Adaptant la théorie d’Ivan Jablonka sur les rapports entre l’histoire et la littérature ainsi que la théorie de la micro-histoire de Carlo Ginzburg, ce travail se propose d’étudier l’écriture de l’histoire (au sens d’historiographie) dans l’œuvre de deux écrivains contemporains issus de deux aires culturelles et géographiques différentes : l’écrivain français Patrick Modiano et le romancier iranien Amir Hassan Cheheltan. L’étude se concentre sur un choix sélectif des textes des deux auteurs. Le corpus des textes de Modiano est formé par les œuvres suivantes : La Place de l’étoile (1968), La Ronde de nuit (1969), Les Boulevards de ceinture (1972) et Dora Bruder (1997) ; de Cheheltan sont abordées les œuvres suivantes : La Salle des miroirs (Talâr-e aïné, 1990), La Mandragore (Mehr-e giâh,1998), Téhéran, ville sans ciel (Tehran, shahr-e bi asséman, 2001) et L’Aube iranienne (Sépidédam-e irani, 2005). Notre étude démontre que malgré l’omniprésence de l’histoire dans ces textes, ils ne respectent pas les critères du traditionnel roman historique et se rapprochent plutôt d’une littérature science-sociale qui, au moyen du raisonnement et de la narration, vise à dire la vérité sur le monde sans pour autant vouloir représenter ou recréer les grands événements historiques ou mettre en scène ses personnages notoires. « Romans-Histoire », ils invitent le lecteur à réfléchir sur les versions officielles de l’Histoire. Quant à Dora Bruder, il s’identifie plutôt à un « texte-recherche » (Jablonka) ou à une enquête micro-historique sans toutefois que la quête modianesque aboutisse à une réponse définitive. Une analyse de nature thématique montre que les deux auteurs s’intéressent à des figures problématiques ou marginalisées dans deux métropoles qui sont le théâtre de l’histoire : Paris (Modiano) ou Téhéran (Cheheltan). En dernier lieu, nous nous penchons sur l’aspect formel et esthétique des deux œuvres pour montrer la diversité des formes mobilisées par les deux auteurs, chacun à l’intérieur de son œuvre et l’un par rapport à l’autre. Il s’agit donc de comparer le traitement thématique, formel, esthétique mais aussi épistémique que ces écrivains réservent à l’Histoire et d’analyser les principales modalités de son inscription dans leurs œuvres. / Adapting Ivan Jablonka’s theories on the relationship of history and literature, and Carlo Ginzburg's notion of “microhistory”, this work aims at studying how two contemporary writers from different cultural and geographical spheres—the French author, Patrick Modiano and the Iranian novelist, Amir Hassan Cheheltan—set about writing history, in the historiographic sense of the term. With a particular focus on Modiano’s La Place de l'Étoile (Place de l'étoile, 1968), The Night Watch (La Ronde de nuit, 1969), Ring Roads (Les Boulevards de ceinture, 1972) and Dora Bruder (1997) and the novels The mirror room (Talar-e aineh, 1990), Mandragora (Mehr-e giah, 1998), Tehran, city without sky (Tehran, shahr-e bi asseman, 2001) and Iranian Dawn (Sepidedam-e irani, 2005) by Cheheltan, this study demonstrates that, despite the omnipresence of history in these texts, none of them actually respect the criteria of the traditional historical novel genre. Rather, it will be suggested, they approach something akin to social-science literature; that is, their narratives endeavor to tell the truth about the world without explicitly representing or re-creating great historical events or portraying great historical figures. Instead, as “Novel-Histories”, these works invite the reader to think about the nature and status of official History. As for Dora Bruder, it can be viewed as “text-search” or a “micro-historical inquiry”; but unlike its more traditional counterparts Modiano’s quest never offers a definitive answer. A thematic analysis will illustrate that the two authors are particularly interested in writing about problematic or marginalized figures in the two metropolises that feature in their work—Paris (Modiano) and Tehran (Cheheltan)—, geographical spaces which are also the theater of history. Finally, the formal and aesthetic aspects of the two works will be explored, with a view to demonstrating their literary and artistic diversity. So, it is a question of comparing how both authors engage with history from a thematic, formal, aesthetic but also epistemic perspective and analyzing the main modes by which history is inscribed in their works.

The diploma thesis Author's Myth in the Postmodern Novel concerns the issue of myth and mythologization in modern literature. The theoretical portion of the thesis focuses on the concept of "author's myth". The conception of primitive myth is interpreted with regard to its features and functions in archaic societies. The first chapter discusses the relation of myth to literature and the characteristics of mythological aspects in contemporary literature. In terms of literary theory, it examines the issues of memory and history and its influence on the author's myth. The second, analytical part of the work, follows the application of the concept of author's myth. It specifically examines this concept in the novels "I Served the King of England" by Bohumil Hrabal, "The Erl-King" by Michel Tournier and "The Tin Drum" by Günter Grass and as well as a comparative analysis of mythological elements of these novels. Considerable attention is paid to the character of the narrator; the space, time and language of the texts; the process of remembering and the meaning of history in the selected novels.

Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-17T12:05:41Z (GMT). No. of bitstreams: 1 Maia_LudmiladeSouza_M.pdf: 993926 bytes, checksum: 64b05d09592660e1a62b9845a8551faa (MD5) Previous issue date: 2011 / Resumo: Este trabalho se dedica ao estudo do romance epistolar 'Clarissa, or the history of a young lady', de autoria do inglês Samuel Richardson, publicado entre os de anos 1747-48. O propósito é realizar uma pesquisa historiográfica através da interpretação da narrativa literária. A obra, objeto deste estudo, recria muitas das tensões sociais, políticas e religiosas latentes na sociedade inglesa do século XVIII. Os percalços vividos pela heroína da trama, entre o campo e a cidade, permitem analisar as relações sociais e de gênero da Inglaterra das Luzes. A trama conta a história de Clarissa, donzela d aristocracia rural inglesa que recebe a herança do avô, motivando disputas familiares. O primogênito preterido convence a família a casá-la com um homem odioso, para evitar sua independência e lucrar com o negócio. Clarissa se recusa ao matrimônio e passa a ser perseguida dentro de casa. Para escapar da tirania, ela foge para Londres com Lovelace, libertino que lhe faz a corte contra a vontade de sua família. Seu desejo de autonomia é interrompido quando seu raptor a aprisiona num bordel e a violenta. Para preservar sua vontade de virtude e a independência de seu espírito, Clarissa escolhe a morte como única saída moral possível. Com efeito, meu objetivo foi entender aquela sociedade a partir das páginas do romance, cuja análise, também, derivou de questões e referências exteriores à trama / Abstract: This work is dedicated to the novel 'Clarissa, or the history of a Young lady', written by Samuel Richardson, and published in 1747-48. My purpose was to make a historiographic research by using a literary narrative. This novel creates, in a literary way, many of the most important social, political, and religious conflicts of the Eighteenth Century English society. The mishaps of the life of the novel's protagonist, between the country and the city, allowed me to analyze the social and gender relations in the Enlightenment England. The plot tells us the story of Clarissa, an aristocratic maiden in rural England. She inherits an estate from her grandfather, which provokes a familiar disturbance. The deprecated old brother convinces the family to marry her to an odious man, to avoid her independence and to profit from the business. She refuses the marriage and her persecution begins at home. In order to escape from tyranny, she fled to London with the libertine Lovelace, who courts her against her family's will. Her wish for autonomy is interrupted when his abductor imprisons and rapes in a brothel. She wishes virtue and an independent soul, and that's why she chooses death, as the only possible way to maintain her moral intact. Indeed, my goal with this research was to understand the mentioned society from the pages of the novel,whose analysis also comes from questions and references external to the plot / Mestrado / Politica, Memoria e Cidade / Mestre em História

Les fictions de Simone de Beauvoir constituent le centre de gravité d’une œuvre protéiforme. Encore largement méconnue et nettement dévaluée par rapport aux essais et aux Mémoires, l’œuvre romanesque de l’écrivaine se situe aux limites indécises du littéraire, du philosophique, de l’historique et de l’autobiographique. Son projet littéraire s’enracine dans l’existence, c’est pourquoi nous avons choisi d’étudier la genèse de l’œuvre romanesque et le processus d’invention de soi depuis les années de jeunesse jusqu’à la naissance de l’écrivaine et la reconnaissance publique de ce statut en 1943. Le projet d’écrire un « roman métaphysique », qui détermine des modalités d’écriture spécifiques, a été influencé et soutenu par une conception existentialiste de l’homme et du monde que Beauvoir est une des premières à définir dans l’après-guerre. Ce projet de nature éthique, qui porte l’idée d’une littérature « engagée », n’est pas seulement collectif dans les enjeux et les principes qui le sous-tendent, mais aussi singulier : derrière la permanence d’un éthos d’écrivain, on trouve chez Simone de Beauvoir un constant réajustement du roman à l’Histoire et à son expérience propre, ce qui explique les nécessaires mutations du roman et de l’écriture de L’Invitée à La Femme rompue. Par l’exploration d’un imaginaire et d’une écriture singulière, nous pensons redonner à Simone de Beauvoir la place qui lui revient dans l’histoire du roman français au XXe siècle, entre Gide, dont elle est l’héritière, et les représentants du Nouveau Roman. / Simone de Beauvoir’s fictions are the center of gravity of a multifaceted body of work. Still relatively unknown and largely underestimated in comparison with her essays and memoirs, her fictional work is situated at the indistinct limits of the literary, the philosophical, the historical and the autobiographical. Beauvoir’s literary project has its roots in existence, which explains why I have chosen to study the genesis of her fictional work and the process of the invention of self from her youth up to her birth as a writer and the public recognition of this status in 1943. Her idea of writing a “metaphysical novel”, one that fixes specific writing requirements, was influenced and buttressed by an existentialist conception of the human being and the world that Beauvoir, one of the first, defined postwar. This basically ethical project, which assumes the idea of a literature of engagement, is not just collective in its stakes and the principles it underpins but is also singular : behind the permanence of a writer’s ethos, there is in Simone de Beauvoir a constant readjustment of the novel to History and to her own experience, elucidating the novel’s and her writing’s necessary mutations from She Came To Stay to The Woman Destroyed. Through the exploration of the imaginary and of a singular style, I wish to give Simone de Beauvoir her rightful place in the history of the 20th century French novel, between Gide, her predecessor, and the representatives of the “Nouveau roman”.

