Sir Thomas Malory’s ‘Book of Sir Tristram’, a condensation of the Old French Tristan en prose, has not received the attention it deserves. Previous studies notice the two texts’ differences in characterisation, style, moral emphasis, structural arrangements, and so on, but no study has sufficiently demonstrated the overall strategy and the moral purposes behind Malory’s changes. This thesis offers an evaluation of both texts’ approaches to some ethical questions, including identity, violence, justice, and passion, through a close analysis of their presentation of romance motifs. The comparison draws on traditional treatments of these motifs and reveals that the authors of romance can incorporate stratified perspectives to voice ideological interpretations. Malory’s treatment of the moral discourse in the ‘Tristram’ articulates the chivalric ideal in the characters’ expressions of how they understand identity, honour, courtesy, courage, faithfulness, justice, compassion, and love. This analysis shows how Malory renews the meaning of the romance motifs borrowed from his sources by changing the characters’ response to the ethical problems underlying the archetypal actions. Thus, Malory’s narrative generates experiential edification, as it engages the reader in the active moral evaluation of the events.

Maurice Blanchot (1907-2003), writer of fiction, literary critic, political journalist and thinker, is one of the most influential figures in twentieth-century literature and thought. The relationship between art and technology is a largely unexplored aspect of Blanchot’s writing; this thesis examines his engagement with the question of techne in criticism and fiction over a fifty-year period and demonstrates that he is far from subscribing to the technophobia of probably the most influential thinker of technology, Martin Heidegger. It is argued that writing for Blanchot is a mode of techne which destabilises the opposition between nature and culture, or nature and technology, or nature and history, and provides a means of thinking other than the anthropos. The chronological approach of this thesis stresses how a thinking of writing as techne radicalises over time and indicates the enduring influence of Blanchot. The first chapter considers the treatment of the division, often taken for granted by critics, between literary and everyday language; focussing on Blanchot’s reading of Mallarmé in essays dating from 1940 to 1952, this chapter reveals a shift in his thinking of literature from autonomy to radical non-essentiality. The second chapter examines Blanchot’s critical engagement with Heidegger in essays written in 1953 and shows how we might reconcile Blanchot’s work with ecological thought. A third chapter focuses on the discussion of modern technologies in essays from the 1950s and 1960s and the coincidental emergence of the non-concept of the neuter in literature and criticism; it listens to various apocalyptic tones in work from this period to reveal a continuity between the experience of the technological and of the imaginary. The final chapter explores how ‘technique’ is everywhere implied once the term disappears from Blanchot’s idiom; it argues that fragmentary writing is that techne which outplays the human.

Tese (doutorado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2017. / Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2017-04-18T19:43:53Z No. of bitstreams: 1 2017_DouglasRodriguesdeSousa.pdf: 16908992 bytes, checksum: ca987f7518b88e8fb48ad9b7bb359a4b (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2017-04-19T15:09:07Z (GMT) No. of bitstreams: 1 2017_DouglasRodriguesdeSousa.pdf: 16908992 bytes, checksum: ca987f7518b88e8fb48ad9b7bb359a4b (MD5) / Made available in DSpace on 2017-04-19T15:09:07Z (GMT). No. of bitstreams: 1 2017_DouglasRodriguesdeSousa.pdf: 16908992 bytes, checksum: ca987f7518b88e8fb48ad9b7bb359a4b (MD5) / Jorge Amado é o escritor, na tradição da literatura brasileira, mais adaptado à arte cinematográfica. Suas obras foram levadas aos mais diversos meios semióticos, recriadas para o cinema, o teatro, a teledramaturgia, além de minisséries e tantos outros suportes midiáticos, fazendo-se tanto literária quanto intermidiática. Neste trabalho de tese, analisamos o romance Tenda dos Milagres (1969), o roteiro cinematográfico e o filme homônimo, de 1977, do cineasta Nelson Pereira dos Santos. Elaboramos a hipótese de que Jorge Amado, em Tenda dos Milagres, recupera temas anteriores do seu processo criativo e os aprofunda no romance, e de que Nelson Pereira