Charles Nodier, who was born at Besançon in 1780 and who died in Paris in 1844, was a profuse writer in many fields (e.g. bibliography, linguistics, entomology, criticism, romance). He stood at the crossroads of classicism and romanticism and tried to find a synthesis of the valuable aspects of both movements in their literary and their philosophical significance. He was unjustly forgotten because it was difficult to classify him: although his language and style conformed to the ideals of classic beauty, his ideas were in advance of his time. Thanks to a particularly remarkable ability in languages, Nodier drew upon the store of ideas of European literature as a whole, with particular emphasis on the fantastic literature of Germany. He praised lavishly the freedom of imagination of German thought. German influence has, therefore, been taken for granted by nearly all biographers and never been explored in detail. In chapters I and II of this work, we get to know Nodier from the testimony of his contemporaries and that of the scholarly biographers of the 20th century who rediscovered his "contes", as well as from an analysis of these "contes" and their symbolic significance. We arrived at the conclusion that Nodier did not merely try to escape from reality through writing fairy-tales, but that he relayed a distinct message: illuminism. The hidden didacticism accounts for a certain monotony in theme and dénouement. To explain this fact, we drew on general influences of German thought, demonstrated by comparison with Herder, Tieck, and others, whose attitudes are reflected in Nodier's criticism and style (chapter III). The full extent of German influence, examined in detail in chapter IV, reveals that the influence of Goethe is ultimately to be considered negative, i.e. Nodier's imitations of Goethe's Werther and Faust are deliberately distorted to convey his criticism. Positive influences are at work between Hoffmann and Nodier, and there are numerous examples to prove this fact, the most important one being the comparison of the autobiographical novel Lebens-Ansichten des Katers Murr intertwined with the Fragmentarische Biographie des Kapellmeisters Johannes Kreisler by E.T.A. Hoffmann, with the largely neglected Histoire du roi de Bohême et de ses sept châteaux by Nodier. The latter work, an intentional conglomeration of pastiches presenting numerous ultra-modern features of style, incorporates two conventional, but likewise fragmented "contes", and thus undoubtedly borrowed its structure and autobiographical form from Hoffmann. The examination of German influence in detail shows that Nodier allowed his thoughts to be moulded only by writers with whom he had an affinity of beliefs and character, as in the case of Hoffmann. Otherwise he remained independent and critical. He did not identify with the then foremost German types Werther and Faust, and the overwhelming praise of Germany seems, therefore, to be addressed to a Utopian country, an image created first by Mme de Staël, and used by her as by Nodier to reinforce their criticism of French literary conservatism. German influence, while considerable in his "contes", is only incidentally German; Nodier, the bibliophile, was able to draw on the literature of all times and all peoples to feed his metaphysical, social and literary theories. His choice of models seems to prove Sainte-Beuve's theory of the cohesion of "families of the spirit" untouched by time and space, rather than the notion of generalized national traits in literature. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

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Made available in DSpace on 2014-06-11T19:26:55Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-05-30Bitstream added on 2014-06-13T19:14:20Z : No. of bitstreams: 1 sedenho_bs_me_arafcl.pdf: 596943 bytes, checksum: 47b8649671cd5bf8ef91824b5a902d51 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente trabalho objetivou comparar duas obras literárias de períodos diferentes que apresentam temas, personagens e espaços muito semelhantes, mas sem deixarem de ter suas particularidades: trata-se de O Asno de Ouro, de Apuleio, do século II d.C., escrita em latim, e Smarra ou Les Démons de la Nuit, de Charles Nodier, do século XIX, em francês. Como instrumento de análise literária foram utilizadas as bases teóricas estabelecidas pela estilística, cujos principais teóricos consultados são J. Marouzeau e Pierre Guiraud. Buscaram-se, ainda, nas obras de Hênio Tavares, Catherine Fromilhague e Heinrich Lausberg, as informações mais relevantes a respeito das figuras linguagens e dos elementos necessários para a análise. Assim, a partir dessa perspectiva, pretendeu-se identificar os recursos empregados pelos autores para estabelecerem o sobrenatural em suas obras, pois ambas possuem bruxas, delírios, sangue e assassinatos. Contudo, nesse aspecto, são diferentes: O Asno de Ouro vincula-se ao gênero maravilhoso, e Smarra, ao frenético, nome que o gótico recebeu na tradição francesa, sendo que este antecipa algumas características presentes no fantástico, e aquele, algumas do gótico. Após terem sido traduzidos e analisados trechos do livro I, de O Asno de Ouro, bem como dos cinco capítulos de Smarra, apresentaram-se as relações entre as obras com a intenção de compará-las. Determinou-se, por fim, que, embora apresentem temática popular, as respectivas linguagens dos autores colaboram com a literariedade desses textos e, consequentemente, promovem sua poeticidade / Ce travail a visé à comparer deux oeuvres littéraires de différentes époques qui présentent des thèmes, des personnages et des espaces similaires, mais qui montrent chacune des particularités spécifiques: il s’agit de L’Âne d’or, d’Apulée, du IIème siècle, écrit en latin, et Smarra ou Les Démons de la Nuit, de Charles Nodier, du XIXème siècle français. Comme un outil d’analyse littéraire, on a utilisé les bases théoriques établies par la stylistique, dont les principaux théoriciens sont J. Marouzeau et Pierre Guiraud. On a cherché aussi dans les oeuvres d'Henio Tavares, Catherine Fromilhague et Heinrich Lausberg les informations les plus pertinentes sur les figures de style et sur les éléments nécessaires à l’analyse. Alors, dans cette perspective, puisque les deux oeuvres présentent des sorcières, des illusions, du sang et des assassinats, on y a cherché à identifier les ressources utilisées par les auteurs pour établir le surnaturel. Toutefois, à cet égard, elles sont différentes : L’Âne d’or est considérée comme appartenant au genre merveilleux et Smarra, au genre frénétique, nom qui a pris le gothique dans la tradition française; tandis que celui-ci a quelques caractéristiques du fantastique, celuilà présente celles du gothique. Après avoir été traduits et analysés des extraits du livre I de L'Âne d'or, ainsi que ceux des cinq chapitres de Smarra, ont été preséntés les rapports entre ces deux oeuvres dans le but de les comparer. On a déterminé, enfin, que, quoiqu’ils présentent une thématique populaire, le langage employé par chaque auteur confère de la littérarité à ces textes, les rendant donc poétiques

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Thèse : Lettres : Zurich : 1987-88. / Bibliogr. p. 229-236.