Orientador: Sílvia Maria Azevedo / Banca: Karin Volobuef / Banca: José Carlos Zamboni / Resumo: Esta Dissertação aborda a obra O Filho do Pescador (1843), de Antônio Gonçalves Teixeira e Sousa, e se faz acompanhar de um levantamento bibliográfico da produção literária do autor, dispersa em alguns periódicos do Rio de Janeiro, no período de 1840 a 1860. O trabalho objetiva resgatar a referida obra tendo em vista o seu papel no processo de formação do romance brasileiro, no início do século XIX. A proposta justifica-se pelo fato de que não só esta obra de Teixeira e Sousa, tida como iniciadora da ficção narrativa brasileira, não vem recebendo muito cuidado por parte da crítica (apesar das reedições da mesma), como também, até hoje, não se procedeu ao levantamento tanto da produção do autor, dispersa em periódicos do século XIX, quanto da crítica que aquela recebeu. O trabalho de recuperação da crítica sobre Teixeira e Sousa até o século XX mostra como as opiniões emitidas, desde o XIX, são praticamente as mesmas, o que evidencia a pouca atenção que o autor vem despertando entre os pesquisadores brasileiros. / Abstract: This paper deals with the novel O Filho do Pescador (1843), by Antônio Gonçalves Teixeira e Sousa, as well as with a bibliographical survey on his literary production that was dispersed from 1840 to 1860 in some publications in Rio de Janeiro.The objective is the rescue of his work because of its important role in the creation of the Brazilian novel, in the beginnings of the 19th century. The proposition is largely justified because with the work of Teixeira e Sousa the Brazilian narrative fiction begins and literary criticism never gave the due attention to it (despite its so many reprints) and, what's more, no attempt has been made to collect all his writings forgotten in so many magazines and papers of the 19th century, as well as the literary criticism of the time. Collecting all the literary reviews of Teixeira e Sousa's work up to the 20th century demonstrates that the opinions issued since the 19th century are very similar, what makes evident the lack of attention given to the author by brazilian researchers. / Mestre

L’objectif de ma thèse est de montrer la grande originalité de l’œuvre de Jean-Louis Dubut de Laforest et de rendre accessibles au lecteur contemporain ses orientations idéologiques et ses choix esthétiques.L’appartenance de ses romans à une littérature dite « populaire » s’explique par le primat qu’ils ac-cordent à l’action et surtout par les modalités de leur diffusion : un grand nombre d’entre eux ont en effet d’abord été publiés sous la forme de romans-feuilletons dans la presse à grand tirage de son époque. Cependant, chacune de ses créations est profondément ancrée dans un environnement historique que l’auteur reflète, commente et sur lequel il cherche à peser au moyen de l’invention narrative, en vertu d’une ambition sociale plusieurs fois exprimée. Une partie de mon travail consiste donc également à mettre au jour le contexte social et politique de la période de rédaction des romans, entre 1880 et 1902, en m’appuyant essentiellement sur des travaux d’historiens.Après une présentation détaillée des quelque quatre-vingts volumes qui composent l’œuvre de Jean-Louis Dubut de Laforest, il s’agit donc d’étudier son ensemble en privilégiant des axes thématiques où les choix de l’auteur sont particulièrement sensibles. Les motifs étudiés dans la seconde partie donnent leur titre aux différents chapitres : la condition féminine, la prostitution, l’homosexualité, l’antisémitisme, la presse, les relations entre science et religion, l’action politique, les syndicats et mutuelles, l’anarchisme et l’utopie, et le souvenir de la guerre de 1870. Le dernier chapitre envisage la réception de cette œuvre monumentale et le statut du lecteur dans l’ensemble des romans. / The aim of my thesis is to show the great originality of Jean-Louis Dubut de Laforest’s literary work and to make accessible his ideological convictions and aesthetic choices to the contemporary reader.The inscription of his novels in the so-called popular literature can be explained by the importance given to the action and mostly by the means of their distribution: a great number of them were first published in serial form in the popular press of his time. However, each of his creations is deeply rooted in its historical background, which is reflected in it and commented on by the author who tries to influence his era through the narrative invention by virtue of his social ambition so frequently expressed. Therefore, a part of my study consists in analyzing the social and political context of the period corresponding to the writing of the novels, between 1880 and 1902, by using history researches. After a detailed presentation of the some eighty volumes of which is composed Jean-Louis Dubut de Laforest’s work, the matter is to study the whole by privileging certain thematic axes where the author’s choices are particularly meaningful. The motifs which are examined in the second part of the study give the name of the different chapters : women’s condition, prostitution, homosexuality, anti-Semitism, the press, science and religion relationship, political action, trade unions and mutual benefit societies, anarchism and Utopia, and the memory of the Franco-Prussian War. The last chapter deals with the reception of this monumental work and the reader’s status in the novels.

