Esta tese efetua uma leitura comparada das obras Percursos (Do Luachimo ao Luena), publicada em 1981, pela portuguesa Wanda Ramos (1948 1998), e O Berro do Cordeiro em Nova York, escrita em 1995 pela mato-grossense Tereza Albues (1936 2004), focalizando a memória enquanto elemento estético literário organizador da narrativa, cuja gênese está ligada ao ato de recordar as experiências de vida pela personagem principal a partir das relações sociais, constituídas durante todo o percurso de sua existência e, de modo especial, no presente da narração. Ao tecer a própria história, o eu é sujeito e objeto da sua percepção e da abordagem discursiva. Ao rememorar e construir sua história de vida sempre à luz do ficcional, as protagonistas atribuem uma espécie de unidade ao eu textual que se distingue do eu da experiência, descontínuo e fragmentado pela infinitude da existência em oposição ao mundo finito, fixado através da linguagem escrita; pela vulnerabilidade do vivido, impossível de ser apreendido pelo sujeito na totalidade, e pela fragmentação do ser em constante mobilidade. A rememoração no ato criador das duas narrativas literárias mencionadas vem acompanhada do imaginário ficcional, capaz de preencher as lacunas provocadas pelo esquecimento e pela limitação da percepção e da apreensão do vivido pelas protagonistas. Por considerar o ato de lembrar intrinsecamente ligado às relações interpessoais, a memória como uma habilidade psicológica do ser humano, que depende dos signos para se fazer expressar e que os signos possuem significados constituídos socialmente, o suporte teórico desse trabalho é norteado pelos estudos de Halbwachs e de Bakhtin, acrescidos das abordagens de Walter Benjamin referentes à habilidade de narrar como uma das peculiaridades fundamentais do ser humano intimamente ligada ao processo mnemônico. Este estudo nos leva a entender que a formação das protagonistas revelada, construída e apresentada no final dos textos por meio do discurso metalingüístico está entrelaçada às próprias escrituras do eu, tendo como ápice desse processo a autonomia da obra de arte em relação a seu criador. / This paper aims at reading comparatively the works Percursos (Do Luachimo ao Luena) (1981) by Portuguese writer Wanda Ramos (1948-1998), and O Berro do Cordeiro em Nova York, (1995) written by Tereza Albues (1936-2004) and born in Mato Grosso - Brazil. It will be focused the memory while aesthetic literary organizer element of the narrative, whose genesis is linked to the act of remembering life experiences by the main character from social relations constituted during the whole course of his existence and, in a special way, in the present of narration. By writing the own history, the self is subject and object of his perception and discursive approach. In the exerecise of remembering and constructing their life history, always through the fictitious light, the leading characters of these works attribute a species of unity to the textual self that distinguishes itself from experience self, discontinued and fragmented by the existence infinitude in opposition to the finite world, fixed through written language; by voluntarity of the vivid, impossible of being carried off by the subject on its totality, and by the fragmentation of being in constant mobility. The remembrance at creative act of the two literary narratives mentioned above comes along with fictional imaginary, capable of filling the gaps provoked by forgetfulness and limitation of perception and the apprehension of the vivid by the leading characters. By considering the act of remembering intrinsically linked to the interpersonal relations, memory as a psychological skill of the human being, which depends on the signs to express itself and that the signs own meanings socially constituted, the theoretical support of this paper is based on the studies of Halbwachs and Bakhtin, added by the approaches of Walter Benjamin concerning the ability of narrating as one of the fundamental peculiarities of the human being closely linked to the mnemonics process. This study leads us to understand that the leading characters formation revealed, constructed and presented in the end of the texts by means of metalinguistical discourse is interlaced to the own writings of the self, having as the climax of this process the fine arts autonomy in relation to its creator.

