No description available.

No description available.

No description available.

The subject of our dissertation is the analysis of the function of color and of light and shadow in Le Rouge et le Noir and La Regenta. By function we mean the study of chromatic symbolism in these novels; each being a closed world in which the meaning depends neither on the author's personal existence nor on the external circumstances of the novel. The author then becomes a narrator who likewise only exists in his creation, and the historical circumstances of his era or time can only serve as references if they are explicitly or implicitly mentioned in the work. Colors therefore form a meaningful and coherent system in each work, and the object of our study is thus to explain and to compare the color systems of the two novels in question. There are three distinct functions in the chromatic schemes of Le Rouge et le Noir and La Regenta: an historical function, a social function and a religious function; each of which is analysed respectively in the three chapters of our dissertation. Each function also corresponds to two different reading levels in each novel: an historical and social level, as well as a religious level. The historical and social level, treated in the first two chapters, consists of a diachronic and synchronic study which manifests itself in the affective relationships which the characters maintain with the past, and in their capacity to adapt to both he political regime and to the system of individual and social values of their era. The religious level, treated in the third chapter, consists of an analysis of the importance given to the symbolic figures of Christ and the Virgin Mary in the creation of the characters. This religious symbolism accounts indirectly for each narrator's concept of the function of literature and the power of the book to right an historical situation which seems unacceptable to them. Thus, it is in the relationship between religion and language that one best perceives the narrator's point of view and the ultimate message of his work.

The 19th century French novel has a well-know model called Bildung Novel. The inspiration for this name comes from Wilhem Meister by Goethe published in 1795. In this type of writing we witness the education (Bildung) of a hero or a heroin who has to face and overcome a series of difficulties. / In this memoire we will analyze the theme of education in the works of two authors Stendhal and George Sand. We have chosen two novels from each author, one dating back to the beginning of their career, and the other to the end. For Stendhal we have selected Le Rouge et le Noir (1830) and Lucien Leuwen (posthume publication 1894); Mauprat (1837) and La Ville Noire (1861) by Sand. / In each novel we will analyze family education, intellectual and moral training, life experience and sentimental education successively in the same way the heros experience them. / To do this we use thematic method which, as Jean Starobinski puts it, considers the theme as a unit of meaning of the novel. / In the conclusion we will compare the results of our analyses in the works of Stendhal and George Sand.

No description available.

No description available.

No description available.

The study is a comparative analysis of Stendhal's romantic interpretation and Flaubert's realistic interpretation of outdated myths. The first purpose of the study is to reveal the linear development of Julien Sorel and Emma Bovary in quest of their respective myths. The second is to reveal technical devices used by the authors that lead to diverse interpretations of the myths. The sources of data used in the study are Le Rouge et le noir and Madame Bovary and secondary materials concerning the two novels. The study is divided into five chapters including an introduction, two chapters that develop Julien's and Emma's respective myths, a chapter concerning technical devices used in the novels and a conclusion.

Orientador: Marcos Antônio Siscar / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-23T15:09:48Z (GMT). No. of bitstreams: 1 Santucci_IsabellaCristinaStangherlin_M.pdf: 1947248 bytes, checksum: a55952ad63ed1c55a1055229aa8d2f54 (MD5) Previous issue date: 2013 / Resumo: Em 1789 um novo século se impôs ao mundo. Das Luzes à Escuridão, o homem francês tornou-se apenas homem. O medo, o silêncio e o tédio invadiam o coração de uma sociedade. O sublime, ou o grotesco, como diria Victor Hugo, inevitavelmente levaria a outra revolução. Na política, nos costumes, nas artes, o novo urgia por eclodir. Nesse cenário, Stendhal, homem, crítico e escritor de seu tempo, quer-se portador de uma reviravolta nunca antes concebida. Quer, assim, olhar para sua nação e refletir através do reino das palavras o que nela encontrava. Quer, da mesma maneira, retratar a alma de seus contemporâneos, ávida de emoções e de algo que há muito a França desconhecia, o amor-paixão. Para tanto, decide exumar como herói o demônio das terras do midi, o transgressor por natureza, o amante indomável, Don Juan. A presente dissertação, diante desse fato, tem por escopo a análise dessa figura que se torna central na produção romanesca do autor ao se transfigurar em miroir de um século e de uma nação pós-revolucionários. E nesse percurso, passando pelos diversos modelos de Don Juan da história literária pelo próprio Stendhal relembrados e criticados, observaremos de que maneira se constituiu seu ideal de Romantismo, o Beau moderne, em meio à incessante busca por um herói verdadeiro / Abstract: In 1789, a new century imposed itself on the world. From Light to Darkness, the French man became just a man. Fear, silence and boredom invaded the heart of a society. The sublime, or the grotesque, as would say Victor Hugo, nothing else could provoke but the revolution. In politics, in mores, in arts, the new urged to hatch. In this scenario, Stendhal, man, critic and writer of his time, wants to hold a twist never before conceived. He wants, then, to look to his nation and reflect through the realm of words that which he could find in it. He wants, in the same way, to portray the soul of his contemporaries, eager for emotions and of something that remained unknown to France for a long time, love-passion. Therefore, Stendhal decides to exhume as hero the devil of midi's land, the transgressor by nature, the untamed lover, Don Juan. This thesis, in the face of this fact, has as its goal the analysis of this figure that became central in Stendhal's novelistic work as he is transfigured in miroir of a century and of a post-revolutionary nation. And along this path, passing through many different Don Juans of literary history, remembered and criticized by Stendhal, we will observe how it has constituted his ideal of Romanticism, the Beau moderne, amid the ceaseless quest for a true hero / Mestrado / Historia e Historiografia Literaria / Mestra em Teoria e História Literária