Esta tese tem como objetivo analisar as estratégias discursivas utilizadas pela revista Veja na representação do ex-presidente venezuelano Hugo Chávez. Para isso, esta pesquisa, de natureza qualitativa-interpretativa, segue os pressupostos teóricos da Análise Crítica do Discurso, notadamente o enfoque feito por Fairclough (2003), o inventário sociossemântico proposto por Van Leeuwen (2008) e o aparato teórico disponibilizado pela Linguística Sistêmico-Funcional proposta por Halliday e Matthiessen (2004). O material que compõe o corpus desta pesquisa foi composto por 15 reportagens que correspondem ao período de 1999 a 2012 em que Chávez exerceu o cargo de presidente. De modo geral, nossas análises demonstraram que: I) o ex-presidente Hugo Chávez é representado por meio de personalização individualizada, indicando um discurso que enfatiza a identidade do indivíduo e revela uma grande visibilidade representacional; II) Chávez ocupa o papel de ator nas orações transitivas formadas por processos materiais em ações que envolvem práticas de poder e abusos de autoridade; III) por meio dos processos relacionais, principalmente os atributivos, Chávez é caracterizado como autoritário e personalista: IV) na maioria das vezes, ocupa a posição de dizente nos processos verbais, mas sempre vinculado a contextos de acusação, ordens e agressividade; V) por meio dos processos mentais, Chávez é representado como alguém que não racionaliza suas ações, age apenas no plano dos desejos e direcionado pelas emoções e, por isso, torna-se alguém imprevisível, impulsivo e pouco confiável. Diante dos resultados desta pesquisa, concluímos que o discurso da revista Veja tem um papel importante como produtor de significados. Ao caracterizar o ex-presidente venezuelano como uma pessoa agressiva e autoritária ou como um político autocrata e personalista, a revista o representa como uma ameaça para a democracia, um inimigo comum que deve ser combatido. / This Thesis aims to analyze the discursive strategies used by magazine Veja in the representation of former Venezuelan president Hugo Chávez. For this, this research, of qualitative-interpretative nature, follows the theoretical presuppositions of the Critical Discourse Analysis, notably the approach made by Fairclough (2003), The socio-semantic categories proposed by Van Leeuwen (2008) and the theoretical support in Systemic-Functional Linguistics as proposed by Halliday e Matthiessen (2004). Our analyzes chiefly demonstrate: I) the former president Hugo Chávez is represented by individualized personalization, indicating a discourse that emphasizes this identity and reveals a great representational visibility; II) Chávez occupies the role of actor in the transitive clauses formed by material processes in actions involving practices of power and abuses of authority; III) through relational processes, mainly attributives, Chávez is characterized as authoritarian and personalistic person; IV) in most cases, he occupies the position of sayer in verbal processes, but always linked to contexts of accusation, orders and aggression; and V) through the mental processes, Chávez is represented as someone who does not rationalize his actions, acting only for the desires and emotions and, therefore, becomes impulsive, unpredictable and unreliable. Observing the results of this research, we conclude that the discourse of magazine Veja has an important role as producer of meaning. In characterizing the former Venezuelan president as an aggressive and authoritarian person, or an autocrat and personalist politician, the magazine represents him as a threat to democracy, an enemy that must be fought.

Este estudo da presença de Victor Hugo em A Pata da Gazela, de José de Alencar, objetiva analisar como o conceito de grotesco, teorizado pelo escritor francês no prefácio de Cromwell, experimentado e trabalhado em Han dIslande, Notre-Dame de Paris e Lhomme qui rit, teria sido adaptado por Alencar, escritor de relevante importância para a formação da Literatura Brasileira que faz menção em seu romance a duas criaturas monstruosas de Victor Hugo: Gwynplaine e Quasimodo. Para isso, propomos um olhar para a sociedade francesa e brasileira do século XIX, no intuito de verificar como se deu a contribuição hugoana. / This study of Victor Hugos presence in A Pata da Gazela by José de Alencar, aims to analyze how the concept of grotesque, that was theorized by the French writer in the preface of Cromwell, experienced and worked in Han dIslande, Notre-Dame de Paris and Lhomme qui rit, would have been adapted by Alencar, an important writer for the formation of the Brazilian Literature, who mentions in his novels two monstrous creatures of Victor Hugos: Gwynplaine and Quasimodo. In order to do that, we propose a look to the French and Brazilian societies of the nineteenth-century, to check how important Hugo\'s contribution is.

