Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2017-05-05T19:15:20Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) DISSERTAÇÃO PRONTA.pdf: 1409577 bytes, checksum: 088929a4a0fca9bf39b461c8f40531cf (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-06-26T17:57:11Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) DISSERTAÇÃO PRONTA.pdf: 1409577 bytes, checksum: 088929a4a0fca9bf39b461c8f40531cf (MD5) / Made available in DSpace on 2017-06-26T17:57:11Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) DISSERTAÇÃO PRONTA.pdf: 1409577 bytes, checksum: 088929a4a0fca9bf39b461c8f40531cf (MD5) / Programa de Língua Estrangeiras Modernas, Niterói, RJ / O trabalho traz um estudo e uma tradução comentada de alguns dos muitos retratos escritos pelo duque de Saint-Simon em suas Memórias, que mostram personagens representantes da corte do Rei Louis XIV, na qual o autor viveu por muitos anos. A relevância do estudo do retrato como gênero literário é fundamental para a tradução, uma vez que nele convergem o contexto sociocultural e o estilo singular do autor / This work presents a study and a commented translation of some of the many portraits written by Duke of Saint-Simon in his Memoirs, showing representative characters of King Louis XIV court, in which the author lived for many years. The relevance of studying portrait as a literary genre is fundamental to the translation, since in it converge both the sociocultural context and the unique style of the author

Les fictions de Claude Simon et de Yu Hua s’affranchissent de la représentation mimétique de la réalité, traditionnellement considérée comme dogme du roman. Leurs œuvres, qui ressassent la mémoire des événements historiques dans l’Histoire du XX° siècle, ne visent pas une restauration du passé au moyen de la chronologie et de l’enchaînement de causes et d’effets. Le vécu personnel de Claude Simon et de Yu Hua les incite à réfléchir sur la valeur de l’écriture face à la violence des désastres, et à remettre en cause toutes les modalités de représentation prétendant rétablir l’ordre du monde qui est en réalité radicalement chaotique. L’aspect insaisissable, obsédant de l’Histoire les obligent à partir à la recherche de formes nouvelles, et à élaborer une transfiguration de leur objet d’écriture. Ainsi, une expérience du temps chaotique voire fantastique, la hantise des aïeux et du père, les manifestations d’un érotisme intense, d’une violence aveugle, ainsi que tous les procédés de désorganisation de la narration, toutes les étrangetés du langage, témoignent d’un constat : l’évocation du passé ne peut advenir qu’obliquement. L’importance de l’Histoire dans la diégèse et dans la genèse de leurs œuvres réfute un type de critique qui identifie ces œuvres au formalisme. Ce lien organique entre l’Histoire et la fiction montre aussi qu’une certaine littérature contemporaine, caractérisée par une volonté de rupture avec les codes classiques de la représentation romanesque, surmonte une tentation nihiliste pour suggérer une éthique. / Claude Simon and Yu Hua’s fictions abandon the traditional mimetic representation of reality. Their works, which reexamine the memory of events in the History of the 20th century, are not aimed at restoring the past by means of a chronology and a sequential linking of cause and effect. The personal life experiences of Claude Simon and Yu Hua led them to reflect on the value of writing in the face of the violence of the century’s disasters, and to question the validity of a so-called realist literature pretending to re-establish the order of the world which is in reality radically chaotic. The elusive and obsessional character of History requires the writer to set off in search of new forms, and to elaborate a transfiguration in his literary objectives. Thus, the chaotic or even fantastic experience of time, the obsessive figures of ancestors and the father, the excess of eroticism or blind violence, as well as all the disorders in the narration and the strangeness of the language, all come within an attempt to speak of a past which can only be evoked obliquely. The importance of History in the diegesis and in the genesis of their works refutes a certain type of criticism which identifies these works with formalism. This visceral connection between History and fiction also shows that contemporary literature, marked by a spirit of rupture, goes beyond nihilism and in its own way realizes an ethical value.

