Este trabalho tem como objetivo propor um diálogo entre a leitura do Quixote em contexto escolar e os estudos literários, por meio da análise do processo de transferência da obra canônica de Miguel de Cervantes para o sistema literário infantil. Apontamos, neste percurso, as principais questões, enfrentadas tanto por adaptadores da obra quanto por educadores, no que tange à complexa tarefa de colocar a obra ao alcance dos leitores infantojuvenis. Esta pesquisa permite discutir aspectos textuais, históricos e culturais das adaptações, além de sugerir uma abordagem prática da introdução do Quixote em contexto escolar que estimule o empoderamento do leitor infantojuvenil, resgatando seu papel de leitor ativo na própria narrativa cervantina. Palavras-chave: Dom Quixote de la Mancha, Escolarização da leitura, Ensino de espanhol, Adaptação, Literatura infantojuvenil, Formação do leitor, Empoderamento do leitor, Literatura espanhola século de ouro, Miguel de Cervantes (1547-1616), Recepção de Quixote / This research aims to propose a dialogue between the reading of Quixote in the school context and the literary studies, analyzing it by the process of transferring the Miguel de Cervantes canonical book to the childrens literary system. We focus on the main issues, faced by adapters and educators, in the complex task of providing the work to the childrens readers. This thesis allows us to discuss textual, historical and cultural aspects of the adaptations, as well as it suggests a practical approach to use of the Quixote in the school context, stimulating the empowerment of the childrens reader, and resignifying their active role in the Cervantes narrative.

Au-delà d’être un poème didactique, les Phénomènes d’Aratos sont un poème pédagogique qui unit étroitement le fond et la forme. On y trouve une conscience méthodique de la construction d’un savoir ; l’analyse du vocabulaire, pourtant issu de la poésie homérique, révèle une réflexion sur la transmission scientifique déjà définie comme un processus dynamique, à une époque où les écoles et leurs méthodes sont encore jeunes : percevoir, délimiter, nommer, et enfin assurer la conservation d’un objet de science. Cette idée de transmission prouve la préoccupation pédagogique d’Aratos, qu’il met en scène dans le poème à travers des figures de maîtres et d’élèves. Il s’y lit, notamment dans le mythe de l’Âge d’Or, une foi en la collaboration entre tous les vivants, fondée sur un respect qui tranche avec la dureté des poèmes didactiques archaïques. La pédagogie devient dans les Phénomènes un enjeu poétique : Aratos définit le poète comme un des membres de cette collaboration universelle, derrière laquelle il doit s’effacer, dans une éthique et une esthétique de l’anonymat qui remettent en question le kléos archaïque. La tradition poétique peut désormais être bousculée au nom de la transmission scientifique, et cette nouvelle conception n’est pas sans rappeler les récentes critiques opérées par Platon. Tout se passe comme si Aratos avait voulu relever le défi que Platon a lancé aux poètes de son temps : chanter le Dieu et sa création selon le Vrai ou le Vraisemblable, et devenir par son chant l’éducateur de la cité idéale. C’est probablement la réussite de cette gageure qui a assuré la gloire des Phénomènes dans les siècles où la philosophie de Platon a été suivie et admirée. / The Phaenomena by Aratus are not only a didactic, but also pedagogical poem, in which form and content are tightly bound. One may find in it a methodical conscience of how knowledge is built; the analysis of vocabulary, although taken from Homeric poetry, shows that scientific transmission is already understood as a dynamic process, in a time when schools and their proceedings were still young : to perceive an object of science, to delimitate it, to name it, and at last to guarantee his preservation. This idea of transmission proves that Aratus is concerned with pedagogy, which is illustrated in the poem through different figures of masters and pupils. We can observe, especially in the myth of the Golden Age, all his faith in the collaboration between all kinds of living being bound together by a respect that is really different from the harsh tone of archaic didactic poetry. In the Phaenomena, pedagogy becomes a poetic matter: Aratus defines the poet as a member of this universal collaboration, behind which he has to fade because of an ethic and an aesthetic of namelessness; so is the archaic kleos questioned. Poetic tradition can be shaken up in the name of scientific transmission, and this new conception may remind us of Plato’s recent criticism. Apparently, Aratus did want to take up Plato’s challenge to the poets of his time: to sing the God and his creation according to Truth or Verisimilitude, and to become the teacher of an ideal state, thanks to his song. In all likelihood, Aratus’fame came from the success of this wager, during all the centuries when Plato’s philosophy was followed and admired.

This by-practice project is the first to provide an extensive investigation of the marginalisation of era appropriate science (EAS) and professional investigators by detective and historical detective fiction authors. The purpose of the thesis is to analyse specific detective fiction authors from the earliest formats of the nineteenth century through to the 1990s and contemporary, selected historical detective fiction authors. Its aim is to examine the creation, development and perpetuation of the marginalisation tradition. This generic trend can be read as the authors privileging their detective’s innate skillset, metonymic connectivity and deductive abilities, while underplaying and belittling EAS and professional investigators. Chapter One establishes the project’s critique of the generic trend by considering parental authors, E. T. A Hoffmann, Edgar Allan Poe, Émile Gaboriau and Wilkie Collins. Reading how these authors instigated and purposed the downplaying demonstrates its founding within detective fiction at the earliest point. By comparing how the authors sidelined and omitted specific EAS and professional investigators, alongside science available at the time, this thesis provides a framework for examining how it continued in detective fiction. In following chapters, the framework established in Chapter One and the theoretical views of Charles Rzepka, Lee Horsley, Stephen Knight and Martin Priestman, are used to discuss how minimising EAS and professional investigators developed into a tradition; and became a generic trend in the recognised detective fiction formula that was used by Sir Arthur Conan Doyle, Freeman Wills Crofts, H. C. Bailey, R. Austin Freeman, Agatha Christie, Ruth Rendell and P. D. James. I then examine how the device transferred to historical detective fiction, using the framework to consider Ellis Peters, Umberto Eco and other selected contemporary authors of historical detective fiction. Throughout, the critical aspect considers how the trivialisation developed and perpetuated through a generic trend. The research concludes that there is a trend embedded within detective and historical detective fiction. One that was created, developed and perpetuated by authors to augment their fictional detective’s innate skillset and to help produce narratives using it is a creative process. It further concludes that the trend can be reimagined to plausibly use EAS and professional investigators in detective and historical detective fiction. The aim of the creative aspect of the project is to employ the research and demonstrate how the tradition can be successfully reinterpreted. To do so, the historical detective fiction novel A Hidden Life uses traditional features of the detective fiction formula to support and strengthen plausible EAS and professional investigators within the narrative. The end result is a historical detective fiction novel. One that proves the thesis conclusion and is fundamentally crafted by the critical research.