Esta tese efetua uma leitura comparada das obras Percursos (Do Luachimo ao Luena), publicada em 1981, pela portuguesa Wanda Ramos (1948 1998), e O Berro do Cordeiro em Nova York, escrita em 1995 pela mato-grossense Tereza Albues (1936 2004), focalizando a memória enquanto elemento estético literário organizador da narrativa, cuja gênese está ligada ao ato de recordar as experiências de vida pela personagem principal a partir das relações sociais, constituídas durante todo o percurso de sua existência e, de modo especial, no presente da narração. Ao tecer a própria história, o eu é sujeito e objeto da sua percepção e da abordagem discursiva. Ao rememorar e construir sua história de vida sempre à luz do ficcional, as protagonistas atribuem uma espécie de unidade ao eu textual que se distingue do eu da experiência, descontínuo e fragmentado pela infinitude da existência em oposição ao mundo finito, fixado através da linguagem escrita; pela vulnerabilidade do vivido, impossível de ser apreendido pelo sujeito na totalidade, e pela fragmentação do ser em constante mobilidade. A rememoração no ato criador das duas narrativas literárias mencionadas vem acompanhada do imaginário ficcional, capaz de preencher as lacunas provocadas pelo esquecimento e pela limitação da percepção e da apreensão do vivido pelas protagonistas. Por considerar o ato de lembrar intrinsecamente ligado às relações interpessoais, a memória como uma habilidade psicológica do ser humano, que depende dos signos para se fazer expressar e que os signos possuem significados constituídos socialmente, o suporte teórico desse trabalho é norteado pelos estudos de Halbwachs e de Bakhtin, acrescidos das abordagens de Walter Benjamin referentes à habilidade de narrar como uma das peculiaridades fundamentais do ser humano intimamente ligada ao processo mnemônico. Este estudo nos leva a entender que a formação das protagonistas revelada, construída e apresentada no final dos textos por meio do discurso metalingüístico está entrelaçada às próprias escrituras do eu, tendo como ápice desse processo a autonomia da obra de arte em relação a seu criador. / This paper aims at reading comparatively the works Percursos (Do Luachimo ao Luena) (1981) by Portuguese writer Wanda Ramos (1948-1998), and O Berro do Cordeiro em Nova York, (1995) written by Tereza Albues (1936-2004) and born in Mato Grosso - Brazil. It will be focused the memory while aesthetic literary organizer element of the narrative, whose genesis is linked to the act of remembering life experiences by the main character from social relations constituted during the whole course of his existence and, in a special way, in the present of narration. By writing the own history, the self is subject and object of his perception and discursive approach. In the exerecise of remembering and constructing their life history, always through the fictitious light, the leading characters of these works attribute a species of unity to the textual self that distinguishes itself from experience self, discontinued and fragmented by the existence infinitude in opposition to the finite world, fixed through written language; by voluntarity of the vivid, impossible of being carried off by the subject on its totality, and by the fragmentation of being in constant mobility. The remembrance at creative act of the two literary narratives mentioned above comes along with fictional imaginary, capable of filling the gaps provoked by forgetfulness and limitation of perception and the apprehension of the vivid by the leading characters. By considering the act of remembering intrinsically linked to the interpersonal relations, memory as a psychological skill of the human being, which depends on the signs to express itself and that the signs own meanings socially constituted, the theoretical support of this paper is based on the studies of Halbwachs and Bakhtin, added by the approaches of Walter Benjamin concerning the ability of narrating as one of the fundamental peculiarities of the human being closely linked to the mnemonics process. This study leads us to understand that the leading characters formation revealed, constructed and presented in the end of the texts by means of metalinguistical discourse is interlaced to the own writings of the self, having as the climax of this process the fine arts autonomy in relation to its creator.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-07-22T18:27:38Z No. of bitstreams: 1 julianadecastromillen.pdf: 1745473 bytes, checksum: 8568d3b0ddea54c22e8f717480ccc437 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-25T16:32:14Z (GMT) No. of bitstreams: 1 julianadecastromillen.pdf: 1745473 bytes, checksum: 8568d3b0ddea54c22e8f717480ccc437 (MD5) / Made available in DSpace on 2016-07-25T16:32:14Z (GMT). No. of bitstreams: 1 julianadecastromillen.pdf: 1745473 bytes, checksum: 8568d3b0ddea54c22e8f717480ccc437 (MD5) Previous issue date: 2016-06-03 / O percurso literário e jornalístico de Carlos Heitor Cony podem ser explorados em investigações analíticas que busquem desvelar significados das relações do sujeito com a linguagem com a memória individual, a familiar e a histórica. Do conjunto da produção literária do autor, foi selecionada para a análise crítico-reflexiva, a obra Quase memória: quase romance que está construída em torno da busca do passado pela memória. O autor-narrador transita pela infância, pelo período em que foi seminarista e pela experiência