Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-04-01T13:22:14Z No. of bitstreams: 1 teresacristinadacostaneves.pdf: 1223902 bytes, checksum: 8e959ac813a9ede05b4b8ee58fe7bae9 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-04-24T03:15:12Z (GMT) No. of bitstreams: 1 teresacristinadacostaneves.pdf: 1223902 bytes, checksum: 8e959ac813a9ede05b4b8ee58fe7bae9 (MD5) / Made available in DSpace on 2016-04-24T03:15:12Z (GMT). No. of bitstreams: 1 teresacristinadacostaneves.pdf: 1223902 bytes, checksum: 8e959ac813a9ede05b4b8ee58fe7bae9 (MD5) Previous issue date: 2014-03-19 / A abordagem da temática do risco sob o enfoque do riso tem sido prática recorrente na produção de cronistas brasileiros contemporâneos, tendência na qual o risco se impõe como objeto e o riso se revela como estratégia. Ao tornar risíveis, em seus textos, as ameaças com as quais lidamos cotidianamente, esses textos denotam nosso ânimo para enfrentar aflições pessoais e coletivas, evidenciando aspectos culturais relevantes, maneiras de pensar e agir peculiares de nosso tempo. Os conceitos de risco, riso e crônica são explorados por meio de uma abordagem diacrônica e sincrônica, bem como desdobrados em um panorama teórico-conceitual mais amplo no qual são investigadas as noções complementares de experiência e reflexividade, felicidade e alegria, memória e esquecimento. Os contrastes e distâncias aí evidenciados servem para problematizar as relações entre risco e riso no corpus literário selecionado. O estudo analítico abrange 15 crônicas de Luis Fernando Verissimo, João Ubaldo Ribeiro, Millôr Fernandes e Moacyr Scliar. O objetivo mais amplo do estudo é investigar o modo pelo qual se exprime nos textos escolhidos o enredamento do risco e do riso em circunstâncias existenciais características da época atual. Aventa-se, entre outras, a hipótese mais geral de que a crônica oferece-se como espaço de mediação entre o registro de comportamentos tipicamente contemporâneos e a recriação artística de vivências genuinamente humanas. / The thematic approach of risk brought into focus by the concept of laughter has been a recurrent practice concerning the literary production of Brazilian contemporary chroniclers. Such trend is based on the assumption that risk is imposed on as an object, whereas laughter appears to be a strategy. In order to make laughable the threats we have to deal with in everyday life, their texts usually indicate our courage in facing both personal and collective woes. Such texts highlight relevant cultural aspects of our time as well as typical ways of thinking and being. Concepts such as risk, laughter and chronicle are hereby considered in two different ways one being diachronic, and the other synchronic. The same concepts are then unfolded in reference to a broader theoretical-conceptual panorama allowing that complementary notions such as experience and reflexivity, happiness and joy, memory and oblivion be studied. Once proved by evidence in the above-mentioned notions, contrast and distances will be taken to account for the complex relationship between risk and laughter as found in the selected literary corpus. The analytical study carried on here covers fifteen chronicles signed by Luis Fernando Verissimo, João Ubaldo Ribeiro, Millôr Fernandes and Moacyr Scliar. Its assumed larger scope concerns an inquiry about the manner by which the collected texts express the entanglement of risk and laughter in view of existential circumstances that so well typify life at the present time. As a more general hypothesis, it is here proposed that every chronicle operates an actual mediation between on one side the records of human behavior clearly related to the present time, and the artistic reinvention of genuinely human experiences on the other.

