Longtemps, on a reproché à Flaubert l’usage de métaphores médiocres (Proust). Or l’image flaubertienne est bien plus complexe que sa surface ne le laisse supposer. Notre étude cherche à lui rendre toute sa valeur. Mais comment l’image vient-elle dans le langage ? Comment agit-elle sur l’esthétique de la production et de la réception ? Que recouvre l’expression « image littéraire » ? Que signifie « visualité » dans le cadre de l’image poétique ?Ce travail cherche à approfondir l’étude de l’image poétique dans toute sa diversité. Il expose les formes d’images générées par les mots : d’une part les effets des tropes – les processus figuratifs –, d’autre part ceux des techniques descriptives évocatrices – des descriptions détaillées qui font naître des images mentales (« visuelles »). Les deux effets peuvent entrer dans un processus interactif fructueux que nous tentons de dévoiler en examinant le contexte de l’image littéraire : le terme aristotélicien « mettre sous les yeux », le rôle de l’icône dans la métaphore, les termes « quasi-visuel », « voir comme », la question du « moment de l’image », l’aspect de la sensibilité de la métaphore. Nous discutons aussi les notions de « métaphore vive », d’« image associée », d’image « liée », et le sujet de l’énigme en rapport avec la métaphore. Nous nous concentrons sur deux romans : Salammbô et Madame Bovary, et montrons la diversité, l’efficacité et le fonctionnement novateur des images littéraires. Flaubert était connu pour être un véritable iconophobe face aux images matérielles. Son but était de « faire image » et de « faire rêver » grâce aux mots. Nous montrons les techniques qu’il utilisait pour travailler avec l’image. / For a long time, Flaubert was criticized for the use of mediocre metaphors, at the level of his poor characters (Proust). In fact the Flaubert image is far more complex than one may suppose at first sight. This dissertation will try to restore all their value. But how does image arrive into language? In what way does it act upon the aesthetic of production and reception? What does the expression "literary image" embrace? What does "visuality" mean in the poetic image universe?This dissertation's finality is to go into detail in the subject of poetic image. It exposes the different forms of the images produced by words: on the one hand the effect of tropes, which means the figurative processes, and the effects of evocation and descriptive techniques in the other, which produce mental images in the reader's mind. Studying the literary image context, this dissertation will try to unveil the plenteous interactive process both effects may reach: the aristotelian notion "Bringing-Before-The-Eyes", the function of the icon in metaphor, the expressions "quasi-visual" and "to see like", the "image moment" matter, and the sensibility aspect of metaphor. The notions of "alive metaphors" (Ricœur), "associated image" (Le Guern), "linked image", and the enigma subject related to metaphor, will also be approached.Flaubert's novels Salammbô and Madame Bovary will be analyzed in the second part, focussing on the diversity, efficacy and innovating function of literary images. Flaubert was known as being a real "iconophobic" when confronted with material images. His goal was to "create images" and "generate dreaming" only throughout words. We will study the different techniques he used.

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.