As desigualdades entre os gêneros reforçam uma estrutura social injusta entre os homens e as mulheres, que valida a superioridade de um sobre outro. E, como forma de manutenção de um status ou ordem, atribui poderes desiguais entre eles, com uma distribuição diferente de direitos e deveres. Mesmo em ambientes em que se pressupõe igualdade, é possível encontrar diferença na distribuição do poder. Nas sociedades em que predomina essa desigualdade, a violência contra as mulheres torna-se uma prática recorrente. Tendo isso em vista, o objetivo central da presente pesquisa é investigar como a violência é construída e justificada no romance o remorso de baltazar serapião, do escritor português valter hugo mãe. Pretendemos examinar o tratamento dispensado à figura feminina pelo narrador-protagonista, a partir das situações em que a violência contra a mulher ocorre no romance e analisar o seu posicionamento diante disso. Apesar de tratar-se de uma obra contemporânea, publicada em 2006, o enredo evoca um período distante no tempo, que se assemelha à Idade Média, já que remete a relações entre senhores e servos, relações em que a concepção de igualdade social entre os sujeitos não existia. Apesar de muitas práticas violentas não serem consideradas crimes, acreditamos que seja importante para nossa pesquisa compreender e analisar essas situações de violência. Espera-se, com esta dissertação, contribuir tanto aos estudos de Literatura Portuguesa quanto, especificamente, aos estudos do premiado romance de valter hugo mãe, e ampliar as reflexões sobre a permanência da violência de gênero na sociedade contemporânea, possibilitada pelo enfoque dado à questão em o remorso de baltazar serapião. / Gender inequalities reinforce an unfair social structure between men and women, which validates the superiority of one over the other. Also, as a way of maintaining a status or order, it attributes unequal powers between them, with different distributions of rights and duties. Even in environments where equality is assumed, it is possible to find some difference in the distribution of power. In societies where this inequality prevails, violence against women becomes a recurring practice. Keeping this in mind, the main objective of the present research is to investigate how violence is constructed and justified in the novel o remorso de baltazar serapião by the Portuguese writer valter hugo mãe. We intend look through the treatment given to the female figure by the narrator-protagonist, from situations in which violence against woman occurs in the novel and analyze its position taking this into account. Although it is a contemporary work, published in 2006, the plot evokes a period distant in time, that reminds the Middle Ages, since it refers to relations between masters and servants, relations in which the conception of social equality between subjects did not exist. While many violent practices are not considered crimes, we believe that it is important, on behalf of our research, to understand and analyze these situations of violence. It is expexted that this dissertation will contribute not only to studies in Portuguese Literature, but also, and specifically, to studies on the awarded novel by valter hugo mãe, and to expand the reflections upon the continuance of gender violence in contemporary society, made possible by the focus given to the issue in o remorso de baltazar serapião.