La thèse s’intéresse aux usages de l'épopée chez Rabelais et les histoires comiques du XVIIe siècle (Sorel, Furetière, Scarron, Tristan L’Hermite, d’Aubigné). Elle cherche à dépasser l’interprétation parodique, souvent mobilisée par la critique moderne, et à montrer comment ces auteurs semblent rivaliser avec les poètes héroïques de la même époque (Ronsard, Chapelain, etc.) en tentant de refonder le récit comique long. Tout d’abord, on tente d’évaluer la présence de l’épopée dans ces œuvres comiques par un relevé des références et des citations, et une redéfinition de l’héroïsme tel qu’il apparaît dans les récits. Dans un deuxième temps, on cherche à expliquer l’usage de ces références par les auteurs comiques, autrement que par le concept moderne et trop souvent plaqué de « parodie » : on s’intéresse donc aux usages sociologiques de l’épopée, qui sert à la satire politique, religieuse, mais aussi savante. Les historiens sont, par exemple, des cibles privilégiées, car ils se servent de l’épopée pour cautionner leurs projets d’historiographie nationaliste et mythologique. Ce travail doit enfin permettre de mesurer le rôle du genre épique dans le renouvellement de l’écriture comique, tel que l’a instauré Rabelais, et tel qu’il fut poursuivi par ses successeurs. Cette analyse permet de revenir sur la réception de Rabelais au XVIIe siècle, encore peu étudiée, autant que d’appréhender l’influence de ces longues histoires comiques en prose, dans les siècles suivants : romans d’aventures, romans de cape et d’épée – autant de genres qui ont bénéficié des innovations héroïques et vraisemblables de ces longs récits comiques d’une époque disparue. / This dissertation focuses on the various uses of epic in Rabelais’ Books and in the comic novels of the XVIIth century (d’Aubigné, Sorel, Tristan L’Hermite, Scarron, Furetière). It attempts to go beyond the parodic interpretation commonly adopted by modern criticism towards this corpus, and to underline how these authors compete with the epic poets of that time (Ronsard, Chapelain etc.), as they try to renew the comic narrative. The first part of the study assesses the presence of epic features in the works: using a list of references and quotes, it strives towards a redefinition of heroism, as the paradigm appears in the texts. It then delves into the reasons why the authors so often refer to epic: as an efficient tool for their satiric discourses. The dissertation focuses on the sociological uses of epic that target political, religious and intellectual groups that appropriate epic models for their own purposes. Historians appear as privileged targets because they use epic to validate their historiographic projects, often imbued with nationalist and mythological tendencies. Finally, the work gauges the role of epic in the renewal of comic writing, as established by Rabelais, and continued by his epigones. This analysis sheds light on Rabelais’ reception in the XVIIth century, a topic that has scarcely been studied yet, and offers explanations for the lasting influence of these long comic and prosaic stories in the following centuries: adventure novels, swashbucklers and historical novels are some of the genres that may have taken advantage of the realistic and heroic innovations brought forth by these comic stories of a bygone age.

L’hybridation, phénomène omniprésent dans de nombreux domaines, a particulièrement influencé l’évolution du cinéma. Alors que les premières générations de cinéastes semblaient avoir tout inventé de ce nouvel art, le cinéma n’a cessé d’emprunter aux dernières technologies et aux dernières formes d’expressions artistiques, à mesure que se mettaient en place des média de plus en plus présents dans la vie quotidienne. L’étude des passerelles qui se multiplient au fil des décennies, permet de cerner les mécanismes qui concourent à l’abolition progressive des frontières entre les média et les disciplines artistiques. Toutefois, la présente recherche ne se borne pas à scruter ces seules œuvres issues des dernières technologies, mais elle se réfère aussi aux pionniers avant-gardistes des années 1920 qui ont posé les bases de l’hybridation. Elle est donc structurée selon deux grands axes : d’une part l’axe historique, l’histoire du cinéma étant profondément marquée par les vicissitudes de notre temps, et d’autre part l’axe de la pluridisciplinarité, incluant les diverses formes d’expressions artistiques et les divers média. Plus spécifiquement, dans le foisonnement de la production cinématographique, la présente étude se propose de faire le point sur la situation du cinéma hybride au tournant du siècle, à partir d’un corpus constitué de douze films produits en France, aux U.S.A. , au Canada et au Japon, entre 1983 et 2004, et auxquels fait pendant Metropolis de Fritz Lang [1927]. Enfin, comme on pourra le constater, cette enquête s’est inspirée des nombreuses et pertinentes études et comptes-rendus qui l’ont précédée. / Hybridisation, which is overwhelmingly present in many fields, has particularly influenced the evolution of cinematographic art. Although the first generations of film-makers seemed to have invented everything in this new art form, the cinema has always borrowed from the most modern technologies and the latest forms of artistic expression, while at the same time the media were taking up a larger and larger place in our everyday lives. The study of the links between them, which multiplied over the decades, allows us to understand the mechanisms contributing to the gradual abolition of the dividing lines between the media and artistic disciplines. However, the present research is not limited to the examination of works resulting from the most recent technological developments, since it also refers back to the avant-garde pioneers of the 1920’s, who set the basis for hybridisation. It is therefore centered around two main axes : on the one hand, the historical axis since cinema history has been profoundly marked by the vicissitudes of our time, and on the other hand the pluridisciplinary axis, including diverse forms of artistic expression and various media. More specifically, amid the wealth of cinematographic productions, this study proposes to take stock of the state of hybrid cinema at the turn of the century, using a corpus composed of 12 films, made in France, the United States, Canada and Japan between 1983 and 2004 and which go hand in hand with Fritz Lang’s Metropolis [1927]. Finally, it can be seen that this study has been inspired by the numerous and pertinent works and reports which have preceded it.

