La présente étude se propose de faire une comparaison typologie et historique d’un phénomène littéraire très présent dans l’espace littéraire français et bulgare des dernières décennies du XXe et des premières décennies du XXIe siècle, à savoir le récit personnel fictionnalisé ou mis en cause. L’émergence de ce processus a été notre préoccupation majeure, et pour cette raison nous avons choisi des romans-clés paraissant à des époques différentes : pour la sphère française, l’orientation du Nouveau roman vers une écriture autobiographique pendant les années 1980 ; pour la sphère bulgare, l’émergence d’une « nouvelle écriture » à la faveur des changements sociopolitiques à partir de 1989. L’entrée en littérature de nouvelles conceptions philosophiques touchant plusieurs autres sphères de la vie artistique, comme la déconstruction ou la pensée de la postmodernité, affecte grandement le récit qu’un sujet de l’époque ferait de sa propre vie, d’autant plus s’il est déjà écrivain. Les questions que soulèvent aussi bien les œuvres bulgares que les œuvres françaises : questions d’abord de référentialité, d’« adhésion à l’époque », ensuite de composition, de voix narratives et, en fin de compte, de prise en charge du texte comme le récit de sa propre vie, sont extensivement traitées tout au long de l’étude. Il en résulte que le doute de la parole régit tout récit, et que le témoignage d’une expérience personnelle est la seule caution de sa véracité. Le récit personnel s’éloigne des genres purement informatifs ou référentiels et prend ainsi place du côté de la littérature, des œuvres de création et de fiction. / The present study is set to make a typological and historical comparison of a very widespread phenomenon in French and Bulgarian literary fields in the last decades of XXth century and the first decades of the XXIst century: the fictionnalised or biased personal story. This phenomenon’s emergence has been our main subject of concern, and for that reason we chose key novels published in different periods: for the French domain it was the « Nouveau roman »’s orientation towards autobiographical writing in the 1980’s; for the Bulgarian domain, the emergence of a « new writing » in the wake of the change in 1989. The introduction in literature of new philosophical conceptions touching other spheres of art such as deconstruction and postmodernism affects greatly the story a subject would make of his own life, moreover if he is already a writer. The questions raised as well by the Bulgarian as by French works: first about reference to reality, historical verisimilitude, then about composition, narrative voices and finally, about taking in charge the story itself as the story of one’s life, are extensively dealt with along the study. The resulting account is that hesitation governs thoroughly the story, and that the sole fact of giving testimony of one’s life is its caution of veracity. The personal story moves away from purely informative genres, ranging to fictional literature’s side.

[pt] A fim de compreender o papel do romance moderno e seus atributos durante a década de 60 em Portugal, este estudo visa a analisar criticamente a função da escrita na obra de Augusto Abelaira, autor que pertencia a um grupo de romancistas que procurava desenvolver uma nova maneira de ver a arte, de pensar a Literatura e de renovar a linguagem ficcional. Estes escritores tinham por intento questionar a importância de um experimentalismo da linguagem que criasse novas formas de narrativa, deixando o romance de personagens relegado apenas ao século XIX. Para tanto, o téorico do nouveau roman francês Alain Robbe-Grillet, as teorias da representação discursiva de Mikhail Bakhtin, a genealogia da escrita segundo Jacques Derrida, a estética da criação verbal para Barthes e a teoria do efeito estético de Wolfgang Iser serão postos em diálogo com a ficção de Augusto Abelaira para que possamos formular sentidos para as dimensões do romance português contemporâneo. Sob esta perspectiva, serão também trabalhadas a função do leitor e a importância da escrita no contexto histórico-literário da década de 60 em Portugal. / [en] In order to understand the role of modern novel and its attributes during the 60th decade, this study aims to analyze critically the writing function for an author that belonged to a group of novelists whose objective laid in the field that they should find new ways of thinking about art, literature, and writing. Those writers intended to discuss a kind of experimentalism that would be able to create new text forms, leaving the structure of old novel into the past centuries. In this way, Alain Robbe-Grillet`s theories on the French nouveau roman, Mikhail Bakhtin`s discourse representation, Jacques Derrida`s arguments towards writing will be put into dialogue with the modern Portuguese author Augusto Abelaira. This thesis will also arise analysis towards the reader`s function and the importance of writing in the literary and in the historical context of the 60th decade in Portugal.