como jornalista, tudo isso por meio da relação com o pai, personagem chave para o retorno das lembranças. Foram consideradas suas produções em crônicas pertencentes às coletâneas: Os anos mais antigos do passado, O harém das bananeiras, O tudo e o nada e Eu, aos pedaços: memórias. As obras incluem acontecimentos particulares e coletivos que podem se constituir em fatos pessoais, profissionais, familiares e históricos. Detém no seu conteúdo fundamentos que singularizam a dimensão de memória como experiência de vida, denotando sua capacidade narrativa, além de elementos suficientes para o estudo das escritas do eu. Nessas produções, que se vinculam as suas experiências pessoais, Cony procura traduzir verdades relativas ou mistura ficção com verdade. Outras vezes tem como estratégia narrativa o personagem do pai para que a partir dele possa falar de si. Também remonta, por meio da sua experiência e do pai, a história do jornalismo impresso carioca a partir de 1950. O abrir os olhos para a relação do mundo subjetivo com o mundo objetivo, através da contemplação do universo do pai, traduz-se em significados que nos possibilitam compreender, analisar e interpretar, incluindo-se a memória de um tempo que não retorna, mas que pode ser traduzido em (re)significado(s). / The literary and journalistic path taken by Carlos Heitor Cony might be explored in analytical investigations that aim at unveiling the meanings of the relationship between subject and language and individual, family, and historical memory. From the author’s literary production, the work Quase memória: quase romance [Almost memory: almost novel] has been selected to critical reflexive analysis as it was built around the search for past through memory. The narrator who is also the author waves around childhood, the time spent in the convent and the experience as journalist, all seen through the relationship with his father, a key character to return to rememberance. His work with chronicles was considered in the collections published as Os anos mais antigos do passado [The oldest years of the past] , O harém das bananeiras [Harem of banana trees], O tudo e o nada [Everything or nothing at all] and Eu, aos pedaços: memórias [Me into pieces: memories]. These books include particular and collective situations that might be formed by personal, professional, family and historical facts. They hold in their content the foundations that make singular the dimension of memory such as life experience, showing the author’s narrative ability as well as sufficient elements to the study of the writing of the self. In those books linked to his personal experience, Cony searches for translating relative truth or he mixes fiction with reality. In other passages, he uses as narrative strategy the character of his father to be able to speak of himself. He also builts through his father’s experience the history of printed journalism in Rio de Janeiro from 1950 onwards. The eye opening to the relationship between subjective world and objective world by the contemplation of his father’s universe is translated in meanings that enable us to understand, analyse, and interpret it including the memory of a time that cannot return but that can be translated in (re)signifying(s).

No description available.

Dans ce mémoire nous analysons deux oeuvres littéraires : Mes mauvaises pensées de Nina Bouraoui et Le Parfum des fleurs la nuit de Leïla Slimani. Le but de l’analyse est de savoir comment une double culture franco-maghrébine peut être vécue par des femmes nées dans des familles de mariages mixtes. Ce mémoire analyse ces oeuvres à partir des théories sur les genres littéraires, roman beur et autobiographie, et les lit à travers une perspective genrée pour voir comment nos écrivaines se situent dans les sociétés. Nous avons jugé intéressant de faire la comparaison avec le roman beur, qui évoque les problèmes d’intégration des beurs en France, alors que ces écrivaines ne sont pas des Beurettes puisqu’elles ont vécu au Maghreb et en France et elles traitent des problèmes rencontrés dans les deux endroits. En plus elles ont pu maitriser parfaitement les codes dans les sociétés grâce à leurs parents et il ne devrait pas y avoir de difficultés d’intégration alors qu’elles décrivent leurs rapports avec les deux cultures comme problématiques puisqu’elles se sentent toujours comme des étrangères partout. Le but principal n’est donc pas d’inscrire les récits étudiés ici dans un genre littéraire mais de montrer que beaucoup de problèmes d’intégration sont valables dans les deux cultures et les femmes ont encore plus de problèmes pour se faire respecter si elles ne respectent pas les traditions. Nous pouvons dire que ces écrivaines mettent au défi le roman beur comme elles ne montrent pas uniquement les problèmes d’intégration des Maghrébins en France mais aussi les problèmes pour se faire accepter parmi les Maghrébins pour ceux qui ne vivent pas conformément aux coutumes. Les problèmes liés à la binarité de sexes ont un rôle central. Bouraoui et Slimani donnent dans ces oeuvres la parole aux plus opprimés dans la culture maghrébine, les femmes, les homosexuels et les personnes qui ne suivent pas les traditions en même temps qu’elles traitent les problèmes d’intégration en France. Notre conclusion est que le bagage historique et la culture mixte ont influencé leur choix de métier. Le fait de prendre la parole et d’écrire des oeuvres introspectives les