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

La série adjectivale est une structure bien connue des lecteurs de Proust. La Recherche comprend plus de trois mille séries adjectivales ; elles combinent deux, trois, jusqu’à dix-sept adjectifs. Les variations sémantiques et syntaxiques sont nombreuses entre les séries. Devons-nous parler de série adjectivale ou de séries, au pluriel ? Quel point commun ont toutes ces séries entre elles ? Peut-on dire que la série adjectivale est une figure de style ?Notre but sera de montrer comment s’articulent ces deux phénomènes stylistiques qui font de la série adjectivale une microstructure complexe : l’effet artiste et le fait de vision. Notre thèse consiste à démontrer que la série adjectivale est un phénomène stylistique, un fait qui ne peut se comprendre qu’en analysant le fonctionnement cognitif d’une vision du monde. Dans une première partie nous analysons la série adjectivale comme un fait de langue, une syntaxe complexe ; dans une seconde partie, nous étudions les effets stylistiques produits par la série adjectivale ; puis nous démontrons que le fait syntaxique est l’expression d’un rapport phénoménologique entre le narrateur et le monde qui l’entoure. / Adjectival series are a well-known by Proust’s readers. We find more than three thousand adjectival series in In Search of the Lost time ; some combine two, three, four adjectives, until seveteen adjectives ; we notice semantical variations and syntactical differences. Should we speak about adjectival series or serie ? What do these series have in common ? Is the adjectival series a stylistic figure ? We want to prove that the adjectival serie is part of these two both stylistics phenomenons which are artistical writting effects and vision of the world. We analyse this stylistic fact according to psychomecanical linguistic, as the expression of an original way to feel. In the first part of research we will show that the adjectival serie is a complex syntactic fact ; in the second part we analyse the adjectival serie as a stylistic effect ; then, we demonstrate that the syntactic fact express a phenomenological link between the narrator and the world.

Estudam-se aqui as escritas de Gustave Flaubert e de Machado de Assis, considerando a ironia a estratégia narrativa comum a ambos os autores. Evidenciado na figura da comparação, o procedimento irônico de suas escritas joga com a verossimilhança e com a expectativa do leitor para sucessivamente frustrá-las. Desfazendo as semelhanças discursivas que ativariam a causalidade da verossimilhança, conforme Aristóteles, a ironia efetivada por meio dessa figura de linguagem revela o jogo do pastiche de suas escritas e desloca, assim, a representação semântica da narrativa. A corrupção da mímesis como fundamento do discurso literário faz de suas escritas uma proposta de outro tipo de verossimilhança, não mais motivada pela coincidência das semelhanças discursivas, o que ressalta, deste modo, seu gesto político. Pois, a política da escrita não está no que o autor quis dizer, mas na reverberação do texto no leitor, reverberação que impõe o silenciamento das unidades de sentido já estabelecidas pela repetição das ideias feitas. Entenda-se também com isso que o estudo aqui empreendido propõe a alternativa crítica de se abordar escritas de estilos e práticas diferentes, sem que se tenham necessariamente em vista citações explícitas ou implícitas, influência e fonte literária. Porque a força da escrita literária não está exclusivamente em sua representabilidade semântica, mas na libertação do simbólico, que evidencia a historicidade dos discursos. / Gustave Flaubert and Machado de Assis´s writings are studied here taking into consideration the irony as a narrative strategy common to both authors. The ironical procedure of their writings plays with verisimilitude, and this is made evident in the figure of speech of comparison and a continuous frustration of the reader´s expectation. By undoing the discursive similitude which activates the verisimilitude´s causality, according to Aristotle, the irony made effective by that figure of speech reveals a pastiche play and dislocates, in that sense, the semantic representation of the narrative. The mimesis´s corruption as substance of literary discourse makes their writings a proposal of another kind of verisimilitude, no longer motivated by the coincidence of the discursive similitude, which highlights its political act. The politics of writing is not in what the author meant, but in the text´s reverberation in the reader, which imposes a silence in the units of meaning already established by the repetition of the received ideas. It is also to be understood that the study here undertaken proposes an alternative criticism in order to tackle writings of different styles and practices, without necessarily having explicit or implicit quotations, influence and literary source. This is because the force of the literary writing is not exclusively in its semantic representation, but in the liberation of the symbolic, making the historicity of discourses evident.

