Les Mille et une nuits sont une compilation de récits divers, du conte merveilleux au « roman » épique et à l'anecdote historique, en provenance de différentes sources, lettrées et « populaires, mais une compilation sans limites précises, variant de version en version, autour néanmoins d'un noyau d'histoires récurrentes. La présente thèse s'intéresse aux difficultés posées par cette complexité de l'objet : peut-on parler d'œuvre ? Comment est-elle transmissible ? Quelles représentations en ont les lecteurs du XXe siècle ? Quel est le corpus transmis ? Quel sens ont-elles pour les écrivains modernes ? A la croisée d'une étude de réception et d'influence, cette thèse étudiera plusieurs réécritures des Nuits afin d'examiner comment elles modélisent l'écriture moderne. Ce travail s'organisera selon trois perspectives générales : le rapport de la réécriture à l'immensité et à la complexité des Nuits, c'est-à-dire comment la création littéraire moderne redéfinit le corpus ; le mythe littéraire de Shahrâzâd ; et enfin les enjeux littéraires et culturels liés à l'appropriation des Mille et une nuits entre Europe et monde arabe. / The Thousand and One Nights, or Arabian Nights, are a collection made of narratives from high, popular and medium literature. This doctorial dissertation encompasses on the influence of this Nights on modern texts from XXth century's Europe, Middle-East, North-Africa and America. The complexity and particularity of this object question the rewritings: are the Thousand and One Nights a literary work? How rewriting it? What meanings writers search and create? The first part of this thesis aims to examine two types of rewriting: linked to the totality or selecting a story above all. The second part of this study focuses upon what we will call “Shahrazad myth”. Then, the third section seeks to illuminate literary and cultural stakes linked to the Nights' journey between East and West.

Thesis (MA)--University of Stellenbosch, 2005. / Bibliography. Also available via the Internet.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-07-18T12:04:45Z No. of bitstreams: 1 Erica Schmidt.pdf: 1077015 bytes, checksum: aef87500f18454c28db3a3788d30733d (MD5) / Made available in DSpace on 2017-07-18T12:04:45Z (GMT). No. of bitstreams: 1 Erica Schmidt.pdf: 1077015 bytes, checksum: aef87500f18454c28db3a3788d30733d (MD5) Previous issue date: 2017-06-30 / This master´s degree thesis analyzes the novel Vozes do deserto (2005), by Nélida Piñon aiming to point out the construction of this said work in the folds of intertextuality established with the millennial The Arabian Nights, revisiting it and updating it. Vozes do deserto retells the traditional plot outlining the fondness and the story of a transgressing Scheherazade. The study focuses on the appropriation of the Eastern work examining the author's strategy to elaborate her work in a full and fruitful dialogue between the tradition and the contemporary. Furthermore, we have also considered Mamede Mustafa Jarouche's translation of The Arabian Nights (Livro das mil e uma noites, 2012). The discussion of main concepts, such as intertextuality and updating, will be presented mainly with the assistance of theorists such as Mikhail Bakhtin (1978, 2003, 2010) and Julia Kristeva (2005), qualified by Tânia Carvalhal (1973, 2003, 2014), Affonso Romano de Sant´Anna (2003) among others / Esta dissertação analisa o romance Vozes do deserto (2005), de Nélida Piñon, com o objetivo de apontar a construção da referida obra nas dobras da intertextualidade estabelecida com o milenar Livro das mil e uma noites, revisitando-o e atualizando-o. Vozes do deserto reconta a intriga clássica delineando os afetos e a história de uma Scherezade transgressora. O estudo debruça-se sobre a apropriação da obra oriental com vistas à estratégia da autora para elaborar sua obra no pleno e profícuo diálogo entre a tradição e o contemporâneo. Levou-se em consideração a tradução de Mamede Mustafá Jarouche do Livro das mil e uma noites (2012). A discussão de conceitos centrais, tais como as relações intertextuais e a atualização, será apresentada, principalmente, com o auxílio de teóricos como Mikhail Bakhtin (1978, 2003, 2010) e Julia Kristeva (2005), qualificados por Tânia Carvalhal (1973, 2003, 2014), Affonso Romano de Sant´Anna (2003) e outros

Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2005. / The aim of this study is to investigate the position that has been allocated to women authors by literary theorists. Some literary theorists are of the opinion that the action of writing can be compared to fatherhood, ownership and being a creator, all of which are male dominated images. Women writers have historically been marginalized by literary theorists, since there is a perception that women cannot write because they are not male. Harold Bloom has postulated that a male writer looks to a precursor in order to write and find his own voice. Before the writer can claim his own, original voice, he must enter into an Oedipal battle with the precusor, and, figuratively speaking, ‘kill’ him in his writing. According to Gilbert & Gubar, who serve here as representatives of the feminist literary theorists, women writers make use of monsterlike figures which serve as metaphors for the inner battle they have to endure to put pen to paper. The problem, however, is that women writers have no (female) precursors to look to. Elaine Showalter postulates 4 models that women writers may use in search of a female precursor or female body of writing, but she does not offer a clear solution. I am of the opinion that women writers can identity with a female figure or role model. The figure that I propose is Scheherazade, a storytelling character from the Thousand and One Nights, who told stories for a thousand and one nights in order for escape death. I identify a few texts from international literature that make use of this figure, whether as a character in the text, a metaphor for the female character who tells stories or as a metaphor for the author herself. This study focuses on texts from 3 genres in Afrikaans literature, namely children’s stories, short stories and a novel. It appears from the analysis of the texts that women writers have successfully made use of the Scheherazade character, to address issues concerning the social role and position allocated to women by a patriarchial society. Along with this women writers’ search and longing for a voice of their own and their own identity gets highlighted with the use of a Scheherazade-like female character who tells stories. Lastly it became clear that this figure is also being used by women writers to contemplate the dynamics of writing and to contextualise the role that self-doubt and self-actualisation play in telling and writing stories. Scheherazade thus becomes a vehicle for finding a voice as well as agency.