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Le XIXe siècle français se caractérise par plusieurs révolutions et évolutions qui changent tantôt brutalement, tantôt graduellement plusieurs sphères de la société. Notamment, dans le grand mouvement de libéralisation qui parcourt l'ensemble du siècle, l'essor des journaux et leur popularité grandissante ont, sans conteste, des répercussions importantes sur la société et sur l'imaginaire social. Au sein de cet imaginaire, la violence est depuis longtemps présente, et tout particulièrement dans la littérature française. Avec la Révolution de 1789, qui marque durablement le siècle suivant, et l'importance grandissante des journaux qui exploitent les histoires violentes - dont le fait divers est la quintessence médiatique - celles-ci fascinent de plus en plus le lectorat, tandis que la littérature se laisse influencer par l'imaginaire social et l'emprise des journaux. Cet attrait pour la violence se remarque en particulier dans les contes et nouvelles de Maupassant, qui feront l'objet d'une analyse soutenue dans ce mémoire. Ce dernier vise à démontrer de quelles façons l'auteur normand représente la violence et quels liens elle entretient avec les journaux et l'imaginaire social de son temps. Découpé en trois chapitres, le travail étudie d'abord la représentation de la guerre, puis celle des femmes et de la violence, et s'attarde enfin aux contraintes médiatiques qui pèsent sur le texte maupassantien.

A dissertação A volta do Horla estuda a recepção crítica e criativa de Guy de Maupassant (1850-1893) no Brasil, o contista francês mais representativo do século XIX. Esse escritor foi lido, traduzido e comentado nos jornais Gazeta de Noticias, Correio Paulistano, Jornal do Commercio, O Estado de São Paulo (A Provincia de São Paulo, até 1889), de 1880 a 1921, bem como nos principais estudos críticos e bibliográficos de historiadores da Literatura Brasileira, os quais compõem o corpus desta pesquisa. Sua presença é também encontrada em obras ficcionais no período que compreende o Realismo-Naturalismo e o Pré-Modernismo brasileiros, de que são exemplos os livros de contos de Monteiro Lobato (1882-1948). Esse corpus, aqui analisado e interpretado, mostra-nos as diversas leituras feitas pelas variadas correntes críticas em voga no Brasil. Tomam por base critérios literários ou não-literários, estimulados pela vasta produção e particular variedade da obra em questão e pelo conhecimento difundido da vida do autor. Permite-se aqui, portanto, mais um momento de releitura crítica desse escritor, revelado por olhares ora esquecidos e não raro desconhecidos dos estudiosos de Guy de Maupassant. / The dissertation The Horla Return studies the critical and creative reception of Guy de Maupassant (1850-1893) in Brazil, the most representative French storyteller of the 19th century. This writer was read, translated and commented in newspapers Gazeta de Noticias, Correio Paulistano, Jornal do Commercio, O Estado de São Paulo (A Provincia de São Paulo, up to 1889), between 1880 and 1921, as well as in the main critical and bibliographical studies of Brazilian Literature historians, which compose the corpus of this research. Its presence is also found in ficcional works in the period which includes Brazilian Realism-Naturalism and Pre-Modernism, of which the story books of Monteiro Lobato (1882-1948) are examples. This corpus, here analysed and interpreted, discloses diverse readings made for the various critical current in vogue in Brazil. It has as background literary or nonliterary criteria, stimulated for the vast production and internal variety of the work itself and by the knowledge difusion of author\'s life. It is allowed here, therefore an additional moment of critical reading of this writer, depicted through the eyes either forgotten or unknown of Guy de Maupassant\'s scholars.

