Habilitationsschrift--Philologie--Westfälischen Wilhelms-Universität--Münster, 1999. / Bibliogr. p. 713-754.

This diploma thesis is about costumes from Maupassant' s novel "Milacek", following up its dramatisation from Zdenek Kaloc. In introduction, I explain the reasons why I have decided for this topic nowadays. Theoretical part describes the content of the novel and the circumstances of the origin of the novel. Then life of G. De Maupassant is briefly explained and his novel is compared to his own life experience. After that follows the listing of selected drama and film adaptations. After that, the novel Bell ami is compared to other literature work from different authors. Analytical part describes mainly the work with the text of the novel, its dramatization and explains the inspiration for the costumes. Then there are reflections on possible principles of staging and relation to present social issues and problems. This part of the thesis ends with the description of the solution of individual costumes. In the conclusion, there is a summary of the goals of the thesis and the explanation of the adaptiation of the dramatization.

Submitted by Kedrini Domingos dos Santos (keds_dom@yahoo.com.br) on 2018-07-14T02:50:45Z No. of bitstreams: 1 Kedrini Santos.pdf: 2435191 bytes, checksum: 07c6040775628d88db092f42635d548a (MD5) / Approved for entry into archive by Aline Aparecida Matias null (alinematias@fclar.unesp.br) on 2018-07-16T17:20:21Z (GMT) No. of bitstreams: 1 santos_kd_dr_arafcl.pdf: 2435191 bytes, checksum: 07c6040775628d88db092f42635d548a (MD5) / Made available in DSpace on 2018-07-16T17:20:21Z (GMT). No. of bitstreams: 1 santos_kd_dr_arafcl.pdf: 2435191 bytes, checksum: 07c6040775628d88db092f42635d548a (MD5) Previous issue date: 2018-05-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Cette thèse vise à réaliser une étude comparative entre les écrivains Guy de Maupassant et Villiers de L'Isle-Adam (1838-1889), d'importants écrivains français de la seconde moitié du XIXe siècle. En réunissant ces deux écrivains, avec des esthétiques si distinctes (Villiers est souvent associé au Symbolisme / Décadentisme tandis que Maupassant est lié au Réalisme / Naturalisme), nous cherchons à voir comment ils développent, de manière personnelle et unique, le thème de l'illusion et l'amour dans ses œuvres, notamment dans les romans L'Ève future (1883), de Villiers, et Fort comme la mort (1889), de Maupassant. Dans ces deux œuvres, l'amour et l'illusion sont associés à la figure féminine, centrale au monde civilisé, considérée avec suspicion. En outre, nous trouvons dans les deux romans la critique à la société française contemporaine et à ses valeurs. L'artiste, au milieu de ce monde illusoire et superficiel, se trouve face au dédoublement du bien-aimé, aspect qui laisse entrevoir la fracture entre le soi et le monde et penser la question de l'existence humaine et de sa finitude / Esta tese tem por objetivo realizar um estudo comparado entre os escritores Guy de Maupassant e Villiers de L’Isle-Adam (1838-1889), importantes escritores franceses da segunda metade do século XIX. Ao aproximar esses dois escritores, com estéticas tão distintas (Villiers é comumente associado ao Simbolismo/Decadentismo, enquanto Maupassant é relacionado ao Realismo/Naturalismo), buscamos observar como eles desenvolvem, de forma pessoal e única, a temática da ilusão e do amor em suas obras, especialmente nos romances L’Ève future (1883), de Villiers, e Fort comme la mort (1889), de Maupassant. Nestas duas obras, o amor e a ilusão associam-se à figura feminina, central no mundo civilizado, a qual é vista com desconfiança. Além disso, encontramos nos dois romances a crítica à sociedade francesa contemporânea e a seus valores. O artista, em meio a esse mundo ilusório e superficial, depara-se com o desdobramento do ser amado, aspecto que permite entrever a fratura entre o eu e o mundo e pensar a questão da existência humana e de sua finitude. / This thesis aims to conduct a comparative study between the writers Guy de Maupassant and Villiers de L'Isle-Adam (1838-1889), important French writers of the second half of the nineteenth century. By approaching these two writers, with so distinct aesthetics (Villiers is commonly associated with symbolism/decadent, while Maupassant is related to realism/naturalism), we seek to observe how they develop, in a personal and unique way, the thematic of illusion and love in their works, especially in the novels L’Ève Future (1883), De Villiers, and Fort comme la mort (1889), of Maupassant. In these two works, love and illusion are associated with the female figure, central to the civilized world, considered with suspicion. In addition, we find in both novels criticism of contemporary French society and its values. The artist, in the midst of this illusory and superficial world, finds himself confronted with the doubling of the beloved, an aspect that suggests the fracture between the self and the world and the question of human existence and its finitude. / 88882.180354/2018-01

