[pt] Esta pesquisa, de caráter discursivo, analisa como as decisões sobre prisão domiciliar para mulheres, mães de crianças menores de 12 anos e/ou gestantes, são construídas discursivamente por juízes e desembargadores. Parte-se das leis e normas nacionais constantes no Artigo 318 do Código de Processo Penal brasileiro, o Estatuto da Criança e do Adolescente, o Habeas Corpus 143.641/SP com decisão do Supremo Tribunal Federal e também as Regras de Bangkok - Regras das Nações Unidas para o Tratamento de Mulheres Presas e Medidas Não Privativas de Liberdade para Mulheres Infratoras – das quais o Brasil é signatário para, então, se analisar um corpus constituído de 16 Acórdãos, compreendidos entre os anos de 2017 e 2019, da comarca da cidade do Rio de Janeiro, para os casos de concessão ou não de prisão domiciliar como pena alternativa. As decisões em primeira instância são referenciadas em alguns momentos da análise tendo em vista as entextualizações feitas pelos profissionais no decorrer dos procedimentos judiciais. Também são analisadas as leis e documentos oficiais citados acima. Trata-se de uma análise discursiva, qualitativo-interpretativista e interdisciplinar, que articula os estudos da Linguagem e do Direito do âmbito da Linguística Aplicada, mais especificamente da Linguística Forense. Após avaliar a relação sócio-histórica entre maternidade, feminismo e encarceramento e descrever o gênero acórdão com apoio das noções de cronotopo, cronotopo jurídico e entextualização, a lente discursiva desta tese se volta, com apoio do Sistema de Avaliatividade, para os índices avaliativos e morais sobre o comportamento feminino presentes nas decisões. Embora as normas nacionais e internacionais sejam convergentes em relação a (i) importância do convívio entre mãe e filho na primeira infância; (ii) especificidades em relação à prisão de mulheres e de gestantes e (iii) crítica ao encarceramento feminino, que vem aumentando consideravelmente no Brasil e no mundo, o que se observa, como resultados de pesquisa, é que: (i) os discursos construídos pelos julgadores são, muitas vezes, moralizantes, baseados na ideia de que a mulher perde a capacidade de ser mãe uma vez que comete um delito e (ii) os magistrados desconsideram os discursos presentes nas normas e leis existentes, mantendo a orientação punitivista que contribui diretamente para o aumento do quantitativo de mulheres encarceradas no Brasil. / [en] This discursive research analyzes how decisions about house arrest for women, mothers of children under 12 years of age and/or pregnant women are constructed discursively by judges. It is based on national laws and rules such as the Article 318 of the Brazilian Code of Criminal Procedure (Artigo 318 do Código de Processo Penal brasileiro), the Child and Adolescent Statute (Estatuto da Criança e do Adolescente), the Habeas Corpus 143.641/SP with the Supreme Court (Supremo Tribunal Federal) decision and the international Bangkok Rules - United Nations Rules for the Treatment of Women Prisoners and Non-Custodial Measures for Women Offenders – of which Brazil is a signatory, in order to analyze a corpus consisting of 16 Judgments, between the years of 2017 and 2019, of the district of the city of Rio de Janeiro, for cases of granting or not of house arrest as an alternative penalty. Decisions at first instance are referenced at some moments of the analysis with regard of the entextualizations made by professionals during legal proceedings. The laws and official documents mentioned above are also analyzed. This is a discursive, qualitative- interpretative and interdisciplinary analysis, which articulates the studies of language and law in the field of Applied Linguistics, and more specifically to Forensic Linguistics. After evaluating the socio-historical relationship between motherhood, feminism and imprisonment, describing the judgment as a textual gender with support of the perspectives of chronotope, legal chronotope and entextualization, the discursive lens of this thesis turns, with the support of the Appraisal System, to the evaluative and moral indicators on the female behavior shown in the decisions. Although national and international rules converge to (i) the importance of interaction between mother and child in early childhood; (ii) the specificities in relation to the arrest of women and pregnant women and (iii) the criticism of female incarceration that has been increasing considerably in Brazil and worldwide, what is observed, as the research results, is that: (i) the discourses constructed by the judges are often moralizing, based on the idea that women lose the ability to be a mother once they commit an offence; (ii) the judges disregard the discourses present in the existing norms and laws, maintaining the punitive orientation that directly contributes to the increase in the number of women incarcerated in Brazil.

