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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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.

Generally labelled as fantastic in nature, Maupassant's short stories pose a serious problem. The very term "fantastic" is itself highly ambiguous; there have been many attemps to define what makes a work of literature "fantastic" in nature, but none of these attempts have managed to capture the essence of the genre in its entirety. / What is most striking in Maupassant's narratives is precisely his rejection of the fantastic almost as soon as it occurs. Contrary to the more traditional literature of the fantastic, his narratives remain anchored in a realistic world, rendering the reader's experience even more unsettling. In a sense, Maupassant manages to tame the fantastic by normalizing it. / We intend, therefore, to position our work at the meeting point of these two concepts---realism and fantasy---in order to determine if the definition of "fantastic realism" we will be striving for can be verified through our analysis of the following stories: "Apparition", "La chevelure", "Le Horla" (first version), "La main", "La peur", "Magnetisme" and "Sur 1'eau". (Abstract shortened by UMI.)

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.

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.

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