O regionalismo tem sido tema de discussões incansáveis, especialmente nas letras gaúchas, que têm um dos regionalismos mais bem definidos da literatura brasileira. Com este trabalho, buscamos entender quando se deu o início desta categoria, no gênero conto, na literatura do estado do Rio Grande do Sul e como avançou pelo século XX. Neste estudo, debruçamo-nos sobre as obras: Tapera, de Alcides Maya (1911), Contos gauchescos, de João Simões Lopes Neto (1912), Campo fora, de Cyro Martins (1934), e Noite de matar um homem, de Sérgio Faraco (1986), por entendermos serem pontos determinantes de uma escalada do regionalismo no conto gaúcho. O escritor com o primeiro trabalho de ficção regionalista, na concepção típica do termo, no gênero de que estamos tratando é Maya; depois dele temos um nome que é referência no conto gaúcho, Lopes Neto; a seguir, com uma pausa de mais de duas décadas, encontramos o ―gaúcho a pé‖, figura criada por Martins e, com uma lacuna bem maior, surge o contemporâneo Faraco, que dedicou uma parte expressiva de sua produção ficcional para o conto regionalista. Nenhum grande valor das letras gaúchas surgiu depois dele até os dias de hoje. A fundamentação teórica amparou-se em Lúcia-Miguel Pereira e seu conceito de "cor local"; em José Clemente Pozzenato, por meio de suas discussões em torno do regional X universal; Antonio Candido, que traz uma tríplice divisão lúcida do regionalismo literário, à luz de teorias em torno da necessidade de acrescer consciência social e amplitude universal a esta categoria; além de Guilhermino Cesar, que nos fornece um importante diferenciador para o regionalismo gaúcho, que é "a gauchesca". Esses teóricos e os autores ficcionais de nosso estudo ajudam a esclarecer os rumos que o regionalismo gaúcho tomou no conto do Rio Grande do Sul no século XX. / Regionalism has been the theme of tireless discussions, especially in Regional Gaucha lyrics, which have one of the most definite regionalisms in the Brazilian Literature. This work searches to understand when this category started, in the short story genre, in the literature of Rio Grande do Sul State and how it headed through the XX century. In this study, we lean over the works: Tapera, by Alcides Maya (1911), Contos Gauchescos, by João Simões Lopes Neto (1912), Campo for a, by Cyro Martins (1934), and Noite de matar um homem, by Sérgio Faraco (1986), as we understand them to be determinant points from a rising to regionalism, in the typical concept of the term, in the genre we are dealing with is Maya; after him there is a name which is reference in the Gaucho short stories, Lopes Neto; and after that, with a halt of more than two decades, we meet the ‗walking gaucho‘, image created by Martins and, with an even bigger gap, appears the contemporaneous Faraco, who dedicated an expressive part of his fictional production to the regionalist short stories.(Continue)0 No other great name, in the gaucho writing, appeared after him, until the present days. The theoretical fundamentation and the support of Lúcia-Miguel Pereira and her concept of "local color"; José Clemente Pozzenato through his discussion around regional x universal. Antonio Candido, who a triple lucid division of the literary regionalism, under the light of the theories which go around the need to add social conscience and universal amplitude to this category; besides Ghilhermino Cesar, who gives us an important differentiating point to the Gaucho Regionalism, which is "the gauchesca". There theoretic and fictional authors of our study help to clear the rumors that the gaucho regionalism took, in the short stories of Rio Grande do Sul, in the XX century.

