Dans les sciences humaines, le travail du négatif est une notion qui appartient surtout aux domaines philosophiques et psychanalytiques. En tenant compte de cette filiation, sa pertinence dans le champ littéraire se révèle également effective. En effet, lorsque l’on confronte l’idée à l’œuvre romanesque de Réjean Ducharme, l’action du travail du négatif rend compte des enjeux souterrains de cette écriture. Ainsi, le texte apparaît comme le lieu de l’instabilité où chacune des composantes donne à voir son envers et où les contradictions coexistent. Dans cette dynamique, les trois catégories du récit vacillent : elles sont sculptées dans une autre matière que celle qu’on leur assigne généralement. Dans un même élan, le style ducharmien s’empare du travail du négatif en défigeant le mot, en resémantisant la phrase, en offrant à la parole le pouvoir d’avoir un impact sur le réel. Tout est conçu pour échapper à la fixité. Construits de la sorte, les romans véhiculent une vision du monde tragique. Cette dernière, à travers l’acte de lecture, se voit pétrie par le grotesque et engendre alors un fatum qui s’apparente à l’uniformisation. Cette réalité dévoile, paradoxalement, un univers en déséquilibre qui fait écho à l’étymologie du mot baroque, « perle irrégulière ». Le texte ducharmien est donc le carrefour de plusieurs esthétiques qui possèdent toutes, en leur essence, un mouvement semblable au travail du négatif. Celui-ci peut être perçu, dans tous les cas, comme un révélateur de littérarité. Il opère, d’ailleurs, de cette manière, dans d’autres œuvres francophones, notamment dans celles de Rachid Boudjedra, de Maurice Bandaman et de Dominique Rolin. / In Human Sciences, the work of the negative is a concept which mainly belongs to the philosophical and psychoanalytical fields. Taking into account this relationship, its relevance in the literary field also proves effective. Indeed, when this notion is applied to the novels of Réjean Ducharme, the action of the work of the negative reveals the underground stakes of the author’s work. Thus, his writing takes us constantly back and forth between all the opposed elements which populate it. Ducharme’s texts are a place of instability, where each component shows its hidden side and where contradictions shaped by the process of involution coexist. Within this dynamic, the narrative mode loses its equilibrium: time, space and characters are sculpted with very unusual clay. In the same spirit, Ducharme’s writing style seizes the work of the negative by loosening words, and giving a new meaning to sentences, by offering to the word the power of having an impact on reality. Everything is designed to escape immobility. Novels built on this pattern convey a tragic vision of the world; a vision which through the act of reading finds itself steeped in the grotesque and therefore generates a fatum, which is very similar to sameness. Paradoxically, this reality unveils an unbalanced world and echoes the baroque word "irregular pearl" in its etymological meaning. Ducharme’s writing is at a crossroad between several aesthetics, whose quintessential principles are similar to the work of the negative. The latter can be perceived as an indicator of literariness and can be found in some of other French works, including those of Rachid Boudjedra, Maurice Bandaman and Dominique Rolin.

This dissertation argues that the four writers named above use the grotesque to illustrate the increasingly peculiar consequences of the assault of modernity on traditional Southern culture. The basic conflict between the views of Bakhtin and Kayser provides the foundation for defining the grotesque herein, and Geoffrey Harpham's concept of "margins" helps to define interior and exterior areas for the discussion. Chapter 1 lays a foundation for why the South is different from other regions of America, emphasizing the influences of Anglo-Saxon culture and traditions brought to these shores by the English gentlemen who settled the earliest tidewater colonies as well as the later influx of Scots-Irish immigrants (the Celtic-Southern thesis) who settled the Piedmont and mountain regions. This chapter also notes that part of the South's peculiarity derives from the cultural conflicts inherent between these two groups. Chapters 2 through 5 analyze selected short fiction from each of these respective authors and offer readings that explain how the grotesque relates to the drastic social changes taking place over the half-century represented by these authors. Chapter 6 offers an evaluation of how and why such traditions might be preserved. The overall argument suggests that traditional Southern culture grows out of four foundations, i. e., devotion to one's community, devotion to one's family, devotion to God, and love of place. As increasing modernization and homogenization impact the South, these cultural foundations have been systematically replaced by unsatisfactory or confusing substitutes, thereby generating something arguably grotesque. Through this exchange, the grotesque has moved from the observably physical, as shown in the earlier works discussed, to something internalized that is ultimately depicted through a kind of intellectual if not physical stasis, as shown through the later works.