Den västerländska kanon har varit ett omdiskuterat begrepp ända sedan dess intåg i litteraturvetenskapliga kretsar - en debatt som pågår ännu idag. Debatten har främst kommit att handla om kanons legitimitet i förhållande till dess representation, då den sedan uppkomsten främst har representerats av litteratur skriven av västerländska män. År 2004 uppmärksammades debatten i Norden, vilket resulterade i att Danmark fick en etablerad kulturkanon, som syftar till att representera det danska kulturarvet. Detta inspirerade till en liknande debatt i Sverige, där folkpartisten Cecilia Wikström lade fram ett förslag på en liknande svensk kulturkanon för att därmed stärka det svenska kulturarvet. Detta förslag möttes av kritik från olika håll, vilket vi undersöker i denna uppsats för att ge en bild av kanons många aspekter. Uppsatsen är uppdelad i två delar: en makroanalys och en mikroanalys. Makroanalysen undersöker forskning kring kanonteorier, kanondefinitioner, kanoniska egenskaper och kanonrepresentation, för att kunna erhålla en tolkning och vidare en förståelse för vad som utgör kanon. Mikroanalysen är en undersökning som utmärker och legitimerar en romans plats i kanon, utifrån resultaten i studiens första del. Litteraturobjektet är Gustave Flauberts Madame Bovary från 1857, då den förekommer på flera kanonlistor, och är både hyllad och kritiserad. Litteraturen vi granskar består av etablerad litteratur som är representerad i kanon i egenskap av en manlig västerländsk författare, för att undersöka i vilken mån de kanoniska egenskaperna går att utröna i verket, och med detta motivera dess plats i kanon. Makroanalysen visar att kanon fortfarande till största del är representerad av västerländska män. Detta, visar forskningen, beror på traditionella urvalsprocesser som inte alltid följer samhällets utveckling mot jämlikhet och mångfald. Likväl har det uppstått en del alternativa listor och forskning som bidrar till att de försummade författarskapen representeras i kanon. Mikroanalysen visar korrelationen med resultaten i makroanalysen. Madame Bovary besitter de kanoniska egenskaper som eftersträvas i kanon genom stil och särart, tradition, värderingar, kulturarv samt står emot tidens tand. Resultaten av studien visar att det inte alltid handlar om de kanoniska egenskaperna per se, utan att det snarare är vad ett litterärt verk representerar i relation till det litterära fältet, eller den kanoniska diskursen, som avgör vad som anses vara kanoniskt eller ej. / The Western canon has been a debatable topic ever since its entry into the field of literature - a debate that is still on-going. The focus of this particular debate has primarily been about the canons legitimacy in relation to its representation, since it is mostly represented by literature written by Western males. In 2004, the debate was brought to attention in Scandinavia, which resulted in an established culture canon in Denmark, which intended to represent the Danish cultural heritage. This inspired a similar debate in Sweden, where the politician Cecilia Wikström suggested a similar Swedish cultural canon, in order to strengthen the Swedish cultural heritage. This suggestion was met by critique from different directions, which our study is partly based on. This thesis study is divided into two parts: a macroanalysis, and a microanalysis. The macroanalysis analyses research about canon theories, canon definitions, canonical qualities, and canon representation, in order to establish an interpretation and understanding of the constituents of the canon. The microanalysis is a study that distinguishes and legitimizes a novel’s place in the canon, based on the results from the macroanalysis. The literary object of this study is Gustave Flaubert’s Madame Bovary from 1857, since it is recurrent in many lists of canonical works, and has been both praised and criticised throughout the years. The literature that is studied is established literature represented in the canon as a work of a Western male writer, in order to study how the canonical qualities are represented in the novel, and thus legitimise its place in the canon. The results from the macroanalysis show that the Western canon is still mostly represented by Western males. Research indicates that this is due to traditional sampling processes, which do not always follow the development in society towards equality and cultural diversity. However, some alternative canonical lists have emerged, as well as research that has contributed to further representation of previously neglected authorships to the canon. The microanalysis shows the correlation with the results from the macroanalysis. The canonical qualities of style and peculiar nature, tradition, values, cultural heritage and standing the test of time, are all represented in Madame Bovary. The results of this study indicate that it is not always about the canonical qualities per se; it seems to be more about what a literary work represents in relation to the literary field, or the canonical discourse, that determines what is considered as being canonical or not.

Made available in DSpace on 2016-12-23T14:34:13Z (GMT). No. of bitstreams: 1 Camila David Dalvi - dissertacao.pdf: 986192 bytes, checksum: fbca750834a063ce5be4391ac085037d (MD5) Previous issue date: 2008-10-31 / Ce travail se dédie essentiellement à l étude du concept de "bovarysme", inspiré par l oeuvre Madame Bovary, de Gustave Flaubert. La dissertation partira d un abrégé de la trajectoire du philosophe Jules de Gaultier qui l a institué, passera par une lecture critique de l oeuvre flaubertienne en question et suivra vers la définition de "bovarysme" selon la philosophie gaultierienne. Nous établirons des comparaisons avec quelques oeuvres de Flaubert et, éventuellement, avec des oeuvres d auteurs brésiliens comme Machado de Assis et Lima Barreto. Les correspondances de Flaubert seront évoquées, ainsi que des réflexions critiques et théoriques de Per Buvik, Émile Zola, Andrea Hossne, Mario Vargas Llosa et Arnold Hauser / Este trabalho dedica-se primordialmente ao estudo do conceito de "Bovarismo", nascido de inspiração da obra Madame Bovary, de Gustave Flaubert. A dissertação partirá de um apanhado da trajetória do filósofo - Jules de Gaultier - que o instituiu, passará por uma leitura crítica da obra flaubertiana em questão e seguirá rumo à definição do que seria o Bovarismo segundo a filosofia gaultieriana. Serão estabelecidas comparações com algumas obras de Flaubert e, eventualmente, com obras de autores brasileiros como Machado de Assis e Lima Barreto. As correspondências de Flaubert serão evocadas, assim como reflexões crítico-teóricas de Per Buvik, Émile Zola, Andrea Hossne, Mario Vargas Llosa e Arnold Hauser

The focus of this thesis lies on the outstanding Spanish realistic and naturalistic novel of the 19th century known as La Regenta by Leopoldo Alas "Clarin". The thesis is divided into two parts, the first is oriented towards historical and cultural context of the novel's origin, biography of the author and general introduction of the novel. The second part of the thesis concentrates on a main character Ana Ozores de Quintanar, mainly from psychological and sociological perspective. Sole chapter is then dedicated to comparison of novels La Regenta and Madame Bovary by Gustave Flaubert and its main heroines. The primary aim of the thesis is to study the main character Ana Ozores, her gradual formation and to analyze her relationship with other key characters of the novel and factors which brought heroine's demise in the end.

