Thesis (Ph. D.)--University of Wisconsin--Madison, 1982. / Typescript. Vita. Includes bibliographical references (leaves 377-410).

Diss.--Berlin--Techn. Univ., 1993. / Bibliogr. p. 271-277.

Th. de doctorat--Littérature--Paris 8, 1998. / Bibliogr. p. 336-342.

Th. 3e cycle--Litt. fr. et comp.--Grenoble 3, 1986.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

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Thesis--Université de Paris IV, 1976. / Includes bibliographical references (p. 1187-1199) and index.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-05-12T11:46:51Z No. of bitstreams: 1 danielevelingdasilva.pdf: 2001386 bytes, checksum: caa24e070f534dfc5af28f6529e0ddca (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-17T15:38:44Z (GMT) No. of bitstreams: 1 danielevelingdasilva.pdf: 2001386 bytes, checksum: caa24e070f534dfc5af28f6529e0ddca (MD5) / Made available in DSpace on 2017-05-17T15:38:44Z (GMT). No. of bitstreams: 1 danielevelingdasilva.pdf: 2001386 bytes, checksum: caa24e070f534dfc5af28f6529e0ddca (MD5) Previous issue date: 2016 / Esta tese aborda como alguns aspectos da história e da sociedade francesas em fins do século XVIII e inícios do XIX foram representados na obra de Stendhal. O objetivo principal é analisar como Stendhal interpretou quatro tópicos: sua própria biografia, o líder Napoleão Bonaparte, a Sociedade de Corte e a “Aliança Trono-Altar” em seu tempo. Através desses tópicos, a intenção é tentar compreender a visão do autor sobre algumas características da sociedade francesa, em particular, e da europeia, em geral. A opção metodológica foi o cruzamento de obras de diferentes naturezas (contos, crônicas, romances e memórias) buscando identificar como os temas elencados perpassam cada uma delas. A conclusão foi de que alguns temas sofreram importantes variações, enquanto sofreram variações em diferentes momentos da vida de Stendhal. Outro recurso metodológico para compreender a obra de Stendhal foi a interdisciplinaridade entre a história, literatura e psicologia. Mais especificamente buscou-se contextualizar as análises de Stendhal sobre essas problemáticas - políticas, sociais e religiosas da sociedade francesa – em relação a algumas discussões historiográficas sobre a história da França no período. Como outros clássicos, Stendhal já teve inúmeras interpretações. Portanto, a leitura apresentada por essa tese propõe-se a acrescentar às demais alguns aspectos ainda não suficientemente explorados, especialmente no que se refere ao cruzamento de temas e fontes aqui efetuado. / This thesis discusses how some aspects of the history and society of France in the late eighteenth and early nineteenth centuries were represented in Stendhal’s work. The main objective is to analyze Stendhal’s interpretation of four topics: his own biography, the leader Napoleon Bonaparte, the Society of Court, and the "Throne-Altar Alliance” in his own time period. Through these topics, the intention is to try to understand the author´s view regarding some aspects of French society in particular, and European society in general. The methodological option was to traverse different kinds of work (stories, essays, novels, and memoirs) seeking to identify how the listed themes pervade each of them. The conclusion was that while some subjects did not undergo major changes, others varied according to different moments in Stendhal's life. The interdisciplinarity between history, literature, and psychology was employed to understand Stendhal´s work. More precisely, to contextualize Stendhal’s analyses on these issues - political, social, and religious, in French society - with some historiographical discussion of the history of France in this period. Like other classics, Stendhal has had numerous interpretations. Therefore, the reading presented by this thesis aims to add to other aspects not sufficiently explored, specifically in what regards the coverage of topics and sources done here.

Introduction - This thesis attempts to formulate the literary theories of Stendhal, not so much by analysing his novels as by searching out and synthesizing his own remarks on the principles which guided him. The author has had access to the 79 volumes of the complete edition of Le Divan of Stendhal's works. By his literary ideas S. is fundamentally of the eighteenth century; his modernity and durability are due to the fact that he recognized and applied the most fecund literary principles of that century. Chapter I - La Relativlté du Beau -The ideas of Relativity and Progress, the two great contributions to aesthetics of the 18th century, are Stendhal's basic principles. There is no absolute form of beauty since taste varies according to race, climate and the level of progress of the age. Chapter II - Le Romanticisme - Since there is no absolute beauty each generation has the right to create the form of the beau which pleases it. In Italy Stendhal participates in the Romantic struggle and adopts the word Romanticisme to express his idea of modern beauty. He attempts to destroy the authority of Racine and discourage his imitators. Chapter III - La Tragédie romantique - Discusses Stendhal's ideas on the modern tragedy. The chapter is a summary of the essential doctrine of Racine et Shakespeare with the addition of all relevant material from his other writings. He helped the French Romantic poets to achieve their victory but when it took the form of the drame in verse he abandoned the theatre and concerned himself with the novel. Chapter IV - Le Roman - Stendhal's evolution from a writer of comedies to a novelist. He abandons the comedy on perceiving that the Revolution has destroyed the formerly uniform good taste of the public. The novel as a genre is free of rules. He sees it as a mirror which faithfully reflects contemporary times, particularly those aspects of it which are new and not hitherto found in literature. The chief aim of the novelist is to reflect the psychology of his period. The clarity and simplicity of his style is enforced on him by the obscurity of this subject matter. He adopts a concise, rapid style since he perceives that the tempo of the human intelligence is steadily accelerating. Because of the bad taste of his generation he writes only for the Happy Few who are intelligent, cultivated and sensitive, hoping thus to go down to posterity and be read "in 1935". To this end he creates a style which will not date or age. Deliberately and systematically he constructed his own immortality. Chapter V - Le Lecteur comme Créateur - From Fénelon he derives his manner of reflecting the "petits faits vrais" like a mirror, without suggesting to the reader the conclusion or emotion to be drawn from the facts. His style seems dry and without sentiment since he writes for the imaginative who are able to create their own emotion from these facts. By suggesting, rather than describing, he is a precursor of the Symbolists. However Diderot, in the eighteenth century, had already recognized the advantage of allowing the spectator to participate in the creation of the beau. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

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