dos Santos revela uma afinidade artística com o escritor em sua cinematografia, inscrevendo-se no cenário brasileiro como um tradutor e intérprete da obra do romancista. Realizamos um estudo no qual a análise demonstra a presença da literatura amadiana no conjunto cinematográfico de Nelson Pereira dos Santos, antes de o cineasta produzir filmes a partir da obra do autor. Discorremos ainda sobre os trânsitos textuais recorrentes entre as obras de Amado e Santos, a relação entre textos literários e fílmicos, o exercício da recriação e a instalação de uma nova linguagem e ainda acerca dos resultados artísticos que passam pelo romance, roteiro e filme. Este é o caminho que aqui percorremos: leitura e análise do romance, roteiro e filme, bem como a recriação das obras que derivam da produção romanesca de Amado. Para fundamentar esta pesquisa, utilizam-se os pressupostos teóricos de autores como: Hutcheon (2013), Plaza (2013), Genette (2006), Clüver (1997, 2006), Salles (1998, 2010, 2015), entre outros. / Jorge Amado is the most adapted author, in the tradition of the Brazilian literature, for the cinematographic art. His works have been taken to the most diverse semiotic means, recreated for the movies, the theater, the teledramaturgy, in addition to miniseries and so many other mediatic supports, making themselves both literary and intermediatic. In this thesis work, we analyzed the novel Tenda dos Milagres (1969), the cinematographic script and the homonymous movie from 1977, by filmmaker Nelson Pereira dos Santos. We developed the theory that Jorge Amado in Tenda dos Milagres retrieves previous themes from his creative process and further develops them in the novel, and that Nelson Pereira dos Santos reveals an artistic kinship with the author in his cinematography, registering himself in the Brazilian scenario as a translator and an interpreter of the work of the novelist. We carried out a study, in which the analysis shows the presence of the amadiana literature in the cinematographic work collection of Nelson Pereira dos Santos before the filmmaker started producing movies based on the works of the author. We also expatiate on the recurrent textual passages between the works of Amado and Santos, the relation between literary and movie texts, the exercise of recreation and the deployment of a new language as well as on the artistic results, which consider the novel, script and movie. This is the road we have traveled here: reading and analysis of the novel, script and movie, as well as the recreation of the works derived from Amado’s novelistic production. In order to substantiate this research, theoretical assumptions from authors such as Hutcheon (2013), Plaza (2013), Genette (2006), Clüver (1997, 2006), Salles (1998, 2010, 2015), among others have been used. / Jorge Amado est un auteur, d’après la critique brésilienne, le plus adapté à l’art cinématografhique. Ses ouvrages circulent sur les différents types de signes, par exemple, le cinéma, le théâtre, la télédramaturgie, les mini-séries et beaucoup d’autres médias ; Ainsi, dans ce travail, nos corpus d’étude sont : le roman d’Amado Tenda dos Milagres (1960), le scénario de cinéma et le film homonyme (1977) du cinéaste Nelson Pereira do Santos. Cette thèse révèle que Jorge Amado a récupéré, dans l’ouvrage Tenda dos Milagres, les sujets de tout son processus de création et il les a approfondis dans ce roman ; nous disons encore que Nelson Pereira dos Santos montre une affinité artistique avec Amado à partir de sa cinématographie, en apparaissant comme un traducteur et un interprétateur des ouvrages d’Amado. A partir de cela, nous avons remarqué la présence de la littérature d’Amado qui apparaît dans les travaux cinématografhiques de Nelson Pereira dos Santos, avant même que le directeur produise les films/ les adaptations sur l’ouvrage d’Amado. En effet, nous avons discuté les trânsitos textuels qui se manifestent entre les ouvrages d’Amado et de Santos, les relations entre les textes littéraires et les textes filmiques, l’exercice de la recréation, la présentation d’un nouveau langage et, encore, les résultats artistiques qui arrivent entre le roman, le scénario et le film étudiés. Pour réaliser cette recherche, nous avons lu et nous avons analysé le roman, le scénario et le film et aussi les ouvrages recriés à partir de la production romanesque d’Amado. Donc, pour cette étude, nous adoptons la vision des recherches de Hutcheon (2013), de Plaza (2013), de Genette (2006), de Clüver (1997, 2006), de Salles (1998, 2010, 2015) et d’autres.