Publicadas em 1968, as Memórias de um gigolô, romance de Marcos Rey, têm sido lidas pela crítica a partir de categorias genéricas como romance-folhetim e narrativa picaresca. Ainda que descrevam alguns aspectos de composição do livro, as generalizações da crítica deixam em segundo plano a presença de um universo brasileiro também em operação no romance, e diluem, por outro lado, os dados de historicidade contidos dentro dele. De acordo com nossa perspectiva, esses dados históricos podem ser recolhidos através da caracterização do narrador como um cafetão que possui habilidade com o manejo das palavras, e que se considera um intelectual subdesenvolvido. Levando em conta essa imagem em negativo do homem de letras brasileiro como gigolô das palavras, o objetivo deste trabalho é examinar o romance de Marcos Rey a partir de dois contextos significativos: a trajetória profissional construída pelo autor no coração das indústrias do entretenimento desde os anos 1950, e o momento histórico vivido pelo Brasil nas décadas de 1960 e 1970, tempos de ditadura militar e de consolidação da indústria cultural no país. As Memórias de um gigolô também são vistas aqui como ponto de convergência para os futuros rumos da ficção de Marcos Rey, cada vez mais aberta à presença de personagens ligados ao universo das letras. Através da análise de dois de seus contos, Soy loco por ti América! (1977) e O bar dos cento e tantos dias (1977), veremos de que modo essas questões se integram à sua obra posterior. / Published in 1968, Marcos Reys novel Memoirs of a gigolo has been categorized by critics in broad literary genres such as the serial novel and the picaresque narrative. These readings do not draw enough attention, though, to the presence of a typically Brazilian social universe in Reys books, thereby diluting its marks of historicity. This dissertation seeks to assess the historical dimension of Reys work by focusing on the novels narrator, a pimp who is endowed with unusual literacy and considers himself to be an underdeveloped intellectual. Through this negative version of the Brazilian literary men as literary gigolo, it analyzes Reys novel from a double perspective: the writers professional trajectory in the entertainment industry starting in the 1950s, and the historical context of the 1960s and 1970s, times both of a military dictatorship in the country and of the consolidation of its national culture industry. Memórias de um gigolo is also considered, in the present work, as a blueprint to Reys subsequent work, increasingly centered on characters that are related to the literary universe. Through the analysis of two short stories, Soy loco por ti América! (1977) and Bar dos cento e tantos dias (1977), we try to understand in which ways these themes are ingrained in Reys later work.

