Made available in DSpace on 2014-06-11T19:32:07Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-06-25Bitstream added on 2014-06-13T19:42:28Z : No. of bitstreams: 1 pitillo_gf_dr_arafcl.pdf: 1098027 bytes, checksum: 37420ec525d0549383a197960dc6458a (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Na contemporaneidade, o gênero romance se constitui em uma das formas narrativas que melhor se presta à representação do mundo. A sociedade moderna tem nessa forma literária sua expressão maior. Em sua natureza vê-se a crise do homem que por ser essencialmente ambígüo, por errar entre a razão e a sensação, se permite, então, conceber, sem estranhamento, a linguagem poética do romance contemporâneo. Nesse sentido, o romance moderno apresenta-se mais receptivo para acolher as inquietudes do sujeito da modernidade. Por meio de uma narrativa fragmentada, na maioria das vezes, esse novo romance põe em cena um narrador-autor expondo vivências individuais, que incitam o leitor moderno a buscar a experiência do conhecimento de si mesmo, enquanto indivíduo, em um primeiro momento. Posteriormente, leva esse mesmo leitor a estabelecer com o mundo objetivo, nas suas relações com o outro, reflexões sobre a sua condição humana por vezes absurda e insensata. Essa é a condição do romance La quarantaine, de Le Clézio. Esse escritor francês materializa, em sua extensa obra, o desejo do homem moderno de continuar a ser indefinidamente. Nessa narrativa poética, percebe-se, por meio da observação dos comportamentos existenciais de seu sujeito, a estreita relação com o tempo e o espaço sacralizáveis, promotores de uma estabilidade em meio a um mundo fragmentado e controverso. / De notre temps, le genre roman se constitue dans l’une des formes de récit qui mieux se prêtent à représenter le monde. La société moderne trouve dans cette forme littéraire son expression majeure. Dans sa nature, on y voit la crise de l’homme qui pour être essentiellement ambigu, pour errer entre la raison et la sensation, se permet donc de concevoir, sans étrangeté, le langage poétique du roman contemporain. Dans ce sens, le roman moderne se présente plus réceptif à acueillir les inquiétudes du sujet de la modernité. À travers une narrative fragmentée, dans la plupart des fois, ce nouveau roman met en scène un narrateur-auteur qui expose des expériences individuelles, qui incitent, d’abord, le lecteur à aller chercher l’expérience de connaissance de soi, en tant qu’individu et, plus tard, à établir avec ce monde objectif, dans ses rapports avec autrui, des réflexions sur sa condition humaine, parfois absurde et insensée. C’est la condition du roman La quarantaine, de Le Clézio. Cet écrivain français matérialise, dans sa vaste oeuvre, le désir de l’homme moderne de continuer à être indéfiniment. Dans ce récit poétique, on se rend compte, à travers l’observation des comportements existentiels de ce sujet, de l’étroite relation avec le temps et l’espace sacralisés, promoteurs d’une stabilité dans un monde fragmenté et controversé.