Thesis (MA (Afrikaans and Dutch))—University of Stellenbosch, 2006. / In this thesis I explore the possibility of reading Foxtrot van die vleiseters by Eben Venter through the philosophy of the carnivalesque and grotesque realism, as put forward by the Russian language philosopher, Mikhail Bakhtin. An overview of the theory of grotesque realism is given in chapter 1. In chapter 2 some of the main aspects of the apartheidsregime are discussed, after which the most important principles of grotesque realism are applied to the novel. A chapter is devoted to each of the following broad categories: the distinction between a high, official order and a low, unofficial order and the consequences when the official order is lifted; the images of the grotesque body; and lastly, the culture of laughter and celebration. The salient points will be gathered together in the conclusion.

The succeeding chapters of this thesis are concerned with Carson McCullers' method of handling the Gothic. Their purpose is to describe the modern Gothic elements in McCullers' first three novels: The Heart Is a Lonely Hunter (1940), Reflections in a Golden Eye (1941), The Member of the Wedding (1946) and in her novella: The Ballad of the Sad Cafe (1943).

Thesis (Ph.D.)--University of the Witwatersrand, Arts Faculty (Fine Arts), 1999 / My basic premise in this study is, if abjection is a psychosocial phenomenon, even a kind of waste category and mechanism, it should be discernible and analysable as an underlying structure in the form, iconography and purpose of works of art. Certain modes of art will manifest or express it more lucidly and abundantly than others. Satire and the Grotesque, which Goya adopts in his graphic Work, are especially fruitful in this regard. In both, one can find processes and states of degradation and vitiation that accord with the two facets of abjection Hal Foster (1996) so pragmatically terms the operation to abject and the condition to be abject. Satire, with its inclination to criticise political, social and ecclesiastical figures, can chiefly be interpreted in terms of the operation to abject (to lower, cast down, depose, sideline), while the Grotesque, displaying the distorted, monstrous, 'freakish', hybrid, impossible, relates more to tire condition to be abject. This conjunction between satire/the Grotesque and abjection guides my interpretation of Los Caprichos and Los Disparates. Los Caprichos, in which Goya took it upon himself to "censure" and "ridicule" "human errors and vices", are marked by a quite strict use of satire to criticise, mock and marginalise certain social groups (prostitutes, nobles and corrupt clerics, in particular). Since society, or the Symbolic that undergirds it, cannot do without the abject, either in its role as midden or as oppositional determinant or defining other, the satirical project cannot banish or destroy the abject; it can, however, bid and lobby for some degree of social reclamation and rejuvenation. The satirist depicts the grotesque, sordid, obscene, deviant, abandoned and licentious to indicate to the viewer/reader what s/h e must laugh off to live a decent, obedient, constructive and law-fearing life. Goya takes this aapproach in Los Caprichos. After all, in at least one letter to his friend Martin Zapater he hinted that he feared the "witches, goblins, phantoms, arrogant giants, knaves" and "scoundrels" of his society, and evidently felt a need to part from them. How deep this need ran one cannot say; many of his images suggest a degree of equivocation (he vacillates between being on the side of the law and on the side of Ms own more incorruptible conscience, from which he upbraids the law) and ambivalence (on the one hand, he scolds his objects of attack and appears to be repelled by them; on the other, he seems to relish depicting them in grotesque and blighted shapes, as if the satirical purpose is secondary to the opportunity his art provides to invent forms and get close to the forbidden, the anti-social, the rotten, the abject). In Los Disparates equivocation and ambivalence come more to the fore. Goya often appears most aggressively satirical in the Disparates when he questions corruption in social institutions such as tire Church and the law. Some images, notably Folhj of the Mass, juxtapose a wrathful figure with a mass of social ills, foibles and depravities, and seem characteristically satirical, but the majority of the etchings are striking in their lack of closure, as if a "state of unresolved tension", to quote Michael Steig, adequately rewarded Goya for the labour of production. Man xoandering among Phantoms, for example, is ambiguous and seems to sum up Goya's relationsMp to the abject toward the end of his life: through the surrogate of an old man, Goya appears to have struck a deal with the abject; submerged in it, corrupted by it, impure, but nevertheless sufficiently single-minded to find an identity separate from it. Complicit, but differentiated: all subjects stand in this way to the abject. In Los Desastres, especially given that I do not deal with the Caprichos Enfdticos section of the series, my interpretation is determined less by satire than by the question of how an antagonistic nation uses war as a mechanism of conclusive abjection to extend military, political and, ultimately. Symbolic influence - by means of sanctioned murder, execution, even rape - over another nation, w ith the aim of making that nation succumb to the abjection of surrender and the imposition of a foreign Symbolic. War also produces heaps of corpses and, in the occupied cities, ill and starving destitutes: those reduced to conditions of permanent or near-permanent abjection by war's ballistic exacerbation of the operation to abject. Contact with abjection through art strengthens, weakens and expands the self. It carries the threat of immersion in the repressed and the promise of risque pleasure - both from the diminution of unpleasure through the making or viewing of art, and the more positive pleasure of jouissance. Contact with abjection allows, further, for the complicated experience of being liminal, grotesque and abject oneself while caught between the poles of the Symbolic and tire abject. Whether we, as makers an d /o r viewers, criticise or joy in it, abjection holds out the alluring prospect of catharsis and temporary relief both from its own hazards and the rigours and inhibitions of social life. Goya, it would appear, found this intervenient condition compelling enough to return to it - if he ever truly left it - over a period of almost three decades through the medium of the three graphic series I explore in this dissertation.