Made available in DSpace on 2014-06-11T19:26:54Z (GMT). No. of bitstreams: 0 Previous issue date: 2002Bitstream added on 2014-06-13T20:35:08Z : No. of bitstreams: 1 oliveira_vs_me_assis.pdf: 2569683 bytes, checksum: 2bb38f5c2f0ca9551a6a27a0a3ba8e76 (MD5) / Esta Dissertação aborda a obra O Filho do Pescador (1843), de Antônio Gonçalves Teixeira e Sousa, e se faz acompanhar de um levantamento bibliográfico da produção literária do autor, dispersa em alguns periódicos do Rio de Janeiro, no período de 1840 a 1860. O trabalho objetiva resgatar a referida obra tendo em vista o seu papel no processo de formação do romance brasileiro, no início do século XIX. A proposta justifica-se pelo fato de que não só esta obra de Teixeira e Sousa, tida como iniciadora da ficção narrativa brasileira, não vem recebendo muito cuidado por parte da crítica (apesar das reedições da mesma), como também, até hoje, não se procedeu ao levantamento tanto da produção do autor, dispersa em periódicos do século XIX, quanto da crítica que aquela recebeu. O trabalho de recuperação da crítica sobre Teixeira e Sousa até o século XX mostra como as opiniões emitidas, desde o XIX, são praticamente as mesmas, o que evidencia a pouca atenção que o autor vem despertando entre os pesquisadores brasileiros. / This paper deals with the novel O Filho do Pescador (1843), by Antônio Gonçalves Teixeira e Sousa, as well as with a bibliographical survey on his literary production that was dispersed from 1840 to 1860 in some publications in Rio de Janeiro.The objective is the rescue of his work because of its important role in the creation of the Brazilian novel, in the beginnings of the 19th century. The proposition is largely justified because with the work of Teixeira e Sousa the Brazilian narrative fiction begins and literary criticism never gave the due attention to it (despite its so many reprints) and, what's more, no attempt has been made to collect all his writings forgotten in so many magazines and papers of the 19th century, as well as the literary criticism of the time. Collecting all the literary reviews of Teixeira e Sousa's work up to the 20th century demonstrates that the opinions issued since the 19th century are very similar, what makes evident the lack of attention given to the author by brazilian researchers.

Made available in DSpace on 2015-05-14T12:39:55Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1607757 bytes, checksum: b5965eacecf948b43cd86c5011d475ad (MD5) Previous issue date: 2014-03-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work consists of analyzing how discourses conveyed by letters published in the newspapers of the northern provinces, from 1877 to 1879, as well as the serial novel, The retreatants, 1879, as literary objects, which appear as shared illusions of supposed reality, forged the construction of the history of drought in the nineteenth century, departing from the weather phenomenon that hit the old north from 1877 to 1879. For this, we analyze how discourses conveyed by letters, as well as the writings on drought by José do Patrocínio, romance and letters published in serials column, pedestal newspaper sometimes determines or modifies genres and even more ways to read, which are decisive for the construction of meaning and interpretation of the reading at any time, from the rhetorical arguments used by readers - writers of these letters, with the intention of establishing the readership with broad receptivity, sensitivity and representation on that backcountry area. We have reflected, analytically, with authors such as Chartier (1991, 1998, 2002, 2007), M. Barbosa (2004, 2010); S. Barbosa (2007, 2010a, 2010b , 2011; 2011a, 2011b), Barthes (1974, 1985) , Freire (1823), Roquette (1860, 1997), among others, who have helped us understand how the heterogeneity of the images raised by these objects merged and created, finally, the dominant discourse of the drought that would be established for the northern region of Brazil. / Este trabalho consiste analisar como os discursos veiculados pelas cartas publicadas nos jornais das províncias do norte, de 1877 a 1879, bem como o romance-folhetim Os retirantes, de José do Patrocínio, de 1879, enquanto objetos literários, forjaram a construção da história da/sobre a seca, no século XIX, a partir do fenômeno climático que atingiu o antigo norte de 1877-1879. Para isso, buscamos analisar como os discursos veiculados pelas cartas dos jornais, bem como os escritos sobre essa seca de José do Patrocínio, o romance e as cartas publicadas na coluna folhetins, foram decisivos para a construção de sentido e interpretação dessa seca, a partir do uso de argumentos retóricos utilizados pelos leitores-escritores, com a intenção de instaurar no público leitor, com ampla receptividade, uma sensibilidade e uma representação sobre aquele espaço sertanejo. Refletimos, analiticamente, com autores como Chartier (1991; 1998; 2002; 2007); M. Barbosa (2004; 2010); S. Barbosa (2007; 2010a; 2010b; 2011; 2011a; 2011b); Barthes (1974; 1985); Freire (1823); Roquette (1860; 1871; 1997), entre outros, que nos ajudaram a entender como a heterogeneidade das imagens levantadas por esses discursos se fundiram e criaram, por fim, o dominante discurso que se queria estabelecer para a invenção da seca no século XIX.