Partindo do efeito de leitura percebido nas escrituras autorrreflexivas de Machado de Assis e Gustave Flaubert que, por meio de uma intensa solicitação a discursos já-escritos, pareciam escrever verdadeiros livros feitos de livros , o presente trabalho se propôs estudar a interdiscursividade dos autores, compreendida dentro de suas práticas de escrita e de leitura, a partir do que chamamos de biblioteca fantástica, num diálogo explícito com a teoria de Michel Foucault. Seguindo dois eixos principais, nos quais pretendíamos observar a obra dentro da biblioteca (o espaço das bibliotecas reais dos autores enquanto o lugar privilegiado da enunciabilidade das obras) e a biblioteca dentro da obra (a ficcionalização do livro e dos elementos concernentes ao sistema literário presente nas escrituras), fomos levados a entrever a relação tensional com o já-escrito operada pelas escrituras dos dois autores, aspecto reforçado pelo recurso a ardis ficcionais distintos, a saber, o autor ficcional machadiano e o discurso indireto livre flaubertiano. Ao longo de nosso percurso crítico, percebemos que a biblioteca fantástica dos autores estudados, construída no intervalo entre os dois citados eixos, mostrou-se reveladora da problemática concernente à enunciabilidade e à legibilidade das obras, já que a interdiscursividade de suas escrituras autorreflexivas questionava as formas naturalizadas ou impostas de escrever e de ler, recolocando a literatura enquanto questão. / Having as a starting point the reading effect of Machado de Asiss and Gustave Flauberts self reflecting narratives which, due to the intense recourse to other discourses, seem to be books made of other books , the aim of this work is to study these writers interdiscursivity practices, as observed in their writing and reading practices through the concept of the fantastic library, in an explicit dialogue with Michel Foucaults theory. Following two main paths from which we would like to observe the literary work inside the library (the space of the writers real libraries as a privileged viewpoint of their enunciability) and the library in the work (that is, the image of the book and of elements of the literary system represented in the books), we noticed a tense relationship with these other discourses in these two writers practices, which is reinforced by the recourse to different narratological devices such as the fictional author in Machado and free indirect style in Flaubert. As our analysis progressed, we perceive that the fantastic library of those authors, construed between those paths already mentioned, revealed some of the problems related to their enunciability and legibility, as the interdiscursivity of these self reflecting narratives questions not only naturalized or imposed manners of reading and writing but literature itself.

Ce mémoire prend pour objet l'étude des vues du Paris moderne par Gustave Caillebotte. Son engagement profond dans la réalité vécue le conduit vers une fascination particulière pour la reproduction de l'image urbaine. Entre 1876 et 1880, l'artiste déambule dans les rues et les boulevards en vue d'exécuter des traitements picturaux originaux et peindre des visions singulières, par rapport à sa propre production artistique de même qu'à celle de ses confrères impressionnistes. En raison des différents points de vue traités dans l'espace urbain, sa perception de la ville semble, à notre avis, évolutive. Que ce soit depuis la rue ou en hauteur, Caillebotte reproduit Paris telle qu'elle se présente devant lui ; c'est ce qui paraît le guider dans sa recherche. Si bien que notre travail consiste à démontrer qu'il est un peintre de la ville moderne. Par l'analyse de trois points de vue privilégiés (dans la rue, à la fenêtre et au balcon), remarqués à la fois dans son corpus et dans sa démarche, cette recherche veut montrer comment l'artiste perçoit l'urbanité moderne et comment il la rend. Nous observons qu'une adéquation entre les moyens plastiques modernes utilisés et l'intérêt de représenter la réalité elle-même moderne, traduit son processus créatif. Apporter des arguments au sujet de son étude des vues de ville, permet aujourd'hui de mieux cerner le travail unique de Gustave Caillebotte dans le paysage urbain.