Dans le prolongement du travail effectué par le centre d'études et de recherches sociocritiques sur le volume intitulé Chronotopes : les espaces du temps, nous examinons les descriptions spatiotemporelles dans onze romans historiques espagnols de la fin du XXe siècle et du début du XXIe siècle. L'analyse est effectuée à partir de deux axes : la description des espaces communs aux différents romans du corpus et leur temporalisation manifeste à travers les différentes déclinaisons du temps historique et du temps cyclique. Il s'agit de démontrer si ces descriptions ont une fonction de référentialité nous ramenant à l'Histoire ou si, au contraire, elles renvoient à la construction narrative. Ce travail permet de déceler des chronotopes référentiels, nous ramenant à l'Histoire, et des chronotopes internes à caractère essentiellement structurant. Le questionnement est aussi de déterminer si les chronotopes restent ordonnés par une conscience du temps contemporaine aux auteurs où si l'orientation historique de l'écriture met en place ceux du passé. La conscience du temps est susceptible de présenter une évolution entre les représentations chronotopiques des œuvres publiées à la fin du millénaire et celles du début du XXIe siècle. Dans cette perspective, nous sommes amenés à considérer les événements politiques et sociaux du tournant du siècle en Espagne et à les mettre en relation avec l'expression du temps dans les chronotopes qui structurent les romans. Afin de mieux apprécier la portée des chronotopes, c'est le principe de la diversité qui a guidé le choix du corpus. / In the continuation of work carried out by the “Centre d'études et de recherches sociocritiques” (Center for Sociocritical Studies and Research) on the volume entitled chronotopes: the spaces of time, we examine the spatiotemporal descriptions in Spanish of eleven historical novels in the late twentieth century and early twenty-first century. The analysis is performed along two axes: the description of common spaces for the various novels of the corpus and their temporality, manifested through the different versions of historical time and cyclical time. The issue we want to tackle is whether these descriptions create a referentiality bringing us back to history or whether, instead, they refer to the narrative construction. This work detects referential chronotopes leading us back to history and chronotopes that are essentially oriented to internal structuring. The question is whether the chronotopes are ordered by an awareness of authors' contemporaneity or if the orientation of historical writing sets up those of the past. Awareness of time is likely to present an evolution between the chronotopical representations of works published at the end of the millennium and the early twenty-first century. In this perspective, we are led to consider the political and social events at the turn of the century in Spain and to connect them with the expression of time contained in the chronotopes that shape the novels. The choice of our corpus was guided by the principle of diversity to better assess the scope of chronotope. The criteria for its formation have taken into consideration the ages of the authors, the success of the works and the historical periods treated.

The non-fiction introduction to The Wyvern’s Tale: A Thought Experiment in Bakhtinian Dual Chronotope Occupation documents the evolution of the novel, The Wyvern’s Tale, from the ideas that inspired it to its current incarnation as a full-length novel intended for an adult audience. It comprises an explanation of the novel’s main concept, Bakhtinian dual chronotope occupation, as well as an idea-focused account of the creative-writing process. Detailed in the introduction’s theoretical premise is the relationship between Mikhail Bakhtin’s theories of chronotope and the carnivalesque and the ideal of the divided union in Chalcedonian Christology. This relationship revolves around the state of existing in two time-spaces at once. The novel, The Wyvern’s Tale, explores this dual existence imaginatively using the setting of parallel worlds – the every-day world and a fictional world called Wyvern – as well as a protagonist, who functions in the fictional world as a Christ-figure. Particular thematic emphasis is placed on differing perceptions of truth and reality, and on the transformative power of costumes. The novel’s outcome, dependent on the reader’s decision as to whether dual chronotope occupation is possible or impossible, is respectively either hopeful or tragic. It attempts to reflect the outcome of the life and death of Christ depending on whether his co-existence as God and man was real or imagined.