Evil in Hugo’s later novels has rarely been examined. This subject is clearly incompatible with the received image of Hugo(based on earlier works such as Les Misérables) as a prophet of optimism and progress. This thesis will demonstrate that it is reasonable that Hugo should have expressed negative thoughts in the novels that he wrote in the 1860s and 1870s, since contemporary Western writers were also producing pessimistic works. Attention will be drawn to the personal anxieties and disappointments which only served to intensify Hugo’s experience of the universal fin de siècle malaise. The thesis will posit that the universe of Hugo’s later novels is much darker than that which is delineated in his earlier novels. Hugo’s renewed interest in the works of de Sade indicates his increasingly pessimistic perception of human nature (Introduction). The representation of benevolent motherhood that is found in the earlier novels has been supplanted by the depiction of vampiric female monsters in their successors (Chapter 1). The later novels do not focus on positive creation and the movement towards progress, but on negative metamorphosis that is often rapid and invariably irrevocable (Chapter 2). Justice can be seen to be done in the earlier novels because evildoers are eradicated, but in their successors villains prosper whilst the innocent are treated harshly (Chapter 3). In Hugo’s earlier novels, laughter and dreaming are depicted negatively but their sinister nature has become much more profound in their successors (Chapter A). Disdain for human existence is most vividly suggested by ravenous mouths which seek to ingest mankind into the foul chaos they contain and this chaos is predominantly feminine (Chapter 5). Whilst the thesis would not deny Hugo’s belief in God, it will assert that in his later novels Hugo portrays a universe in which the forces of darkness are extremely powerful (Conclusion).

My initial interest in the work of the Peruvian poet César Vallejo began in 1981 during the final year of a Degree in Comparative American Studies at the University of Warwick. This interest was further stimulated in the following year while I was studying for a Master's Degree in Latin American History and Literature at the University of Liverpool. It was here under the supervision of Dr. James Higgins that I began to focus specifically on Vallejo's last two collections of poetry, Poemas humanos and España, aparta de mi este céliz. both of which were written during his years in Europe from 1923-1938. Working in this area for two terms I became aware of the fact that while there are many excellent studies of Vallejo's Poemas humanos, as indeed is also the case with his first two books which were published in Peru, Los heraldos negros and Trilce. the same was not true of his final book on the Spanish Civil War, España, aparta de mi este cáliz, which has received disproportionately less critical attention than his other works. However, most writers would agree that the poems that Vallejo includes in this final collection are some of his finest. Consequently, it occurred to me that this imbalance was not simply a reflection of the aesthetic preference of Vallejo's critics, but rather an indication that those methods of investigation which had been successful when applied to the main body of Vallejo's poetry were wanting when it came to the study of his Spain poems. The source of this problem I surmised, lay in the fact that in contrast to most of Vallejo's earlier work, these poems represent a conscious attempt by the poet to incorporate political ideas into his art: a process which had apparently not been fully appreciated 1/ his critics. On the basis of this realization it was decided that a new approach to Vallejo's Spain poems might be explored, which would depart from existing methods of analysis which have tended to focus on textual interpretations of these poems, without taking adequate account of external influences on the formation of their content. Central to the formulation of such an approach would be an extensive study of Vallejo's intellectual development during his years in Europe aa indicated in his prose writings, and especially the articles which he wrote for the Peruvian press as a Paris based correspondent between 1923-1931; this being also the period which coincided with his first years of political commitment. Furthermore, an attempt would be made to place Vallejo's politicization within its contemporary historical context, so that the significance of his ideas and his poetry could be measured against the wider artistic and intellectual trends of the interwar years. The above proposals were duly submitted to Dr. James Higgins and Professor Clifford Smith at the University of Liverpool, and Professor Alistair Hennessy at the University of Warwick. Thanks to their recommendations to the Department of Education and Science I was granted an award to undertake two years full-time research. After spending a year examining the works of Vallejo's critics and all the available material in this country which deals with his years in Europe, I applied to the DES for financial assistance to make a research visit to Peru, where I hoped to gain access to the prose writings which Vallejo produced during the interwar years. Thanks to the support of the DES I was able to spend two months in Peru. During this period I worked mainly in the Biblioteca Nacional in Lima, where most of the articles which Vallejo wrote in Europe for the Peruvian press are kept. While I was in Lima I also received invaluable advice and assistance from a number of Vallejo scholars, and in particular Professor David Sobrevilla and Professor Willy Pinto Gamboa, of the Universidad Nacional Mayor de San Marcos. Indeed, Professor Sobrevilla must be credited with making a substantial contribution towards the research for this thesis, by kindly agreeing to lend me a draft copy of Jorge Puccinelli's unpublished compilation of Vallejo's European journalism entitled Deade Europe. Even though this work does not include all of the articles which Vallejo had published in Peruvian journals while he was a foreign correspondent, having access to this earlier research saved several additional weeks of study in the Biblioteca Nacional, and gave me sufficient time to visit Trujillo where some of the articles not kept in Lima, or included in Deade Europe, are to be found. In Trujillo I worked at the Biblioteca Central of the Univeraidad Nacional de Trujillo which holds a complete collection of the regional newspaper El Norte to which Vallejo submitted numerous articles during the mid 1920s. On returning to England I embarked on a detailed study of Vallejo's intellectual formation in Europe as represented in his journalism, while at the same time attempting to link this process with the wider political, social, and intellectual developments of the period. Hopefully this research has resulted in a more comprehensive and accurate understanding of the development of Vallejo's intellectual and political thinking during his years in Europe than has been recognised in previous studies of his life and works.