La découverte du fonds Petit aux Archives départementales de l’Indre a permis de suivre une famille adepte successivement de trois théories économiques du XVIIIe et du XIXe siècle : la physiocratie, le saint-simonisme et l’agrarisme. Mme Nicolas Petit, par son achat massif de terres et sa philosophie humanitaire, son fils Alexis Petit par son militantisme saint-simonien et son petit-fils Paul Petit par son appartenance efficace à l’agrarisme sont les exemples du passage entre ces trois mouvements. Les dossiers contenus dans les Archives départementales de l’Indre permettent également de suivre le parcours saint-simonien d’Alexis Petit, proche de Prosper Enfantin qu’il accompagna en Égypte à la recherche des vestiges du Canal de Suez. Alexis Petit tentera une expérience de ferme industrielle communautaire dans les vues saint-simoniennes. Paul Petit sera un militant agrarien, secrétaire de la Société d’agriculture de l’Indre. Cette thèse a pour but d’exploiter les nombreuses données sur le saint-simonisme à travers les correspondances inédites et à travers les documents que contiennent les Archives départementales de l’Indre et de donner une version nouvelle de ce mouvement. Son but est également de démontrer que Saint-Simon et les saint-simoniens sont un chaînon notable de la transmission entre la physiocratie et l’agrarisme. / The discovery of the Petit family collection at the archive of the Indre department allowed us to follow their successive experiences of three economic theories—physiocracy, Saint-Simonianism and agrarianism— through the eighteenth and nineteenth centuries. Mrs Nicolas Petit (because of her massive purchase of land and her humanist philosophy), her son, Alexis Petit (through his Saint-Simonian militancy) and her grandson, Paul Petit (through his effective membership of agrarianism), are most eloquent examples of the passage from one theory to the next. The files contained in the archive of the Indre department also make it possible to follow the Saint-Simonian way of Alexis Petit, who accompanied Prosper Enfantin in Egypt in search of the remains of the Suez Canal. Alexis Petit attempted an experiment of an industrial community farm in the Saint-Simonian aspects. Paul Petit was an agrarian activist and the secretary of the Agricultural Society of Indre. This thesis aims at making the most of the numerous data on Saint-Simonianism, with unpublished correspondence, and through the documents contained in this collection, in order to present a new understanding of this movement. Its aim is also to demonstrate that Saint-Simonianism is a noteworthy link between physiocracy and agrarianism.

Lorsqu’un travail critique se propose d’étudier la présence du latin et de la culture classique chez des écrivains contemporains, c’est à la notion d’héritage que l’on pense tout d’abord. Mais cette notion d’héritage pose problème. Elle doit être considérée avec prudence, comme un possible leurre, même si elle est avérée dans les œuvres de nos trois auteurs, de par certains phénomènes formels itératifs, citations latines, ainsi que la transposition de textes antiques. S’il est donc évident que lesdites œuvres affichent une apparente continuité à la fois au niveau formel et au niveau des contenus de culture, l’Antiquité latine réinvestie perd son statut particulier : elle n’est ni objet du texte, ni voix de l’autorité, ni preuve d’érudition (même si elle feint de l’être), ni trésor d’outils rhétoriques qui favorise la séduction : au contraire, elle est un piège posé au lecteur qui fait trop confiance à sa culture. Le réinvestissement de la culture et des textes antiques que nos trois auteurs pratiquent s’approche dangereusement tantôt du stéréotype, du lieu commun, tantôt d’une réutilisation complètement personnelle de la culture antique. Le latin s’avère ou bien un produit de leur imagination d’écrivain (et en tant que tel il n’est pas tout à fait identifiable à la langue morte que nous connaissons), ou bien il fait partie de la productivité textuelle de l’écriture et passe du statut de texte à celui de matériau réutilisable. Le rapport qu’entretiennent Claude Simon, Pascal Quignard et Jean Sorrente avec le latin relève donc du paradoxe : ils réinventent, voire réécrivent l’Antiquité. / When a critic’s work intends to focus on the presence of Latin and classic culture in the work of contemporary writers, one thinks foremost of the notion of heritage. But it is this notion of heritage that poses a problem. One has to approach it in a very prudent way, as if it would be a lure, even though it is attested in the works of our three authors, through the use of recurrent formal parallels, Latin quotations, and the transposition and rewriting of ancient texts. Indeed, though it is evident that these works show an apparent continuity both in form and in cultural content, the reinvested Latin Antiquity looses its particular status: it is neither object of the text, nor voice of the authority, nor proof of erudition (although it sometimes pretends to be), nor treasure box of rhetorical tools that help seducing the reader: on the contrary, it is a trap for the reader who places his trust solely in his cultural knowledge. The reinvestment that our three authors apply to the Latin text and culture gets dangerously close either to the stereotype, the commonplace, either to a completely personal reuse of antique culture. Latin is thus either a product of their artistic imagination (and as such cannot be totally identified with the dead language that we know), either part of the textual productivity of their writing, which means that it must be considered as a reusable material rather than an autonomous text. The bond that ties Claude Simon’s, Pascal Quignard’s and Jean Sorrente’s works to the Latin is thus paradoxical in nature: what they do is reinventing, or rather rewriting Antiquity.

