Stories about aborigines in a settler society, especially stories about aboriginal maidens and settler men, tend to become national allegories. Initially, the aboriginal maiden is a figure for colonial landscapes and resources, while later, in her conversion in fact or fiction from aboriginal to settler, she helps build national identity. Yet after being romanced, the aboriginal maiden’s fate is to disappear from settler consciousness, because she is displaced by the national settler mother or because the settler loses interest in her, only to return in abjection to haunt the settler conscience. In her return as a prostitute, a commodified bride or a ghost, she disturbs the discourse of ‘national domestication’, the notion of nation as family. Though she returns in abjection, an Amazonian association tends to linger in the person of the aboriginal maiden, an association that suggests the kind of self-empowerment on which a healthy liberal society depends. In other words, the figure of the aboriginal maiden tends to be used in the construction, the contestation, and potentially the reconstruction of national identity in a settler society. While I discuss examples from settler societies around the world, particularly the story of Pocahontas, and try to contribute to ‘settler colonial discourse studies’, I focus on postwar Taiwan. This dissertation proposes the notions of the ‘settler society’ and the Habermasian public sphere as ‘frames’ for the study of Taiwanese literature. I show how the Formosan aboriginal maiden has been appropriated for the construction and critique of both Chinese and Taiwanese nationalisms. I argue that while nationalism is partly about social control and the advancement of particular interests, writers who have romanced the Formosan aborigine have been implicitly participating in a debate about national domestication, the telos of which is the democratic imagination of a good society, one in which the Formosan aborigines will feel in some sense ‘at home’, though perhaps not as members of the ‘national family’. Finally, under the rubric of ‘alternative aboriginal modernities’, I discuss stories that reread the romance of the Formosan aborigine by aboriginal writers who have entered the national debate.

Stories about aborigines in a settler society, especially stories about aboriginal maidens and settler men, tend to become national allegories. Initially, the aboriginal maiden is a figure for colonial landscapes and resources, while later, in her conversion in fact or fiction from aboriginal to settler, she helps build national identity. Yet after being romanced, the aboriginal maiden’s fate is to disappear from settler consciousness, because she is displaced by the national settler mother or because the settler loses interest in her, only to return in abjection to haunt the settler conscience. In her return as a prostitute, a commodified bride or a ghost, she disturbs the discourse of ‘national domestication’, the notion of nation as family. Though she returns in abjection, an Amazonian association tends to linger in the person of the aboriginal maiden, an association that suggests the kind of self-empowerment on which a healthy liberal society depends. In other words, the figure of the aboriginal maiden tends to be used in the construction, the contestation, and potentially the reconstruction of national identity in a settler society. While I discuss examples from settler societies around the world, particularly the story of Pocahontas, and try to contribute to ‘settler colonial discourse studies’, I focus on postwar Taiwan. This dissertation proposes the notions of the ‘settler society’ and the Habermasian public sphere as ‘frames’ for the study of Taiwanese literature. I show how the Formosan aboriginal maiden has been appropriated for the construction and critique of both Chinese and Taiwanese nationalisms. I argue that while nationalism is partly about social control and the advancement of particular interests, writers who have romanced the Formosan aborigine have been implicitly participating in a debate about national domestication, the telos of which is the democratic imagination of a good society, one in which the Formosan aborigines will feel in some sense ‘at home’, though perhaps not as members of the ‘national family’. Finally, under the rubric of ‘alternative aboriginal modernities’, I discuss stories that reread the romance of the Formosan aborigine by aboriginal writers who have entered the national debate.