香港作家董啟章的長篇小說《自然史三部曲》是一項規模龐大的寫作計畫。此計畫採取「自然史」的形式，旨在跨越文明史觀轉向一切事物的源頭追索。進而，這一系列創作主要是透過多聲部的對位和應答去營造，小說的時間與速度、情感與思考皆呈現出繁複而動態的效果。就內容言，自然史意在廣納物質與語言的創造、時空與情感的迸生、身體與性愛的顯露，以及人類作為物種的誕生與成長（Bildung）等包羅萬有的主題。藉此，自然史試圖重新思索一個人與自我、他人以至世界的複雜關係，並且在不返回基礎形上學的前提下再度探問人類的存有與行動之條件。 　　在方法上，本研究首先沿著董啟章的小說創作軌跡去勾勒自然史的孕生過程和主題結構，接著引發巴赫金（Mikhail Bakhtin）與董啟章在小說理論上的差異對話，從而針對三部曲的敘事形式和內容進行文本詮釋。我們重點強調巴赫金的時空體（chronotope）範疇與對話性（dialogicality）思想，以及他對歌德與杜斯妥也夫斯基的詮釋將會是董啟章與巴赫金之間的潛在理論戰場。此外，本論文亦將反身地探問董啟章的小說本體論，並提出「自然寫實主義」的概念來描述其小說風格。具體而言，自然寫實主義將從兩個面向鋪陳論證，亦即三部曲中的自然即是歷史性以及寫實主義超越客觀性的非傳統意涵。 　　首部曲《天工開物‧栩栩如真》展開作者與主角的美學倫理問題，繼而在自我意識的分裂對話中遭遇可能的想像他者。這部曲的原創之處在於重新納入自然的假設，凸顯自然與人為彼此延伸或開放的關鍵在於想像的再造，位處人之盡頭的嶄新思考（時間）和語言（生命）。第二部《時間繁史‧啞瓷之光》積極破除作者自我的迷障，回應生活中的具體他人。這部曲除了以時空體的迸生理解對話性的成長，更特別透過諸般藝術形象作為純粹符號，一方面證明自我與他人的對話總有超越語言溝通的可能，另方面暗指自然正是要透過準自然的文物揭櫫，在眾多主體性抵消的零和之處浮現。第三部《物種源始‧貝貝重生之學習年代》的人物返回觀點外在化、立場公共化的新古典精神。這部曲凸顯了作者自我的退隱同時也是多重作者再次進場的契機。發展至此，大寫作者的回歸已不再意涵辯證綜合的某個絕對精神，而比較是某種實證集合的自然人存有體。於是，人類透過書寫的行動與身體的經驗重新獲得了學習和成長的潛能。 　　最後，本研究將論證，董啟章的自然寫實主義創新地結合歌德的自然科學觀和杜斯妥也夫斯基穿透主體的寫實主義，意即在巴赫金的小說理論基礎上進行了雙重跨越。與此同時，董啟章的自然史三部曲激進地超越了片面的政治、經濟和社會史觀。他針對小說文類的創造性實驗冒險地催生出一種後歷史的人類科學，也許甚至是一部未來性的人類史詩。 / Hong Kong novelist Dung Kai-Cheung’s Natural History Trilogy is a writing project on the grand-scale. This project is presented in the form of “natural history”, a form of traversing the entire history of civilization to inquire into the source of all things. The series of fictional works mainly utilize a multi-vocal device of counterpoints or mutual responses to create an effect of moving labyrinths in the novel with regards to its narrative time and speed, affect and idea. In terms of content, natural history intends to accommodate a wide variety of themes such as the creation of materiality and language, the emergence of time-spaces and affects, the manifestation of the human body and sexuality, as well as the birth and growth (Bildung) of the human species. As such, natural history seeks to reconsider the complex relationships a single human being may enter with him/herself, with others, and with the world. As a result, natural history reexplores the conditions of being in the world and human action without lapsing into fundamental metaphysics. On the methodological level, this thesis first of all outlines the preparatory phases and thematic structures of natural history along the trajectory of Dung Kai-Cheung’s early writings, and thereafter initiates an alternative dialogue about the theory of the novel between Mikhail Bakhtin and Dung Kai-Cheung with and aim to conduct textual interpretations of the trilogy’s narrative forms and plot contents. We will foreground Bakhtin’s conception of chronotope and dialogicality as well as his interpretation of Goethe and Dostoevsky as the potential theoretical battlegrounds between Bakhtin and Dung. Additionally, this thesis will reflexively search after Dung Kai-Cheung’s ontology of the novel, thereby putting forward a notion called “natural realism” to describe the style of his trilogy. Specifically speaking, we will elaborate on the idea of natural realism in two respects, namely the unconventional implications of nature as historicity and realism as supra-objectivity. The first episode Works and Creations poses a question of aesthetic ethics regarding the author-hero relationship in which the possibility of encounters with fantastic others can be created through an internal dialogue of divided self-consciousnesses. The originality of this episode resides in staging a hypothetical return of nature for the sake of showcasing that the mutual openness and extension between natural and artificial facts depend on remaking of imagination, and resides in a new horizon of thought and language at the end of man. The second episode Histories of Time further engages in lifting the barrier of the authorial self, after which a living response to actual others may be recovered. This episode not only understands dialogical Bildung through the prism of chronotopic emergence but also envisages a variety of artistic