Publicadas em 1968, as Memórias de um gigolô, romance de Marcos Rey, têm sido lidas pela crítica a partir de categorias genéricas como romance-folhetim e narrativa picaresca. Ainda que descrevam alguns aspectos de composição do livro, as generalizações da crítica deixam em segundo plano a presença de um universo brasileiro também em operação no romance, e diluem, por outro lado, os dados de historicidade contidos dentro dele. De acordo com nossa perspectiva, esses dados históricos podem ser recolhidos através da caracterização do narrador como um cafetão que possui habilidade com o manejo das palavras, e que se considera um intelectual subdesenvolvido. Levando em conta essa imagem em negativo do homem de letras brasileiro como gigolô das palavras, o objetivo deste trabalho é examinar o romance de Marcos Rey a partir de dois contextos significativos: a trajetória profissional construída pelo autor no coração das indústrias do entretenimento desde os anos 1950, e o momento histórico vivido pelo Brasil nas décadas de 1960 e 1970, tempos de ditadura militar e de consolidação da indústria cultural no país. As Memórias de um gigolô também são vistas aqui como ponto de convergência para os futuros rumos da ficção de Marcos Rey, cada vez mais aberta à presença de personagens ligados ao universo das letras. Através da análise de dois de seus contos, Soy loco por ti América! (1977) e O bar dos cento e tantos dias (1977), veremos de que modo essas questões se integram à sua obra posterior. / Published in 1968, Marcos Reys novel Memoirs of a gigolo has been categorized by critics in broad literary genres such as the serial novel and the picaresque narrative. These readings do not draw enough attention, though, to the presence of a typically Brazilian social universe in Reys books, thereby diluting its marks of historicity. This dissertation seeks to assess the historical dimension of Reys work by focusing on the novels narrator, a pimp who is endowed with unusual literacy and considers himself to be an underdeveloped intellectual. Through this negative version of the Brazilian literary men as literary gigolo, it analyzes Reys novel from a double perspective: the writers professional trajectory in the entertainment industry starting in the 1950s, and the historical context of the 1960s and 1970s, times both of a military dictatorship in the country and of the consolidation of its national culture industry. Memórias de um gigolo is also considered, in the present work, as a blueprint to Reys subsequent work, increasingly centered on characters that are related to the literary universe. Through the analysis of two short stories, Soy loco por ti América! (1977) and Bar dos cento e tantos dias (1977), we try to understand in which ways these themes are ingrained in Reys later work.

Cette thèse examine la relation entre la partie et le tout dans les romans d’Antoine François Prévost, afin de remettre en question l’équivalence des structures de la narration et de la disposition (chapitres, livres, volumes, tomes, parties, livraisons, etc.) du roman prototypique. À l’époque de Prévost, le rythme imprévisible de la publication par livraisons et la possibilité permanente d’une suite étaient cause que ni auteurs ni lecteurs ne pouvaient identifier la conclusion définitive d’un roman. Cette incertitude mettait une tension entre les parties d’un roman et le tout imaginé par le lecteur, donnant ainsi lieu à ce que j’appelle une esthétique segmentaire qui contraste avec le roman-feuilleton du XIXe siècle et les romans plus récents d’une seule livraison. Je soutiens ces idées en étudiant les interactions entre la disposition et la narration dans des romans de Prévost qui s’accordent le moins avec les attentes formelles modernes : les pseudoworks ou œuvres intérieures (textes quasi-indépendants) et le chevauchement des bornes dispositives par les unités narratives dans les Mémoires d’un homme de qualité et les Voyages de Robert Lade, et l’interruption de publication et la suite non-autorisée dans Cleveland et les Mémoires d'un honnête homme. Ensuite, j’identifie des interactions similaires dans La Jeunesse du Commandeur et l’Histoire d’une Grecque moderne, deux des romans les plus formellement modernes de Prévost. Ainsi, je montre que l’instabilité des frontières n’entrave pas une composition sophistiquée, et je mobilise une nouvelle méthode d’analyse applicable aux fictions narratives d’autres périodes et dans d’autres médias. / This thesis examines the relationship between part and whole in novels by Antoine François Prévost to question the modern assumption that prototypical novelistic narrative structure and dispositive