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Maupassant's writings suggest that the monde, demi-monde and brothels, usually conceived as entirely different universes, resemble each other. They are imperfect copies, which can be mistaken for one another. The characters moving in these worlds are essentially false, hypocritical and superficial beings, prisoners of a role which forces them to play a comedy in society. Some adopt to perfection the values and conventions attached to their role, to the extent of no longer differentiating the true from the false, and forgetting their identity. / As the distinction between appearances and reality disappears, the boundaries between the milieux become unclear. Do they exist? Have the boundaries arbitrarily been drawn to preserve social order? If Maupassant implicitly asks these questions, he does not provide an answer. His attitude towards social comedy is rather ambiguous. Though he makes fun of the latter, emphasizing its absurdity and ridicule, he does not condemn it. Spectator and actor of this vast comedy, Maupassant stays detached: of course life is only a game, but why not play it?

Thesis (Ph. D.)--Ohio State University, 2004. / Title from first page of PDF file. Document formatted into pages; contains vii, 243 p. Includes bibliographical references (p. 232-243). Available online via OhioLINK's ETD Center

La chronique de Maupassant reste le genre problématique par excellence dansl’oeuvre de l’écrivain, sa part d’ombre, sa part maudite.Celui-ci ne les regroupa pas de son vivant comme il le fit pour ses contes et sesnouvelles qu’il exhuma des pages du Gaulois et de Gil Blas pour les publier enlibrairie. Car la chronique porterait la marque d’une certaine mauvaise conscienced’un auteur tiraillé par un surmoi littéraire flaubertien s’inscrivant dans le texte commeun symptôme.Dès lors, cette chronique dont l’indéniable vitesse d’écriture dictée par les contrainteset les impératifs journalistiques favorisa l’affleurement de l’inconscient dans le texte,déclinera les matériaux scripturaires de l’inconscient.Douées d’une énergie propre, les chroniques de Maupassant, outre le fait qu’ellesdévelopperaient des perspectives narratives interactives entre le lecteur et l’écrivain,brosseraient un portrait intérieur de son auteur en proie à ses fantasmes, à sesphobies et à ses angoisses. Ces textes s’ouvriraient ainsi à une herméneutiquespécifique, relevant de la psychanalyse freudienne. / The “chronique” in Maupassant’s work archetypically represents its problematicgenre, its accursed share.The author didn’t collect these columns during his lifetime, as he had done with histales and short stories which he exhumed from the pages of dailies such as LeGaulois and Gil Blas to have them published in book form. It would thus appear thatthe “chronique” is stamped with the bad conscience of a writer which, overwhelmedby a Flaubertian superego, registers within the text as symptom.Therefore, the “chronique” whose undeniable hasty redaction resulted from theconstraints and dictates of journalism fostered the subconscious’s coming to the foreof the text by displaying its scriptural materials.Alive with its own energy, the “chronique” by Maupassant, beyond opening upnarratological interactive prospects between reader and writer, sketches the author’spsyche as beset by fantasies, phobias, obsessions and fears.The Maupassantian column may lead to a specific hermeneutics in the light of theFreudian psychoanalysis.

One of the more pervasive clichés regarding women in late nineteenth-century French literature is the commonplace that treats social spaces as metaphors for the women who inhabit them. An idea inherited from older traditions that trace their roots back to the Middle Ages, this commonplace often appears as a parallel drawn between women and the social spaces (often a garden or other “natural” setting) ascribed to them. Émile Zola and Guy de Maupassant both make extensive use of this commonplace. While some recent research, Heidi Brevik-Zender’s book Fashioning Spaces: Mode and Modernity in late Nineteenth Century France (2015) for instance, has examined the phenomenon of women and social spaces, thus far the focus has been on Paris and the urban setting. Less work has been done on women and their “natural” spaces. This dissertation examines Émile Zola’s La Faute de l’abbé Mouret (1875), where the garden of the Paradou becomes an explicit metaphor for the body of the novel’s central female character, Albine. In Zola, the garden functions as an “other” space that at first appears to underscore woman’s difference from man. Zola, meanwhile, undermines this insistence on difference. Guy de Maupassant, in his short stories Miss Harriet and “Première neige” and in his first novel, Une Vie (all published for the first time in 1883) represents the notions of separate male and female space as entirely illusory constructs that disguise the male domination that obtains nearly everywhere. While Maupassant’s short fiction shows a pessimistic outlook on correcting this “problem,” his novel, Une Vie, proposes a radical solution, based in non-traditional family structures and female homosociality. I conclude this study by looking more broadly at the pervasiveness of the femino-spatial cliché with reference to examples from contemporary culture.