J.M.G. Le Clézio a été plébiscité par le jury du Nobel en sa qualité d’écrivain de « l’extase sensuelle ». Les sens seraient-ils le filtre sémantique de « cet explorateur d’une humanité au-delà et en-dessous de la civilisation régnante » ?D’un point de vue diégétique, sémiotique et stylistique, la prose leclézienne illustre de diverses manières (entre mots, typographie, photographies ou techniques cinématographiques) un univers physique, où les perceptions sensorielles forment un prisme de significations sur l’époque contemporaine. Comme un sismographe à l’affût des pulsations du monde, l’écrivain enregistre, tous sens ouverts, les mouvements, les formes, et les idées des XXe et XXIe siècles. Telle est l’hypothèse centrale de cette étude. Le concept polysémique de « sens » est ainsi appréhendé depuis le monde perceptuel de l’auteur jusqu’aux strates les plus profondes du texte. La démarche repose sur l’étude de la description, en tant que clé de déchiffrement – ou de « dé-scription » selon le concept foucaldien –, à partir d’une analyse linguistico-textuelle puisant dans le champ élargi des sensory studies (phénoménologie de la sensation, philosophie du corps, sociologie de la perception, etc.). La finalité ultime est d’éclairer sous un nouvel angle la quête ontologique d’un homme de lettres pour lequel la littérature ne peut plus feindre d’être détachée du corps des hommes. J.M.G. Le Clézio was hailed by the Nobel jury as the author of “sensual ecstasy.” Would the senses be the semantic filter of this “explorer of a humanity beyond and below the reigning civilization?” From a diegetic, semiotic and stylistic viewpoint, the Leclezian prose depicts in many ways (through words, typography, photos or cinematic techniques) a physical universe, where sensory perceptions form a prism of meanings of the contemporary era. As a seismograph records the world’s pulse, the writer registers, with his senses fully attuned, the movements, shapes and ideas of the twentieth and twenty-first centuries. This is the central hypothesis of the research. The polysemous concept of “senses” is thus apprehended from the writer’s world beneath to the deepest strata of his texts. The approach relies on the study of description, as the key to deciphering – or to “de-scribing” according to Foucault’s concept –, from a linguistic-textual analysis drawing on the broader field of sensory studies (phenomenology of sensation, philosophy of the body, sociology of perception, etc.). The ultimate purpose is to enlighten from a new angle the ontological quest of a man of letters, according whom literature can no longer pretend to be detached from the body of human beings. / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished

This thesis is a study of the ways in which the fear of death, and its natural consequence, the desire for immortality, is manifested in the major characters of three post-Romantic works. In each case, the fear of death is unconscious, and has to "be interpreted from the dreams and illusions of the characters, which may not appear to have any immediate connection with death or immortality. In Madame Bovary, the blind man is the symbolic antithesis of Emma's dreams of finding a means of transcendence within the world itself. He is the embodiment of the horrifying vision of biological process that lies at the heart of her flight from reality. The pharmacist, Homais, is also considered to be attempting to establish a symbolic form of immortality for himself through the glorification of his reputation and his sentimental belief in scientific progress. In Niels Lyhne, the young hero attempts to free himself from the romantic influences of his childhood by proclaiming a new philosophy that is based, on atheism. However, his temperamental attachment to the idea of "infinity", and his inability to accept the physical nature of human beings betray his unconscious desire for a state of being in which he will be invulnerable to the forces of aging and death. In John Gabriel Borkman the three major characters attempt to find a means of denying the inevitability of their approaching deaths. Borkman tries to gain control over the forces of life through the exercise of power and through an identification with rocks and metal that seem to hold the promise of conferring their immutability onto him. Borkman's wife wants her son to devote his life to the glorification of the name of Borkman, that her husband has dishonoured. She hopes that her idealized self-image will live on"in the "monument" that Erhart will "erect" to the family name. Ella Rentheim, her sister, also plans to use Erhart for the establishment of a symbolic form of immortality, by trying to persuade him to adopt her family name after she has died. The method of this thesis could be applied to works from any age of literature, but I have chosen the nineteenth century because of the particular social and intellectual influences that existed in Europe after the Enlightenment'. All the artistic movements of the nineteenth century were conditioned by the legacy of metaphysical uncertainty that the religious skepticism of the Age of Reason had bequeathed to the future. In these three works, the characters devote the same religious fervour to the worldly objects of their desires as, formerly, man had devoted to God. The unconscious hope in all their attempts is that they will discover a means of being delivered from death. / Arts, Faculty of / English, Department of / Graduate

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No description available.

