Submitted by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2018-02-20T13:37:11Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Michele Alves de Melo.pdf: 769209 bytes, checksum: e7c563dc5ae5a4ac846f2f3d14e229ef (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2018-02-20T13:37:24Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Michele Alves de Melo.pdf: 769209 bytes, checksum: e7c563dc5ae5a4ac846f2f3d14e229ef (MD5) / Made available in DSpace on 2018-02-20T13:37:24Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Michele Alves de Melo.pdf: 769209 bytes, checksum: e7c563dc5ae5a4ac846f2f3d14e229ef (MD5) Previous issue date: 2015-06-15 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The work intends to present an approach to Marxian theory of modernity in connection with some works of Balzac. The purpose is thus to understand the possible ties to be identified among a certain canonical theoretical framework within the social sciences and a number of literary works. The approach taken is not limited to focus on the issue of class struggle or how the economic infrastructure interfere in the political and ideological superstructure, as generally the studies about Marxism stress, but the way the two authors, even devoted to distinct intellectual activities, can be articulated between themselves. This research shows how much Marx appropriated the approach method from the literary narratives of Balzac and converted these gains to a scientific analysis of the reality established by the modern world. Despite the differences of political and ideological positions that exist between Marx and Balzac, an aimed critique of bourgeois society inaugurated by the French author contributed greatly to the German author to consolidate his own revolutionary point of view of modernity. / O trabalho intenta apresentar uma abordagem da teoria marxiana da modernidade em conexão com algumas obras de Balzac. Objetiva-se, assim, compreender os laços possíveis de serem identificados entre um determinado arcabouço teórico canônico no âmbito das ciências sociais e um conjunto de obras literárias. A abordagem empreendida não se limita a focalizar a questão da luta de classes ou o modo como a infraestrutura econômica interfere na superestrutura política e ideológica, tal como geralmente os estudos acerca do marxismo salientam, mas sim ao modo como os dois autores, devotados a atividades intelectuais distintas, podem ser articulados. A investigação demonstra como Marx em muito se apropriou do modo de abordagem proveniente das narrativas literárias de Balzac e converteu tais ganhos para uma análise científica da realidade instaurada pelo mundo moderno. A despeito das diferenças de posicionamentos político e ideológico existentes entre Marx e Balzac, uma visada crítica da sociedade burguesa inaugurada pelo autor francês em muito contribuiu para o autor alemão consolidar o seu próprio ponto de vista revolucionário da modernidade.

Honoré de Balzac filled the imaginary world of his Comédie humaine with a vast array of characters of all ages, types and social classes. Although, in general, the girls among them play a secondary role, they nevertheless form a group which is not only interesting, but which receives a special form of attention from its creator. In Balzac's view, the typical girl (who is also his ideal) is sweet, pure and docile, and most of the girls he depicts fall into this category, although they often combine with these passive traits a surprising degree of will-power. They are nearly all extremely beautiful; their every word and gesture is filled with the natural charm of youth and innocence. They live in a narrowly restricted world, always under the watchful eye of their mothers or guardians, carefully sheltered from the corrupting influences of the real world outside their small circle of family and acquaintances. Their days are spent doing needlework, helping with household chores and going for walks, well chaperoned, of course. These girls and their monotonous lives are, in themselves, of limited interest for Balzac. Their real importance lies in their future, when, as wives and mothers, they will assume a meaningful function in society, and it is therefore their preparation for this future role which is of primary concern to the novelist. In his opinion, the usual training which girls receive in feminine accomplishments and rudimentary knowledge is far from being an adequate and worthwhile education. Their heads are filled with useless information while, at the same time, all the realities of life, the things they most urgently need to know about society, human nature and especially the opposite sex, are carefully hidden from them in the name of decency and propriety. Completely naive and ignorant, they are then exposed without protection to the problems and dangers of life, all too often with the result that they fall an easy prey to the first handsome man they meet or, what is a far worse disaster, they prove to be unhappy and therefore unfaithful wives. Among the girls of the Comédie humaine, it is only those few who, belonging to enlightened families and taught not only high principles but also some of the basic facts of life, are able to achieve successful marriages and happy lives. Because passion, according to Balzac's theories, is the basic force behind all human behaviour, it is only when love enters the lives of these girls that they really begin to develop as individuals. The discovery of love is, for them, a sudden revelation, an awakening to the true meaning of life and of their own destinies. Love gives Eugénie Grandet the courage to stand up to her tyrannical father; it fills Ursule Mirouët with the strength and determination needed to achieve the marriage she desires; it inspires in Rosalie de Watteville a diabolical cunning by which she manipulates all those around her, prevents a marriage and affects the outcome of an election. For Balzac, the more a woman has experienced passion, the more attractive and interesting she becomes, and it is primarily for this reason that the girls in the Comédie humaine , still on the threshold of life, play a less important role than the more mature feminine characters. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Orientador: Paulo Roberto Ottoni / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-04T01:56:18Z (GMT). No. of bitstreams: 1 Esqueda_MarileideDias_D.pdf: 995307 bytes, checksum: d5f0cd871449f2dff2fbe381ab5a5b51 (MD5) Previous issue date: 2004 / Resumo: Proponho, neste estudo, analisar algumas das notas de rodapé de Paulo Rónai na tradução para a língua portuguesa da obra A Comédia Humana de Honoré de Balzac, com o intuito de discutir que Rónai, na tentativa de traduzir os trocadilhos balzaquianos que chama de intraduzíveis, sofre o double bind, aquilo que sobra, que resta a ser traduzido. O problema do ¿intraduzível¿, declarado nas notas de tradução de Rónai, mostra sua irredutibilidade perante o idiomático da língua em sua atividade tradutória. O intraduzível para Rónai configura-se no momento mais complicado de sua argumentação teórico-prática, é aquilo que o perturba no processo tradutório. Nesse sentido, a partir das questões abordadas por Jacques Derrida, reflito sobre a questão dos limites entre texto e texto traduzido. Trata-se de tentar construir uma ponte entre a questão das notas de tradução de Rónai e a desconstrução, uma vez que Derrida expõe que é na nota que o intraduzível se multiplica, promovendo a disseminação de uma língua em outra língua. O tradutor Rónai, por assim dizer, é levado a participar do jogo do intraduzível, do double bind, sofrendo os limites das línguas / Abstract: The main purpose of this work is to analyze Paulo Rónai¿s footnotes in the translation to Portuguese language of the work of Honoré de Balzac, La Comédie Humaine, aiming to discuss that Rónai, trying to translate balzaquian¿s puns which he calls untranslatable, suffers the double bind, the remainder to be translated. The problem of the ¿untranslatable¿ declared in Rónai¿s translation footnotes shows his irreducibility before the idiomatic of the language in his translating activity. The untranslatable in Rónai¿s point of view figures out in the most complicated moment of his theoretical-practical activity, it is what bothers him in the translating process. Therefore, based on Jacques Derrida¿s approach, I discuss the limits between text and translated text. I aim to build a bridge between the discussion concerning translation footnotes and deconstruction, once Derrida argues that it is in the translation footnote process that the untranslatable expands, promoting the dissemination from one language to another. The translator Paulo Rónai participates in the untranslatable play, in the double bind play, suffering the limits of the languages / Doutorado / Tradução / Doutor em Linguística Aplicada