This thesis examines the depiction of warfare in post-9/11 ancient world epics and assesses the extent to which these films engage with contemporary events by means of allegory and analogy. Inspired by scholarship on allegorical and analogous interpretations of 1950s-60s ancient world epics, I explore how the current cycle engages with the American socio-political landscape in the wake of 9/11, with particular emphasis on the War on Terror and ensuing conflicts in Iraq and Afghanistan. I chart the genre’s evolution in relation to the combat film, and examine how the current cycle of ancient world epics integrates the tropes of other genres into its portrayal of warfare, invasion, occupation and imperialism. Within this context, I explore the recurrent motif of the father-son dynamic, and assess how its use in combat films corresponds to that in ancient world epics. I also discuss how this motif was employed in 1980s Vietnam War films, and what its use in these modern epics suggests about the conflicts in Iraq and Afghanistan. Furthermore, I discuss the use of the unreliable narrator to engage with wider debates on the value of historical films compared to written history. The aim of this study is to demonstrate that the ancient world epic is a malleable construct with which filmmakers can engage with the present while depicting the past. I build on existing studies of the ancient world in cinema, contributing new understanding of the current cycle’s relationship to its predecessors, to other genres, and to post-9/11 American society. In so doing this thesis contributes to notions of film as art, as industry, and as history, and how they intersect in cinematic depictions of the ancient world.

This project is an analytical history of the discourse of media panics that have affected comics-like forms in the mid- to late-1800s, comic books in the mid-1900s, and comics media in 1990s and the contemporary moment. The study of these media panics shapes a theory of nerd culture in general and comics culture specifically in order to better understand the delicate and foundational dialectic that sustains a consumer identity that is paradoxical in its indulgence in and animosity towards popular culture. With its historical formation in mind, this project explores the formation of geek chic as a consumer identity that, in many ways, troubles and even threatens the status quo of nerd culture.

Les histoires comiques forment, de 1612 à la fin du siècle, un genre narratif divertissant qui, bien que traversé par des influences diverses, trouve sa cohésion dans de nets partis pris esthétiques : une écriture naturelle, une attention portée aux réalités, une apparente vérité des lieux, des situations et des personnages, ainsi que la présence d’une thématique sérieuse sous une fantaisie de façade. La redécouverte de ces oeuvres par la critique moderne a permis de souligner le rôle qu’elles ont joué dans l’évolution du roman au XVIIe siècle, après plusieurs siècles d’oubli ou de dénigrement. Assurément, avant toute analyse, les histoires comiques marquent surtout l’esprit par leur bouffonnerie : leurs auteurs n’écartent aucun ressort facétieux, si grossier soit-il, pour provoquer le rire. C’est, en effet, sur la mise en scène grotesque du corps que repose le plaisir franc et simple de ces oeuvres : visages difformes, anatomies disproportionnées, gesticulations, chutes, maladies, coups, chairs blessées ou sensuelles tissent le matériau narratif. Notre thèse propose de sonder cette présence ostentatoire du corps humain et de démontrer qu’elle est au centre de la fabrique du genre deshistoires comiques. En sus de cette exploration, notre étude cherche à affiner l’interprétation du divertissement corporel en prenant en compte son contexte culturel et anthropologique. Il s’agit de comprendre comment, au-delà de son rôle poétique et générique, le corps devient signifiant pour les auteurs du la narration comique du XVIIe siècle. / From 1612 to the end of the century, comic novels constitute a entertaining narrative genrewhich, despite many diverse influences, finds its cohesion in firm aesthetic choices : a natural writing, an attention to reality, an outward truthfulness of places, situations and characters, as well as serious themes under the apparent farce. When the modern critique rediscovered those works, it underlined their crucial part in XVIIth century novel’s evolution, after a long period of oblivion or denigration. Indeed, previous to any analysis, comic novels strike mostly by their buffoonery : their writers don’t hesitate to use triviality and vulgarity to create laughter.Surely, the simple and franc pleasure of reading comic novels is based on the grotesque staging of the body : deformed faces, disproportionate anatomies, gesticulations, falls, illnesses, punches, armed or sensual fleshes forge the narrative material. Our thesis proposes to investigate the ostentatious presence of the human body and to demonstrate that it is at the heart of the construction of the comic novel as a genre. In addition to this exploration, our study seeks to sharpen the interpretation of the corporeal entertainment by taking into account its cultural and anthropological context. The aim is to understand how, beyond its poetical andgeneric part, the body becomes meaningful to the authors of XVIIth century comic narration.