La thèse présente une analyse comparative de l’œuvre du poète, philosophe, journaliste et dramaturge Nicolas Maksimovitch Minsky, l’un des fondateurs du symbolisme en Russie. L’œuvre de Minsky est considérée dans le contexte du symbolisme français. Le présent travail étudie la genèse du symbolisme russe qui s’est partiellement inspiré des notions et de l’esthétique du symbolisme français. Il contient un large corpus des traductions inédites des textes russes jamais étudiés dans le cadre des analyses littéraires. Ces textes apportent des éléments précieux permettant de mieux comprendre la situation socioculturelle et les particularités de la conscience « transitoire » de la fin du XIXème siècle. L’œuvre de Minsky est née sous l’influence de deux littératures, française et russe. L’approche comparative permet donc de définir sa place dans l’évolution de la culture mondiale et de réaffirmer l’importance des liens culturels entre la France et la Russie. / The dissertation is devoted to a complex comparative research of works of the poet, philosopher, publicist, playwright and one of founders of symbolism in Russia, Nikolay Maksimovich Minsky, in the context of the French symbolism. The dissertation examines the genesis of early Russian symbolism, which was partially shaped by the concepts and categories of French symbolism. The work presents a large body of texts in Russian, translated into French for the first time and previously not subject to literary analysis; these texts reveal the picture of the socio-cultural situation and the main features of the turn-of-the-century consciousness of the late XIX century. Minsky's work was formed at the junction of influence of French and Russian literature, so the comparative approach to the analysis of the poet's work allows us to determine its place in the development of world culture, as well as to emphasize once again the importance of the cultural ties between Russia and France. / Диссертация посвящена компаративистскому исследованию творчества поэта, философа, публициста, драматурга, одного из родоначальников символизма в России, Николая Максимовича Минского, в контексте французского символизма. В диссертации рассматривается генезис раннего русского символизма, сформировавшегося частично благодаря понятиям и категориям французского символизма. В работе представлен большой корпус русских текстов, впервые переведенных на французский язык и ранее не оказывавшихся предметом литературоведческого анализа, которые раскрывают картину социокультурной ситуации и основные особенности рубежного сознания конца XIX столетия. Творчество Минского формировалось на стыке влияния французской и русской литератур, поэтому компаративистский подход к анализу творчества поэта позволяет определить его место в процессе развития мировой культуры, а также в очередной раз подчеркнуть важность культурных связей между Россией и Францией.

O regionalismo tem sido tema de discussões incansáveis, especialmente nas letras gaúchas, que têm um dos regionalismos mais bem definidos da literatura brasileira. Com este trabalho, buscamos entender quando se deu o início desta categoria, no gênero conto, na literatura do estado do Rio Grande do Sul e como avançou pelo século XX. Neste estudo, debruçamo-nos sobre as obras: Tapera, de Alcides Maya (1911), Contos gauchescos, de João Simões Lopes Neto (1912), Campo fora, de Cyro Martins (1934), e Noite de matar um homem, de Sérgio Faraco (1986), por entendermos serem pontos determinantes de uma escalada do regionalismo no conto gaúcho. O escritor com o primeiro trabalho de ficção regionalista, na concepção típica do termo, no gênero de que estamos tratando é Maya; depois dele temos um nome que é referência no conto gaúcho, Lopes Neto; a seguir, com uma pausa de mais de duas décadas, encontramos o ―gaúcho a pé‖, figura criada por Martins e, com uma lacuna bem maior, surge o contemporâneo Faraco, que dedicou uma parte expressiva de sua produção ficcional para o conto regionalista. Nenhum grande valor das letras gaúchas surgiu depois dele até os dias de hoje. A fundamentação teórica amparou-se em Lúcia-Miguel Pereira e seu conceito de "cor local"; em José Clemente Pozzenato, por meio de suas discussões em torno do regional X universal; Antonio Candido, que traz uma tríplice divisão lúcida do regionalismo literário, à luz de teorias em torno da necessidade de acrescer consciência social e amplitude universal a esta categoria; além de Guilhermino Cesar, que nos fornece um importante diferenciador para o regionalismo gaúcho, que é "a gauchesca". Esses teóricos e os autores ficcionais de nosso estudo ajudam a esclarecer os rumos que o regionalismo gaúcho tomou no conto do Rio Grande do Sul no século XX. / Regionalism has been the theme of tireless discussions, especially in Regional Gaucha lyrics, which have one of the most definite regionalisms in the Brazilian Literature. This work searches to understand when this category started, in the short story genre, in the literature of Rio Grande do Sul State and how it headed through the XX century. In this study, we lean over the works: Tapera, by Alcides Maya (1911), Contos Gauchescos, by João Simões Lopes Neto (1912), Campo for a, by Cyro Martins (1934), and Noite de matar um homem, by Sérgio Faraco (1986), as we understand them to be determinant points from a rising to regionalism, in the typical concept of the term, in the genre we are dealing with is Maya; after him there is a name which is reference in the Gaucho short stories, Lopes Neto; and after that, with a halt of more than two decades, we meet the ‗walking gaucho‘, image created by Martins and, with an even bigger gap, appears the contemporaneous Faraco, who dedicated an expressive part of his fictional production to the regionalist short stories.(Continue)0 No other great name, in the gaucho writing, appeared after him, until the present days. The theoretical fundamentation and the support of Lúcia-Miguel Pereira and her concept of "local color"; José Clemente Pozzenato through his discussion around regional x universal. Antonio Candido, who a triple lucid division of the literary regionalism, under the light of the theories which go around the need to add social conscience and universal amplitude to this category; besides Ghilhermino Cesar, who gives us an important differentiating point to the Gaucho Regionalism, which is "the gauchesca". There theoretic and fictional authors of our study help to clear the rumors that the gaucho regionalism took, in the short stories of Rio Grande do Sul, in the XX century.