figures as pure signs. This literary device is designed to demonstrate that dialogues between the self and others could always surpass the linguistic form of communication, and also intimate that nature is manifested through these cultural relics of quasi-nature and reemerged in the extermination of multiple subjectivities at the end of a zero-sum game. The third episode The Age of Learning brings the characters back to the neo-classical spirit in which each viewpoint gains a notable voice and all standpoints are rendered public. This episode lays emphasis on the retreat of the authorial self as a simultaneous chance for the return of multiple authorship. As of now, the return of the Author no longer implies the dialectical synthesis of some absolute spirit, but rather a certain positive assembly of natural human beings. Henceforth, the human species regains the potentialities of learning and growth through the action of writing and bodily experience. Eventually speaking, the thesis will argue that Dung Kai-Cheung’s natural realism is the fruitful result of an innovative integration of Goethe’s idea of natural science and Dostoevsky’s subject-penetrating realism, a result based upon striding across Bakhtin’s interpretations of both literary giants. In the meantime, Dung Kai-Cheung’s trilogy of natural history opens up a frontier radically transcend any one-sided view of history in favor of politics, economics and/or society. His creative experiment with the novel genre ventures to deliver a post-historical human science, perhaps even a future-oriented human epic.

澳洲原住民已經生存在澳洲大陸長達四萬年。他們有著自成一套的宗教系統、神話、風俗習慣、語言和藝術，遵循著使人和自然都共榮的生存方式。但是，由於白人的入侵，企圖強占他們的土地，使得澳洲原住民幾乎要絕滅。在大規模的屠殺和白人從歐洲帶來的傳染病流行之下，原住民的人口急遽減少，連他們的文化都受到威脅。因此，原住民成為澳洲社會中被邊緣化的少數族群。 因此，此篇論文要援引巴赫汀（Mikhail Bakhtin）提出的「時空型」的概念、法國史學家納拉（Pierre Nora）對於記憶的看法及相關的原住民文化，去探討傑克•戴維斯在《頭生兒三部曲》中，顯示出白澳社會對於原住民的壓迫及原住民在重建文化記憶和原住民本質的強化之下，所表現出來生存的毅力。第一章包含了白人和澳洲原住民接觸的歷史背景、傑克•戴維斯及其劇作的簡介，其他評論家對於《頭生兒三部曲》的評論。第二章中，我要援引巴赫汀的「時空型」的概念來討論在白人政府的壓迫之下，原住民所處嚴酷的社會環境及原住民弱勢的社會地位給原住民帶來的影響。第三章則援用納拉對於記憶的論點來分析戴維斯藉由說故事、舞蹈和夢境來創造「記憶場域」（lieux de mémoire）以保留原住民對於其文化的記憶。第四章則是探討原住民本質所帶來的能力增強。藉由此能力強化，原住民得到了對抗白人迫害的力量，且可以為自己發聲。第五章則是為前四章所論做總結。 / Indigenous Australians have lived in Australia for 40,000 years. They develop their own system of religion and mythology, social conventions, language and arts, observing a life that can make both the environment and human beings prosperous. But Aboriginals are driven to extinction by the White who intend to possess their land. Because of large scale of massacres and diseases, both the number of Aboriginal population and their culture are endangered. Indigenous Australians become the marginalized minority in Australian society. Therefore, with the reference to Mikhail Bakhtin’s idea of the chronotope, Pierre Nora’s concept of memory and related Aboriginal culture, this thesis aims to discuss that Jack Davis, in The First Born trilogy, presents the oppression of White Australian society to Aboriginal people and displays Aboriginals’ persistence in survival through the reconstruction of Aboriginal memory and the empowerment of Aboriginality. Chapter One includes the general historical background of the contact between the White and Aboriginals, the introduction to Jack Davis and his plays, and the criticism on Davis’s trilogy. In Chapter Two, I take advantage of Bakhtin’s idea of the chronotope to discuss the severe social environment of indigenous Australians who are oppressed by the White Australian government and the social consequences of Aboriginals’ disadvantaged position in society. Chapter Three aims to utilize Pierre Nora’s concept of memory to analyze that Davis, through stories, dances, and dream visions, creates lieux de mémoire to preserve Aboriginal memory. Chapter Four concentrates on the empowerment of Aboriginality, which offers a subversive force for Aboriginals to fight against the White persecution and have their voice heard. Chapter Five is the concluding chapter to wrap up these three plays.