Made available in DSpace on 2014-06-11T19:26:48Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-04-22Bitstream added on 2014-06-13T19:55:08Z : No. of bitstreams: 1 santos_kd_me_arafcl.pdf: 860683 bytes, checksum: 54a06c643690772140f675a803f27de2 (MD5) / L'écrivain français Guy de Maupassant (1850-1893) est généralement associé aux Ecoles réalistes et naturalistes. Nous croyons, cependant, devant son ouverture à toutes les formes du faire poétique, que son roman Bel-Ami (1885) présente des caractéristiques qui permettent de l’approcher de l'esthétique impressionniste. Cette relation peut être considérée par certains aspects chers aux impressionnistes comme le regard et le point de vue subjectif. De ce point de vue, l'idée de mouvement devient importante, em gardant à l’esprit que les choses changent et se transforment avec le temps et, par conséquent, la façon de les regarder. Comme ce sont des points de vue subjectifs, ce que nous voyons, c’est le résultat de sensations et d'impressions qui se révèlent insuffisantes pour exprimer la complexité de l'objet, en effet, insaisissable. Dans la construction de cet objet, sa relation avec les choses qui l'entourent doivent également être prise en considération, parce qu’elle manifeste encore plus sa complexité. Les couleurs correspondent aussi à une autre caractérististique impressionniste pertinente. Nous croyons donc qu'il est possible d'observer le monde dans Bel-Ami à partir de ces questions, malgré la nécessité d’une distance qui permette de le reconstruire / O escritor francês Guy de Maupassant (1850-1893) é comumente associado às Escolas realista e naturalista. Acreditamos, todavia, diante de sua abertura para todas as formas de fazer poético, que seu romance Bel-Ami (1885) apresenta características que permitem uma aproximação com a estética impressionista. Tal relação pode ser pensada a partir de alguns aspectos caros aos impressionistas, como o olhar e o ponto de vista subjetivo, os quais são projetados em um momento e de um determinado lugar. Nessa perspectiva, a ideia do movimento torna-se relevante, tendo em vista que as coisas mudam, transformam-se com o tempo e, por conseguinte, o modo de olhá-las. Como se trata de pontos de vista subjetivos, o que vemos é a apresentação de sensações e impressões, as quais monstram-se insuficientes para expressar o todo complexo que é o objeto, aliás, inapreensível. Na construção desse objeto, sua relação com as coisas que o circundam também deve ser levada em consideração, pois evidencia ainda mais sua complexidade. As cores, igualmente, correspondem a outra característica impressionista relevante. Acreditamos, pois, que é possível observar o mundo em Bel-Ami, a partir dessas questões, embora seja necessário o distanciamente para que se possa reconstruí-lo