En 1888, le romancier américain Henry James écrit dans ses carnets intimes «Ô esprit de Maupassant, aidez-moi.» Cette invocation de l’écrivain français qu’il avait rencontré lors d’un séjour à Paris en 1875-1876, marque un changement important dans l’œuvre de James et présage de l’évolution de sa production de récits brefs pendant les années 1890. L’objectif de cette étude est d’exposer et d’explorer les connections entre ces deux auteurs du 19ème siècle en analysant les essais critiques de James sur le réalisme français, ainsi que ses romans et nouvelles inspirées par l’œuvre de Maupassant.Cette analyse comporte cinq chapitres ainsi qu’une introduction faisant état d’un angle mort dans le champ critique des études sur le sujet. Le premier chapitre traite, selon une perspective historique, de l’évolution de Henry James en tant que critique littéraire dans ses essais sur le réalisme français de 1865 à 1878. Le chapitre deux relate l’année que le jeune auteur passe à Paris parmi les auteurs du cercle flaubertien. Le troisième chapitre démontre l’évolution de l’esprit critique de James en analysant ses essais critiques sur Guy de Maupassant (1888,1889) et une présentation de sa philosophie sur sa propre production de nouvelles. Le chapitre quatre explore la réception critique et la traduction des œuvres de James et de Maupassant. Le cinquième et dernier chapitre présente une analyse d’œuvres de James influencées par les contes et nouvelles de Maupassant.Grâce à l’influence de Maupassant, James poursuivra pendant une décennie l’esprit de cet auteur sans jamais vraiment y parvenir. Cette quête l’amènera néanmoins à une redéfinition significative de son propre style. / In 1888, Henry James wrote in his notebooks, "Oh spirit of Maupassant, come to my aid!" This invocation of the French writer whom he met in Paris in 1875-76 marked a major change in James' work and introduced an evolution in his production of short fiction during the 1890s. The purpose of this study is to present the connections between these two authors by analyzing James's critical essays on French realism as well as his short fiction inspired by Maupassant's work.This critical study consists of five chapters as well as an introduction which points to a "blind spot" in the critical field of Henry James studies in relation to Maupassant. The first chapter analyzes Henry James as a literary critic in his essays on French realism published from 1865 to 1878. Chapter two relates the year spent in Paris during James's youth among the literary giants of Flaubert's circle. The third chapter demonstrates the evolution of James' critical thinking by analyzing his essays on Guy de Maupassant (1888, 1899) and a presentation of his philosophy on his own literary production of short fiction. Chapter four explores the critical reception and translation these authors' works of fiction in country the language of the other. The fifth and final chapter presents a textual analysis of works by Henry James influenced by Maupassant's contes and nouvelles.Following his encounter and his reading of Maupassant, James will pursue the spirit of this writer during the decade of the 1890s. However, James does not fully succeed in his attempts to imitate Maupassant. This quest will nevertheless lead to a significant redefinition of his own style.

Ce mémoire se compose d’une analyse narrative de deux nouvelles fantastiques par Guy de Maupassant : L’Auberge et la seconde version du Horla. La narration du premier de ces contes est extradiégétique, ce qui signifie que le narrateur se trouve en dehors de l’univers fictif. Le deuxième texte, en revanche, est un exemple d’une narration intradiégétique – le narrateur est donc un personnage du récit. Le but principal de l’étude est d’examiner comment le discours du narrateur, selon qu’il est extradiégétique ou intradiégétique, influence la perception des récits et des protagonistes. Pour atteindre cet objectif, nous identifions d’abord quelques stratégies narratives qui sont employées dans les nouvelles afin d’évoquer l’hésitation du lecteur et ainsi créer l’effet fantastique. Nous observons que, suivant le mode de la narration, extradiégétique ou intradiégétique, les stratégies narratives utilisées sont de différentes natures. Elles coopèrent