Gustave Flaubert et Guy de Maupassant étaient des amis et des écrivains réalistes qui voulaient décrire la société en entier comme des artisans plutôt comme des artistes. En le faisant tous les deux utilisaient les habits des personnages dans leurs œuvres pour découvrir la société, la stratifictaion dans la société et les personnages des œuvres. Mais, malgré qu'ils veuillent travailler comme des artisans ils avaient des styles très précises et élaborés. L'approche sociocritique est la méthode pour comprendre; Comment les habits démasquent la position des personnages dans la société Comment les habits racontent l’histoire et la psychologie des personnages Comment les habits symbolisent les caractères dans un plus grand contexte littéraire / Gustave Flaubert and Guy de Maupassant were friends and realist authors who wanted to describe the totality of society as artisans rather than artists. In doing so both of them used  the way their characters dressed to discover society, the stratification in society and the characters in their literary work. However, in spite of their will to work as artisans they were stylistically prominent with styles precise and elaborated.From a socio-critical point of view this essay tries to understand: How the out-fit unveils the social position of the characters. How the out-fit unveils the story and psychology of the characters. How the out-fit symbolises the characters in a wider literary context. / Gustave Flaubert och Guy de Maupassant var vänner och realistiska författare som ville beskriva samhället i sin helhet som hantverkare snarare än konstnärer. När de gjorde det använde båda två personernas kläder för att avslöja samhället, klassuppdelningen i samhället och personernas psykologi i sina verk. Men, trots att de ville arbeta som hantverkare var båda stilistiskt framstående med varsin precis och genomarbetad stil.Från en sociokristisk synvinkel försöker denna uppsats förstå: Hur kläderna avslöjar personernas sociala ställning. Hur kläderna avslöjar personernas berättelse och psykologi. Hur kläderna symboliserar personerna i ett större litterärt sammanhang.

<p>The creation of Emma Bovary, the major character in Madame Bovary written by Gustave Flaubert, must have been one of the most reckless literaray enterprises of its time. There is no doubt that its inventor, Flaubert, aimed to promote a feminist viewpoint. In this masterwork, Flaubert fully depicts the different options, offered to women in the Napoleon era.</p><p>However, somehow Flaubert’s novel is concerned less with the differences between men and women, as they are pre-given, than with what differentiates men from other men. Therefore, I have in this essay also payed particular attention to the codified social roles and rights for men within the legal framework of the Code Napoléon, leading to a reformulation of ‘masculinity’ and ‘manhood’ in nineteenth-century France. These codified roles and rights reveal a number of negative power-and social relationships with men, as well as with women. Not all men are equal or unaffected by the laws of Patriarchy. In Madame Bovary shifts in gender value, shifts in the codification of what is ‘feminine’ or ‘masculine’ are present throughout the entire novel, thus creating a real gender trangression or a new woman and a new man.</p>

Fictional characters who mistake reality for fiction can be considered as parodies, beings invented by the author to denounce the illusions of which they are victims. But this viewpoint is not valid if the novels in which those "mistaken readers" exist suggest, to the contrary, that reality is problematic; it is therefore impossible to judge the characters without "afterthoughts", since these characters, in a way, are pointing to the fact that the reality they live in is "unreal". / Such is the case with Madame Bovary and Don Quijote. These two novels, as a result of different "techniques", essentially tell their readers to be suspicious about what is "true" and what is "false". These are novels without a strong authorial voice, novels that speak more about how characters conceive reality than about reality itself, which remains in both cases a complete mystery. / This viewpoint can be extended into a definition of the novel, in terms of what it says (or doesn't say) about the world. And in fact, a novel doesn't say anything about the world, at least not directly. It could be described as "a machine" made from what the characters say. Obviously, such a machine cannot be taken too seriously, since nobody (that is to say no real person) is actually saying what is being said in its pages. But at the same time, by refusing to show the fictional world in itself, (by always showing it through the eyes of fictional characters), the novelist reminds his reader that the real world itself is inescapably ambiguous.

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Proefschrift Universiteit van Amsterdam. / Met lit. opg. - Met samenvatting in het Nederlands.