Literary realism, that is, texts that seek to represent the actual in literature while achieving a sense of verisimilitude, have historically been analyzed and defined by a number of critics. These critics have, with differing approaches, attempted to make comprehensible what it is that constitutes the realist text. In their process of doing so, many have dismantled this specific category of text and isolated its distinguishing components. This study has sought to challenge and elaborate on three of the most influential, scholarly voices that have articulated such ideas about the realist text: Ian Watt, Eric Auerbach and Roland Barthes. The purpose has been to add to this field of knowledge by increasing our understanding of what it is that constitutes literary realism. This has been done by analyzing three realist works that have been previously examined by these critics, and then, by studying two further realist works, more recent in time. These works are, in the order that they have been approached and analyzed: Daniel Defoe’s A Journal of the Plague Year (Published in 1722), Gustave Flaubert’s A Simple Heart (Published in 1877), Virginia Woolf’s Mrs. Dalloway (Published in 1925), Melina Marchetta’s Jellicoe Road (Published in 2006) and Gabrielle Zevin’s Tomorrow, and Tomorrow, and Tomorrow (Published in 2022). As a result, the study has found that technology is a recurring textual element that functions as a coherence-making narrative device in these realist texts, and as a consequence, has laid bare a blind spot in these above-mentioned critics’ definitions of literary realism. Thus, the study suggests that technology should be understood as a distinguishing element in the literary text. The selection of works has, in turn, allowed for the study to both compare and contrast these texts, and to trace the effect that the technological development in the reality preceding the literary text can be said to have on these texts themselves. Here, the study has found that new technologies in the reality preceding the text often occur as new coherence-making textual devices in these literary works, and thus, that the technological development in the actual affects the realist text itself.

Notre recherche porte sur la compréhension approfondie de la chronogenèse italienne et, en son sein, de l'expression du futur, selon les principes théoriques et méthodologiques guillaumiens. Notre étude comparative associe les approches diachronique et synchronique. Nous étudions l'évolution de l'expression du futur de l'ancien italien à l'italien contemporain écrits grâce à un 1er corpus construit à partir du texte original du Decamerone de G. Boccaccio, de sa traduction en italien contemporain proposée par A. Busi et de sa traduction en français par J. Bourciez. Nous comparons l'expression du futur dans trois romans graphiques rédigés en italien (par des auteurs originaires de Vénétie et de Sicile) et en français, à l'aide d'une 2e série de corpus extrapolée à partir des transcriptions de ces BD. Nous observons, d'une part, les différences entre le français et l'italien standards contemporains, d'autre part, les réalisations de l'italien standard selon l'influence des substrats régionaux. Grâce à un 3e corpus, nous étudions l'expression du futur en napolitain en comparant les textes de chansons napolitaines du XIXe au XXIe, avec leurs traductions en italien et français standards. Notre confrontation des diverses solutions pour le futur couvre d'Ouest en Est la Romania occidentale (français standard, italien régional de Vénétie), la position centrale qu'occupe l'italien standard issu du florentin littéraire, la Romania orientale (italien régional de Sicile, napolitain). Nous étudions la distribution des formes morphologiques du futur (synthétiques, analytiques), leurs emplois (temporels, modaux) ainsi que les solutions alternatives d'expression du futur (autres temps, CC de temps). Nous discutons les concepts d'aspect, d'accompli et d'inaccompli, de perfectif et d'imperfectif et étudions leur distribution dans les formes morphosyntaxiques de l'expression du futur. / Our research focuses on the deep understanding of the Italian chronogenesis, and within it, of the expression of future, based on the theoretical and methodological principles of G. Guillaume. Our comparative study combines diachronic and synchronic approaches. We study the evolution of the expression of future from former Italian to contemporary Italian literature through a first corpus built from the original text of the Decameron of G. Boccaccio, its contemporary translation proposed by A. Busi and its French translation by J. Bourciez. We compare the expression of future in three Italian (by authors from the Veneto and Sicily) and French graphic novels, with a second series of corpus extrapolated from the transcripts of these comics. We observe, on one hand, the differences between French and Italian contemporary standards, and on the other hand, the achievements of the Italian standard according to its substrates' regional influence. With a third corpus, we study the expression of future by comparing Neapolitan songs texts from the XIXth to the XXth century, with their translations in Italian and French. Our comparison of the various solutions for future covers, from West to East, the western Romania (standard French, Veneto regional Italian), and the central position of the Italian literary standard from Florentine, Eastern Romania (Sicilian regional Italian, Neapolitan). We study the distribution of future's morphological forms (synthetic, analytic), uses (temporal, modal) and alternative expression of future (other times, adverbial phrase of time). We discuss the concepts of aspect, accomplished and unaccomplished, perfective and imperfective and study their distribution in the morphosyntactic forms of future's expression.