toutefois pour créer un sentiment d’hésitation au lecteur et conduisent donc celui-ci à considérer l’existence du surnaturel dans le monde diégétique. Enfin, nous montrons de plus près comment le discours du narrateur influence la manière dont le lecteur considère le comportement des personnages principaux ainsi que leur santé mentale. Nous voyons que dans tous les deux textes, il n’y a aucun doute que le protagoniste devient finalement fou. Cependant, tandis que le savoir du narrateur omniscient aide enfin le lecteur à résoudre le mystère fantastique dans L’Auberge, le mystère n’est jamais résolu dans Le Horla. Cela semble être attribué à la perception et au savoir limité du narrateur intradiégétique. / This essay consists of a structural narrative analysis of two fantastic short stories by Guy de Maupassant: The Inn and the second version of The Horla. In the first of these stories the narration is extradiegetic, meaning that the narrator is positioned outside the fictional world. The second text, on the other hand, is an example of an intradiegetic narration – the narrator is thus a character in the story. The overall aim of the study is to investigate how the discourse of the narrator, whether he is extradiegetic or intradiegetic, influences the perception of the stories and the protagonists. In order to meet this aim, we start by identifying some narrative strategies which are applied in the stories in order to evoke the reader’s hesitation and, thereby, create the fantastic effect. Depending on whether the narration is extradiegetic or intradiegetic, it is observed that these strategies differ from each other. Nevertheless, they work together to awaken the reader’s hesitation, leading him thus to consider the existence of the supernatural in the diegetic world. Finally, it is revealed how the discourse of the narrator influences the way the reader perceives the behavior of the protagonists as well as their sanity. In both texts, there is no doubt that the protagonist eventually loses his mind. However, while the knowledge of the omniscient narrator finally helps the reader to solve the fantastic mystery in The Inn, the mystery is never resolved in The Horla. This seems to be a consequence of the limited perception and knowledge of the intradiegetic narrator.

Ce mémoire porte sur une étude de différentes nouvelles de Guy de Maupassant et plus précisément sur la présence d’éléments du registre fantastique dans ces dernières. Nous étudierons les nouvelles de l’auteur intitulées Sur L’Eau, La Peur, Magnétisme, Apparition, Lui, La Main, L’Auberge et Le Horla. Nous tacherons de décrire comment le fantastique apparaît dans les nouvelles étudiées. Pour ce faire, il s’agira de définir le fantastique comme thème littéraire avant de voir comment il est présent dans lesdites oeuvres. Nous procéderons également à de courtes comparaisons des nouvelles entre elles dans le but de comparer les différents éléments témoignant du fantastique. Notre analyse portera sur différents éléments. Nous nous attacherons en effet à remarquer comment le fantastique apparaît d’un point de vue matériel, d’un point de vue psychologique et d’un point de vue linguistique. Nous analyserons d’autre part deux éléments essentiels au registre fantastique qui sont le thème du double ainsi que celui de la peur. / This essay is a study of different novels of Guy de Maupassant with a focus on the elements of the fantasy genre. We are going to study the novels of this author that are named Sur L’Eau, La Peur, Magnétisme, Apparition, Lui, La Main, L’Auberge et Le Horla. We will try to describe how the fan-tasy appears in the studied novels. To do this, it will be necessary to define the fantasy as a literary genre before seeing how the fantasy operates where it appears in the studied novels. We will also make short comparisons of the novels with each other’s in order to compare the different elements of the fantasy. Our analysis will focus on various elements. We shall point out in particular how the fantasy appears from a material point of view, from a psychological point of view and from a linguis-tic point of view. On the other hand, we will analyse two essential elements in the fantasy genre, which are the theme of the double as well as that of fear.