AN ABSTRACT OF THE DISSERTATION OF KWANG WOO NOH, for the Doctor of Philosophy degree in Mass Communication and Media Arts, presented on August 25, 2009, at Southern Illinois University at Carbondale. TITLE: MEMORIES OF RAPID TRANSFORMATION: RETROSPECTION AND NOSTALGIA IN CONTEMPORARY SOUTH KOREAN CINEMA MAJOR PROFESSOR: Deborah Tudor, Ph.D. The recent tendency of returning to history in Korean cinema corresponds with the conjuncture of democratization and globalization from 1992, which is an antithesis of the former conjuncture: modernization and military dictatorship from 1961 to 1992. Through the rapid economic development, Korea's economy reached its apex in the mid 1990s. However, Asian economic crisis of 1997 - 1998 accelerated the economic decline. The democratization and the economic crisis provided Korean filmmakers with a motivation to re-examine the past. The research contained herein will focus on these Korean reexaminations of the past. With regard to this re-examination, Korean cinema employed two main trends. Some films refer to historical and political moments, and suggest a relationship between such moments and Korean destiny. Other films deal with personal stories from the 1960s to 1990s. Both trends provide not only retrospection of the rapid transformation but also nostalgia for the past despite differences of subject matters and genre. Film studies pertinent to the subject include political criticism in U.S. film studies of ideology, historians' and film scholars' approaches to film representation of the history and the past, as well as New German cinema and post-Franco Spanish cinema. Methodology will incorporate textual analysis, followed by an examination of four films in retrospective trend, as well as four films in the nostalgic trend. For the purpose of analysis, eight films, released from 2000 to 2007, are examined. In terms of subject matter, all films are connected to Korea from the 1960 to the 1990s. In the first trend of films of historical reference, four films will be examined: The President's Barber(Im Chan-sang, 2004), The President's Last Bang (Im Sang-soo, 2004), Peppermint Candy (Lee Chang-dong, 2000), and Memories of Murder (Bong Joon-ho, 2003). The President's Barber covers the era from the last days of Rhee Syng-man regime through the Student Revolution of April 19, 1960, through the military coup on May 16, in 1961, to the assassination of Park Chung-hee on October 26, 1979, through the life of a fictional barber who served the president. The President's Last Bang (Im Sang-soo, 2004) dramatizes the assassination of Park Chung-hee. With its reverse chronological narrative progress, Peppermint Candy (Lee Chang-dong, 2000) traces how the Kwangju massacre of May 1980 influenced Korean society. Finally Memories of Murder (Bong Joon-ho, 2003) treats the expansion of capitalism during the 1980s within the form of mystery and thriller film. Four films that tell personal stories are chosen: The Classic (Kwak Jae-yong, 2003), My Mother the Mermaid (Park Heung-Shik, 2004), Once Upon A Time in A High school: The Spirit of Jeet Kune Do (Yu Ha, 2003) and Friend (Kwak Kyung-taek, 2001). All but My Mother the Mermaid adopt the form of "high teen film" for their genre conventions. Once Upon A Time in A High School: The Spirit of Jeet Kune Do (Yu ha, 2003) is a coming-of-age film set in a high school located in Kangnam, a newly developed periphery of Seoul in the late 1970s. The Classic and Friend compare adolescence and maturity by putting episodes from main characters' high school days in the middle of storyline. Whether they are set in a remote island or a high school in an urban area, these films depict not only the bitterness and poignancy of growing up but also show diverse aspects of, or responses to, the rapid socio-economic transformation of South Korea.