The main aim of this thesis is to examine the vision of history which is presented in the Mémoires of the due de Saint-Simon/ a work which describes life at the French court during the last years of the reign of Louis XIV and during the period of the Regency which followed the death of the Sun King (1691-1723). The thesis is a study based on a close reading of the text itselff using two methods to shed light on the different aspects of the subject. It begins with an investigation of the theme of paternity or fatherhood/ and the way in which this theme relates to the question of royal power/ focusing on the figure of the king himself as he appears in his various father roles: father of both a legitimate and an illegitimate line of children/ and father of his kingdom. The strongly religious and moralistic overtones of Saint-Simon's political and social convictions lead the memorialist to condemn what he sees as the chaos and social disorder resulting from the king's "confusion" of these differing paternal identities. The second half of the thesis is largely a stylistic analysis of two passages taken from the body of the Mémoires. For by examining the style of this work (at both a lexical and a syntactical level)/ one may begin to develop an insight into the way in which Saint-Simon interprets the events of his day in order to fit them into his larger vision of the history of the world. Certain stylistic traits in the text suggest a movement from the mere presentation and explanation of events to an interpretation of their deeper meaning. As well/ frequent references in the Mémoires to both Genesis and Revelations/ taken in conjunction with Saint-Simon's theologo-political view of society/ seem to indicate that the memorialist regards the reign of Louis XIV as being a playing-out/ in miniature/ of the history of the world/ from the Fall to a final confrontation between good and evil. Thus/ in the end/ Saint-Simon's constant need to interpret events leads him away from the simple explanation of causes/ towards the elaboration of a prophetic vision (or "apocalypse") : a dire warning issued to the monarchy and to the people of France as to the fate which may yet befall them, if the process of corruption begun by the Sun King himself is not somehow reversed. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

O objetivo deste trabalho é analisar como se deu a recepção ao \"novo romance\" no Brasil, notadamente no \"Suplemento Literário\", caderno cultural que integrava o jornal O Estado de São Paulo, e foi publicado entre os anos de 1956 e 1974. Inicialmente, foi feita uma apresentação geral do \"novo romance\", destacando-se suas principais obras e o contexto histórico-social do qual fazia parte. O \"novo romance\", movimento surgido em meados dos anos 1950 na França, causou um abalo nas estruturas da arte do romance, levando certos autores a questionar e a rejeitar as técnicas tradicionais - notadamente as de inspiração balzaquiana - da concepção romanesca, que consideravam desgastadas e ultrapassadas. Entre os autores que fizeram parte do movimento e que são abordados neste trabalho, pode-se ressaltar Alain Robbe-Grillet, Michel Butor, Nathalie Sarraute e Claude Simon. Apesar de haver outros escritores integrantes do \"novo romance\", esses foram os que tiveram maior divulgação no \"Suplemento Literário\". Um dos capítulos é dedicado a Claude Simon, cujo enfoque está no prêmio Nobel de Literatura que o escritor ganhou em 1985. Neste capítulo, são estudados diversos artigos de jornais e revistas que comentaram o assunto à época, e que reagiram de forma variada a essa conquista. Alguns artigos foram analisados isoladamente mas, sempre que possível e havendo pontos de contato entre eles, procurei fazer um cotejo, visando estabelecer semelhanças e diferenças, salientando opiniões contrárias e favoráveis. Para proceder à análise dos artigos e entender a reação da crítica diante das obras dos novos romancistas, tomei como base a teoria da recepção de Hans Robert Jauss, que estabelece a instância do leitor na realização da obra, a partir do conceito de \"horizonte de expectativas\". / The aim of this thesis is the analysis of the reception to the \"nouveau roman\" through the articles presented by \"Suplemento Literário\", a book of reviews published by O Estado de São Paulo, from 1956 to 1974. Firstly, we presented the general characteristics of the \"nouveau roman\" by introducing its main writers and its social and historic background. The \"nouveau roman\" was a literary movement started in the late 50\'s of the twentieth century that changed the way to produce and read novels, by rejecting the traditional techniques, mainly those related to Balzac\'s style of writing, considered as obsolete. Amongst all of the writers belonging to the \"noveau roman\" movement, we pointed out Allain-Robbe Grillet, Michel Butor, Nathalie Sarraute and Claude Simon. Even considering the fact that there were other important writers, those were the ones most referred by the authors who wrote articles to the \"Suplemento Literário\". One of the chapters of the thesis is dedicated to Claude Simon, Nobel Prize in Literature in 1985. In this chapter, we collected articles published in 1985 from newspapers and magazines in order to analyse the repercussion of the award granted to him. Some of the articles were studied separately, but, when we could find common ideas in their contents, we examined the articles in a way to emphasize differences and similarities, and different points of view. The reception theory, created by Hans Robert Jauss, was our point of reference to settle the approach of the articles as well as to understand all the reaction of the experts who criticize the novels produced by the writers of \"nouveau roman\".