Orientador: Sidney Barbosa / Banca: Maria Lúcia Outeiro Fernandes / Banca: Alessandra Fávero / Resumo: O presente trabalho propõe-se a fazer um estudo do romance Cidade de Deus (1ª ed. 1997) de Paulo Lins, com vistas a compreender o modo como o autor constrói a ficcionalidade no interior do texto. Obra singular da literatura brasileira, foi escrita a partir de um projeto da antropóloga Alba Zaluar sobre criminalidade no Rio de Janeiro - do qual Lins foi colaborador -, que incluiu a realização de uma série de entrevistas. Por ser palco de uma das mais violentas localidades da capital do estado do RJ, o conjunto habitacional Cidade de Deus suscitou e continua a impulsionar discussões sobre temas complexos e polêmicos da atualidade brasileira, decorrentes de reflexões sobre o espaço da favela nos grandes centros. Colocam-se aí temas como a infantilização da violência, o tráfico de drogas, o porte ilegal de armas, dentre outros. Produzido no espaço da cultura brasileira contemporânea, o texto, ao mesmo tempo em que apresenta marcas de sua época, mostra-se como um trabalho original de recriação e pesquisa estética. A proposta busca, justamente, as marcas de literariedade na construção elaborada das personagens, no estabelecimento de conflitos, nas descrições do espaço, na passagem do tempo e na singularidade do foco narrativo. O escritor consegue reunir gêneros textuais e literários díspares - como a épica, a poesia e as produções de massa - e criar uma narrativa complexa que surpreende e foge às expectativas racionalmente lógicas e morais do leitor. / Abstract: This paper intends to study City of God (1. ed. 1997), a novel by Paulo Lins, trying to understand the way how the author builds the world of fiction. The writing of this peculiar work from the Brazilian literature started from a project idealized by the anthropologist Alba Zaluar about crime activities in Rio de Janeiro. The project included a sequence of interviews which had Lins as one of its collaborators. As it is one of the most violent places in the capital of the Rio de Janeiro state, City of God housing project has aroused - and still urges - debates on Brazilian present complex and controversial themes, resulting from reflection on the slum settings in the big cities, such as drug traffic, the illegal possession of weapons, children involved in violence, amongst others. Produced in the contemporary Brazilian culture field, the text presents and traces, at the same time, an original work of recreation and aesthetic research. This proposal searches its literary traces on the characters elaborate construction, on the establishment of conflicts, on the setting descriptions, on the passage of narrative time and on the peculiarity of the point of view. The writer manages to combine textual and literary genres - such as epic, poetry and mass media productions - in a way to create a complex narrative which surprises the reader and escapes from his rationally logic and moral expectations. / Mestre

Tese (doutorado)—Universidade de Brasília, Instituto de Letras, 2013. / Submitted by Gomes Neide (neide@bce.unb.br) on 2014-07-18T21:15:35Z No. of bitstreams: 1 2013_GandhiaVargasBrandão.pdf: 1582045 bytes, checksum: a34e09b47a3f94f47be4ca9d07c7fee4 (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2014-07-22T11:49:48Z (GMT) No. of bitstreams: 1 2013_GandhiaVargasBrandão.pdf: 1582045 bytes, checksum: a34e09b47a3f94f47be4ca9d07c7fee4 (MD5) / Made available in DSpace on 2014-07-22T11:49:48Z (GMT). No. of bitstreams: 1 2013_GandhiaVargasBrandão.pdf: 1582045 bytes, checksum: a34e09b47a3f94f47be4ca9d07c7fee4 (MD5) / Esta pesquisa situa a literatura contemporânea como espelho refletor da radicalidade do capitalismo na pós-modernidade cujo evento representativo é o ataque ao World Trade Center, dentre vários outros ataques terroristas. São analisados cinco romances publicados após o atentado terrorista aos Estados Unidos em 2001 que trazem o tema do terrorismo em seu enredo: Windows on the world de Frédéric Beigbeder (2005), Terroristas do milênio de James Graham Ballard (2005), O atentado de Yasmina Khadra (2006), Extremamente alto e incrivelmente perto de Jonathan Safran Foer (2006), O Paraíso é bem bacana de André Sant’Anna (2006). Os romances foram escolhidos após a leitura de vinte e dois outros que também trazem o mesmo tema e seus autores são de cinco nacionalidades distintas: francesa, inglesa, argelina, americana