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

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

This thesis proposes to analyze the dichotomous representation of the female model as benevolent and malevolent in three 19th-century French novels. Honoré de Balzac's The Unknown Masterpiece (1834), Jules and Edmond de Goncourt's Manette Salomon (1867), and Émile Zola's The Masterpiece (1886) are all novels set in artist's workshops and all portray the female model as playing an essential role in determining the success, then demise of the male painter. My study of these texts will therefore focus on the juxtaposed presentations of the female models in terms of their relationships to the male artists. It will reveal how as the artists succeed in transforming their models' bodies into aesthetic nudes and containing these representations within the parameters of their canvases as a means of asserting their authority, the models are positively portrayed. On the contrary, when the artists fail to transform and contain their models' bodies, these female characters are negatively depicted as being the source of the painters' ruin. By examining this dichotomous representation of the female models, I will reveal the complex means by which the patriarchal order within the texts oppresses the female characters. / Master of Arts

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

Subject to this degree work is the character of prostitutes in French society in the 19th century reflected in eight selected works of French authors of the time. In the first part of my thesis the history of prostitution from "religious prostitution" in ancient Greece to its "golden age" in France in the 19th century is described. The decay of moral principles in the post-Revolutionary period (as a result of religious and social taboos collapse) causes a great spread of prostitution and venereal diseases. Because of these reasons it was necessary to take the legalizing and organizing precautions - the French System. The second part of this work takes addresses the different (romantic and naturalistic) representations of the character of the prostitute in the literature of the 19th century. The representative of the romantic interpretation of the courtesan who is driven to sin due to poverty (the myth of the "fallen angel" redeemed by pure love) is Honoré de Balzac and his novel "The Splendors and Miseries of Courtesans". The opposite pole to the romantic interpretation of prostitutes is a naturalistic beast which chooses the oldest profession herself as a means of executing social revenge. In this second, analytical, part of this work the comparison of both of these kinds is made. Key words:...

A Thesis Submitted to the Faculty of A rts, University of the Witwatersrand, Johannesburg, for the Degree of Doctor of Philosophy. Johannesburg, January 1973 / The purpose of th is thesis is to correct the widespread misconception th a t children and adolescents are of small Importance in the world of Balzac's Comedie humaine. My method of procedure was not the traditional one. Instead of making'individual characters the focal point of my study, I culled relevant information from the Com&die humaine and then proceeded to group related concepts. Afterwards I consulted Balzac's private correspondence, the Oeuvres de Jeunesse, the Oeuvres diverses and various editions of his works,as well as lite ra ry and social criticism . The present thesis consists o f an Introduction, eight Chapters and a Conclusion. I t is divided into two parts. Part I is concerned with the child and the adolescent per s e . Part II outlines Balzac's view of th e ir growth and development. Chapter I aims to show that Balzac was not only a pioneer in the history of the French novel, but also a pioneer of the treatment of the child therein. Chapter II studies those characteristics which he considered typical of the child personality. They tend to be clinical rath er than lite ra ry , although there is inevitably some overlap and even co n flic t. Chapter III examines types of children mentioned in the Comddie humaine. Personal considerations motivated Balzac to place most emphasis on the only child, the s p o ilt child and, obliquely, the adopted child who then had minimal Importance in French Law. Nevertheless an appearance is made by all types known a t the time to lite ra tu re , society and the law, although not a ll are dissected.