structure (chapters, books, volumes, parts, installments, etc.) share the same points of articulation. In Prévost’s day, the combination of the unpredictable rhythm of publication in installments and the ever-present possibility of continuation made it difficult for authors and readers to identify a novel’s definitive conclusion. This uncertainty led to tension between a novel’s concrete parts and its imagined narrative whole, and that tension created what I have termed a segmentary esthetic that stands in contrast to both the more regularly serialized novels of the nineteenth century and to more recent single-installment novels. To support these hypotheses, I first investigate schemas of interaction between dispositive structure and narrative structure in Prévost’s novels that differ from modern formal expectations: pseudoworks (works-within-works) and narrative units that cross dispositive boundaries in the Mémoires d’un homme de qualité and the Voyages de Robert Lade, and interrupted publication and unauthorized continuation in Cleveland and Mémoires d’un honnête homme. I then identify similar interactions in two of Prévost’s more formally modern novels La Jeunesse du Commandeur and Histoire d’une Grecque moderne. This study shows that unstable boundaries can be compatible with compositional sophistication, and outlines a new method of analysis that can be applied to narrative fiction from other periods and in other media.

The aim of this work is the analysis of a typology of characters in the serial novel, which was published in women's magazines in the interwar period. For this thesis were used methodology of quantitative content analysis and qualitative analysis of selected five novels to continue. The work was focused on the period 1931 - 1939. Obtained data were found identical types and features the characters used in contemporary novels to continue. They were found the common aspects of serial novels that formed the primary source material of this thesis. The research was obtained the basic data for working with literary figures of romantic fiction. In this work was prepared model the main male and female character appearing in the novels to continue. In this work was constructed the model of serial novel. Part of the thesis has brought an analysis of novels and their characters have been converted into a movie. This work confirmed the importance of the continuation novels, as a key department of women's periodicals in the interwar period. The contribution of this work is to analyze the most frequently used characters in the novels to continue. Grouping of most commonly used features can be used as a basis for the construction of literary characters red library and sentimental novels. Contribution of the work...

Made available in DSpace on 2016-04-26T18:16:55Z (GMT). No. of bitstreams: 1 Rosangela Maria Oliveira Guimaraes.pdf: 2309863 bytes, checksum: d6272386fe18b2bbee24214922fc3c53 (MD5) Previous issue date: 2008-03-31 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Firstly, I situate the environment and describe the activities of two public libraries located at Vale do Paraíba, state of São Paulo, in the cities of Jacareí and São José dos Campos. Their collections include, among many cultural series, Alexandre Dumas serial novels. Next, the author s works are mapped, based on the above-mentioned collections. These works were translated and published in popular editions in Brazil, after the respective narratives had circulated in several Brazilian newspapers. This stage is related to the investigation of the constitutive and media processes of his works in the country. In this stage, the following works are used: texts by Jean-Ives Mollier and Jacques Migozzi, among others, which are included in the collection De l écrit à l écran (From writing to the screen); Roger Chartier s works about books, reading and edition (Leitura e Leitores na França do Antigo Regime / Reading and Readers in France at the time of the Ancien Régime, A Ordem do Livro / The Order of the Book, A Aventura do Livro / The Book Adventure); Jerusa Pires Ferreira s works on publishers and popular editions ( La Maison João do Rio ); and Brazilian authors who deal with the theme of reading and reception, like Márcia Abreu, Nelson Schapochnik, Marisa Lajolo, among others (the collections Leitura, História e História da Leitura no Brasil/Reading, History and the History of Reading in Brazil and Cultura Letrada no Brasil/ Literate Culture in Brazil). From the point of view of the history of the serial novel, the works Folhetim (Serial Novel), Caminhos do Imaginário (Mental Imagery Paths) and other texts by Marlyse Meyer