Le Nouveau Roman est passé à la postérité comme l’un des exemples majeurs d’un moment intransitif de la littérature française. En déstabilisant le traitement de la narration et de l’intrigue, du cadre spatio-temporel, des personnages et des voix, le Nouveau Roman conteste la mimèsis référentielle réaliste pour se tourner vers les aspects formels de la création romanesque. Néanmoins, cela n’est pas un geste gratuit : la déconstruction formaliste, les nouveaux romanciers la revendiquent au nom d’un « nouveau réalisme ». Le Nouveau Roman se veut l’avènement d’une « ère du soupçon » sur les conventions esthétiques et les représentations diffusées par celles-ci. De plus, ce parti pris ne peut se comprendre en dehors d’un contexte historique marqué à la fois par les traumatismes de la Seconde Guerre mondiale et les impératifs de modernisation économique qui de 1946 à 1975 transforment profondément la société française. Loin d’anéantir la référentialité, le Nouveau Roman témoigne d’un conflit avec elle, si bien que sa déconstruction du roman est une reconstruction produisant de nouvelles — parfois pas si nouvelles que cela ? — formes, représentations, manières d’affirmer l’existence de l’homme et de la société. Aussi le Nouveau Roman contribue-t-il à l’imaginaire social de son époque. En proposant une lecture des romans de Michel Butor et d’Alain Robbe-Grillet, cette thèse se penchera sur la tentative néo-romanesque de réinventer et la littérature et le monde. Trois axes d’analyse guident ce travail : le premier porte sur la représentation de l’univers fictionnel parallèlement à une discussion sur le problème de la mimèsis ; le second, sur la poétique des personnages et son rapport à la question de l’identité personnelle ; le troisième, sur le statut de la socialité dans les œuvres, à travers les questions de l’identité collective, de la mémoire et des usages sociaux de la langue. / The nouveau roman passed to posterity as one of the main examples of an intransitive moment of french literature. By destabilizing the narration and the plot, the spatio-temporal framework, the characters and the voices, the Nouveau Roman disputes the realistic referential mimesis and turns itself to formal aspects of novelistic creation. However, this is not a vain gesture: the so-called nouveaux romanciers claim a formalist deconstruction in the name of a “new realism”. The nouveau roman proposes the advent of an “age of suspicion” about the esthetical conventions and the representations disseminated by them. In addition to this, with the purpose of understanding this position, one must take into account its historical context, marked by the traumas of World War II as well as the requirements of the economic modernization, which deeply modifies French society from 1946 to 1975. Far from having annihilated the referentiality, the nouveau roman is in conflict with it, so that its deconstruction of the novel is a reconstruction, creating new–sometimes not so new?–forms, representations, ways to affirm the existence of man and society. Thus, the nouveau roman contributes to the social imaginary of its time. Through a reading of the Michel Butor’s and Alain Robbe-Grillet’s novels, this thesis will focus on this attempt by the nouveau roman to reinvent the literature and the world. Three axes will guide this work: the first concerns the representation of the fictional universe along with a discussion on the mimesis problem; the second, the poetics of characters and its relation to the question of personal identity; the third, the status of sociality in the novels, addressing the questions of the collective identity, the memory and the social uses of language. / O novo romance passou à posteridade como um dos exemplos emblemáticos de um momento intransitivo da literatura francesa. Ao desestabilizar o tratamento da narração e da intriga, do recorte espaço-temporal, das personagens e das vozes, o novo romance contesta a mímesis referencial