L'imprimerie est une révolution en soi qui engendra de multiples conséquences. Les autorités, tout spécialement ecclésiastiques, voyant les impacts majeurs de cette diffusion, ne tardèrent pas à règlementer [i.e. réglementer] l'univers des lettres par le biais de la censure, créant ainsi une scission entre les écrits respectables et ceux à caractères scandaleux. Au cours du siècle des Lumières, les philosophes plaçant la raison au centre de leurs réflexions prennent d'assaut l'appareil censorial, ils attaquent ses fondements et ses conséquences. Ce mouvement idéologique n'est pas étranger à la chute de l'appareil censorial qui perd de son efficacité, même s'il persiste à durer. Cette mutation n'est pas non plus étrangère à l'expression du scandale qui fait courir les plumes au XVIIIe siècle. Il s'agit pour nous d'observer, précisément dans ce contexte d'ouverture intellectuelle, qu'est-ce qui fait scandale dans l'univers littéraire parisien et comment celui-ci s'exprime-t-il. On remarque dans un premier temps que c'est moins le sujet en lui-même qui sème l'indignation que la manière d'écrire et de traiter la langue française. On constate ensuite, qu'en dehors de propos scabreux, le fait de les présenter dans l'espace public contribue à accentuer l'éclat du scandale, sans doute plus que le sujet en lui-même. Finalement, à la source du scandale se situent les intentions indécentes qui motivent les différents acteurs de la Librairie. Au-delà des règlements de compte, l'Académie française apparaît comme l'une des institutions littéraires les plus scandaleuses à la fin du XVIIIe siècle puisqu'elle incarne justement à elle seule les trois moteurs du scandale.

This thesis is an exploratory look at the process for designing the costumes for Neil Simon’s The Good Doctor. This production was produced at the University of New Orleans as part of its 2012-2013 season. Within this thesis we explore the multifaceted journey of the costume design process. As a designer, it is one’s job to use both historical and textual analysis in order to create a design that supports the thematic structure of the play. The following journey begins with initial research on the complex relationship between Neil Simon and his subject Anton Chekhov. It continues to include individual character concepts, as well as a re-telling of the production process. Finally, it concludes with an analysis of the validity of the design as a whole. Costume Design, Neil Simon, Anton Chekhov, The Good Doctor