En Amérique du Nord aux XX et XXIe siècles, les auteurs étudiés : Ying Chen (La mémoire de l’eau, L’ingratitude et Quatre milles marches : un rêve chinois), Dany Laferrière (Comment faire l’amour avec un nègre sans se fatiguer, Pays sans chapeau et Je suis fatigué), et, Wajdi Mouawad (Incendies, Littoral et Je suis le méchant) avancent des oeuvres qui sont l’expression de voix, à la fois contrastantes, divergentes dans la littérature nationale québécoise. Prenant leur distance par rapport à des représentations stéréotypées de leur époque telles que la littérature d’exil et la littérature du voyage, les auteurs migrants campent des histoires à travers lesquelles s’offrent des images nouvelles de la ville nord-américaine, des lieux emblématiques, une rencontre à l’autre. L’auteur migrant se livre, d’ailleurs, à l’instar de sa trajectoire éclatée dans la ville, à un jeu avec le lecteur en endossant plusieurs rôles, plusieurs figures auctoriales. L’écriture migrante se révèle palimpseste : elle intègre différents modèles littéraires tout en les dépassant. Dans sa construction interne, dont le processus de création, on retrouve ce dérobement aux normes littéraires. Enfin, elle offre une vision du monde réconciliatrice et bienveillante en faisant cohabiter les vivants avec les morts. / In the America of the XXe century, works of Ying Chen, Dany Laferrière and Wajdi Mouawad express voices that are, at the same time, different, various and deviating for the ones of the quebecker’s national literature. Taking their distance toward stereotyped representations of their time, like the exilic literature or the travel literature, migrant authors set stories where brand new images of the northern towns emerge, as well as emblematic places and the meeting of the other occurs. The migrant author reveals, just like his exploded path, a game with the reader by taking over several roles, several auctorial figures. His writing is therefore, a palimpsest: it’s integrating various literary models while it goes beyond. In its intern construction, in its creation process, we may discover how it shielded literary norms. Finally, the migrant writer offers a view of the world that is both reconcile and indulgent by making live together the alives and the deads.