Made available in DSpace on 2016-04-28T19:58:41Z (GMT). No. of bitstreams: 1 Karin Bakke de Araujo.pdf: 347476 bytes, checksum: dff757c4fe42f7850d85705ac17bae7a (MD5) Previous issue date: 2011-09-20 / The novels O moleque Ricardo (1935) and Usina (1936), written by José Lins do Rego (1901-1957), tell the story of the formative trajectory of the character moleque Ricardo inserted in the post-slavery and pre-capitalist environment of the 1920 s in the patriarchal North-East of Brazil. The temporal construction of the fable is composed using testimonial data of his contemporaries based on actual historical and cultural structures, organized in narrative sequence by chronotopic nuclei consonant with Mikhail Bakhtin s chronotopic theory. These chronotopes reveal the thematic plot generating centers, and the relations of place and time by means of logical variations put at the disposal of the unification of meaningful answers between the author and his character. In the building process of the fabular system, in both novels, epiphany participates in the dramatic action work together with the temporal and spacial nuclei. The epiphanic revelation offers to the reader the apprehension of the illusion of social and humanistic truth of this reality through the narration of the mythical hero s journey emerging from Ricardo s outside to his inside world, through meaning equivalents which reveal epiphanic moments. Both novels by José Lins do Rego are impregnated with the reading intersection of temporal chronotopic logic together with the epiphanic space relationship, and, to achieve this purpose, the author makes use of changes in the structural functions at the beginning of a new epics being formed in the black hero moleque Ricardo consciousness / Os romances O moleque Ricardo (1935) e Usina (1936), escritos por José Lins do Rego (1901 1957), relatam a história da trajetória de formação da personagem moleque Ricardo, caracterizada no contexto da sociedade nordestina patriarcal e pós-escravagista brasileira da década de 1920. A efabulação temporal é composta de dados testemunhados por seus contemporâneos sobre estruturas históricas e culturais reais colocadas em sequência narrativa pelos núcleos cronotópicos referentes à concepção designada pela teoria dos cronotopos de Mikhail Bakhtin. Esses cronotopos tornam visíveis os centros temáticos geradores do enredo e as relações espaçotemporais em variações lógicas, colocadas a serviço da unificação das respostas significativas entre autor e personagem. No processo de construção do sistema fabular, em ambos os romances, a epifania participa do trabalho de ação dramática junto aos núcleos de tempo e espaço. A revelação epifânica oferece ao leitor a apreensão da ilusão da verdade social e humanística dessa realidade, por meio do relato da jornada do herói mítico, emergindo do mundo exterior ao interior da personagem Ricardo, em instantes epifânicos reveladores de equivalências de sentido. As duas obras de José Lins do Rego são tomadas pela leitura do cruzamento da logicidade temporal cronotópica com a espacialidade epifânica, e, para isso, o autor se vale da troca de funções estruturadoras dos limiares do novo epos em formação na consciência do herói negro moleque Ricardo

The Rhodesian and Zimbabwean space-time involved the creation and adoption of hegemonic discourses that influenced ways of behavior, thinking, perceiving reality and particular ways of identity construction based on mystifying nationalisms. In raced and politically charged spaces, such grand narratives depended, for their currency, on stereotypes, essentialisms, domination and dichotomization of ‘nation as narration’. The metanarratives of the two spaces functioned as discursive tools for the legitimation of particular forms of exclusions, elisions and distortions. As discursive and polemical literary tools, these discourses always found sustenance and perpetuation in the existence of a different other. In other words, these constructed narratives sought to use difference as a basis for scapegoating and naturalizing racial, economic, political and resource asymmetries in the Rhodesian and Zimbabwean spaces. Power was wielded not in the service of, but against, the majority who are marginalized. This study explores John Eppel’s writings on the