O presente trabalho propõe uma análise centrada em sete narrativas de cunho secular da seção japonesa contidas na coletânea de narrativas setsuwa denominada Konjaku Monogatarishû do século XIII. As narrativas serão traduzidas para o vernáculo e analisadas pelo viés do corpo grotesco em suas mais diferentes manifestações, assim como explicitado por Bakhtin (2013) e pelo viés do estranhamento tal qual formulado por Wolfgang Kayser (1986). Devido ao fato de as narrativas setsuwa possuírem padrões contrastantes da estética literária e temas vigentes na era Heian, identificou-se a importância do estudo das mesmas pelo viés do grotesco como uma leitura de rompimento com o ideal estético literário, pautando-se pela descrição explícita dos fatos, personagens e ações cotidianas. / The present work aims to analyses seven Japanese secular setsuwa tales included on Konjaku Monogatarishû compilation. The narratives will be translated to nowadays language and analyzed by many points fo view, as studied by grotesque body and others manifestations on Mikhail Bakhtin (2013) theory and by the theory of strangeness by Kayser (1986). Due to the fact that setsuwa tales has different patterns of literary aesthetics and themes in Heian period, the importance of this study by the grotesque as a rupture on literary aesthetics was identified also, because of the approximated description of the facts, figures and the daily actions.

O presente trabalho pretende analisar como o diálogo existente entre a ficção de Almeida Faria e os desenhos de Mário Botas, na obra O Conquistador (1990), opera a dinamização do mito sebástico através da reconstrução do homem comum português. A abordagem do tema será realizada através do estudo de alguns conceitos do grotesco que esclarecem o posicionamento ideológico dos artistas com relação às expectativas míticas do povo lusitano, a partir da crise identitária desencadeada pelos ventos revolucionários dos anos setenta. A fundamentação teórica tem como base a teoria de Bakhtin sobre a carnavalização e o realismo grotesco. Far-se-á também uma comparação de elementos surrealistas entre a escrita de Almeida Faria e as ilustrações de Mário Botas. / This project intends to demonstrate the reconstruction of the ordinary Portuguese man through the analysis of O Conquistador (1990) by Almeida Faria, a Lusitanian writer and through the drawings of Mario Botas, who is also Lusitanian. The subject will be approached through the study of some concepts of the grotesque. The theoretical justification is based on Bakhtins theory about the carnavalization and the grotesque realism. There will also be a comparison of the surreal elements between the written work of Almeida Faria and the illustrations of Mario Botas.