e brasileira, respectivamente. Além da pós-modernidade e da própria modernidade, diversos temas como: capitalismo, civilização, terrorismo, identidade e esquizofrenia são discutidos ao longo da tese por circundarem a discussão principal em torno dos romances que segue rumo à verificação do surgimento de um novo gênero ou subgênero literário romanesco pós-11 de setembro. ______________________________________________________________________________ ABSTRACT / This research places the contemporary literature as the mirror which reflects the radicality of the capitalist system in the post-modernity whose representative event is the attack on the World Trade Center among several other terrorist attacks. Five novels published after the terrorist attack on the United States in 2001 which bring the topic of terrorism on their plot are analyzed: Windows on the world by Frédéric Beigbeder (2005), Terroristas do milênio by James Graham Ballard (2005), O atentado by Yasmina Khadra (2006), Extremely loud and incredibly close by Jonathan Safran Foer (2006), O Paraíso é bem bacana by André Sant’Anna (2006). The novels were chosen out of twenty-two others which also bring the same topic. Their authors have five different nationalities: French, English, Algerian, American and Brazilian, respectively. Beyond post-modernity and modernity itself, several topics such as: capitalism, civilization, terrorism, identity and schizophrenia are discussed along the thesis due to the fact that they encompass the primary discussion about the novels leading to the verification of the emergency of a new literary genre or sub-genre of novel after 9/11.

Submitted by Haroudo Xavier Filho (haroudo.xavierfo@ufpe.br) on 2016-01-19T18:27:09Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) DISSERTAÇÃODeiseMariaAlbuquerqueDeLimaSaraiva.pdf: 1808163 bytes, checksum: 3c3d00994246a052f2b73a4850627009 (MD5) / Made available in DSpace on 2016-01-19T18:27:09Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) DISSERTAÇÃODeiseMariaAlbuquerqueDeLimaSaraiva.pdf: 1808163 bytes, checksum: 3c3d00994246a052f2b73a4850627009 (MD5) Previous issue date: 2015-07-24 / FACEPE / Esta dissertação tem por eixo a análise da representação da escravidão no romance espírita Senzala (1976), de autoria do escritor espírita Salvador Gentile. Enquanto produção discursiva, esse romance nos permite elucidar as imagens sobre a escravidão construídas pelo livro, entendidas como construções edificadas não apenas de acordo com uma visão do espiritismo sobre a escravidão negra no Brasil, mas também, como um discurso que se apropria de outras representações instituídas no âmbito da historiografia sobre a escravidão e de uma produção literária sobre o mesmo tema. Isso nos permitiu ponderar como o discurso de Senzala integra-se a uma rede discursiva sobre o tema. Nesse intuito, julgamos necessário assinalar a importância histórica da escrita na constituição do espiritismo de matriz francesa e sua ampliação no contexto da expansão do espiritismo no Brasil. No nível nacional, identificamos que os romances espíritas ganham vulto e se tornam importante instrumento conversional. Plurais quanto às temáticas privilegiadas, identificamos que o tema da escravidão é hoje recorrente em várias publicações. Nesse sentido, nos parece que Senzala inaugura o tema no âmbito dos romances espíritas. O que nos levou a centrar sobre ele a pesquisa em tela. Para tanto, procedemos à apreciação de suas condições de escrita e autoria, para então dar prosseguimento a uma análise de seu conteúdo discursivo. Nosso objetivo foi analisar os sentidos e significados sociais sobre a escravidão negra sugeridos pelo livro. Trata-se de um discurso que tem um papel religioso mas que não pode ser apartado de seu significado social, na medida em que os campos que compõe o social estão em constante interação. Do ponto de vista teórico, nos orientam as considerações de Roger Chartier a respeito da representação, prática e apropriação, bem como as noções de campo e habitus de Pierre Bourdieu e as considerações de Michel de Certeau sobre o lugar de escrita. / Cette thèse est l'axe de l'analyse de la représentation de l'esclavage dans les romance spiritualistes Senzala (1976), rédigé par spiritualiste écrivain Salvador Gentile. Alors que la production discursive, ce roman nous permet d'élucider les images sur l'esclavage construit par le livre, entendu comme construites