Submitted by Elesbão Santiago Neto (neto10uepb@cche.uepb.edu.br) on 2016-08-31T13:11:37Z No. of bitstreams: 1 PDF - Alana Maria Ribeiro Silva.pdf: 1735574 bytes, checksum: 371b22a2f3655cd2f57e63017d7af3ce (MD5) / Made available in DSpace on 2016-08-31T13:11:37Z (GMT). No. of bitstreams: 1 PDF - Alana Maria Ribeiro Silva.pdf: 1735574 bytes, checksum: 371b22a2f3655cd2f57e63017d7af3ce (MD5) Previous issue date: 2015-12-15 / Capes / The TeleSUR is a multi-state television network, created in 2005, which is inserted in a political project of regional integration, aimed to strengthen the process of building a Latin American identity. According to its creators the network seeks to differentiate itself from big dominant international media that usually has a single speech. Thus, TeleSUR presents itself as an alternative to the peoples of the region. It was designed by former Venezuelan President Hugo Chavez, with the intention that could contribute to regional integration in the symbolic field. The multi-state network did part of a media strategy whose aim was to propagate the project bolivarino ideas to the world, as well as establecer a type of media diplomacy. Having this context as parameter, this study analyzes and discusses how the TeleSUR in government Nicolas Maduro, addresses the issue of regional integration in its news portal. For this, was made an analysis of the content of the news on the subject. Has also the intention to reflect on the process of building a Latin American identity in the symbolic and cultural levels. It concludes that, in government Nicolas Maduro, the Telesur continues the regional integration project conceived by Chavez since the period of its creation / A TeleSUR é uma rede de televisão multiestatal, criada em 2005, que inserido a um projeto político de integração regional, teve por objetivo fortalecer o processo de construção da identidade latino-americana. De acordo com os seus idealizadores a rede busca diferenciar-se da grande mídia internacional dominante que costuma apresentar um discurso único. Assim, a TeleSUR apresenta-se como uma alternativa para os povos da região. Ela foi idealizada pelo ex-presidente da Venezuela, Hugo Chávez, com intuito de que pudesse contribuir para a integração regional no campo simbólico. A rede multiestatal fez parte então de uma estratégia midiática cujo fim era propagar as ideias do projeto bolivariano para o mundo, bem como establecer um tipo de diplomacia midiática. Tendo tal contexto como parâmetro, este estudo analisa e discute de que modo a TeleSUR, no governo de Nicolás Maduro, aborda o tema da integração regional em seu portal de notícias. Para isso, é feito uma análise do conteúdo sobre as notícias relativas ao assunto. Tem-se ainda o intuito de refletir sobre o processo de construção da identidade latino-americana no plano simbólico e cultural. Conclui-se que, no governo de Nicolás Maduro, a Telesur dá continuidade ao projeto de integração regional idealizado por Chávez desde o período de sua criação.

CoordenaÃÃo de AperfeiÃoamento de NÃvel Superior / Esse trabalho estuda as manifestações culturais cosmopolitas na constituição do cinema nacional durante o intervalo de 1960 a 1968. Naquele momento, as demandas promovidas pela crítica cinematográfica, principalmente após a I Convenção nacional da crítica, voltam-se para a necessidade de lançar pontes entre a prática e a inteligência cinematográficas, não raro, em um quadro de conflitos em torno da apropriação dos influxos estrangeiros pelo cinema. O movimento cinema novo surge em meio a esse debate atraindo as atenções da crítica nacional e internacional. De modo simultâneo, uma política estatal mais atuante em relação ao meio transforma o cinema em importante tópico de ação cultural estatal. Desse modo, itinerários de percepção elaborados a partir das críticas dos filmes permitem delinear um cosmopolitismo cinematográfico historicamente situado, fazendo saltar a tessitura dos tempos que tornou possível as imagens dos cineastas Walter Hugo Khouri e Luís Sérgio Person. A partir desse olhar específico, ambos são estudados em suas trajetórias intelectuais e os seus filmes, enquanto práticas de cinema que fazem do engajamento através das fronteiras como características constitutivas de seu próprio fazer. Em filmes como São Paulo sociedade anônima (1965), de Person, e O Corpo ardente (1966), de Khouri, a partir de um entrelaçamento e de uma estrutura temporal idiossincráticas, que revelam sentidos insuspeitos. A indisposição de se filiar a grupos