The phenomenon of retranslation (the repeated translation of a given work into a given target language) is widespread in practice, and yet its motivations remain relatively underexplored. One very prevalent justification for this repetitive act is encapsulated in the work of Antoine Berman who claims that an initial translation is necessarily 'aveugle et hésitante' (1990: 5), while retranslation alone can ensure 'la « révélation » dřune oeuvre étrangère dans son être propre à la culture réceptrice' (1995: 57). This dynamic from deficient initial translation to accomplished retranslation has been consolidated into the Retranslation Hypothesis, namely that 'later translations tend to be closer to the source text' (Chesterman, 2004: 8, my emphasis). In order to investigate the validity of the hypothesis, this thesis undertakes a case study of the British retranslations of Flaubert's Madame Bovary and Sand's La Mare au diable. A methodology is proposed which allows the key notion of closeness to be measured on both a linguistic and a cultural axis. Given Flaubert's famous insistence on 'le mot juste', Madame Bovary serves as a basis for an examination of linguistic closeness which is guided by narratology and stylistics, and underpinned by Halliday's (2004) Systemic Functional Grammar. On the other hand, Sand's ethnographical concerns facilitate a study of cultural closeness: here, narrativity (Baker, 2006) informs an analysis of how Berrichon cultural identity is mediated through retranslation. In both cases, the thesis draws on paratextual material (Genette, 1987) such as prefaces and advertisements, and on extra-textual material, namely journal articles and reviews, in order to locate specific socio-cultural influences on retranslation, as well as highlighting the type and extent of interactions between the retranslations themselves. Ultimately, this thesis argues that the Retranslation Hypothesis is untenable when confronted with the polymorphous behaviour of retranslation, both within and without the text.

Étroitement liée à l’expérience des voyages, où elle trouve tout à la fois ses intensités et sa diversité, la culture perceptive de Flaubert doit être comprise comme une véritable éducation sentimentale. Si le jeune écrivain se donne pour but l’apprentissage du «bien écrire », c’est en concevant l’esthétique d’abord en son sens premier comme un art de la sensation qui nécessite l’apprentissage d’un « bien voir ». Dans le travail de conversion du regard que Flaubert accomplit sur lui-même entre 1845 et 1851, on peut donc parler d’un véritable « primat de la perception ». La présente recherche doctorale, fondée sur une approche phénoménologique, examine la façon dont l’ « homme-plume » a résolument investi dans son art une leçon du sensible en intégrant toutes les découvertes liées à l’approfondissement de son expérience perceptive. Loin de s’achever dans un formalisme désincarné, le nouveau système esthétique qui permet à Flaubert de passer de l’écriture de jeunesse aux œuvres de la maturité est un dispositif qui totalise un itinéraire sensoriel : la connaissance, les idées et les facultés d’abstraction y ont été corrigées, réévaluées et redéfinies à la mesure d’un « bien sentir » qui devient capable de réformer l’art d’écrire et la délimitation de son véritable objet. / Intimately associated to the travelling experience, during which it meets at the same time its intensities and diversities, Flaubert’s perceptive culture should be understood as a truly sentimental education. If the young writer imposes himself the “well writing” learning as a goal, it’s done before anything else, by interpreting the aesthetics, in its primary meaning, as a sensation art that requires a “well seeing” learning. In relation to the conversion work of the look that Flaubert gives over himself between 1845 and 1851, it’s possible to talk, this way, of a true “primate of perception”. This doctorate research, based on a phenomenological approach, explores the decisively way in which the penman invested a lesson of the sensible in his art, integrating all the findings related to the deepening of his perceptual experience. Far from reducing itself to a disincarnate formalism, the new aesthetical system that allows Flaubert to go from the young writings to the maturity works is a device that completes a sensorial itinerary: along this itinerary, the knowledge, the ideas and the abstraction faculties were corrected, reevaluated and redefined for the purpose of a “well feeling” that is able to reshape the art of writing and the delimitation of its true object.