constructions of both Rhodesia and Zimbabwe as ideological spaces for the legitimation of power based on class, race and politics. I argue that Eppel’s selected writings are a literary intervention that proffers a satirically dissident critique of the foundational myths, symbols and narratives of Rhodesian and Zimbabwean space-time. The study argues that Eppel offers literary resistance to unproblematized identity compositions predicated on socially constructed but skewed categories that limit the contours of belonging and citizenship. The Rhodesian space is viewed as a palimpsest upon which is overwritten the Zimbabwean patriotic discourse that also authorize racism, marginalization, power abuse and other forms of exclusion. In examining Eppel’s satiric disruption of both spaces, I use certain strands of the Postcolonial Theory that problematize issues of nation, identity, race, tribe and power. Its usefulness lies in its rejection of fixities, of absolutes and in its general counter-hegemonic thrust. I therefore invoke the theorizations of Frantz Fanon, Homi Bhabha, Maria Lara, Paul Gilroy, Mikhail Bakhtin and Benita Parry. These form the theoretical base with which the study confronts Eppel’s writings on Rhodesia and Zimbabwe. The focal texts used are: Absent: The English Teacher (2009), selected short stories in White Man Crawling (2007) and The Caruso of Colleen Bawn (2004), The Holy Innocents (2002), Hatchings (2006), selected poems from Spoils of War (1989), Songs my Country Taught me: Selected Poems 1965-2005(2005) and D.G.G.Berry’s The Great North Road (1992). I conclude by arguing that Eppel creates a fictional life-world where race, origin, politics, class and culture are figured as polarizing identity markers that should be re-negotiated and even transcended in order to materialize a more inclusive multicultural society. To the extent that both the colonial and post-independence eras cross-fertilize each other in terms of occlusions, creating hegemonic narratives, resort to race, violence, silencing and erasure of certain subjectivities, Eppel advocates the ‘hatching’ of a new national, moral and inclusive ethos that supersedes the claustrophobia of both spaces. / English Studies / D. Litt. et Phil.(English)

In the years immediately following the Second World War, the main part of Latvian literature was produced by writers living outside Latvia. To this day Latvian literature continues to be written outside Latvia, albeit to a much smaller extent. This study examines those Latvian novels, written outside Latvia after the Second World War, which depict the realities of the early years of exile. The aim of the study is to describe the image of the world of exile as depicted in these novels. Borrowing from Bakhtin's concept of the chronotope, images relating to time and space in these novels are examined in order to discern a mental topography of exile common to all these novels - a chronotope of exile. The novels are read as part of a collective narrative, produced by a particular social group in unordinary historical circumstances. The novels are regarded as this social group’s common perception of its own experience of this historical reality. The early years of exile fall into two distinct periods: first, the period of flight from Latvia and life in and around the Displaced Persons camps of postwar Germany; second, the early years of settling in a new country of residence after emigration from Germany. A model of the perceived world is constructed in order to compare these two periods, as well as their divergence from a standard perception of oneself in the world. This model consists of various time-spaces radiating concentrically out from the individual – ranging from the physically and psychologically near-lying time-spaces of one’s personal and intimate life, through everyday social time-spaces, as well as formal societal time-spaces, to the more distant abstract and conceptual perceptions of one’s place in the universe. Basic human concepts such as home, family, work, intimate relationships, social administration, and most notably the homeland – Latvia – are plotted at various points within these models. Divergences between the models describing the perception of time and space in the two early periods of exile thus become apparent.

