Ce travail se propose de saisir les mécanismes langagiers qui permettent de rendre compte du sens dans les romans de Daniel Biayaoula, Fatou Diome et Léonora Miano. L’analyse du discours est l’approche autour de laquelle s’articule notre recherche. L’oeuvre romanesque repose sur une hétérogénéité d’indices que l’énonciation permet de relever pour mieux examiner son organisation. Dès lors, notre étude se divise en deux parties. Le premier point a pour thème, « La scène d’énonciation : motif révélateur du fonctionnement de la société ». Il analyse les éléments du discours en rapport avec le contexte social, culturel, littéraire et politique de l’Afrique et de la France. Il ressort de là que les personnages sont assujettis par les pratiques coutumières, religieuses et culturelles actualisées dans l’espace romanesque. La deuxième partie s’intitule « Le mode d’inscription énonciatif des personnages dans le tissu textuel » et elle s’intéresse particulièrement aux dispositifs de communication qui déterminent les caractéristiques des personnages. A partir d’éléments langagiers, la présente section se propose de voir à partir de l’organisation des structures textuelles, comment l’énonciation définit les personnages. / This work aims at dispalying the language mechanisms used by Daniel Biyaoula, Fatou Diome and Léonora Miano in their novels in order to convey the meaning. It higens on the discourse analysis. The work of fiction lies a diversity of clues that the enunciation underlines and helps better examine the organization.Therefore, our study is divided into parts. The first theme is, « The scene of enunciation: pattern indicative of the functioning of society ». It analyzes the elements of speech in connection with the social, cultural, literary and political context of Africa and France. It appears from this that the characters are subjected by customary, religious and cultural practrice updated in the space in the novel. The second part is entitled « The enunciative registration method of the characters in the textual frabric » and it is particularly interested in communication devices that determine the characteristics of thecharacters. From language elements, this section proposes to see from the organization of textual structures, how the enunciation defines the characters.

Magister Artium - MA / The focus on space and spatiality is relatively new in literary studies and also not unproblematic. Problems arise from the way in which these concepts are constructed, described, defined and interpret~. It is possible to derive numerous kinds of space, such as historical space, physical space, metaphysical space and religious space, to name a few, from the structure or thematics of a novel. This in itself presents a problem, since the literary scholar must differentiate between these spaces in order to determine which will be most useful for study of a particular aspect. There does not seem to be a coherent theoretical position in literary scholar regarding space, and thus various views of theorists will be considered. Gullon (1975:21), in a seminal article on space entitled On Space in the Novel provides a possible definition of space, with reference to another seminal article, this time by Joseph Frank when he states that "Frank calls 'spatial' the form of those works that at a given instant in time concentrate actions that can be perceived, but not related, simultaneously". This definition denotes a further complication engendered by space, namely the notion that different spaces intersect and interrelate with each other, and consequently that it is very difficult - if not impossible - to separate the various kinds of literary spaces in order to analyse the occurrence of a single space in a text. It also seems bound to time, but in a sense bridges the temporal gaps in a novel since it brings together parts that are not necessarily adjacent to each other temporally. Time becomes spatialized by treating events in the novel as separate chunks which can be rearranged and linked to each other. 1bis creates a more coherent and comprehensive picture of events in a text. namely the notion that different spaces intersect and interrelate with each other, and consequently that it is very difficult - if not impossible - to separate the various kinds of literary spaces in order to analyse the occurrence of a single space in a text. The main point in this regard seems to be creating patterns. This brings together more elements for the reader to be viewed at once, allowing him or her to attain a broader perspective on the text.

Made available in DSpace on 2014-07-29T16:19:02Z (GMT). No. of bitstreams: 1 Dissertacao Atila Silva Arruda Teixeira.pdf: 1595140 bytes, checksum: a3b0df3db386e547f3eb10c57447e5b8 (MD5) Previous issue date: 2010-10-08 / The violence and neglect to which he was subjected to people of the region of Goiás, in the 20 and 30 of the last century, appearing in the center of the narrative of Bernardo Élis. Continuer of the regionalist tradition in Goiás, in the footsteps of Hugo de Carvalho Ramos, and added with a certain communist ideal, Élis is an author in which writing is, necessarily, for a social purpose. Bernardo Élis, without giving up their political beliefs, accepts and incorporates the aesthetic achievements of the first Brazilian modernist moment, and he is even the introducer of this movement in the his State, and his literary books are affiliated the second phase of regionalism - the "conscience of underdevelopment", in the words of Antonio Candido (2006). If tales - genre in which Bernardo Élis is nationally recognized - its aesthetics linked to the question of the ciclo do gado (SANTOS, 2004), in O tronco, novel by Bernardo Élis more polished aesthetically, now already in its tenth edition despite high point as the murder that became known as "The Battle of Duro," the story not only spans the document, to recreate it as literature, but not be limited mainly to the chronicle of events, reaching what we now define a historical novel. Not having its meaning restricted to the engagement of the writer and the ratio of men and women are subjected to degrading conditions of survival, the novel goes further, and lends itself to understand these degradations through the structure of society goiana that moment, its contradictions, and, primarily, of their transformations: the external becomes internal in the piece of art (CANDIDO, 1976, p.04). Thus, through literature, O tronco shows gradual incorporation of Goiás to the national and international economic scenario, leading to substantial changes in the socioeconomic structure of the state. / A violência e o abandono aos quais estava submetida à população sertaneja de Goiás, nas décadas de 20 e 30 do século passado, figuram no centro da narrativa de Bernardo Élis. Continuador da tradição regionalista em Goiás, seguindo os passos de Hugo de Carvalho Ramos e acrescido de um certo ideário comunista, Élis se constitui como um escritor cujo ofício artístico passa, obrigatoriamente, por uma finalidade social. Sem abrir mão de suas convicções políticas, o autor aceita e incorpora as conquistas estéticas do primeiro instante modernista brasileiro, sendo o introdutor desse movimento no estado, estando filiado ao segundo momento regionalista o da ―consciência do subdesenvolvimento‖, nos dizeres de Antonio Candido (2006). Se nos contos gênero no qual Bernardo Élis é nacionalmente reconhecido sua estética se liga à questão do ciclo do gado (SANTOS, 2004), em O tronco (1956) romance de Bernardo Élis mais bem acabado esteticamente, hoje já na sua décima edição mesmo tendo como ponto alto o assassinato que ficou conhecido como ―A Batalha do Duro‖, a narrativa transpõe não só o documento, ao recriá-lo como literatura, mas principalmente ao não se limitar à crônica dos acontecimentos, atingindo o que hoje definimos por romance histórico. Não tendo sua significação restrita ao engajamento do escritor e à razão de homens e mulheres serem submetidos às condições degradantes de sobrevivência, o romance vai além, e se presta a entender essas degradações através da estrutura da sociedade goiana daquele instante, de suas contradições, e, precipuamente, de suas transformações: é o externo tornando-se interno na obra (CANDIDO, 1976, p.04). Logo, O tronco ilustra literariamente a paulatina incorporação de Goiás ao cenário econômico nacional e internacional e, consequentemente, as profundas modificações da estrutura socioeconômica do estado.