Orientador: Vilma Sant'Anna Areas / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-06T22:52:42Z (GMT). No. of bitstreams: 1 Santos_Cassiados_D.pdf: 1487492 bytes, checksum: 5083cbee83370434d54ca56d11e3ec37 (MD5) Previous issue date: 2005 / Resumo: A tese tem como objetivo principal investigar como se deu a elaboração do romance Crônica da casa assassinada do escritor mineiro Lúcio Cardoso (1912­1968). O processo de redação do livro é reconstituído através do exame dos seus originais e de sua edição critica publicada em 1991 pela Coleção Arquivos. Entrevistas concedidas pelo autor, trechos do seu Diário, a sua correspondência e outras de suas obras ficcionais, parte delas inacabada contribuem igualmente para a discussão. O romance é entendido, ainda como parte de um projeto maior idealizado em tomo de uma cidade imaginária: a pequena Vila Velha situada na Zona da Mata mineira / Abstract: The main purpose of the thesis is to research on the making of the novel Crônica da casa assassinada by Lúcio Cardoso (1912-1968), a writer from Minas Gerais State, Brazil. The book's writing process is reconstructed trough the examination of the original drafts and the critical edition, published in 1991 by Coleção Arquivos. Interviews with the author, excerpts from bis personal joumal, bis mail and other fictional works of bis, some of wbich unfinished, contribute to this discussion as well. The novel is understood also as part of a greater project idealized around an imaginary town: the small Vila V elha located in the Zona da Mata region, in Minas Gerais / Doutorado / Literatura Brasileira / Doutor em Teoria e História Literária

Après la Seconde Guerre mondiale, la littérature de science-fiction s’est développée en France sous la forme d’un sous-champ isolé au sein du champ littéraire, avec ses collections, ses critiques et ses lecteurs spécifiques. Cette littérature produit des univers fictionnels en tension entre la réalité conventionnelle et des états alternatifs de cette réalité, selon une modalité dénommée dans la thèse le « régime ontologique matérialiste spéculatif ». Le corpus des romans a été analysé d’abord dans une perspective diachronique, en présentant une histoire des acteurs, des structures éditoriales et des thèmes de la science-fiction en France, articulée à une réflexion sur les conditions et les perspectives d’écriture des auteurs français. Les romans ont ensuite été analysés de manière à permettre une théorisation à plusieurs niveaux de l’écriture de la science-fiction : le mot et le texte de science-fiction, les mondes fictionnels extrapolés à partir du monde réel et enfin la mémoire collective mise en place par l’ensemble des œuvres, que nous nommons le « macrotexte » de la science-fiction. Notre contribution principale à l’histoire littéraire est l’étude de la manière dont évoluent les représentations communes en science-fiction, sous la forme de paradigmes dominants successifs où les écrivains réinterprètent les images et idées de la science-fiction. Nous avons établi selon quelles modalités le corpus des romans de science-fiction fournit à l’analyse du discours narratif, à la théorie de la fiction et à l’étude de l’intertextualité, des exemples remarquables en raison des dispositifs destinés à mettre les univers de science-fiction en concurrence avec la réalité. / After the Second World War in France, science fiction literature took the form of an isolated subaltern field within the literary field, featuring specific publishing series, critics and readership. In science fiction novels, fictional worlds are created by mixing conventional reality and alternate states of reality, a process I call “régime ontologique matérialiste spéculatif” (“speculative materialistic ontological status”). I have studied French science fiction novels first from a historical perspective, by describing the protagonists, the publishers and the themes of French science fiction, as well as by assessing how and to what end French science fiction writers wrote their novels. I have then studied these novels at several levels: how words and texts are shaped in science fiction, how fictional worlds are extrapolated from the real world and how science fiction texts generate a collective memory, which I call the “macrotext” of science fiction. Our thesis contributes to literary history by studying how the perception of science fiction gradually changes over time, each main paradigm morphing into a new one as writers adapt science fiction images and ideas to their needs. I have also pointed out how science fiction novels may prove of a keen interest to narrative discourse analysis, fiction theory and intertextuality approach, because of various devices meant to allow science fiction worlds to compete with reality.