A presente dissertação aborda a questão da experiência nacional representada alegoricamente no romance –O Grande Gatsby. Meu objetivo é estudar esta relação baseada na sedução estética do romance e a sua proposta de redirecionamento do Sonho Americano dos anos 20. Estudos Culturais e de Gênero fazem parte do embasamento teórico na observação de valores que são questionados e/ou perpetuados através de representações de gênero, classe social, raça e etnia no romance. A organização espacial da narrativa é entendida como um sistema estrutural em que o pertencimento de personagens a determinados “lugares” e cenários gera relações hierárquicas de poder, representadas por polaridades espaciais. Este trabalho sugere que os privilégios de algumas posições sociais estão representados alegoricamente na narrativa. O conceito de alegoria de Walter Benjamin enfatiza o estudo da temporalidade associada ao espaço narrativo e permite que se faça uma leitura do sentido gerado por essas representações, na medida em que expõe, e não omite, as contradições da narrativa. Estas remetem à impossibilidade de concretização histórica do Sonho Americano que é questionado e também re-valorizado através de sua ligação a um ideal pastoril em conflito com as demandas de uma ideologia marcadamente materialista no período entreguerras. Desta forma, a sobreposição de níveis temporais no romance liga a crença do excepcionalismo americano, patriotismo e herança cultural a um imaginário pastoril, em que uma versão do passado é legitimada e projetada para o futuro nacional. / This dissertation approaches the issue of a national experience represented allegorically in the novel – The Great Gatsby. My aim is to study this relation based on the novel’s esthetical seduction and its proposal of representing the new directions of the American Dream in the 1920s. Cultural and Gender Studies are employed as theoretical tools in order to observe the values questioned and/or perpetuated by the novel’s representation of gender, social class, race and ethnicity. The spatial organization of the narrative is conceived as a structural system in which the characters’ sense of belongingness to specific places and settings creates their hierarchical relations of power, represented by space polarities. This dissertation hopes to prove that specific social positions are inscribed allegorically in the narrative as owners of privileges in the representation of society. Walter Benjamin’s concept of allegory emphasizes the study of temporality, which is associated to space in the narrative, and allows one to conceive the meanings created by the mentioned representations, exposing the narrative’s contradictions. They lead to the historical impossibility of fulfillment of the American Dream. In the novel, the dream is questioned and also re-valued due to its link to a pastoral ideal in conflict with the demands of a materialistic ideology in the world war period. In this sense, the superposition of temporal levels in the novel connects a belief in American exceptionalism, patriotism and cultural heritage to a pastoral imagery, in which a version of the past is legitimized and projected to a national future.

A presente dissertação aborda a questão da experiência nacional representada alegoricamente no romance –O Grande Gatsby. Meu objetivo é estudar esta relação baseada na sedução estética do romance e a sua proposta de redirecionamento do Sonho Americano dos anos 20. Estudos Culturais e de Gênero fazem parte do embasamento teórico na observação de valores que são questionados e/ou perpetuados através de representações de gênero, classe social, raça e etnia no romance. A organização espacial da narrativa é entendida como um sistema estrutural em que o pertencimento de personagens a determinados “lugares” e cenários gera relações hierárquicas de poder, representadas por polaridades espaciais. Este trabalho sugere que os privilégios de algumas posições sociais estão representados alegoricamente na narrativa. O conceito de alegoria de Walter Benjamin enfatiza o estudo da temporalidade associada ao espaço narrativo e permite que se faça uma leitura do sentido gerado por essas representações, na medida em que expõe, e não omite, as contradições da narrativa. Estas remetem à impossibilidade de concretização histórica do Sonho Americano que é questionado e também re-valorizado através de sua ligação a um ideal pastoril em conflito com as demandas de uma ideologia marcadamente materialista no período entreguerras. Desta forma, a sobreposição de níveis temporais no romance liga a crença do excepcionalismo americano, patriotismo e herança cultural a um imaginário pastoril, em que uma versão do passado é legitimada e projetada para o futuro nacional. / This dissertation approaches the issue of a national experience represented allegorically in the novel – The Great Gatsby. My aim is to study this relation based on the novel’s esthetical seduction and its proposal of representing the new directions of the American Dream in the 1920s. Cultural and Gender Studies are employed as theoretical tools in order to observe the values questioned and/or perpetuated by the novel’s representation of gender, social class, race and ethnicity. The spatial organization of the narrative is conceived as a structural system in which the characters’ sense of belongingness to specific places and settings creates their hierarchical relations of power, represented by space polarities. This dissertation hopes to prove that specific social positions are inscribed allegorically in the narrative as owners of privileges in the representation of society. Walter Benjamin’s concept of allegory emphasizes the study of temporality, which is associated to space in the narrative, and allows one to conceive the meanings created by the mentioned representations, exposing the narrative’s contradictions. They lead to the historical impossibility of fulfillment of the American Dream. In the novel, the dream is questioned and also re-valued due to its link to a pastoral ideal in conflict with the demands of a materialistic ideology in the world war period. In this sense, the superposition of temporal levels in the novel connects a belief in American exceptionalism, patriotism and cultural heritage to a pastoral imagery, in which a version of the past is legitimized and projected to a national future.