O trabalho apresenta algumas das iniciativas para a retomada da máscara no teatro moderno. No amplo quadro da primeira metade do século XX, escolhemos quatro principais artistas que abordaram esse objeto: Gordon Craig, Meyerhold, Jacques Copeau e Jacques Lecoq. Nestes a máscara não é apenas mais um elemento colocado em cena, mas também um princípio organizador da teatralidade que almejam. Através de seus trabalhos analisamos algumas características da máscara que podem ser reelaboradas no teatro contemporâneo. Em Gordon Craig, abordamos as primeiras proposições dentro do teatro simbolista, além do panorama da máscara no início do século XX; através de Meyerhold, pudemos traçar os elementos grotescos contidos na máscara; com Jacques Copeau, questionamos os conceitos de caráter e de tipo e, através da pedagogia de Jacques Lecoq, pudemos analisar o trabalho da máscara como signo representativo. A partir dos elementos abordados, apontamos uma proposição de trabalho com a máscara que procura aproximá-la do conceito de figura. / This study presents some of the initiatives to reinstate the mask in modern theatre. In the vast spectrum of the first half of the Twentieth Century, I chose four key artists who elaborated this object: Gordon Craig, Meyerhold, Jacques Copeau and Jacques Lecoq. In the work of these artists, the mask is not one scenic element among others, but becomes the organizing keystone for the theatricality that they seek. Through their creations we can analyze some of the mask´s features that are being reelaborated in contemporary theatre. In Gordon Craig, we examine initial propositions within the symbolist theatre, placing this in a panorama of the mask at the beginning of the Twentieth Century; with Meyerhold, one can trace the grotesque elements contained in the mask; in Jacques Copeau, the focus moves to the concepts of character and type, and finally, in Jacques Lecoqs pedagogy, one can probe the mask as representational sign. From the foregoing elements, we outline an operational proposal which aims to approximate the mask to the concept of figure.

O objetivo deste estudo é analisar o romance Grande sertão: veredas, de João Guimarães Rosa, a partir de conceitos elaborados por Mikhail Bakhtin. Este desenvolveu a concepção de romance polifônico em sua interpretação da obra de Fiódor Dostoiévski, desvendando o procedimento do escritor de incluir em sua prosa ficcional a multiplicidade de vozes presentes na sociedade. Trata-se do fenômeno do dialogismo, em que diferentes discursos entram em interação, se manifestam em réplicas diretas ou veladas, reagem entre si, estabelecem consonâncias ou dissonâncias, transformando-se continuamente, sendo que o autor aparece como uma entre as muitas vozes da narrativa. Nesse sentido, apesar de haver apenas uma voz em enunciação, consideramos Grande sertão: veredas um romance polifônico e interpretamos trechos em que o dialogismo é patente. Em seu estudo sobre François Rabelais, Bakhtin introduziu o conceito de carnavalização da literatura, processo por meio do qual foram incorporadas manifestações da cultura popular na linguagem literária. Bakhtin vale-se ainda da noção de grotesco, estilo antigo caracterizado pela mistura de formas. Tanto em Rabelais como em Guimarães Rosa, a linguagem está radicada na oralidade e em expressões populares, ainda que amalgamada a um vasto conhecimento erudito. Desse prisma, analisamos duas novelas (O recado do morro e Meu tio o Iauaretê) e um conto (Darandina) de Guimarães Rosa, além do romance Grande sertão: veredas. Seguindo uma linha de pensamento alinhada às ideias de Bakhtin que encontram ressonância em Guimarães Rosa, nas quais as fronteiras são indistintas e a transformação é inerente ao movimento da vida, procuramos centrar a análise na superação da lógica binária moderna, dando um salto para o polissêmico. É dessa maneira que propomos uma atualização da visão sobre a relação amorosa em Grande sertão: veredas, com o apoio teórico de Michel Foucault. / The objective of this study is to analyze the novel Grande sertão: veredas, by João Guimarães Rosa, based on Mikhail Bakhtins concepts. Bakhtin developed a conception of the polyphonic novel in his interpretation of Fyodor Dostoevsky\'s work, in which he describes the writers procedure that includes, in his fictional prose, the multiplicity of social voices found in society. This is the phenomenon of dialogism, in which different dialogues interact, manifest themselves in direct or veiled responses, react among themselves, establishing consonances or dissonances, transforming themselves continuously, with the author appearing as one among the many voices of the narrative. In this regard, although there is only one voice in enunciation, we consider Grande sertão: veredas to be a polyphonic novel and analyze extracts in which the dialogism is distinct. In his study of Francois Rabelais, Bakhtin introduced the concept of the carnivalization of literature, a process in which the manifestations of popular culture were incorporated into literary language. Bakhtin also employs the notion of grotesque, an ancient style characterized by a mixture of forms. In both the Rabelais and Guimarães Rosa works the language is rooted in orality and popular expressions, even though it is melded with a vast erudite knowledge. From this point of view, we analyze two novels (O recado do morro and Meu tio o Iauaretê) and a tale (\"Darandina\") by Guimarães Rosa, besides the novel Grande sertão: veredas. Following a line of thought concurrent with Bakhtins ideas, and also consonant in Guimarães Rosa, where boundaries are indistinct and transformation is inherent in lifes movement, we aim to focus the analysis on the overcoming of modern binary logic, thereby taking a leap to the polysemic. It is in this manner we propose an updated interpretation of the love affair in Grande sertão: veredas, with the theoretical support of Michel Foucault.