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, 2008. / Submitted by Thaíza da Silva Santos (thaiza28@hotmail.com) on 2011-02-10T18:15:32Z No. of bitstreams: 1 2008_MarisaBispoSantos.pdf: 3533268 bytes, checksum: d725b3ed32e2b6d1ca3235b785a26dc3 (MD5) / Approved for entry into archive by Daniel Ribeiro(daniel@bce.unb.br) on 2011-02-10T22:57:22Z (GMT) No. of bitstreams: 1 2008_MarisaBispoSantos.pdf: 3533268 bytes, checksum: d725b3ed32e2b6d1ca3235b785a26dc3 (MD5) / Made available in DSpace on 2011-02-10T22:57:22Z (GMT). No. of bitstreams: 1 2008_MarisaBispoSantos.pdf: 3533268 bytes, checksum: d725b3ed32e2b6d1ca3235b785a26dc3 (MD5) / Estudos demonstram que parte significativa da literatura infanto-juvenil comercializada no Brasil é constituída de adaptações de clássicos da literatura universal. Atualmente dezenas de editoras veiculam coleções de adaptações para a audiência infanto-juvenil, uma das mais expressivas é a Scipione, no segmento da série Reencontro. A editora garante que uma das diretrizes principais do projeto editorial da série é manter a qualidade literária dos textos de partida nas adaptações. O objetivo deste trabalho foi examinar a coerência dessa diretriz na tradução e adaptação de Boule de Suif de Guy de Maupassant realizada por Paulo Mendes Campos, ou seja, examinar até que ponto a obra corresponde às expectativas de qualidade literária contidas no projeto de tradução e adaptação da série Reencontro. Em busca da resposta, realizou-se um estudo comparativo entre o texto de partida Boule de Suif e sua adaptação Bola de Sebo. Estudo que teve como aporte construtos teóricos da tradução literária relacionados à abordagem crítica e à recepção da tradução, considerando autores como Even-Zohar, Gideon Toury e André Lefevere. Foram considerados, ainda, os trabalhos do teórico da tradução Antoine Berman e do teórico da literatura Mikhail Bakhtin. O primeiro oferece uma metodologia de análise comparativa, o segundo, o modelo conceitual com sua abordagem semiótica. _________________________________________________________________________________ ABSTRACT / Research has shown that a relevant part of the infant-juvenile literature sold in Brazil is made up of adapted classics of the universal literature. Nowadays, dozens of publishing houses issue collections of adapted texts for the infant-juvenile readers, one of the most expressive is the Scipione collection, in the segment of the ‘Reencontro’ editions. The publishing houses guarantee that one of the main guidelines of the editorial publishing project series is to maintain the literary quality of the source texts in the adaptations. The focus of this research was to examine the coherence of this guideline in the translation and adaptation of Boule de Suif of Guy de Maupassant carried out by Paulo Mendes Campos, in other words, to examine until what extent the translation corresponds to the literary quality expectations described in the project of the translation and adaptation of the issue Reencontro. In order to answer the research question, a comparative research was carried out between the source text Boule de Suif and the adapted text Bola de Sebo. The studies carried out was based on theoretical constructs of literary translation related to a critical approach and to the literary reception, considering authors such as Even-Zohar, Gideon Toury and André Lefevere.The works from the translation theoretician Antoine Berman and from the literary theoretician Mikhail Bakhtin are also taken into consideration. The first offers a methodology of comparative analysis, the second a conceptual model with its semiotics approach.

Denna studie syftar till att undersöka den syntaktiska strukturen i tre texttyper i tre översättningar av ”Boule de suif” av Guy de Maupassant. De tre översättningarna är gjorda av Sigfried Siwertz (1927), Ingvar Johansson (1972) och Johan Gunnarsson (1985). Metoden som används är utarbetad av Lars Wollin och modifierad av Yvonne Lindqvist. Genom att dela upp texterna i makrosyntagmer och därefter i primära satsdelar kan versionskomplex upprättas vilka möjliggör en jämförelse av käll- och måltextens syntaktiska struktur på operationsnivå. Uppsatsens mål är att ta reda på huruvida olika operationer är ett resultat av de olika texternas textuella strukturer samt i fall det går att skönja ett samband mellan val av operationer och översättare. I diskussionen fastslås att det inte finns något samband mellan textpartiernas textuella struktur och val av operationer, såvida källtextens textuella struktur inte efterföljs i måltexten. Mellan val av operation och specifik översättare är däremot kopplingen desto tydligare, och det konstateras att den äldsta översättningen är mest syntaktisk trogen originaltexten medan den yngsta översättnigen är mest syntaktisk fri.