A dissertação A volta do Horla estuda a recepção crítica e criativa de Guy de Maupassant (1850-1893) no Brasil, o contista francês mais representativo do século XIX. Esse escritor foi lido, traduzido e comentado nos jornais Gazeta de Noticias, Correio Paulistano, Jornal do Commercio, O Estado de São Paulo (A Provincia de São Paulo, até 1889), de 1880 a 1921, bem como nos principais estudos críticos e bibliográficos de historiadores da Literatura Brasileira, os quais compõem o corpus desta pesquisa. Sua presença é também encontrada em obras ficcionais no período que compreende o Realismo-Naturalismo e o Pré-Modernismo brasileiros, de que são exemplos os livros de contos de Monteiro Lobato (1882-1948). Esse corpus, aqui analisado e interpretado, mostra-nos as diversas leituras feitas pelas variadas correntes críticas em voga no Brasil. Tomam por base critérios literários ou não-literários, estimulados pela vasta produção e particular variedade da obra em questão e pelo conhecimento difundido da vida do autor. Permite-se aqui, portanto, mais um momento de releitura crítica desse escritor, revelado por olhares ora esquecidos e não raro desconhecidos dos estudiosos de Guy de Maupassant. / The dissertation The Horla Return studies the critical and creative reception of Guy de Maupassant (1850-1893) in Brazil, the most representative French storyteller of the 19th century. This writer was read, translated and commented in newspapers Gazeta de Noticias, Correio Paulistano, Jornal do Commercio, O Estado de São Paulo (A Provincia de São Paulo, up to 1889), between 1880 and 1921, as well as in the main critical and bibliographical studies of Brazilian Literature historians, which compose the corpus of this research. Its presence is also found in ficcional works in the period which includes Brazilian Realism-Naturalism and Pre-Modernism, of which the story books of Monteiro Lobato (1882-1948) are examples. This corpus, here analysed and interpreted, discloses diverse readings made for the various critical current in vogue in Brazil. It has as background literary or nonliterary criteria, stimulated for the vast production and internal variety of the work itself and by the knowledge difusion of author\'s life. It is allowed here, therefore an additional moment of critical reading of this writer, depicted through the eyes either forgotten or unknown of Guy de Maupassant\'s scholars.

As adaptações nunca param de ocupar as telas de cinema e continuam a prender a atenção de críticos e analistas. Este trabalho trata basicamente da tradução de linguagem do universo verbal - literário para o universo fílmico. E uma tentativa de criar urn caminho para o entendimento das adaptações e as razões da fragmentação e adequações que estas sofrem, criando-se um outro texto. Esta pesquisa está concentrada em uma específica adaptação. Ela investiga a forma como Luchino Visconti transmutou o conto Au bard du lit de Guy de Maupassant no filme II lavoro. / Adaptations never leave the marquees of movie theaters and have persistently captured the attention of critics and analysts. The present work focuses basically on language translation from the verbal - literary universe to the filmic universe. It is an attempt to find a way to understand adaptation and the reasons for the fragmentation and adequating process it suffers and that creates another text. The research is concentrated on a specific adaptation. It investigates the way Guy de Maupassant\'s Au bord du lit was translated by Luchino Visconti in the movie II lavoro.

Pour un lecteur français, familiarisé avec l’écriture de Maupassant, qui étudie des oeuvres de Dostoïevski, une constatation s’impose : des similitudes chez les deux écrivains sont difficiles à percevoir et à préciser à la première lecture, mais en comparant en profondeur les deux auteurs, leurs correspondances prennent de plus en plus de relief. Il faut remarquer que peu d’écrivains ont présenté des héros aussi complexes et aussi étranges que ceux de Dostoïevski. Ceux de Maupassant n’ont pas le relief de ces figures dostoïevskiennes ; il ne peut être question de les mesurer les uns aux autres. Nous porterons seulement notre attention sur les affinités qu’ils peuvent avoir. Une étude comparative entre Fédor Dostoïevski et Guy de Maupassant devient possible à un tout autre niveau : une atmosphère « fiévreuse », une vie d’une intensité qui sort de l’ordinaire, règnent dans le monde qu’ils ont créé. C’est ce monde qui a attiré toute notre attention pour la présente analyse. On pourrait trouver les