Há muitas menções à estética do grotesco na produção literária de Clarice Lispector, todavia sem que esse tema seja apresentado em primeiro plano pela crítica que se ocupa dos estudos da obra da autora. Privilegiou-se, desde o lançamento do primeiro romance da escritora, em 1943, o enfoque dos instantes epifânicos positivos, dos temas metafísicos, das leituras de viés existencialista e da investigação do fracasso da linguagem, permanecendo em segundo plano um lado obscuro também presente em sua produção ficcional. O presente trabalho se dedica a investigar de que maneira a tradição do grotesco, sobretudo aquela estudada por Kayser, Bakhtin e Victor Hugo, está presente na obra literária de Clarice Lispector, especialmente nas narrativas curtas A menor mulher do mundo, Macacos, Perdoando Deus, A bela e a fera ou A ferida grande demais, Um dia a menos e A solução. A análise desses textos nos revela que esse fenômeno parece servir a propósitos bem específicos na autora: o de constituir um disparador de determinadas emoções, como o Unheimlich freudiano, nos personagens que se defrontam com a figuração do grotesco, acionando, por oposição, a percepção de um Belo faltante, ausente, o que cria o espaço da desarmonia e do desequilíbrio. Por outro lado, as várias formas grotescas apresentadas por Clarice parecem não se fixar rigidamente, elas são difusas e voláteis, de modo que estão sempre em metamorfose. / The grotesque aesthetics is frequently mentioned in the literary work of Clarice Lispector, though this theme hasnt been primarily presented by the critics that deal with the authors work. Since the first novel of the author, launched in 1943, it has been common the focus on the most rare and unique moments of epiphany, metaphysical themes, existencialist biases, and the investigation of literature failure, leaving in the background the obscure side also present in the production of her fiction work. The following work is a proposal to investigate in which way the grotesque tradition, mainly that studied by Kayser, Bakhtin and Victor Hugo, is presented in the literary work of Clarice Lispector, specifically in the short narrations A menor mulher do mundo, Macacos, Perdoando Deus, A bela e a fera ou A ferida grande demais, Um dia a menos and A solução. The analysis of these texts reveal to us that this phenomenum might serve to the very specific purposes of the author such as to bring forward certain emotions, like the Freudian Unheimlich of the characters in face of the figuratively grotesque, bringing into action, as the opposite, an absent Beauty lack perception, that creates the space of disharmony and imbalance. However, on the other side, the many grotesque forms conveyed by Clarice seem not to be strictly fixed, they are diffuse and volatile and so in a state of permanent metamorphosis.