A presente dissertação aborda a questão da experiência nacional representada alegoricamente no romance –O Grande Gatsby. Meu objetivo é estudar esta relação baseada na sedução estética do romance e a sua proposta de redirecionamento do Sonho Americano dos anos 20. Estudos Culturais e de Gênero fazem parte do embasamento teórico na observação de valores que são questionados e/ou perpetuados através de representações de gênero, classe social, raça e etnia no romance. A organização espacial da narrativa é entendida como um sistema estrutural em que o pertencimento de personagens a determinados “lugares” e cenários gera relações hierárquicas de poder, representadas por polaridades espaciais. Este trabalho sugere que os privilégios de algumas posições sociais estão representados alegoricamente na narrativa. O conceito de alegoria de Walter Benjamin enfatiza o estudo da temporalidade associada ao espaço narrativo e permite que se faça uma leitura do sentido gerado por essas representações, na medida em que expõe, e não omite, as contradições da narrativa. Estas remetem à impossibilidade de concretização histórica do Sonho Americano que é questionado e também re-valorizado através de sua ligação a um ideal pastoril em conflito com as demandas de uma ideologia marcadamente materialista no período entreguerras. Desta forma, a sobreposição de níveis temporais no romance liga a crença do excepcionalismo americano, patriotismo e herança cultural a um imaginário pastoril, em que uma versão do passado é legitimada e projetada para o futuro nacional. / This dissertation approaches the issue of a national experience represented allegorically in the novel – The Great Gatsby. My aim is to study this relation based on the novel’s esthetical seduction and its proposal of representing the new directions of the American Dream in the 1920s. Cultural and Gender Studies are employed as theoretical tools in order to observe the values questioned and/or perpetuated by the novel’s representation of gender, social class, race and ethnicity. The spatial organization of the narrative is conceived as a structural system in which the characters’ sense of belongingness to specific places and settings creates their hierarchical relations of power, represented by space polarities. This dissertation hopes to prove that specific social positions are inscribed allegorically in the narrative as owners of privileges in the representation of society. Walter Benjamin’s concept of allegory emphasizes the study of temporality, which is associated to space in the narrative, and allows one to conceive the meanings created by the mentioned representations, exposing the narrative’s contradictions. They lead to the historical impossibility of fulfillment of the American Dream. In the novel, the dream is questioned and also re-valued due to its link to a pastoral ideal in conflict with the demands of a materialistic ideology in the world war period. In this sense, the superposition of temporal levels in the novel connects a belief in American exceptionalism, patriotism and cultural heritage to a pastoral imagery, in which a version of the past is legitimized and projected to a national future.