artísticos, a prática de cinema assumidamente individual e os modos singulares de abordar os recursos técnicos e a cultura cinematográfica são algumas da peculiaridades que ressaltamos. Seus itinerários transformam-se, nessa perspectiva, em artefatos imagéticos fundamentais para o estudo da organização das práticas de olhar na cultura visual da época, sendo inseparáveis da diversidade cultural na construção do campo cinematográfico nacional, notável pela sua pluralidade de práticas. / This work aimed to study the cultural cosmopolitan movements in the Brazilian movie industry from 1960 to 1968, which was a period that set forth a field for national cinematography. We firstly performed a historical background showing the cinematographic circles that discussed the intellectual dilemmas in the 1950âs. We next investigated how the demands placed by cinema essayists of the period, mainly after the I Convenção nacional da crítica [1st National Convention on Film Criticism] raised the need of building bridges between the practice and intellectual means of the cinematographic circles. We also investigated the conflicts that sprang from foreign influences on the work of Brazilian filmmakers. The group cinema novo [new cinema] came up parallel to this debate attracting the attention of national and international film analysts. At that same time, Brazilian State and its financial policies focused on the film production that highlighted the cultural importance of this medium. We set forth a cinematographic cosmopolitanism concept specific to that historical background through the layouts of perception that we made taking as depart station the film reviews of that time. In this conceptual frame elaborated from the prior chapters, Walter Hugo Khouri and Luís Sérgio Person were studied through the analysis of their intellectual trajectory and of their films. Both moviemakers made the imaginative engagement across the boundaries as an essential element of their careers. In films as São Paulo sociedade anônima (1965), by Person, and O Corpo Ardente (1966), by Khouri, they expressed dialogues with foreign referentials in an intense way. They dealt with the international style and forms of cinema as a constitutive element of their own practices, intertwining the idiosyncratic time structure to Brazilian culture through their films and cultural practices. Both were reluctant to fit into artistic groups, admitting their works as individual practices of cinema and introducing their unique treatments to technical resources and cinematographic culture. They directed films that make possible routes of perception to the study of visual culture of that time. Their works were inseparable from the cultural diversity in the construction of national cinematographic field, which was remarkable by its plurality of practices.

As memórias The Speckled People e The Sailor in the Wardrobe, lançadas em 2003 e 2006 respectivamente, narram de forma ficcional a infância, adolescência e início da vida adulta do escritor irlandês Hugo Hamilton. A narrativa relata a complicada formação identitária do autor-personagem no período de grandes transformações depois da Segunda Guerra Mundial e em meio as suas ascendências alemã e irlandesa. O ponto de partida desta pesquisa é a afirmação de que a identidade herdada de seus pais é como um pecado original e que ele deve crescer para encontrar a sua inocência. Essa afirmação inicia um projeto de transformação identitária. O objetivo da presente dissertação de mestrado é analisar e problematizar o percurso de transformação identitária vivido pelo personagem. Entendemos que há um sentimento de culpa, individual e histórica, em sua relação as suas identidades herdadas. Dessa forma, buscamos averiguar como esse sentimento o interpela em sua busca pela inocência e por um novo tipo de identidade. Além disso, nos propomos também a estabelecer um diálogo com várias perspectivas teóricas acerca do conceito de identidade para compreender os possíveis desdobramentos desse percurso e constatar se o personagem consegue encontrar a inocência que deseja através da reformulação de sua identidade hereditária. / The memoirs, The Speckled People and The Sailor in the Wardrobe, written by the Irish writer Hugo Hamilton and published in 2003 and 2006, narrate the authors complex process of identity formation, considering his German, Irish and English ancestry in a period of great transformations after the World Wars. According to the author, his identity was inherited at birth and he carried the