This master's thesis on literary writing consists of two separate parts. The first is a critique which discusses the problem of perceiving madness through reason in a selection of Guy de Maupassant's short stories. An analysis of the dialogue of the characters who represent reason will reveal that there are strong, strategic ties linking madness and reason. / This critique is followed by a creative work. The story focuses on a recluse who prefers the company of objects to that of people. He is, however, subjected to frequent visits from his "family of fools".

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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?

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