a aidées dans leurs propres analyses de soi. Ces analyses avec les descriptions des milieux aident aussi le lecteur à comprendre la situation dans les sociétés et les messages des écrivaines. / In this paper two literary works are analysed: Mes mauvaises pensées by Nina Bouraoui and Le Parfum des fleurs la nuit by Leïla Slimani. The aim of the analysis is to understand how a dual French and North African culture could be experienced by women in families characterized by mixed marriages. The literary works are analysed from theories based on literary genres, “roman beur” and the notion of biography. The study is based on a gender perspective and I try to understand how the authors are experiencing the societies. Comparing with the “roman beur” is interesting, since they raise the integration issues for second generation North African immigrants in France, but the authors are not likely to be seen as second generation migrants from North Africa since they have been living in the Maghreb region and in France, they are telling stories from both places. In addition, they have perfectly mastered the codes of both societies thanks to their parents and should not experience integration issues but nevertheless they feel like strangers. The main objective is not to classify the literary genres but to create an understanding and raise the issues that both cultures are facing regarding the integration into society, focusing on how women have a hard time trying to be respected when not following traditions. The authors challenge the “roman beur” since they not only reproduce the integration problems of North African immigrants in France but also the problems of being accepted among the North African community for those who do not live according to traditions. Issues related to the binary gender roles in society play a central role. Bouraoui and Slimani give in these works voices to the most oppressed individuals in the North African culture: women, homosexuals and people who do not follow traditions at the same time as they are dealing with the integration problems in France. The conclusion is that the historical background and the mixed culture influence the choice of the authors’ profession. Speaking up and writing in an introspective way helped them in their own self-analysis. These analyses also help the reader to understand the situation in the societies and the messages of the writers.

Les fictions de Simone de Beauvoir constituent le centre de gravité d’une œuvre protéiforme. Encore largement méconnue et nettement dévaluée par rapport aux essais et aux Mémoires, l’œuvre romanesque de l’écrivaine se situe aux limites indécises du littéraire, du philosophique, de l’historique et de l’autobiographique. Son projet littéraire s’enracine dans l’existence, c’est pourquoi nous avons choisi d’étudier la genèse de l’œuvre romanesque et le processus d’invention de soi depuis les années de jeunesse jusqu’à la naissance de l’écrivaine et la reconnaissance publique de ce statut en 1943. Le projet d’écrire un « roman métaphysique », qui détermine des modalités d’écriture spécifiques, a été influencé et soutenu par une conception existentialiste de l’homme et du monde que Beauvoir est une des premières à définir dans l’après-guerre. Ce projet de nature éthique, qui porte l’idée d’une littérature « engagée », n’est pas seulement collectif dans les enjeux et les principes qui le sous-tendent, mais aussi singulier : derrière la permanence d’un éthos d’écrivain, on trouve chez Simone de Beauvoir un constant réajustement du roman à l’Histoire et à son expérience propre, ce qui explique les nécessaires mutations du roman et de l’écriture de L’Invitée à La Femme rompue. Par l’exploration d’un imaginaire et d’une écriture singulière, nous pensons redonner à Simone de Beauvoir la place qui lui revient dans l’histoire du roman français au XXe siècle, entre Gide, dont elle est l’héritière, et les représentants du Nouveau Roman. / Simone de Beauvoir’s fictions are the center of gravity of a multifaceted body of work. Still relatively unknown and largely underestimated in comparison with her essays and memoirs, her fictional work is situated at the indistinct limits of the literary, the philosophical, the historical and the autobiographical. Beauvoir’s literary project has its roots in existence, which explains why I have chosen to study the genesis of her fictional work and the process of the invention of self from her youth up to her birth as a writer and the public recognition of this status in 1943. Her idea of writing a “metaphysical novel”, one that fixes specific writing requirements, was influenced and buttressed by an existentialist conception of the human being and the world that Beauvoir, one of the first, defined postwar. This basically ethical project, which assumes the idea of a literature of engagement, is not just collective in its stakes and the principles it underpins but is also singular : behind the permanence of a writer’s ethos, there is in Simone de Beauvoir a constant readjustment of the novel to History and to her own experience, elucidating the novel’s and her writing’s necessary mutations from She Came To Stay to The Woman Destroyed. Through the exploration of the imaginary and of a singular style, I wish to give Simone de Beauvoir her rightful place in the history of the 20th century French novel, between Gide, her predecessor, and the representatives of the “Nouveau roman”.