realista e se volta aos aspectos formais da criação romanesca. Entretanto, não se trata de um gesto gratuito: os novos romancistas reivindicam a desconstrução formalista em nome de um “novo realismo”. O novo romance propõe o advento de uma “era da suspeita” diante das convenções estéticas bem como das representações por elas difundidas. Ademais, tal atitude não pode ser compreendida fora de um contexto histórico marcado ao mesmo tempo pelos traumas da Segunda Guerra Mundial e pelos imperativos de modernização econômica que de 1946 a 1975 transformam profundamente a sociedade francesa. Longe de aniquilar a referencialidade, o novo romance está em conflito com ela, de tal modo que sua desconstrução do romance é uma reconstrução, com a produção de novas — às vezes não tão novas assim? — formas, representações, maneiras de afirmar a existência do homem e da sociedade. Assim, o novo romance contribui com o imaginário social de sua época. Através de uma leitura dos romances de Michel Butor e de Alain Robbe- Grillet, esta tese pretende debruçar-se sobre a tentativa neo-romanesca de reinventar a literatura e o mundo. Três eixos de análise guiam este trabalho: o primeiro trata da representação do universo ficcional paralelamente a uma discussão acerca do problema da mímesis; o segundo, da poética das personagens e de sua relação com a questão da identidade pessoal; o terceiro, do estatuto da socialidade nas obras, abordando as questões da identidade coletiva, da memória e dos usos sociais da língua.

L’œuvre de Juan Carlos Onetti, féconde, diverse et originale, représente un renouveau de la littérature uruguayenne et latino-américaine. C’est dans les pages de la revue Marcha où, entre 1939 et 1941, il était secrétaire de rédaction, qu’il exposera sa vision de la littérature qui nécessite, d’après lui, et avec urgence, un renouvellement. Lui-même va mettre en place ses théories littéraires et, à travers son œuvre et sa ville mythique, Santa María, il va créer une nouvelle littérature urbaine plus en accord avec l’homme et le monde de son époque. En France, pendant les années quarante naît le Nouveau Roman, courant littéraire novateur qui représente une rupture dans les lettres françaises. Souvent appelée « littérature du regard », les textes du Nouveau Roman vont au-delà des formes narratives traditionnelles. Le propos de ce travail est l’étude comparée de l’oeuvre de Juan Carlos Onetti et de certaines oeuvres de deux écrivains du Nouveau Roman : Robbe-Grillet et Claude Simon. À partir de trois axes, l’étude d’un personnage en crise, l’étude des voix narratives, et l’étude des rapports entre l’homme, l’écriture et la fiction, ce travail de recherche interroge et analyse les formules narratives nouvelles qui ont bouleversé les règles du passé. / The work of Juan Carlos Onetti, prolific, diverse and singular, represents the renovation of the Uruguayan and Latin-American literature. When he was assistant editor for the magazine Marcha between 1939 and 1941, he exposed in a series of articles his viewpoint about literature, which needed, as he stated, a renovation urgently. His own work illustrates those theories; and with the mythic city Santa Maria he created, he developed a new kind of urban literature more in accordance with his contemporaries and the world he lived in. In France, the Nouveau Roman, which emerged in about 1940, constitutes a rupture in French literature. This innovative movement, often called "literature of look", went beyond traditional narrative forms. The purpose of this study is to compare Juan Carlos Onetti’s work with certain books written by two representatives of the Nouveau Roman: Robbe-Grillet and Claude Simon. From three axes the study of a character in crisis, the study of different narrative voices and the study of the relationship between man, his writings and fiction, this research work questions and analyses new narrative forms which definitively changed the rules of the Past.