Mort and Phil (Mortadelo y Filemón) are one of the most famous Spanish comics in thehistory. As some of the characters of Spanish comic they have been sometimes described aspicaresque. The objective of our study is finding out if Mort and Phil play the role of thepicaro. Our study follows the hermeneutic method, taking into consideration the role of thecomic in Spanish society and the concept of picaresque novel. In order to carry out theanalysis, we will look for the characteristics of the picaresque in three stories of theadventures of Mort and Phil. Along the study we will notice the lack of consensus in order todecide what it can be considered a picaresque novel or what not besides showing allcharacteristics of picaresque are not present in this comic. Therefore, we conclude that Mortand Phil can not be considered a picaresque novel but it could be understood as a work ofpicaresque spirit.

This thesis discusses Lorenzo de' Medici's era and literary work. In the first part, Lorenzo's personage is introduced and put into historical and cultural context. Given its importance for social changes, a separate chapter is dedicated to humanism and its eminent personalities. Neoplatonism and Lorenzo's patronage and cultural activities are also mentioned. The second part of the thesis is dedicated to Lorenzo de' Medici's own literary work, paying particular attention to his comical poems inspired by rustic life, especially some of his carnival chants (canti carnascialechi) and the poem Nencia da Barberino, which are then analyzed. In the conclusion, this study briefly deals with the controversy caused by the connection between Lorenzo's poetry and his government. Keywords: Lorenzo de' Medici, humanism, Neoplatonism, volgare, patronage, comical and realistic poetry, carnival chants.

Cette thèse a pour objectif de proposer un nouveau regard sur l’œuvre d’Ivan Gontcharov (1812-1891), romancier russe majeur du XIXe siècle et auteur du célèbre Oblomov. Cette recherche examine pour cela l’ensemble du corpus de l’auteur, à savoir ses quatre grandes œuvres : une Histoire ordinaire (1847), la Frégate Pallas (1858), Oblomov (1859), la Falaise (1869), ainsi que ses œuvres plus confidentielles, pour en saisir la cohérence et la portée générale. Nous examinons la figure du moraliste qui se profile derrière la création de Gontcharov. Cette thèse s’organise autour de trois axes principaux. Nous étudions, d’une part, le rôle du comique dans la production littéraire de Gontcharov en nous focalisant notamment sur l’intertextualité forte que l’on observe avec d’autres auteurs majeurs, comme Gogol ou Pouchkine, par exemple. Nous explorons ensuite la problématique de la nourriture et du corps dans le travail de Gontcharov. Nous nous intéressons notamment à la représentation symbolique des repas en menant, en parallèle, une réflexion sur la description du corps à travers toute son œuvre, et spécifiquement dans son récit de voyage. Nous envisageons enfin Gontcharov comme un peintre de la société russe en proposant une analyse détaillée de ses portraits de femmes, de ses questionnements sur la thématique du mariage et de sa critique ferme des passions. Toutes ces perspectives permettent de soutenir l’argument central de cette thèse, considérer Gontcharov comme un moraliste. / In this thesis, I intend to offer a new vision of Ivan Goncharov’s works (1812-1891), major Russian novelist of the XIXth century and author of the famous novel Oblomov. I analyse all the works of the novelist : A Common Story (1847), Oblomov (1859), the Frigate Pallas, the Ravine (1869) and some of his less known short stories. I try to show how one could consider Goncharov as a moralist. My thesis is organized around three major themes. Firstly, I address the fundamental role of the comic elements in Goncharov’s literary production as I focus my attention on the strong intertextuality between Goncharov and other major authors of the XIXth century, such as Pushkin or Gogol. My second part is dedicated to the question of food and the body in Goncharov’s creation. I ponder over the symbolic representation of meals and cooking throughout his works. I also discuss the construction of bodies in his literary production, and more specifically in his travel writing. Finally, I examine Goncharov as a « painter » of the Russian society as I study his rich diversity of portraits of women, his considerations on marriage and his strong criticism of human passions, a fundamental argument of my thesis which stands perfectly in line with this vision of Goncharov as a moralist

