the first and last volumes, was the subject of much Proustian criticism. With respect to its composition, its writing process has gone through many changes and the construction, equivalent to the execution of a cathedral, could also be characterized by the process of montage or the stitching of textual fragments contained in Prousts seventy-five exercise books. The search for unity amongst this profusion of texts has led the writer to the ceaseless activity of rereading and rewriting and thus to the incompleteness of the work. The analysis presented here is aimed at studying this composition, having the reading and the analysis of exercise books 53 and 55, both related to the elaboration of the story of Albertine, as a starting point.