À l’aube du XXIe siècle, le style-Minuit s’offre d’abord comme une construction critique. En effet, depuis les années 1950 et le mouvement du Nouveau Roman, aussi appelé école de Minuit, les récits publiés aux Éditions de Minuit sont perçus irréductiblement par l’histoire littéraire comme des productions homogènes. Ainsi, les écrivains "impassibles" ou "minimalistes" puis "ludiques" auraient succédé aux Nouveaux Romanciers et, jusque dans les années 1990, le mythique éditeur, Jérôme Lindon, aurait découvert trois écoles stylistiques. Les critiques littéraires contribuent également à perpétuer dans la presse l’idée d’un style-Minuit. Entre 1999 et 2009, les journalistes représentent, dans un discours métaphorique et métonymique qui joue sans cesse d’un glissement sémantique sur la lexie polysémique "style", le style-Minuit en tant qu’objet sociocritique stéréotypique. Mais, si l’on entend par style ce qui fait événement dans la langue, peut-on encore faire l’hypothèse selon laquelle il existe un style-Minuit ? Passée au crible d’une étude à la fois synchronique et diachronique, la langue littéraire des écrivains Minuit nés entre 1964 et 1973 (Éric Chevillard, Éric Laurrent, Laurent Mauvignier, Marie NDiaye et Tanguy Viel) révèle un méta-patron discursif composé de traits de style supra-individuels. Ainsi, une analyse approfondie de la ponctuation, la syntaxe et l’énonciation permet de dégager non seulement la singularité langagière de chaque écrivain mais aussi les convergences de pratiques stylistiques qui définissent bien un style collectif Minuit. / In the early twenty-first century, the “style-Minuit” can be first approached as a critical construction. Indeed, since the fifties literary movement called the Nouveau Roman (the New Novel), also known as the Minuit School, books published by Editions de Minuit have been received by the literary world as homogeneous productions. Thus, the “impassive” or “minimalist” writers, then the “ludic” ones would have followed the Nouveaux Romanciers and upto the nineties, the mythical publisher, Jérôme Lindon, would have discovered three stylistic schools. Literary critics also contribute to perpetuate the idea of a style-Minuit in the media and between 1999 and 2009 journalists have depicted the Minuit-style as a stereotypical socio-critical object through a metaphorical and metonymical discourse playing constantly with several meanings of the word “style”. However, if we restrict the meaning of style to what makes “an event in language”, can we still pretend there would be a “style-Minuit”? Examining on both a diachronic and a synchronic level the literary language of a generation of writers all born between 1964 and 1973 (Éric Chevillard, Éric Laurrent, Laurent Mauvignier, Marie NDiaye et Tanguy Viel) reveals a common pattern composed by similar stylistic figures. Therefore a deep analysis of punctuation, syntax and discourse makes it possible to highlight first the linguistic uniqueness of each writer but also the convergences of some stylistic practices which properly delimit the collective “style- Minuit”.

Les fictions de Claude Simon et de Yu Hua s’affranchissent de la représentation mimétique de la réalité, traditionnellement considérée comme dogme du roman. Leurs œuvres, qui ressassent la mémoire des événements historiques dans l’Histoire du XX° siècle, ne visent pas une restauration du passé au moyen de la chronologie et de l’enchaînement de causes et d’effets. Le vécu personnel de Claude Simon et de Yu Hua les incite à réfléchir sur la valeur de l’écriture face à la violence des désastres, et à remettre en cause toutes les modalités de représentation prétendant rétablir l’ordre du monde qui est en réalité radicalement chaotique. L’aspect insaisissable, obsédant de l’Histoire les obligent à partir à la recherche de formes nouvelles, et à élaborer une transfiguration de leur objet d’écriture. Ainsi, une expérience du temps chaotique voire fantastique, la hantise des aïeux et du père, les manifestations d’un érotisme intense, d’une violence aveugle, ainsi que tous les procédés de désorganisation de la narration, toutes les étrangetés du langage, témoignent d’un constat : l’évocation du passé ne peut advenir qu’obliquement. L’importance de l’Histoire dans la diégèse et dans la genèse de leurs œuvres réfute un type de critique qui identifie ces œuvres au formalisme. Ce lien organique