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Often overlooked, yet still a significant and visible social code, jewelry and its symbolic power are barely analyzed in literary criticism. In this thesis, by tracing jewelry's various functions and representations throughout the 19th century, one discovers its ability to also blur and reinforce boundaries that so typifies the tensions and redefinitions happening throughout this era. With the rise of the bourgeoisie and industrial production, jewelry became more available to the masses than it ever had before. Its transformation occurred alongside the newfound desire for women to be seen, perhaps as a direct result of patriarchal society's attempt to relegate them to the private sphere where they were to carry out their domestic duties. For women, the beginning of the century marked itself as an "[époque] stricte, corsetée, guindée et protégée," the fin-de-siècle was an era that promoted the sensual liberation for women whose existence had been relegated to the private sphere to perform only domestic duties (Coupeau 85). Thus, by tracing jewelry's representation in the 19th century, I unveil how women broke through social restrictions by transforming their literal chains of submission and esclavage into pieces of adornment that brandished their desire to be seen, to be liberated, to be desired. / Master of Arts / Jewelry and its symbolic power are barely analyzed in literary criticism. In this thesis, by tracing jewelry's various functions and representations throughout the 19th-century, one discovers its ability to also blur and reinforce boundaries that so typifies the tensions and redefinitions happening throughout this era. With the rise of the bourgeoisie and industrial production, jewelry became more available to the masses than it ever had before. For women, the beginning of the century marked itself as a period of restrictions and protection while the fin-de-siècle promoted the sensual liberation for women whose existence had been relegated to the home to carry out their domestic duties (Coupeau 85). Thus, by tracing jewelry's representation in the 19th century, I unveil how women broke through social restrictions by transforming their literal chains of submission and esclavage into pieces of adornment that brandished their desire to be seen, to be liberated, to be desired.

Le récit enchâssé émerge comme concept au début du XXe siècle, à la faveur des travaux formalistes sur le recueil de nouvelles. Il ne se développe véritablement que dans les années soixante, sous la plume de Todorov et de Genette. Mais alors, il est moins étudié qu’effleuré. Aucune définition consensuelle ne se dégage chez les narratologues. On prête au dispositif une origine millénaire, sans bien expliquer la persistance intacte d'un procédé d'écriture depuis l'Inde ancienne. Le récit enchâssé a été davantage un mythe critique qu'un objet d'étude. Cette thèse se propose de reprendre la conceptualisation là où elle s'est arrêtée : à l'intuition que certains textes contiennent des récits en surplus. Par des décrochages typographiques, par un changement d'énonciateur, par une variation temporelle, par une série de marquages spécifiques, un récit peut être mis en relief dans l'espace textuel. L'enchâssement, alors, ne serait que le fait de cette mise en relief, qu'elle s'effectue ou non dans un texte littéraire, qu'elle porte ou non sur un texte narratif. Y a-t-il légitimité, dès lors, à parler d'un « récit enchâssé » ? A-t-il existé dans l'histoire une technique homogène de mise en relief d'un récit ? En posant cette question sur les récits courts du XIXe siècle (1800-1890), cette thèse s'efforce également d'expliquer l'apparition de la notion. Car c'est au XIXe siècle que, pour la première fois, le recueil de nouvelles est comparé à une fiction indépendante, en l'occurrence, une nouvelle. Analyser ce rapprochement permet de découvrir comment a été préparée la possibilité de penser le « récit enchâssé ». / At the beginning of the twentieth century, embedded narrative emerged as a concept, thanks to the research that Russian formalists had carried out on a collection of short stories. But the category came into bloom only in the 1960s, under Todorov and Genette's pens. At that time though, the subject was broached rather than dealt with in depth. No definition based on consensus ever arose from narratology; and the seamless persistence of this narrative technique, dating back to Ancient India, has never been well accounted for. Embedded narrative has always been a critical myth rather than a subject to be studied. The aim of this dissertation is to start where the first tentative conceptualization stopped: the feeling that some texts do contain extra narratives. Inserted stories can be enhanced through typography layouts, changes of narratee, time-related alterations, or by sets of specific markings. Embedding might then mean emphasizing rather than inserting. Is it then legitimate to comment on 'embedded narratives' as such? Was there ever a consistent technique to emphasize narratives? By raising these issues, this dissertation aims at getting to the root of the notion, and addresses the topic by drawing on a large number of short stories published between 1800 and 1890. For during the nineteenth century short stories collections came for the first time closer to independent fiction, precisely to short story. Analyzing this rapprochement will enable us to discover how the very notion of 'embedded narrative’ could come up.