correspondances provoquées par des « tendances » générales de leur siècle mais aussi par l’atmosphère dans laquelle ils vivaient. L’auteur slave et l’écrivain français se rapprochent par leur existence pétrie de souffrances, par les convictions qu’ils défendaient au milieu de leurs contemporains, et par les difficultés tragiques, dans lesquelles ils se débattaient sans relâche. Un autre point de « rencontre » unit nos deux auteurs : tous les deux se distinguent des écrivains qui leur sont contemporains, réalistes et naturalistes. Dostoïevski et Maupassant ne s’attachent pas à la laideur de la vie mais ils préfèrent pénétrer dans ses profondeurs et éclairer ses mystères. Ils sont psychologues et les études qu’ils nous ont laissé n’ont pas seulement une valeur esthétique, mais aussi une valeur d’observation humaine. Le thème de « la machine sociale », présent dans Une Vie, Mont-Oriol, Pierre et Jean, Fort comme la mort et Crime et châtiment, L’Idiot, comme dans la plupart des grands thèmes de la littérature, n’est pas nouveau. Mais à l’époque de nos deux auteurs, le problème de « la machine sociale » qui écrase l’individu par sa « puissance infernale », connaît un essor fulgurant. A ce moment-là, il prend une voie inédite. Si, auparavant, la souffrance de l’homme était liée à des causes intérieures, maintenant, chez Guy de Maupassant et Fédor Dostoïevski, elle dépend de causes extérieures. Le « développement » psychologique de l’individu semble être lié d’une manière irrémédiable au milieu social. Les apparitions du sentiment de l’angoisse et de la difficulté d’être, sont envisageables comme dépendantes de causes sociales. Dans les romans, choisis pour notre corpus, « la machine sociale » s’accorde le droit de transgresser toutes les lois, les lois humaines et même les lois naturelles. Maupassant et Dostoïevski présentent de nombreux personnages, multipliants les occasions de mesurer l’évolution de leur dégradation inexorable, l’odieux ravage de leur existence par la société. Ne voulant pas rétablir l’individu dans la plénitude de ses droits, la société le condamne à l’isolement total. Chez les deux auteurs, on retrouve le réalisme « hallucinant » de la solitude des hommes, solitude qui semble être poussée à son paroxysme. La confrontation avec la réalité sociale fait naître dans l’âme des héros, des sentiments insoupçonnés jusque là ; ceux de l’angoisse, mélangée avec la terreur. La réalité du contexte social provoque un sentiment de peur incontrôlée qui empêche les héros d’agir en annihilant leur volonté. Maupassant et Dostoïevski, sauvent, de la souffrance, les âmes de leurs personnages, âmes qui ont traversé, à cause de « la machine sociale », les tourments de l’enfer et les tribulations du purgatoire. Les deux auteurs leur offrent une possibilité de fuite. / Or a French reader, familiar with? Writing Maupassant, who studied of? works of Dostoevsky, a finding? requires: similarities among two writers are difficult to perceive and specify the first reading, but by comparing in detail the two writers, their correspondence becoming increasingly important. It should be noted that little? Writers heroes presented as complex and strange than Dostoyevsky. N those of Maupassant? Have no relief from these figures dostoïevskiennes, not can be no question to measure each other. We will only our attention to the affinities that? they may have. A comparative study from Fyodor Dostoevsky and Guy de Maupassant is possible to a whole new level: an atmosphere "feverish," a life of? intensity leaving l? usually prevail in the world that? they created. C? Is this world that has attracted our attention to this analysis. We could find matches caused by "trends" General century but their also l? atmosphere in which they lived. L? Author and slave? Writer French close in their lives full of suffering, by beliefs that? they stood among their contemporaries, and by tragic difficulties in which they struggled tirelessly. A another point of "encounter" our two authors: both are distinguished writers who are their contemporaries, and realistic naturalists. Dostoyevsky and Maupassant does? Not attach to the ugliness of the life, but they prefer to enter into its depths and inform its mysteries. They are psychologists and studies that? They left us n? Have not only aesthetic, but also a value of? human observation. The theme of "The social machine," in A Life, Mont-Oriol, Pierre et Jean, Fort like death and Crime and Punishment, L? Idiot, as in most major themes of literature, do is not new. But l? Time of our two