La presente investigación está dedicada al Premio Nacional de Literatura en Chile, fundado el año 1942 y que, hasta el año 2014, condecoró a 48 escritores y 4 escritoras. Su fundación hace más de 7 décadas, y su entrega y ceremonia oficiales han logrado concentrar año a año la atención del medio literario chileno, ofreciendo de paso una instancia pública y periódica donde discutir y reflexionar en torno al valor de la literatura y los escritores. El objetivo de esta investigación es, a partir de la organización y análisis de estas discusiones, presentar los argumentos que han fundado un discurso sobre la importancia de la literatura en Chile, y explicar cómo es que esos fundamentos se han transformado. La estructura de este trabajo es diacrónica y se basa en la exposición y categorización de los motivos recogidos en reportes oficiales, declaraciones de los escritores y la diversidad de artículos de prensa surgidos a propósito de la entrega del Premio Nacional. Los resultados de esta pesquisa informan que en el medio cultural chileno desde los años ’40 en adelante los criterios de valoración de lo literario tendieron a privilegiar la dimensión político-ética de los escritores, antes que la estética; es decir, que en la mayoría de los casos se les valoró por su compromiso social, antes que por la calidad de sus obras. Esto, a su vez, se ha explicado por la importancia que el Estado ha tenido hasta el día de hoy como plataforma de financiamiento, formación y acción para las carreras artísticas y literarias en Chile. / Die vorliegende Arbeit untersucht den Nationalpreis für Literatur („Premio Nacional de Literatura“) in Chile, der 1942 ins Leben gerufen wurde und mit welchem bis 2014 48 männliche und 4 weibliche Autoren prämiert wurden. Sein Bestehen über mehr als sieben Jahrzehnte und seine offizielle feierliche Verleihung hat durchgehend die Aufmerksamkeit des chilenischen literarischen Feldes erregt und bot im gleichen Zuge einen öffentlicher Anlass, den Wert der Literatur auf verschiedenen Ebenen neu zu denken und zu diskutieren. Ziel der vorliegenden Arbeit ist, ausgehend von dieser vielseitigen Diskussion eine Analyse der Inhalte und Grundlagen der Debatte über den Stellenwert von Literatur und von SchriftstellerInnen sowie deren Veränderungen in Chile vorzunehmen. Die Arbeit ist diachronisch angelegt und basiert auf der Sammlung und Kategorisierung offizieller Berichte, individueller Aussagen und öffentlicher Debatten, die alljährlich rund um die Vergabe des Nationalpreises publik werden. Die Ergebnisse der Forschungsarbeit zeigen, dass seit den 1940er Jahren in Chile Literatur tendenziell anhand der politisch-ethischen Position der AutorInnen astatt der Ästhetik der Texte bewertet wurde. Das heißt, in den meisten Fällen wurde ein Autor anhand seines gesellschaftlichen Engagements anstatt der Qualität seiner Texte ausgewählt. Dieser Sachverhalt erklärt sich durch die große Bedeutung, die der chilenische Staat bis heute als Plattform für Finanzierung, Ausbildung und Förderung künstlerischer Werdegänge, inne hat. / The present dissertation investigates the Chilean National Prize for Literature ("Premio Nacional de Literatura"), founded in 1942, which has been awarded to 48 male and 4 female authors to date. Its existence for more than seven decades and the solemnity of the official award ceremonies has attracted the attention of the Chilean literary field, offering a public occasion and forum to rethink and discuss the value of literature on different levels. The main objective of this research is to present and analyze the arguments that were used in this context to explain why writers and literature are important. The dissertation is diachronic and based on the collection and categorization of official reports, individual statements, and public debates, which were held annually around the awarding of the national prize between 1942 and 2014. The results of this investigation show that, since the 1940s, the arguments used to talk about the importance and value of literature tended to give more importance to the political-ethical profile of the writers, rather than an esthetic dimension. This means that in most of the cases writers were valued for their social engagement rather than the quality of their books. This has happened because of the State’s importance both as financial source for Chilean writers and as network for the development of their intellectual and artistic careers.

Le présent travail enrichit la thématologie à un double niveau, à la fois par une réflexion méthodologique sur les différents modes de manifestation du thème, et par une meilleure connaissance d'un "mythe" littéraire précis, celui de sainte Marie-Madeleine, dont la vitalité ne laisse aucun doute, tant dans la fréquence de l'utilisation du personnage depuis deux mille ans, que dans l'originalité des interprétations, malgré d'inévitables redites et banalités. <p>Sur la base d'une analyse minutieuse des différentes composantes du thème magdaléen dans la littérature franco-belge d'expression française après 1814, et des incarnations féminines qui s'en dégagent, cette thèse définit les contours du visage de la Madeleine de ces deux derniers siècles, et démontre la raison fondamentale de la permanence de la figure évangélique à travers les siècles :sa rencontre immédiate, et constante, avec le motif de la Femme dans la civilisation judéo-chrétienne. / Doctorat en philosophie et lettres, Orientation langue et littérature / info:eu-repo/semantics/nonPublished