Irish and German traditions, like an original sin. He says he wants to grow up and gain his innocence. This marks the beginning of his project to transform his identity. The objective of this M.A. dissertation is to analyse the process of his identity transformation. As we see it, there is an individual and historical feeling of guilt attached to his inherited identity. Therefore, we seek to understand how this feeling interferes in his pursuit of innocence and of a new kind of identity. In order to do so, this work aims to establish a dialogue with various theoretical perspectives in relation to the concepts of identity to understand the possible effects of this process of his self-assertion and whether he can eventually gain his innocence

Cette étude porte sur la représentation de la déformation du corps humain, afin de défendre l’idée que ces exemples de corps déformés ont fini par engendrer de nouvelles recherches et des transgressions artistiques qui caractérisent le XIXe siècle français. Les œuvres de Hugo et de Ingres ont été choisies en raison de la richesse symbolique qu'y acquiert la déformation du corps humain, au confluent de plusieurs traditions mythologiques. Pour l’étude des corps déformés et de leur rôle dans la cosmogonie hugolienne, nous nous servirons d’une cosmogonie analogue : celle de Dante Alighieri qui a pu nourrir l’imaginaire hugolien auquel nous ajoutons le labyrinthe existentiel. Méthodologiquement, cette analyse sera faite à partir de la lecture de l’espace proposée par Greimas. Les axes orthogonaux y sont marqués par les personnages en établissant des emplacements spécifiques qui indiquent un langage à déchiffrer. Dans l’œuvre d’Ingres, notre but sera de mettre en relief la déformation du corps en tant que travail esthétique pour la révélation de la beauté plastique. La déformation anatomique caractérise déjà ses premiers personnages masculins et marque davantage ses figures féminines que nous étudierons plus en détail. Pour affiner cette démarche nous avons établi certaines relations avec d’autres peintres tels que son maître David, ou bien avec des sculpteurs comme son ami Lorenzo Bartolini, James Pradier et des écrivains comme Théophile Gautier et Hugo. Cette recherche s’appuiera sur plusieurs supports théoriques, indispensables pour s’orienter dans cet univers riche de références à l’Antique, au mythologique, au religieux, au sacré, au politique, au social, à l’artistique, au fantastique et au fantasmagorique. C’est pourquoi Phidias, Vitruve, Jean-Jacques Rousseau, Jorge Luis Borges, Mircea Eliade, Claude Lévi-Strauss, Michel Foucault, Umberto Eco entre autres sont évoqués pour aider à la compréhension de notre étude. / This study focuses on the representation of the deformation of the human body, arguing that these examples of physical deformity have eventually engendered new research and artistic transgressions that characterise nineteenth century France.The works of Hugo and Ingres are focused upon on account of the symbolic richness derived from them with regard to the deformation of the human body, and the confluence of several mythological traditions. For the study of deformed bodies and their role in Hugo's cosmogony, we will use a similar analogous cosmogony: that of Dante Alighieri, which was able to feed the Hugolian imagination and to which we add the existential labyrinth. Methodologically, this analysis will be made by reading the space proposed by Greimas. Orthogonal axes are marked by characters in establishing specific locations that indicate a language to decipher. Regarding the work of Ingres, our goal is to highlight the deformation of the body as a work of aesthetics for the revelation of plastic beauty. Anatomical deformation already characterises his first masculine characters and mark still further his female figures which we have studied in more detail. To refine this approach we have established some relationships with other painters such as David, Ingres' Master, and with his friends the sculptors Lorenzo Bartolini, James Pradier and also with writers such as Théophile Gautier and Hugo. This research is based on several theoretical sources, they are essential to orient this rich universe of references to the Antique, the mythological, the religious, the sacred, the political, the social, the arts, and fantasy. This is why Phidias, Vitruvius, Jean-Jacques Rousseau, Jorge Luis Borges, Mircea Eliade, Lévi-Strauss, Michel Foucault, Umberto Eco among others are also discussed to help the understanding of our study.