authors, the problem of "the social machine which crushes l? individual by his" infernal power, experiencing a rapid expansion. At that time, it takes a unprecedented way. If earlier, suffering from? Man was linked to causes intérieures now in Guy de Maupassant and Fyodor Dostoevsky, it depends on external causes. The development of psychological? Individual d appears to be related? an irretrievable to the social environment. The appearances of sense of? anxiety and the difficulty? be considered are as dependent on social causes. In the novels, chosen for our corpus, The "social machine" s? Grants the right to transgress all laws, human laws and the same natural laws. Maupassant and Dostoevsky are many characters, more opportunities for the measure? developments their inexorable decline, l? heinous ravage their lives by society. Not wanting to restore? Person's full rights, society condemned to? isolation. In both authors, there is realism "Amazing" in the solitude of men loneliness that seems to be pushed its climax. Confrontation with social reality is created in? Soul the heroes, hitherto unsuspected feelings and those of? anguish, mixed with terror. The reality of the social causes fear preventing uncontrolled d hero? act negating their will. Maupassant and Dostoevsky, lifesaving, the suffering, the souls of their characters, minds which have experienced because of the social machine, "the torments of? hell and tribulations of purgatory. Both authors offer a possibility of leakage.

Esta pesquisa se debruça sobre a produção fantástica do escritor francês Guy de Maupassant (1850-1893), concentrando-se em um conto publicado pelo autor em três versões: Carta de um louco, de 1885 e O Horla, de 1886 e 1887. Para tanto, o trabalho realiza a leitura de autores representativos das principais teorias literárias acerca da literatura fantástica, identificando em cada um elementos que auxiliem na compreensão da obra de Maupassant, apontando as diferenças entre eles e, finalmente, optando por uma compreensão ampla do gênero fantástico, próxima àquela elaborada por Jean-Paul Sartre. À luz de tal compreensão, realizamos a leitura de algumas obras da contística maupassantiana, comparando-as com a de Edgar Allan Poe antecessor no gênero e referência para o autor e procurando entender a influência do pensamento positivista e cientificista na obra do autor. Ao identificar os principais traços da concepção de fantástico do próprio autor, buscamos estabelecer pontos de convergência entre seus contos realistas e fantásticos, chegando a uma forma de compreensão de sua produção fantástica que independa da presença ou sugestão de elementos sobrenaturais na narrativa. Por meio de uma articulação entre aspectos formais, temáticos e imagéticos, realizou-se então a leitura comparada das três versões do conto, dedicando especial atenção à posição do narrador em cada uma delas e à forma como a diminuição gradativa da distância estética aprofunda o sentimento de inquietante. / This research studies the production of fantastic literature by the French writer Guy de Maupassant (1850-1893), focusing on a short story published by the author in three versions: \"Letter of a madman\" (1885) and \"The Horla\" (1886, 1887). The research starts with a reading of representative authors associated to leading literary theories about fantastic literature, identifying elements that contribute to the understanding of Maupassant\'s work, indicating the differences among them and finally, selecting a comprehensive interpretation of the fantastic genre close to the one developed by Jean-Paul Sartre. In light of this interpretation, we read a selection of stories from Maupassant, comparing these works to Edgar Allan Poe\'s literature precursor of the genre and a key reference to Mauppasant , in order to understand the influence of positivist and scientism thinking on the author\'s work. By identifying the main features of Maupassant\'s own fantastic literature conception, we seek to establish points of convergence between his realistic and fantastic stories, which results in an understanding of his fantastic production that stands independently from the presence or suggestion of supernatural elements in the narrative. Building on the articulation between formal, thematic and imagery elements, a comparative reading of the three versions of the story was done, paying special attention to the narrator\'s position in each of the elements, and the manner in which the gradual decrease of the aesthetic distance deepens the feeling of disturbance.