entre l’Histoire et la fiction montre aussi qu’une certaine littérature contemporaine, caractérisée par une volonté de rupture avec les codes classiques de la représentation romanesque, surmonte une tentation nihiliste pour suggérer une éthique. / Claude Simon and Yu Hua’s fictions abandon the traditional mimetic representation of reality. Their works, which reexamine the memory of events in the History of the 20th century, are not aimed at restoring the past by means of a chronology and a sequential linking of cause and effect. The personal life experiences of Claude Simon and Yu Hua led them to reflect on the value of writing in the face of the violence of the century’s disasters, and to question the validity of a so-called realist literature pretending to re-establish the order of the world which is in reality radically chaotic. The elusive and obsessional character of History requires the writer to set off in search of new forms, and to elaborate a transfiguration in his literary objectives. Thus, the chaotic or even fantastic experience of time, the obsessive figures of ancestors and the father, the excess of eroticism or blind violence, as well as all the disorders in the narration and the strangeness of the language, all come within an attempt to speak of a past which can only be evoked obliquely. The importance of History in the diegesis and in the genesis of their works refutes a certain type of criticism which identifies these works with formalism. This visceral connection between History and fiction also shows that contemporary literature, marked by a spirit of rupture, goes beyond nihilism and in its own way realizes an ethical value.

This thesis considers the early dissemination and critical/cultural/literary reception of the nouveau roman in Britain, roughly between the years 1957–73. The nouveau roman is considered in its capacity as an avant-garde grouping of writers and texts coming from France, and as articulated at the interface of the novel and its theoretical metalanguage; the main nouveaux romanciers considered are Michel Butor, Marguerite Duras, Robert Pinget, Alain Robbe-Grillet, Nathalie Sarraute, and Claude Simon. Particular attention is paid to the ways in which the nouveau roman's status as nouveau was presented in Britain in the period in question. One of the major arguments of the thesis is thus: that the question of the nouveauté of the nouveau roman became a nodal point for negotiations over the legacy of modernism, and over the meaning of the 'contemporary' in literature in the postwar period. Part I charts the emergence of the nouveau roman in Britain. It looks first at the origins and the methods of the nouveau roman's initial dissemination, drawing on a range of previously undocumented archival sources. The main focus here is Calder & Boyars – the nouveau roman's main British publisher – and in particular the notions of publics that framed its activities involving the nouveau roman. Subsequently, the nouveau roman's British reception is considered with reference to an extensive survey of periodicals and books. Part II looks at the literary impact of the nouveau roman. First, a range of novels is considered as bridging the critical and the literary response in Britain to the nouveau roman. The authors considered are: Pamela Hansford Johnson, J. I. M. Stewart, Muriel Spark, John Fowles, J. B. Priestley, William Cooper, Rayner Heppenstall, and Christine Brooke-Rose. Then, other novels are considered more directly within the domain of the nouveau roman, seen against the background of Robbe-Grillet's approach to objects and materiality, and with reference to notions of 'project-work' in Butor's novels. Novels are considered by: Brian W. Aldiss, Muriel Spark, Denis Williams, Eva Figes, B. S. Johnson, and Alan Sheridan. Finally, the nouveau roman is looked at in relation to an emergent avant-garde in the British novel. Here, the nouveau roman is seen as providing terms with which British writing from the period in question was able to present itself as avant-garde beyond the manifestations of individual works. The conclusion briefly surveys more peripheral and non-novelistic British responses to the nouveau roman, considering the way in which they inscribe the nouveau roman as 'contemporary'. The thesis turns finally to the legacy of the nouveau roman for the British novel of the present day.