Ecocritical theology relates to American fiction as it connects nature and spirituality. In my development of the term “neo-pastoral” I begin with Virgil’s Eclogues to serve as examples for spiritual and nature related themes. Virgil’s characters in “The Dispossessed” represent people’s alienation from the land. Meliboeus must leave his homeland because the Roman government has reassigned it to their war veterans. As he leaves Meliboeus wonders why fate has rendered this judgment on him and yet has granted his friend Tityrus a reprieve. Typically, pastoral literature represents people’s longing to leave the city and return to the spiritual respite of the country. When Meliboeus begins his journey he does not travel toward a specific geographical location. Because the gods have forced him from his land and severed his spiritual connection to nature he travels into the unknown. This is the starting point from which I develop neo-pastoral threads in contemporary literature and discuss the alienation that people experience when they are no longer connected to a spirit of the land or genius loci. Neo-pastoralism relates Bakhtin’s idea of chronotope and the expansion of the narrative voice of the novel to include the time/space dialogic. Neo-pastoral fiction shows people in their quest to find spirituality in spite of damage from chemical catastrophic events and suggests they may turn to technology as an ideological base to replace religion. The (anti) heroes of this genre often feel no connection with Judeo-Christian canon yet they do not consider other models of spirituality. Through catastrophes related to the atomic bomb, nuclear waste accidents, and the realization of how chemical pollutants affect the atmosphere, neo-pastoral literature explores the idea of apocalypticism in the event of mass annihilation and the need for canonical reformation. The novels explored in this dissertation are John Updike’s Rabbit, Run; Thomas Pynchon’s The Crying of Lot 49; Bernard Malamud’s The Fixer; Don DeLillo’s White Noise; Leslie Marmon Silko’s Almanac of the Dead; Toni Morrison’s Paradise; and Cormac McCarthy’s The Road.

Cette thèse présente une étude mythocritique de la production romanesque de Manuel de Lope [1949] postérieure à son retour en Espagne en 1993 et jusqu’à aujourd’hui : El libro de piel de tiburón (Alfaguara,1995); Bella en las tinieblas (Alfaguara,1997), (Suma de Letras, 2000), (RBA, 2010) ; Las perlas peregrinas (Espasa-Calpe,1998), (RBA, 2007) ;
 La sangre ajena (Editorial Debate, 2000); Otras islas (RBA, 2008). En effet, un séjour de vingt-cinq ans hors d’Espagne lui a permis d’exercer un regard extérieur et fécond sur son propre pays où désormais, il vit et écrit. Son œuvre romanesque recourt aux mythes antiques pour développer les thématiques essentielles dans l’Espagne de ce début de XXI ème siècle que sont la mémoire et l’oubli face à l’Histoire, la quête identitaire à travers les mythes du labyrinthe, du caïnisme, de Dionysos, de Saturne et de Chronos. Tous ces mythes s’organisent autour d’un mythe dominant, celui de Chronos, grâce à une image phare qui éclaire l’identité collective espagnole, image déjà présente dans l’ œuvre goyesque : celle de Saturne dévorant ses fils. / This thesis presents a mythocritical analysis of the novels written by Manuel de Lope (born in 1949) from 1993, when he returned home to Spain, until nowadays: El libro de piel de tiburón (Alfaguara,1995); Bella en las tinieblas (Alfaguara,1997), (Suma de Letras, 2000), (RBA, 2010) ; Las perlas peregrinas (Espasa-Calpe,1998), (RBA, 2007) ;
 La sangre ajena (Editorial Debate, 2000); Otras islas (RBA, 2008). As he had stayed away from Spain for twenty-five years, he was able to look with an external and creative perspective at his own country where he is now living and writing. In his fiction he resorts to ancient myths in order to develop the themes which are essential in the Spain of the early 21st century: memory and obliviousness as regards history as well as the search for identity through the myths of the Labyrinth, cainism, Dionysus, Saturn and Chronos. In Manuel de Lope's work, all these myths are structured around a dominant myth - that of Chronos- thanks to a highly influential image which sheds light on Spanish cultural identity, an image which was already present in Goya's work: Saturn devouring his sons.