In this dissertation, Noto-ya Masogana is described as a moral story. The moral story can be distinguished from the didactic story and from the picaresque. The picaresque deals with a picaro who is the only main character. He is not presented as being trustworthy and responsible. As a result of this, this type of narrative is known as a 'Schelmroman' in German. The development of the story is simple and deals with the escapades of the picaro who goes on a journey. The didactic story presents the reader with a lesson, while the moral story indicates that a life well led will be rewarded. A life not well led will, in turn, be punished. In this narrative, Lesibana pays for his unfaithfulness to Mamahlo. He repents and the narrative has a happy ending. The method used in this investigation is based on an adjusted narratological model. Only the content and structure levels feature. The topic is identified as an important concept with regard to level one, the reason for this being that it influences the four different elements of the narrative, namely: characters, events time and place. Two main characters are distinguished, and the mutual relationship between them and less important characters receives attention. Events are divided into three categories according to importance. Events are thus called either essential, appropriate or coincidental. Two issues are relevant with regard to time; namely the moment at which an event takes place and the time which is occupied by an event. Place has a bearing on the natural as well as the sociocultural place. The concepts theme and narrating strategies play an important role on a structural level. In the discussion of the structure of Noto-ya-Masogana attention is paid to the exposition, the development, the climax and the resolution. The following techniques are relevant in this regard: motif, foreshadowing, retardation and acceleration of time, contrast, complication, focus and cycle. The study is conducted by comparing this novelette to the story of the Prodical Son and to the picaresque. Attention is also drawn to the author's use of the 'Makgoweng' motif. / Dissertation (MA)--University of Pretoria, 2012. / Philosophy / unrestricted

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-12-19T13:11:27Z No. of bitstreams: 1 ederschmidt.pdf: 387436 bytes, checksum: 287f049a719980810114d29bb641464a (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-12-19T13:13:39Z (GMT) No. of bitstreams: 1 ederschmidt.pdf: 387436 bytes, checksum: 287f049a719980810114d29bb641464a (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-12-19T13:13:54Z (GMT) No. of bitstreams: 1 ederschmidt.pdf: 387436 bytes, checksum: 287f049a719980810114d29bb641464a (MD5) / Made available in DSpace on 2016-12-19T13:13:54Z (GMT). No. of bitstreams: 1 ederschmidt.pdf: 387436 bytes, checksum: 287f049a719980810114d29bb641464a (MD5) Previous issue date: 1999-10-22 / O presente estudo busca empreender uma observação comparativa de duas formas distintas de expressão, o romance picaresco espanhol e os contos populares franceses, em uma mesma época, os séculos XVI e XVII, identificando o comum a ambos, tanto na origem quanto no produto final de suas criações, e referindo-os aos pressupostos socioculturais de seu momento. Sem pretender uma redução do conto camponês ao modelo da narrativa picaresca ou caracteriza-lo como tal, ao longo do estudo são respeitados os elementos diferenciadores entre um e outro, uma vez que ali se colocam duas formas narrativas peculiares, cada uma delas aqui observada enquanto representação e intermediação das relações de poder. É colocado em destaque o personagem central da novela picaresca naquela Espanha; observa-se sua trajetória, seu ambiente, seus motivos e sua ética singular, para depois reencontrá-lo na França, emergindo nas formações de outra cultura, embora submetido a semelhantes pressões sócio-políticas. O pícaro torna-se mais compreensível em suas metas e em seus expedientes quando observamos a Espanha desde a plenitude da casa dos Áustrias até sua falência que levou à ruína boa parte da nobreza e impediu de maneira drástica os caminhos de ascensão social, consolidando uma cruel estratificação em sua sociedade. Examinando a história francesa em uma época bastante próxima àquela, encontramos a mesma condição de glória e queda do poder do estado, e de seus nobres gerando igual bloqueio das possibilidades ascensionais, impondo, como naquela Espanha, uma profunda diferenciação entre as diversas classes sociais. As narrativas escolhidas foram Lázaro de Tormes, El Buscón, Le garçon qui vole les trésors de l’Ogre e Le chat botté, onde a atitude picaresca se mostra em sua plenitude. / The present study aims to conduct a comparative observation of two distinct forms of expression, the Spanish picaresque novel and the French folk tales, in the same time, the 16th and 17th centuries, identifying the common to both, both in origin and in the final product of their creations, and referring them to the contemporary socio-cultural presuppositions. Without claim a reduction of the peasant tale to picaresque narrative model, or characterized it as such, throughout the study are respected differentiating elements between them, since there arise two peculiar narrative forms, each of them seen as a representation and intermediation of power relations. It highlighted the central character of the picaresque novel in Spain; it is observed his trajectory, his environment, their motivations and his singular ethics, and then meet him again in France, emerging in another culture, although undergoing similar socio-political pressures. The picaro becomes more understandable in their goals and their wits if we look at Spain from the fullness of the House of Austrias period, until its bankruptcy that led to ruin much of the nobility and dramatically blocked the paths of social mobility, consolidating a cruel stratification their society. By examining French history in a time fairly close to that, we found the same condition of glory and decline of State power and their nobles, which generated equal blocking in ascension possibilities, imposing such as in that Spain, a profound differentiation between the various social classes. The chosen narratives were Lázaro de Tormes, El Buscón, Le garçon qui vole les trésors de l'Ogre and Le Chat botté, where the picaresque attitude is shown in its fullness.

La conception du « roman total » proposé par Romain Gary met fin au « chef d’œuvre ». Traversant « le siècle des ténèbres », Romain Gary trouve une part de responsabilité de l’art et de l’artiste dans l’impuissance de la culture face à l’horreur existante. Pourtant, bien qu’il mette l’accent sur la fonction sociale de l’art, Romain Gary n’adhère pas à l’art engagé, ni au roman réaliste ou au Nouveau roman. Il ne cherche pas à imposer ses idées au lecteur, mais veut lui ouvrir un espace de liberté. L’art doit être une jouissance pour qu’il finisse par devenir une force éthique. Il amène une prise de conscience de ce qui manque à la réalité. L’esthétique garyenne consiste à rendre au lecteur son autonomie de pensée. Nombre de ses personnages incarnent la figure de l’artiste sous différentes formes provocatrices : picaro, dandy, clown, etc. Pour Romain Gary, créer, c’est jouir et la jouissance est une révolte métaphysique contre la condition de la vie et contre la souffrance. Les artistes dans ses romans figurent bien ceux qui mènent cette lutte. Transgresseurs des valeurs et des ordres établis, les artistes chez l’auteur tiennent à se libérer de la réalité. Cette libération s’effectue d’une part à travers la création d’un monde imaginaire, d’autre part à travers le dépassement de soi ou la création de soi. Transformant leur vie comme une œuvre de leur imagination, les artistes garyens témoignent d’une identité multiple et en « devenir ». / Néant