L'objectif principal de cette thèse concerne l'étude du comportement asymptotique des solutions globales de quelques équations, et systèmes couplés des équations, d'évolutions non linéaires avec différents types d'amortissements et des conditions sur le bord. Sous la condition basique que la non linéarité est analytique, on prouve que les énergies associées vérifient des inégalités de type Lojasiewicz et on obtient des résultats de convergence avec l'estimation de la vitesse de convergence. Pour tous les modèles étudiés dans cette thèse, on s'intéresse aux questions d'existence et d'unicité des solutions bornées à images relativement compactes dans leur espace d'énergie naturelles. Cette thèse est constituée de trois parties principales. Dans la première partie on prouve un résultat de convergence général avec l'estimation du taux de décroissance des solutions bornées d'une équation d'évolution abstraite non autonome avec dissipation linéaire. Le résultat permet de retrouver et généraliser de manière naturelle des résultats connus mais aussi il s'applique à une classe très générale des équations et des systèmes couplés avec divers types de couplages et avec diverses conditions sur le bord. La deuxième partie est consacrée à l'étude des équations du second ordre avec dissipation non linéaire et des conditions dynamiques classiques sur le bord. On prouve l'existence et l'unicité des solutions globales bornées à images relativement compactes et on montre la convergence vers un équilibre. Finalement, on s'intéresse à des équations d'évolution dégénérées de type hyperbolique-parabolique avec des conditions dynamiques de type mémoire sur le bord. On prouve l'existence et l'unicité des solutions globales bornées à images relativement compactes et on prouve la convergence avec l'estimation de la vitesse de convergence. Le premier chapitre de cette thèse consiste en une introduction préliminaire développant non seulement l'histoire des recherches reliées à nos modèles et leurs résultats décrits dans la littérature, mais aussi en présentant les énoncés de nos résultats obtenus avec les idées des démonstrations. On y discute la complexité de la problématique et l'on y présente la justification de l'étude / The main goal of this thesis is the study of the asymptotic behavior of global solutions to some nonlinear evolutions equations and coupled systems with different types of dissipation and boundary conditions. Under the assumption that the non-linear term is real analytic, we construct an appropriate Lyapunov energy and we use the Lojasiewicz-Simon inequality to show the convergence, and the convergence, and the convergence rate, of global weak solutions to single steady states. For all models studied in this thesis, we are in addition interested in the questions of the existence and uniqueness of global bounded solutions having relatively compact range in the natural energy space. This thesis consists of three main parts. In the first part, we present a unified approach to study the asymptotic behavior and the decay rate to a steady state of bounded weak solutions for an abstract non-autonomous nonlinear equation with linear dissipation. This result allows us to find and to generalize, in a natural way, known results but it applies to a quite general class of equations and coupled systems with different kinds of coupling and various boundary conditions. The second part is devoted to the study of a nonautonomous semilinear second order equation with nonlinear dissipation and a dynamical boundary condition. We prove the existence and uniqueness of global, bounded, weak solutions having relatively compact range in the natural energy space and we show that every weak solution converges to equilibrium. Finally, we consider a nonautonomous, semilinear, hyperbolic-parabolic equation subject to a dynamical boundary condition of memory type. We prove the existence and uniqueness of global bounded solutions having relatively compact range and we show the convergence of global weak solutions to single steady states. We prove also an estimate for the convergence rate. The first chapter of this thesis consist of a preliminary introduction developing not only the story of researches linked to our models and the results described in the literature, but presenting also our main results as well the ideas of their proofs. There we discuss the complexity of our problems and we present a justification for our studies

This thesis consists of a close reading of the representation of the Spanish Civil War in selected novels of Juan Marse (1933-) and Claude Simon (1913-). It explores how this representation, ultimately, reveals the traces of their different intellectual contexts. The initial comparison questions whether Marse's representation of the Spanish revolution in Barcelona implies, like Simon's account, a negative representation of the concept of political engagement and a similar historical pessimism. It goes on to discuss how this negative view is shaped by the writers' respective historical contexts and aesthetics. Secondly, since, to varying degrees, the novels studied make the reader critically aware of processes of narrativisation and representation, and of issues of narrative reliability and authority, the thesis explores the extent to which their representations of the Civil War are 'anti-realist'. In order to do so, it initially locates the question of 'realism' or 'anti-realism' in the texts within a wider theoretical framework: that of the critique of realism within poststructuralist French theory after Barthes. The latter debate over referentiality in literary realism also underpins ongoing critical debates over the status of history as a text. This thesis, thirdly, considers whether both writers' representations of the Civil War and of historical processes suggest a particular attitude towards the writing of history, namely whether and to what extent Simon's and Marse's representations of the war problematize the relationship between their historical referent - the events of the war and/or its aftermath - and its narration and interpretation. In particular, it asks whether Marse's texts involve the kind of rejection of progressive historical 'meta-narratives' which is implicit and explicit in Simon's representation of the Civil War, but also whether Simon's texts do, in fact, not simply undermine this model of historical causality but posit an alternative, anti-progressive historical telos.