Licenciado en artes mención en teoría e historia del arte / Gustave Flaubert (1821-1880), indudablemente uno de los más importantes escritores occidentales, no sólo se caracteriza por publicar una serie de textos maestros -entre los cuales Madame Bovary es sino el más logrado, al menos el de mayor resonancia en nuestros días-, también se define por ceder ante las fantasías y placeres que prometiera Oriente, encaminando sus pasos hacia aquellas tierras exóticas, peligrosas y sensuales. Su móvil: el placer de ver con sus propios ojos aquello entrevisto desde su infancia en la gran cantidad de representaciones que por aquel entonces circulaban sobre el mundo oriental. Por otra parte, Arthur Rimbaud (1854-1891), poeta, vagabundo, desertor intratable, cumbre y modelo de un rabioso malditismo decimonónico, fija su itinerario sobre aquellas tierras donde la soberanía es ejercida por el sol y la brutalidad; es también Oriente su espejismo. Oriente con sus misterios y, sobretodo, una compleja maquinaria de subyugación colonial que resulta indisociable a la producción de las representaciones que pretendieron desvelarlo. Sin embargo, el móvil de Rimbaud es diferente: enriquecerse a toda costa. Dicho de otro modo, mientras el primero es movido por la promesa de una voluptuosidad mayor, el segundo persigue incansablemente el oro que pudiera arrebatar a los nativos de los territorios donde Occidente ha arribado con todo su poderío técnico. De tal manera que, en sus respetivos viajes, Flaubert resulte ser el turista, así como Rimbaud, el colonizador. Dos caras de la misma moneda, desentrañadas aquí con el objeto de reflexionar sobre el lugar del sujeto moderno, específicamente del hombre de letras, al momento de viajar en la búsqueda de lugares que -sembrados a partir de una representación- tal vez no están más que en la propia mente de aquellos que viajan.

This thesis examines the Temptation of Saint Anthony in the last quarter of the 19th century in France and Belgium. By analysis of particular art works it shows the variability of iconography and complexity of the Temptation theme which reflects the contemporary relation to religion, history, science, exotism, eroticism and other areas, which man living in the era of greate changes was confronted with. The importance of "The Temptation of Saint Anthony" by Gustave Flaubert is emphasized as an inspirational source for fine arts and on the general level the relation of text and visual presentation is discussed. The final part of the thesis dealing with "fin de siècle" art references the metamorphosis of the Temptation of st. Anthony in literature and fine arts as well as historical, social and religious relations in the context of which the character of Saint Anthony gradually became a permanent part of French culture.

My interdisciplinary dissertation, Écriture Artiste and the Idea of Painterly Writing in Nineteenth-Century France, studies the notion of écriture artiste as an ideologically charged aesthetic doctrine that provides a better understanding of the rapports between art and the socio-historical context of mid nineteenth-century France. Specifically, using a case study approach, I examined four encounters between writers and painters, including Gustave Flaubert, Gustave Moreau, the Goncourt brothers, Eugène Delacroix, Émile Zola, Édouard Manet, J.-K. Huysmans and Odilon Redon. I analyzed how these pairings, each illustrative of a different facet of écriture artiste, highlight extratextual realities of the time through aesthetic embellishments. Findings show that some of these artists refashion the existing hierarchy of academically legislated rules on style by purposefully obscuring legibility in order to valorize artistic productions as alternatives to, not copies of, nature. Moreover, they reshape cultural views by staging the coexistence of lyrical and positivist elements, thus encouraging an array of subjective interpretations. I conclude that écriture artiste provides a valid framework for analyzing a self-conscious type of art that uses symbolic power to shape public taste. In turn this provides alternatives to a monolithic model upheld by legitimate culture. The central contribution of my project is its analysis of écriture artiste as a concept that does not fit neatly specific categories of genre or literary movements. My work intervenes in extant debates on literature and the visual arts in the latter half of the nineteenth century by challenging the critical tradition that considers écriture artiste as a pedantic descriptive style. My dissertation broadens the scope of écriture artiste beyond the work of the Goncourt brothers. This expansion of the field also reveals that this type of art theory is developed with an acute consciousness about the power of art and the artist to reach a changing readership, prompted by the shifting ideological climate of the time.