non seulement en conformité avec une vision du spiritisme sur l'esclavage des noirs au Brésil, mais aussi comme un discours qui approprie autres représentations introduit sous l'historiographie de l'esclavage et une production littéraire sur le même sujet. Cela nous a permis d'examiner comment les esclaves de la parole fait partie d'un discours de réseau sur le sujet. À cette fin, nous croyons qu'il est nécessaire de souligner l'importance historique de la rédaction de la constitution du siège spiritualisme français et son expansion dans le contexte de l'expansion du spiritisme au Brésil. Au niveau national, nous avons constaté que les spiritualistes romans gagnent forme et deviennent instrument conversional importante. Pluriel que les thèmes privilégiés, nous avons constaté que la question de l'esclavage est désormais récurrent dans diverses publications. En ce sens, il semble que Senzala inaugure le sujet dans les romans spirites. Ce qui nous conduit à se concentrer sur elle dans l'écran de recherche. Pour cela, nous procédons à l'examen de leurs conditions de l'écriture et de la paternité, et ensuite procéder à une analyse de son contenu discursif. Notre objectif était d'analyser les sens et les significations sociales de l'esclavage des noirs suggérées par le livre. Il est un discours qui a un rôle religieux, mais il ne peut pas être séparé de leur importance sociale, dans la mesure où les champs qui composent la vie sociale sont en constante interaction. D'un point de vue théorique, nous guider considérations de Roger Chartier sur la représentation, de la pratique et de la propriété ainsi que les notions de champ et habitus de Pierre Bourdieu et Michel de Certeau considérations sur la place de l'écriture.

Le mouvement féministe des années quatre-vingt a fourni de nouvelles approches analytiques aux littéraires: études des rôles sexuels, des relations hommes/femmes, etc. La littérature policière s'est alors vue, elle aussi, investie par des auteures femmes et des protagonistes féminins qui ont fait entrer la femme dans une littérature qui l'avait jusqu'alors sous-représentée. Pourtant, de telles avancées ne se produisent pas subitement et nous pouvons en déduire que des oeuvres précurseurs existent, oeuvres dans lesquelles l'auteur alloue au personnage féminin un espace narratif dans lequel il peut évoluer et grandir. Sébastien Japrisot, nous le croyons, fait partie de ces auteurs. Les héroïnes de La dame dans l'auto avec des lunettes et un fusil et de Piège pour Cendrillon sont certes des victimes, mais à qui l'auteur a donné certains outils pour s'affirmer et dénoncer. En nous appuyant sur les études féministes en policier ainsi que sur les théories de l'agentivité, nous souhaitons montrer la quête d'agentivité des protagonistes, c'est-à-dire comment ces femmes parviennent à passer d'un état passif à un état agent, et ce malgré leur rôle de victime. Par conséquent, nous pourrons montrer de quelle façon ces deux romans de Japrisot ont participé à ouvrir certaines possibilités dans la représentation d'un nouveau féminin dans la littérature policière.

Gabrielle Wittkop (1920-2002) est l'auteur d'une oeuvre qui n'est ni belle, ni bonne, mais radicalement transgressive et demeurée marginale dans la mesure ou les idéologies et valeurs qui y sont véhiculées refusent de se plier aux exigences de la masse. Son discours, inspire à plusieurs égards par la parole de Sade, ose représenter ouvertement les plus violents des fantasmes à l'abri des clichés et stéréotypes qui entourent habituellement leur représentation. Afin de saisir la portée transgressive des fictions de cet auteur, il est impératif d'exposer les différents mécanismes de remise en question de la doxa qui sous-tendent, selon nous, son oeuvre. À travers l'analyse de trois textes représentatifs, Le sommeil de la raison (2003), La marchande d'enfants (2001) et Le nécrophile (1972), cette thèse vise à dégager, au niveau de la représentation, les enjeux principaux du discours littéraire de Wittkop. Elle mettra en valeur, par le biais d'une étude de la thématique, de l'esthétique et des formes discursives, le rôle de la transgression littéraire comme subversion de la norme. D'un point de vue critique, elle montrera que le discours social se dégageant des fictions de cet auteur révèle l'ensemble des valeurs et idéologèmes inhérents à la société bourgeoise comme signes d'un refoulement pathologique de nos désirs.