Made available in DSpace on 2015-05-14T12:39:58Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1871492 bytes, checksum: 5f2738530a226a92aecc726e9a194f94 (MD5) Previous issue date: 2014-03-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The allegorical concept of an Authoritarian State is discussed in some areas of knowledge, including History and Social Science. As a field of knowledge that reproduces "realities" discussed in these areas, Literature can be an area of tension between these two discursive representations and relates to allegorical socio-historical creations facts, in research of a resignification of such facts, as the allegory metamorphoses itself the language and the content of a speech, by saying one thing but meaning another. In this sense, in O Pagador de Promessas and in O Santo Inquérito, Dias Gomes, the experiences undergone by these characters Zé-do-Burro - a country man - and Branca Dias a new Christian represents allegories of a Brazilian historic moment. Thus, to better understand this allegorization, in the first moment, it exposes a panoramic vision of the alleged evolution of the concept of allegory and a brief course of the nation concept. Such behavior anticipates the main theoretical procedures adopted in this work, called by Fredric Jameson of National Allegory. In the second moment, there is a historical contextualization of environments of the 1960s, with the aim of drawing attention to a dictatorial environment by which Brazil went, in addition to observe that, in these parts, the playwright proposes rewriting certain times in the History of the country through conflict and dramatic actions. For both, the allegorical language was - and has been - one of the tools more applicants. This is the profile that is configured in the two plays of Dias Gomes that this research proposes highlight. / A concepção alegórica de Estado Autoritário é assunto debatido em alguns âmbitos do conhecimento, entre eles, a História e as Ciências Sociais. Como uma área de conhecimento que reproduz as realidades debatidas por essas áreas, a literatura pode ser um espaço de tensão entre essas duas representações discursivas e relacionar fatos sócio-históricos a criações alegóricas, em busca de uma ressignificação de tais fatos, visto que a alegoria metamorfoseia a linguagem e o conteúdo de um discurso, por dizer uma coisa e pretender que se entenda outra. Nesse sentido, em O Pagador de Promessas e em O Santo Inquérito, de Dias Gomes, as experiências vivenciadas pelas personagens Zé-do-Burro um homem do campo e Branca Dias uma cristã-nova representam alegorias de um momento histórico brasileiro. Assim, para melhor se compreender essa alegorização, em um primeiro momento, expõe-se uma visão panorâmica da suposta evolução do conceito de alegoria e um breve percurso do conceito de nação. Tal comportamento antecipa os principais procedimentos teóricos adotados neste trabalho, denominados por Fredric Jameson de alegoria nacional. Em um segundo momento, há uma contextualização histórica dos entornos da década de 1960, com o intuito de chamar a atenção para um ambiente ditatorial pelo qual o Brasil passava, além de se observar que, nas referidas peças, o dramaturgo propõe a reescritura de determinados momentos da História do país através de conflitos e de ações dramáticas alegóricos. Para tanto, a linguagem alegórica foi e tem sido, ainda, uma das ferramentas mais recorrentes. Esse é o perfil que se configura nas duas peças de Dias Gomes que este trabalho propõe evidenciar.

當過去歷史透過電影重現，電影以特定的形式與內容重新編排將會使歷史有著不同意義，影響行動者認知及將某種行為成為可能。因此，探討電影如何再現歷史對閱聽人相當重要。 本研究探討影視文本如何再現歷史，以1984年印度黃金廟事件為例，採用《火柴》（Maachis,1996）、《阿畝》（Amu, 2005）及《旁遮普 1984》（Punjab 1984, 2014）三部電影為研究個案，取徑影視史學與民族寓言理論並透過文本分析法，探討三個面向：第一，電影拍攝時空環境與歷史事件時空環境兩者之間的辯證關係。第二，電影文本如何再現過去歷史並呈現其關鍵要點；第三，書寫歷史與影視歷史間呈現的關係。 研究發現，當歷史以影視文本再現時，呈現出以下幾個特點。第一，影視文本歷史再現關注現在。第二，影視文本歷史再現反映當代主流觀點。第三，以角色人物為主之民族寓言。第四，敘事安排製造懸疑感、凸顯關鍵要點。第五，影視文本歷史再現開啟換位思考。 / This study aims to analyze how films reproduced history by using Maachis, amu and Punjab 1984 as case studies which focus on the history of the “Golden Temple Incident of 1984” in India. The methodology of this study is based on concepts of historiophoty by Haden White and national allegory by Fredric Jameson. Textual analysis is adopted to explore three films for the following questions. First, what is the relevance between the filmic background and the historical incident? Second, how does the film text represent history and focus on key points? Third, what is the relationship between Historiography and Historiophoty? This study finds that, first, the historiophoty focuses on present situations. Second, historiophoty reflects the dominate perspectives in present time. Third, the films represent characters as the figures in national allegory. Fourth, arrangement of narrative creates suspenses and foregrounds crucial moments. Lastly, historiophoty opens the possibility for the audience to identify with characters in films.