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 2018-03-13T17:03:35Z No. of bitstreams: 2 2017_ThaynaraHenriqueVieiraLourenço_RESUMO.pdf: 13090 bytes, checksum: 4cf2fe64e5cd78e2ea512c87bc8664b1 (MD5) 2017_ThaynaraHenriqueVieiraLourenço.pdf: 3511374 bytes, checksum: aede8a005afc382208317357cbb38236 (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-03-15T14:30:02Z (GMT) No. of bitstreams: 2 2017_ThaynaraHenriqueVieiraLourenço_RESUMO.pdf: 13090 bytes, checksum: 4cf2fe64e5cd78e2ea512c87bc8664b1 (MD5) 2017_ThaynaraHenriqueVieiraLourenço.pdf: 3511374 bytes, checksum: aede8a005afc382208317357cbb38236 (MD5) / Made available in DSpace on 2018-03-15T14:30:02Z (GMT). No. of bitstreams: 2 2017_ThaynaraHenriqueVieiraLourenço_RESUMO.pdf: 13090 bytes, checksum: 4cf2fe64e5cd78e2ea512c87bc8664b1 (MD5) 2017_ThaynaraHenriqueVieiraLourenço.pdf: 3511374 bytes, checksum: aede8a005afc382208317357cbb38236 (MD5) Previous issue date: 2018-03-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES). / A expressão da loucura é recorrente nas obras de Guy de Maupassant, assim como inscreveu-se na própria vida do autor; sendo ainda a tônica da representação feminina em seus textos. Tomando os contos Le signe (1886) e La femme de Paul (1881), interessa-nos investigar sua recriação operada por Jean-Luc Godard no curta Une femme coquette (1955) e no longa Masculin Féminin (1966), quando este ressignifica as expressões de marginalidade do feminino presentes em Maupassant. Partindo do propósito de Foucault acerca de uma possível estruturação cultural e social da experiência da loucura, a nossa prospecção transpassará as estruturas orgânicas dos diferentes sistemas de signos aqui envolvidos - da literatura, do cinema e notadamente o da música. Assim, verificaremos suas implicações na lógica da alteridade feminina delineada e seus desdobramentos no entendimento de vozes audíveis e silenciadas. Reduzida sistematicamente a silêncios ao longo dos séculos, perguntamos qual timbre teria a voz da loucura se pudéssemos escutar seus ressoos? / The expression of madness is recurrent in Guy de Maupassant's works and it also had a role on the author's own life; this madness even came to be the basis of the female representation inside Maupassant's texts. Concerning the tales Le Signe ( 1886) e La Femme de Paul ( 1881), it is interesting to explore this representation conveyed by Jean-Luc Godard in the short film Une Femme Coquette (1955) and in the movie Masculin Féminin (1966), where Godard reaffirms the expressions of the feminine's marginality present in Maupassant. Taking into consideration Foucault's proposal concerning a possible cultural and social organization of madness, our prospection will pass among the organic structures of different systems of signs here involved - of literature, cinema and specially music. Thus, we will verify its logical implications on the delineated feminine's alterity and its unfolding on the understanding of audible and silenciated voices. Being systematically reduced to silences throughout the centuries, we ask which tone would the voice of madness have if we could listen to its echoes. / L’expression de la folie est récurrente dans les oeuvres de Guy de Maupassant, ainsi comme son inscription dans la propre vie de l’auteur ; en plus, elle est la tonique de la représentation féminine dans ses textes. En prennant les contes Le Signe (1886) et La femme de Paul (1881), ce qui nous intéresse est d’explorer leur récreation opérée par Jean-Luc Godard dans le court-métrage Une femme coquette (1955) et dans le long-métrage Masculin Féminin (1966), quand le cinéaste resignifie les expressions de marginalité du féminin présentes chez Maupassant. En ayant comme point de départ le questionnement de Foucault à propos d’une possible structuration culturelle et sociale de l’expérience de la folie, notre prospection passera à travers des structures organiques des différents systèmes de signes traités ici – de la littérature, du cinèma et notamment de la musique. Ainsi, nous vérifierons leurs implications dans la logique de l’altérité féminine et ses conséquences dans la comprehénsion des voix audibles et diminuées au silence. Réduite systématiquement au silence au cours des siècles, nous demandons quel serait le timbre de la voix de la folie si nous pouvions écouter ses retentissants ?

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