L’objet de cette recherche est de revisiter la notion d’intrigue dans le Nouveau Roman après une campagne de dénigrement théorique menée par certains nouveaux romanciers. Une reconsidération qui s’inspire essentiellement des travaux de Paul Ricoeur sur « La Mise en intrigue » et qui se fonde principalement sur les études récentes de Raphaël Baroni sur « la tension narrative ». Dans la première partie il s’agit de remettre en perspective littéraire et critique cette notion en la confrontant au roman dit « traditionnel » et en parcourant les travaux nombreux des écrivains, critiques et théoriciens qui ont abordé cette question.La deuxième partie est concrètement une mise en chantier où sont éprouvées les idées de fiction, de passion, de suspense et de tension.Enfin la dernière partie est une sorte de reprise d’un modèle précis d’intrigue qui est celui du roman policier dans la perspective de mettre en évidence son aspect passionnant et passionnel. / The object of this research is to revisit the notion of “intrigue” in the new novel after a campaign of theoretical belittlement led by certain new novelists. A reconsideration which is essentially inspired by Paul Ricoeur’s works on “ the stake in intrigue” and which is based mainly on the recent studies of Raphaël Baroni on the narrative tension.In the first part it is question of handling in literary and critical perspective this notion by confronting it with the so-called “traditional” novel and by examining the numerous works of the writers, the critics and the theorists who approached this question.The second part is concretely and deeply analysed where the ideas of fiction, passion, suspense and tension are studied. Finally the last part is a kind of resumption of precise model of “intrigue” which is the one of the detective novel in the perspective to bring to light its fascinating and passionate aspect.

O presente trabalho tem por objetivo apresentar as principais características da obra Nathalie Sarraute (1900-1999) aos leitores brasileiros por meio da análise de seu primeiro livro, Tropismes(1957/1996), publicado inicialmente em 1939. Para isso, recorreu-se às obras críticas e teóricas sobre o Nouveau Romane a uma análise de aspectos fundamentais deste primeiro livro. Concluiu-se que, embora relacionada às tendências do Nouveau Roman de inovação na forma e no conteúdo da narrativa, Nathalie Sarraute apresenta uma poéticabastante singular na tentativa de revelar os tropismos, movimentos interiores e complexos pouco perceptíveis, porém presentes no cotidiano. / This dissertation aims to present the main features of Nathalie Sarrautes work (1900-1999) to the brazilian public through the analysis of her first book, Tropismes(1957/1996) initially published in 1939. Therefore, we used the critical and theoretical works on the Nouveau Romanand an analysis of the main characteristics of this first book. It was concluded that, although related to the Nouveau Romantrend of innovation in form and content of the narrative, Nathalie Sarraute presents a rather unique poeticsin attempt to reveal the tropisms, complex andinner movements wich are barely noticeable, but present in everyday life.

Este trabalho se propõe a estudar a prosa de ficção de José Agrippino de Paula, sobretudo os romances Lugar público e PanAmérica. Nosso objetivo é demonstrar como essas obras absorveram técnicas de vanguarda, notadamente do chamado Novo Romance Francês, que não eram comuns na prosa de ficção brasileira no período em que foram publicadas, a década de 1960. Além disso, com PanAmérica, o autor propôs uma leitura original da mitologia contemporânea configurada pela cultura de massa. Acreditamos que, ainda hoje, esses livros se constituem como romances de excesso e de exceção, já que, por suas inovações formais, não se enquadraram na tradição do romance brasileiro, o que acabou por relegá-los à margem da nossa história literária. / This work aims to study the fiction written by José Agrippino de Paula, mainly the novels Lugar público e PanAmérica. Our goal is to demonstrate how these works absorbed the Avant-garde literary techniques, especially the so-called Nouveau Roman, that were still not common in the Brazilian fiction prose in the 1960s, the time of their publication. Moreover, with PanAmérica, the author proposes a new way of reading the contemporary mythology molded by mass culture. We believe that even today, the books can be considered both excessive and exceptional. Due to their formal innovations, they escape the traditional Brazilian novels boundaries, which at the same time has relegated them to the margins of our literary history.