offer important conceptual questions referring to the subject. To analyze the set of covers designed by Nico Rosso to Dumas novels of Coleção Saraiva (Saraiva Collection), a production in tune with the context of an emerging mass culture and with the popular book industry in Brazil, in this period, I used Charles Grivel s text Le passage à l écran (The passage to the screen) about hybrid literatures, and his work De la couverture illustré du roman populaire , among others. The aims of this research study are: to investigate the insertion and effects of the European literature of wide circulation in Brazil, through the inventory of Alexandre Dumas popular books; to build a panorama of the phenomenon of this adaptation universe and its implications; to observe editing processes and materials regarding this genre in Brazil, based on the collections of the public libraries of Vale do Paraíba, in São Paulo. The dissertation compares the recurrence of certain stereotyped themes that are recreated in the popular mental imagery and social inter-classes. Thus, it investigates narrative and fictional materials that came from Europe and were projected through the 19th, 20th and even the 21st centuries, in successive adaptations that maintain an inter-semiotic discourse in interaction. This study confirms that Dumas romances remained being read in the form of books in Brazil during the entire 20th century, after many of them left the foot of newspapers pages. The work was being intensely published during the period of the launch and dissemination of television among us (in the 1950s). It co-existed with the development of the cinema here and continues to be read in Internet times / Primeiro, situo o ambiente, bem como descrevo as atividades de duas bibliotecas públicas do Vale do Paraíba/SP, localizadas nas cidades de Jacareí e São José dos Campos, por se tratarem de acervos que abrigam, dentre as várias séries culturais, os romancesfolhetins de Alexandre Dumas. Em seguida, há o mapeamento das obras do autor, a partir dos acervos mencionados, traduzidas e publicadas em edições populares aqui, logo após as respectivas narrativas circularem em vários jornais brasileiros. Trata-se do acompanhamento dos processos constitutivos e midiáticos de suas obras no país. Nesta etapa, são utilizados os textos de Jean- Ives Mollier, Jacques Migozzi, entre outros, constantes na coletânea De l écrit à l écran (Do escrito à tela); obras de Roger Chartier sobre livro, leitura e edição (Leitura e Leitores na França do Antigo Regime, A Ordem do Livro, A Aventura do Livro), como também os trabalhos de Jerusa Pires Ferreira sobre editoras e edições populares ( La Maison João do Rio ), além de autores brasileiros que tratam do tema da leitura e recepção, como Márcia Abreu, Nelson Schapochnik, Marisa Lajolo, entre outros (coletâneas Leitura, História e História da Leitura no Brasil/ Cultura Letrada no Brasil). Do ponto de vista da história do romance-folhetim, as obras Folhetim, Caminhos do Imaginário e outros textos de Marlyse Meyer nos oferecem importantes questões conceituais referentes ao assunto. Para análise do conjunto de capas desenhadas por Nico Rosso para os romances de Dumas da coleção saraiva , produção sintonizada com o contexto de uma cultura de massa em ascensão e com a indústria do livro popular no país, neste período, são utilizados textos de Charles Grivel Le passage à l écran (A passagem à tela) sobre literaturas híbridas, De la couverture illustré du roman populaire , entre outros. Os objetivos desta pesquisa são: acompanhar a inserção e os efeitos da literatura européia de ampla circulação, no Brasil, através do inventário dos livros populares de Alexandre Dumas; construção de uma espécie de panorama do fenômeno deste universo adaptativo e suas implicações; com isso serão observados processos e materiais de edição desse gênero no país, a partir dos acervos mencionados das bibliotecas públicas do Vale do Paraíba/SP. A tese compara a recorrência de certos temas estereotipados e recriados no imaginário popular e interclasses sociais. Com isso, se apóia no acompanhamento de materiais narrativos e ficcionais provenientes da Europa e projetados através dos séculos XIX, XX e até o XXI, em sucessivas adaptações que mantêm em interação um discurso intersemiótico. Este trabalho confirma que os romances de Dumas permaneceram sendo lidos em brochuras no Brasil durante todo século XX, após muitos deixarem os rodapés de jornais. A obra estava sendo publicada com força no período de lançamento e disseminação da televisão entre nós (nos anos 50). Ela conviveu com o desenvolvimento do cinema aqui e se mantém lida em tempos de Internet