Contrairement à la conception traditionnelle de la figure poétique considérée soit comme simple ornement du discours soit comme écart par rapport à un niveau ordinaire et neutre du langage, la poésie de Victor Hugo et de Michel Deguy incite à penser le langage figuré et le langage ordinaire dans leur continuité, en les opposant à l’absence du langage. Ce travail tend à circonscrire le langage figuré à partir des représentations de l’indicible et de l’invisible dans Les Contemplations de Victor Hugo et dans l’œuvre poétique et théorique de Michel Deguy qui dévoilent la nature collective profonde du langage, de la perception et de la pensée. De là, les racines rhétoriques et herméneutiques du langage permettront de nourrir une réflexion sur le phénomène de partage comme articulation entre le subjectif et l’intersubjectif, entre l’intime et le commun et entre la sensation, l’affect et la forme. L’objet du partage intersubjectif se dessine dans la forme élémentaire de l’affect étendu de la douleur à la joie, du bon au mauvais et de la pitié à la jouissance. La réunion de la pensée du corps et de l’abstraction au sein d’une pensée de l’éthique constitue une proposition de relecture des deux poètes de la menace d’une apocalypse à la fois langagière, conceptuelle et morale. / Contrary to the dominant conception of the poetic figure as a simple discourse ornament or as a stylistic deviation from the ordinary and neutral language, Victor Hugo’s and Michel Deguy’s poetry leads to a continuity between ordinary and poetic language by jointly contrasting both of them to absence of language. This work tends to define poetic language on the basis of representations of the unspeakable and the invisible in Victor Hugo’s Les Contemplations and in Michel Deguy’s poetic and theoretical writings, revealing deep collective nature of the language, perception and reasoning. Rhetoric and hermeneutic roots of language then enable contemplation on the act of sharing that reflects a joint between subjective and intersubjective, intimate and common as well as between affect and form. The object of a sharing act is being drawn within the elementary form of the affect, laying between pain and joy, the good and the bad, and, finally, pity and sexual pleasure. The junction of the concept of body with the concept of abstraction as an ethical problem contributes to a new comprehension of these two poets of approaching linguistic, conceptual and moral apocalypse.

As desigualdades entre os gêneros reforçam uma estrutura social injusta entre os homens e as mulheres, que valida a superioridade de um sobre outro. E, como forma de manutenção de um status ou ordem, atribui poderes desiguais entre eles, com uma distribuição diferente de direitos e deveres. Mesmo em ambientes em que se pressupõe igualdade, é possível encontrar diferença na distribuição do poder. Nas sociedades em que predomina essa desigualdade, a violência contra as mulheres torna-se uma prática recorrente. Tendo isso em vista, o objetivo central da presente pesquisa é investigar como a violência é construída e justificada no romance o remorso de baltazar serapião, do escritor português valter hugo mãe. Pretendemos examinar o tratamento dispensado à figura feminina pelo narrador-protagonista, a partir das situações em que a violência contra a mulher ocorre no romance e analisar o seu posicionamento diante disso. Apesar de tratar-se de uma obra contemporânea, publicada em 2006, o enredo evoca um período distante no tempo, que se assemelha à Idade Média, já que remete a relações entre senhores e servos, relações em que a concepção de igualdade social entre os sujeitos não existia. Apesar de muitas práticas violentas não serem consideradas crimes, acreditamos que seja importante para nossa pesquisa compreender e analisar essas situações de violência. Espera-se, com esta dissertação, contribuir tanto aos estudos de Literatura Portuguesa quanto, especificamente, aos estudos do premiado romance de valter hugo mãe, e ampliar as reflexões sobre a permanência da violência de gênero na sociedade contemporânea, possibilitada pelo enfoque dado à questão em o remorso de baltazar serapião. / Gender inequalities reinforce an unfair social structure between men and women, which validates the superiority of one over the other. Also, as a way of maintaining a status or order, it attributes unequal powers between them, with different distributions of rights and duties. Even in environments where equality is assumed, it is possible to find some difference in the distribution of power. In societies where this inequality prevails, violence against women becomes a recurring practice. Keeping this in mind, the main objective of the present research is to investigate how violence is constructed and justified in the novel o remorso de baltazar serapião by the Portuguese writer valter hugo mãe. We intend look through the treatment given to the female figure by the narrator-protagonist, from situations in which violence against woman occurs in the novel and analyze its position taking this into account. Although it is a contemporary work, published in 2006, the plot evokes a period distant in time, that reminds the Middle Ages, since it refers to relations between masters and servants, relations in which the conception of social equality between subjects did not exist. While many violent practices are not considered crimes, we believe that it is important, on behalf of our research, to understand and analyze these situations of violence. It is expexted that this dissertation will contribute not only to studies in Portuguese Literature, but also, and specifically, to studies on the awarded novel by valter hugo mãe, and to expand the reflections upon the continuance of gender violence in contemporary society, made possible by the focus given to the issue in o remorso de baltazar serapião.