本論文主要是對一九九○年代過後所攝製的七部敘事背景有關中國文化大革命（簡稱文革）的電影進行分析，探討這些電影裡頭對中國文革的刻畫，更試著勾勒出這些文革的再現與當代中國的文化情境的關聯性。中國自文革後一九八○年代以來，它的文化情境已經產生了頗多變化。這些文化情境，筆者主要是分成三個階段或者部份來闡述。首先是文革過後「新時期」的「文化反思」和「歷史反思」思潮。第二階段是一九九○年代中國高速邁進全球化和市場經濟化的「後新時期」。最後筆者試圖將討論放在邁入兩千年新世紀中國在政治和經濟上崛起的脈絡上。 筆者發現，由三位「第五代」導演田壯壯、陳凱歌和張藝謀所執導的的《藍風箏》、《霸王別姬》和《活著》，其實是受一九八○年代「文化反思」和「歷史反思」的影響，再加上這三位導演年輕時期的生活曾籠罩在文革時候的革命話語中，使到他們的作品散發出濃厚的「文化反思」和「歷史反思」意識。在這些作品中，中國的歷史尤其是文革，成為了他們反思中國民族文化的梏結的寓言敘事策略，更成為了他們尋求為民族國家的文化、政治與經濟上的定位的言說工具。這些在電影中所描繪的個人經歷，都被投射在集體民族的經歷中，折射出對民族集體歷史命運的反思和批判，所呼喚的是一種對社會拯救的理想，一種為國家民族建立一個嶄新文化主體的實踐。 然而，筆者卻發現，另外三部電影，即《陽光燦爛的日子》、《巴爾札克與小裁縫》以及《美人草》卻遠離一九七○、八○年代中國「新時期」「文化反思」和「歷史反思」思潮下的「啟蒙」、「救贖」等的人道傳統話語。這三部電影並沒有呈現出文革的殘酷的一面，反而注重在年輕主人公們朝氣勃勃，充滿激情奔放的青春成長經歷上。同時，《陽光燦爛的日子》通過刻畫人類記憶的建構性和不確定性，來表示我們無法通過記憶來重構一種「絕對的」和「整體的」的文革歷史圖像。而這種現象，是一九九○年代大眾文化在中國的出現與消費社會的成形不無關係。 本論文的最後一個部份，是針對《太陽照常升起》進行分析。筆者發現，這部電影是在「國族寓言」與「反國族寓言」的元素中滑動。首先，它通過絢爛艷麗色彩的攝影，再加上獨特的場面調度，把它的時空背景處理得充滿夢幻色彩，更創造了一個如夢如幻的文革時代。其次，這部電影也通過對文革樣板戲中的女性形象的戲仿，搗毀了女性扮演「國族寓言」的文化角色。然而，這部電影裡頭卻增添了從國外回歸「祖國」的兩個華僑角色。他們在文革時候的遭遇，卻又可以化身為寓意中國現今處境的國族寓言，而這國族寓言跟一九八○年代的文化反思和歷史反思思潮下的國族寓言以及第五代導演的寓言策略有所不同。這部電影中的國族寓言所寓意的，更是和二十一世紀的中國在全球政治和經濟上的崛起有關。而中國在政治經濟上的崛起，卻又和「大中華」的文化認同息息相關。 / This essay focus on analyzing the portraits of China’s Cultural Revolution in seven Chinese Language films made during and after the 1990s. This essay points out that three films made by the “fifth generation” directors namely Blue Kite, Farewell My Concubine and To Live, tend to treat the history of Cultural Revolution as a “national allegory”. These “fifth generation” directors are trying to articulate their narrations of Cultural Revolution to the “cultural reflection” ideological trend of the New Era in the late 1970s and 1980s which searched for the “enlightenment” and “salvation” for the Chinese culture. But this essay also points out that the other three films namely In the Heat of the Sun, Balzac Et La Petite Tailleuse Chinoise and The Foliage, didn’t display the harsher aspects of the Cultural Revolution. Instead they focus on the vigorous and enthusiastic adolescence life of the young protagonists. In the Heat of the Sun also displays the construction and the uncertainty of the human memory, to express that we can’t recapture an “absolute” and a “total” historical image of Cultural Revolution. The portraits of Cultural Revolution in these three films also distance themselves away from the “enlightenment” and “salvation” cultural discourse during the New Era in the late 1970s and 1980s. Lastly, this essay focuses on the film The Sun Also Rises directed by China’s famous actor-cum-director JIANG Wen. This film slides between elements of “national allegory” and “anti-national allegory” for China. Firstly, this film through its brightly colorful cinematography and unique mise en scene, created a film space that is full of fantasy and a dreamlike historical events of Cultural Revolution. Secondly, this film through its parody of the revolutionary model theater of women images, destroys the role of the women in performing the national allegory. But this film added two characters of overseas Chinese returned to China. Their unpleasant experiences during the time of Cultural Revolution can be read as the national allegory of China. Lastly, this film through its unique narrative structure put the ethnic consciousness of “Chineseness” and the concept of “Greater China” into a process of continuing deconstruction and reconstruction.