Chaque année en France, les films adaptés des œuvres littéraires forment une partie importante des sorties cinématographiques, parmi lesquelles nous remarquons souvent les films adaptés des pièces de théâtre comiques. En effet, dès sa naissance, le cinéma est lié étroitement au théâtre, surtout aux pièces comiques. Les cinéastes ont puisé leurs inspirations aussi bien dans les pièces classiques (L’Avare, La Fausse Suivante, Cyrano de Bergerac, etc.) que les pièces modernes (La Cage aux folles, Le Dîner de cons, Le Prénom, etc.), en passant par les vaudevilles (Un Chapeau de paille d’Italie, Un Fil à la patte, etc.), les café-théâtre (les pièces du Splendid) et les pièces de Sacha Guitry et de Marcel Pagnol qui ont vécu la prospérité du théâtre filmé. Le théâtre et le cinéma, tous deux arts de spectacle, partagent énormément de points communs et gardent également de nombreuses différences. Ils se mélangent, s’influencent et se critiquent. Les spectateurs regardent la représentation théâtrale avec une vision « cinématisée » sans en avoir conscience. À l’inverse, nous déployons la théâtralité dans chaque séquence de film. Dans le cadre comique, quelle est donc la relation entre le cinéma et le théâtre ? Les ressorts du comique de théâtre sont-ils les mêmes au cinéma? Quels effets donnent-ils ? L’étude de l’adaptation des pièces comiques de théâtre au cinéma dans la période définie par notre corpus nous permet de voir les principes du travail de l’adaptation et de saisir le changement de la relation entre le théâtre et le cinéma au fil du temps. Ce changement nous laisse entrevoir la procédure de maturation d’un jeune art — le cinéma. Les valeurs esthétiques que nous avons dégagées dans ce travail nous aideront à comprendre d’une façon profonde les arts de spectacle, tandis que la valeur sociale du film adapté nous fera réaliser la nécessité de ce travail d’adaptation. / Every year in France, plenty of new movies are adapted from literary works, among them, we can often notice the films adapted from comic plays. Indeed, since its invention, the cinema is closely related to the theater, especially to the comic plays. The filmmakers try to find their inspiration in classic plays (The Miser, La Fausse suivante, Cyrano de Bergerac, etc.) as well as modern plays (La Cage aux Folles, Dinner of Fools, The First Name, etc.) but also in vaudeville (Un chapeau de paille d’Italie, Love on the Rack, etc.), in dinner theater (the plays of the Splendid) and in the plays of Sacha Guitry and Marcel Pagnol, who experienced the boom period of « théâtre filmé ». As two performing arts, theater and cinema share a lot of common points but have also many differences. They influence each other. The audience, unconsciously, watches the theatrical performance with a « cinématisée » vision. Conversely, we deploy theatricality in each sequence of the film. In the comic plays, what is the relationship between cinema and theater? Are the comic elements of theater the same as those in cinema? What effects do they give? The study of the adaptation of comic plays to the cinema in the period defined by our corpus lets us see the principles of adaptation and know the change in the relationship between theater and cinema. This change shows us the maturing process of a young art —the art of cinema. The aesthetic values that we have reveald in this work will help us understand the performing arts in a deep way, and the social value of an adapted film will let us realize the need of this adaptation.