Cette thèse se propose d'étudier les différentes manifestations de l'ironie dans la poétique romanesque de L'Homme qui rit de Victor Hugo selon trois axes d'étude. Le premier s'organise autour d'une analyse de l'énonciation polyphonique dans le roman. Qui prend en charge le récit et avec quelles intentions? Les propos des personnages sont souvent empreints d'ironie, et sont commentés par le narrateur ou l'auteur. Nous observons surtout la fonction de ses paroles dans l’énoncé : comment leur insertion influence-elle le déroulement du récit? Pourquoi favorisent-elles les manifestations de l’ironie? Puis, le deuxième axe de notre réflexion s'interroge sur le mélange des genres qui favorise également l’émergence de la parole ironique. L'utilisation de l’ironie permet à Victor Hugo de porter un regard critique sur son travail d'écrivain en reconsidérant ses pratiques d’écriture. Dans son roman L'Homme qui rit,il se veut, d’abord, poète en proposant une écriture proche de celle du texte poétique où l’image figure les idées et favorise aussi le registre ironique. L’auteur endosse aussi le rôle de dramaturge en mettant en scène la parole pour la rendre plus ironique et, en même temps, le travail de sape permanent de l’ironie ne fait qu’amplifier les visées politiques et littéraires de l’auteur. Victor Hugo dénonce certaines pratiques politiques afin de remettre en question aussi sa propre expérience d’homme politique. Enfin, le dernier axe de cette étude se propose d'observer la dimension métaphysique de l’ironie au cœur de la poétique en soulignant les différentes influences des mouvements de pensées philosophiques. Dans L’Homme qui rit, on peut distinguer deux choses : l’ironie classique, définie et utilisée au cours de l’Antiquité, et l’ironie moderne, apparaissant à la fin du 18ème siècle, qui correspond à l’émergence de l’ironie romantique. Dans le roman, l’ironie verbale s’inspire des procédés rhétoriques employés par les philosophes de l’Antiquité mais aussi de l’antiphrase, arme favorite des philosophes des Lumières pour qui la littérature ne se présente plus seulement comme un témoignage ou la critique d’une époque, mais elle devient aussi un intermédiaire entre l’écrivain et son lectorat afin que ce dernier s’interroge davantage sur sa condition et sur tout ce qui l’entoure. Dans L'Homme qui rit, l’utilisation de l’ironie n'a pas seulement pour vocation de railler, elle permet au lecteur d’étendre et d’approfondir sa réflexion sur sa propre condition. / This thesis suggests studying the various appearances of irony in the romantic poetics of The Man who laughs by Victor Hugo according to three axes of study. The first one gets organized around an analysis of the polyphonic statement in the novel. Who takes care of the narrative and what are the intentions? The comments of the characters are often tinged with irony, and are commented upon by the narrator or the author. We observe especially the function of his words in the statement: how does their insertion influence the unfolding of the narrative? Why do they favor the demonstrations of irony? Then, the second axis of our reflection leads us to wonder about the mixture of the genres which also favors the emergence of the ironic word. The use of irony allows Victor Hugo to take a critical look at his work of writer by reconsidering his practices of writing. In his novel The Man who laughs, he is meant to be, at first, a poet by proposing a writing close to that of the poetic text where the image represents the ideas and also favors the ironic register. The author also assumes the role of playwright by staging the word to make it more ironic and, at the same time, the permanent undermining of irony is only amplifying the political and literary aims of the author. Victor Hugo denounces some political practices to question also his own experience as a politician.