Au Salon de 1847, Théophile Gautier s’enthousiasme pour l’œuvre d’un tout jeune artiste, Jeunes Grecs faisant battre des coqs par Jean-Léon Gérôme, élève de Delaroche et Gleyre. Scène de genre « à l’antique », l’œuvre se distingue par son charme, sa grâce et sa fraîcheur, loin de la peinture froide et compassée des suiveurs de la tradition davidienne. L’œuvre est aussi le point de départ de la notoriété publique d’un petit groupe de peintres appelés « néo-grecs » – Jean-Louis Hamon, Henri-Pierre Picou, Gustave-Rodolphe Boulanger, Félix Jobbé-Duval, Auguste Toulmouche, Alphonse Isambert et Louis-Frédéric Schützenberger – tous nés autour de 1825, élèves de Paul Delaroche et Charles Gleyre et installés en phalanstère d’artistes de 1846 à 1863, au Chalet, puis à la Boîte à Thé. Dès 1848 et jusqu’aux années 1860, les critiques rendent compte au fil des Salons des évolutions artistiques de ces artistes. La réception critique importance de ces artistes regroupés au sein d’une « école néo-grecque » est symptomatique de l’influence grandissante de la critique sur la constitution des écoles artistiques et sur l’évolution de la carrière des artistes. Leur esthétique va susciter des débats sur le renouvellement de la peinture à l’antique, par l’introduction des notions de pittoresque et de couleur locale, héritées du romantisme, qui vont devenir les caractéristiques du genre historique comme déclinaison légère et sensible de l’ancienne peinture d’histoire. Les premières œuvres néo-grecques vont emporter l’adhésion des critiques inquiets des derniers développements de l’école française, qui voient dans cette nouvelle peinture matière à contrecarrer le réalisme, en apportant au public un art facile d’accès, moralisant les codes de la scène de genre par le recours à l’Antique et à un classicisme formel gracieux. Pourtant, sous une facture classicisante, leur peinture, délibérément antiacadémique, déstabilise rapidement les critiques qui s’interrogent sur les buts artistiques de ces artistes. A ce groupe originel, les critiques associent rapidement d’autres artistes, issus d’horizons très variés, qui adoptent momentanément les codes de l’esthétique néo-grecque, brouillant encore davantage les différences entre peinture d’histoire et genre historique, et entérinant le changement de conception idéologique du modèle antique dans la peinture, qui sera revendiqué par la génération d’artistes des années 1870-1890. / At the Salon of 1847, Théophile Gautier is enthusiast about the work of art of a young artist, The Cock Fight by Jean-Léon Gérôme, a pupil of Delaroche and Gleyre. This piece of art, an "Antique" genre scene, is a work of elegance, grace and freshness, very different from the cold and formal painting of the Davidian tradition's followers. This artwork is also the starting point of the on coming fame of a small group of painters called "The neo-Greeks" - Jean-Louis Hamon, Henri-Pierre Picou, Gustave-Rodolphe Boulanger, Felix Jobbé-Duval, Auguste Toulmouche, Isambert and Alphonse Louis-Frédéric Schützenberger - all born around 1825. From 1846 to 1863, as students of Paul Delaroche and Charles Gleyre, they all set themselves in a community of artists at the Chalet and the Boite à Thé which one calls a “phalanstère ».From 1848 until the 1860s, all along the Salons, most critics write about the artistic evolutions of these people. The many articles written about the neo-Greeks’works at that time reveales the growing influence of art-critics in the making of artistic schools and the evolution of artists's careers. Their aesthetic will provoke an argument about the renewal of antique theme painting as they introduce the concepts of local color and picturesque, coming from Romanticism, which will become the characteristics of the historical genre as a slight and sensitive declination of the ancient painting of history. The first neo-Greek paintings will gain the support of critics, eager about the latest developments of the French scene. They see in this new stream a way to counteract Realism by giving the public an easy access to art and moralizing the codes of the genre scene by using a formal and graceful classicism with Antique themes. However, though a classical form, their deliberately anti-academic painting soon make the critics wonder about the artistic goals of these artists.In addition to the original group, the critics will soon associate other artists, from very different backgrounds who temporarily adopt the Neo Greek aesthetics's codes, blurring even more the differences between the painting of history and the historical genre. This will also confirm the new ideological conception of Antique model in art, that the painters from the following generation of the 1870’s will claim themselves.