Cette étude s’inscrit dans un questionnement entourant les notions d’identité nationale et de construction allégorique. Elle s’inscrit également dans une problématique touchant les questions de la matérialité de la littérature et du cinéma. Dans la première partie de cette recherche, nous allons d’abord définir les notions d’allégorie et d’allégorie nationale. Par la suite, à partir de l’histoire d’Iracema, nous allons questionner deux œuvres qui travaillent la rencontre entre une autochtone et un blanc de manière distincte. La première œuvre est Iracema : lenda do Ceará de José de Alencar, un écrivain connu du XIXe siècle au Brésil. Véritable allégorie nationale de fondation, cette œuvre cherche à unir allégoriquement les différences sociales pour fonder une identité qui serait brésilienne. Le film Iracema : uma transa amazônica reprend cette histoire de construction nationale dans un contexte de dictature et montre ses contradictions et ses limites. En mettant l’accent sur les travailleurs et les marginalisés de l’imaginaire national, le film altère la sensibilité visuelle des spectateurs. Puisque l'oeuvre de Bodansky et Senna se situe à la limite entre le documentaire et la fiction, nous avons posé notre regard sur les résistances qu’offrent des images documentaires à l’interprétation allégorique de la nation. / This research explores the notions of national identity and of the rhetorical figure of the allegory. It also questions the materiality and the specificity of literature and cinema. In the first part of this research, we will define the notion of allegory and the concept of national allegory. In the second part, inspired by the story of Iracema, we will analyze two specific works that narrate singularly the encounter between a native and a white man. The first work, Iracema : lenda do Ceará (1865) is by José de Alencar, a well-known mid-nineteenth century Brazilian author. In this novel, the author tries to construct a Brazilian identity by allegorically and fictionally binding together social differences. The second work, Iracema : uma transa amazônica (1974) by Orlando Senna and Jorge Bodansky is a contemporary version of the story, depicting the limits and contradiction of the concept of national identity. Filmed during the dictatorship, this film displays the people who are excluded and marginalized from the project of Brazilian identity. With Bodansky and Senna’s work positioned in an ambiguous position between documentary and fiction, we will question the resistance exhibited by documentary images to the allegorical construction of the nation.