Au XIXe siècle, la France s'érige comme un modèle de référence culturel et artistique omniprésent, voire écrasant. Or, la Belgique souffre d’une position doublement déficitaire par rapport à sa voisine :le jeune pays apparaît privé d’un passé historique et en retrait sur le plan géographique. Que ce soit dans le champ des arts plastiques ou dans celui des lettres francophones de Belgique, Paris apparaît comme le centre hégémonique dont Bruxelles cherche à s’émanciper. Il en sera de même pour les arts décoratifs. Si un phénomène d’autonomisation équivalent a déjà été observé dans les autres domaines de la création, l’affranchissement de la scène décorative belge à l’égard du modèle français reste méconnu. Pourtant, les arts décoratifs belges devront se dégager du lourd héritage français. Les styles de cours de l’Ancien Régime ont contribué à accorder à la France une place de choix dans le monopole du goût. Place qu’elle entend bien conserver dans la nouvelle configuration de l’échiquier européen, désormais industrialisé. Dans ce nouvel ordre, qui jette un voile définitif sur les conceptions et les pratiques de l’Ancien Régime, la Belgique suivra une voie tout autre que celle choisie par le Second Empire. Cette voie lui permettra de s’en affranchir et d’imposer, avant la fin d’un siècle considéré comme « sans style propre », une expression stylistique débarrassée des éternels Louis XIV, Louis XV, Empire, etc. Les arts décoratifs belges formuleront un style original qui permettra enfin à Bruxelles de sortir de l’ombre de la Ville lumière. Cette distanciation, en germe tout au long du XIXe siècle, s’opèrera véritablement au terme de celui-ci et au seuil du siècle suivant, à travers l’Art nouveau. Première forme stylistique internationale depuis l’introduction de la machine dans les modes de production, l’Art nouveau apparaît, en Belgique, comme la volonté d’affirmer une identité nationale, une « originalité belge », qui entend se démarquer de Paris, capitale incontestée du luxe et du goût.<p>Au point de convergence de deux traditions historiographiques (celle du rapport Art – Industrie et celle de l’Art nouveau), la présente thèse s’attache à démontrer ce phénomène d’autonomisation selon une approche comparée systématique des situations française et belge. Le cadre chronologique débute à l’extrême fin du XVIIIe siècle et s’achève au tout début du XXe siècle, avant que les avant-gardes successives consacrent l’ère machiniste. Au XIXe siècle, dans un équilibre encore délicat entre art, artisanat et industrie, les enjeux économiques, politiques et esthétiques seront successivement débattus par les politiques, les revues d’art et les artistes. La présente thèse s’attache à décrypter, tour à tour, les politiques économiques, les offensives de séduction et les principes esthétiques déployés et mis en œuvre par l’ensemble de ces acteurs de la régénérescence décorative. Pour vérifier leur impact, les discours seront à l’épreuve de la création moderne à travers les exemples de la galerie parisienne de Siegfried Bing et du parcours de l’artiste liégeois Gustave Serrurier. Dans le même élan, sera mis en exergue le processus d’autonomisation qui permettra aux arts décoratifs belges de s’affranchir du modèle français et propulsera Bruxelles en scène décorative moderne qui rivalisera avec Paris.<p> / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished

Made available in DSpace on 2016-04-29T13:30:56Z (GMT). No. of bitstreams: 1 Alekssey Marcos Di Piero Sobral.pdf: 407855 bytes, checksum: 52f26e73224261f55429c5fe0e0dbb95 (MD5) Previous issue date: 2012-05-18 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The object of this investigation was to study the possibly notions of irrationality in the theories of some pioneers authors of Social Psychology, named Psychology of The Masses. Is believed that the presence of irrationality s notions in this theories could be an indication of a larger historic movement, described as a lurch to irrationality, whereby all the philosophical-scientific enterprise of the XIX century s end and XX century s beginning has crossed. This research is dedicated, therefore, to search for the underlying irracional element in the theories of Gabriel Tarde, Scipio Sighele and Gustave Le Bon, for the purpose of understand their coincidences and nuances and to scribe anything of their possible fate in the psychology s history. To accomplish this proposal, the work was unfolded in two ways of analysis: the first, lexical, in witch was investigated the plot of meanings in the theories that could point to a irracionality notion, and the second one, historical, that proposes to understand the way and the meaning of the trajectory of the irrationality s notions in the psychology and in the contemporary science in general. In the first analysis, the afterthought of Ludwig Wittgestein was used, upon the language-games. In the second one, the theories of Adorno and Horkheimer developed mainly in the Dialectic of Enlightment were the basis to a historical interpretation of history. When the analysis reach the end, is concluded in favor of the highlighted notion of the irrationality in each of the investigated authors, which notions are part of the veiled irrational subject in general, that had been posteriorly adduced to the psychoanalysis and, ultimately, popularized. This turning point toward irrationality observed in the sciences of mind had parallel in the natural science, as in the case of the emergency of quantum physics, one of the examples discussed. Far from imagine the irracionality notion as an threat to rationality and science, we can see it, in a dialetical perspective, as a sign of openness toward the study of the concret world and man / A presente investigação teve por objeto o estudo de possíveis noções de irracionalidade nas teorias de alguns dos autores pioneiros da Psicologia Social, então nomeada Psicologia das Massas. Supô-se que a presença de uma noção de irracionalidade nessas teorias poderia ser indício de um movimento histórico mais amplo, descrito como uma guinada em direção à irracionalidade, pelo qual teria passado todo o empreendimento filosófico-científico no fim do século XIX e começo do século XX. A pesquisa se dedica, assim, a procurar pelo elemento irracional subjacente às teorias de Gabriel Tarde, Scipio Sighele e Gustave Le Bon a fim de entender suas coincidências e nuances e traçar algo de seu possível destino na história da psicologia. Para a realização da proposta, o trabalho desdobrou-se em duas formas de análise: a primeira, léxica, em que se investigou a trama de significantes nas teorias que poderiam apontar para uma noção de irracionalidade, e a segunda, histórica, que se propôs a entender o caminho e o significado da trajetória das noções de irracionalidade na psicologia e na ciência contemporânea, de uma forma geral. Na primeira análise, fez-se uso do pensamento tardio de Ludwig Wittgenstein acerca dos jogos de linguagem. Na segunda, as teses de Adorno e Horkheimer desenvolvidas principalmente na Dialética do Esclarecimento foram a base para uma interpretação da história. Quando as análises chegam a termo, conclui-se em favor da presença bem destacada de uma noção de irracionalidade em cada um dos autores investigados, noções estas constituidoras das formas gerais de um sujeito irracional velado, que teria sido posteriormente carreado para a psicanálise e enfim, popularizado. Tal virada em direção à irracionalidade observada nas ciências do espírito teve paralelos nas ciências naturais, como no caso da emergência da Física Quântica, um dos exemplos abordados. Longe de imaginarmos a noção de irracionalidade como uma ameaça à razão e a ciência, podemos vê-la, numa perspectiva dialética, como um sinal de abertura em direção ao estudo do mundo e do homem concretos