À frente de seu tempo e com dons excepcionais, Victor Brecheret trilhou um árduo caminho de sucesso. Mesmo com poucos recursos, nunca desanimou ou deixou de tentar, tendo estudado em diversas escolas de arte, inclusive em Paris, como bolsista. Nascido na Itália, veio para o Brasil quando ainda era criança, e cresceu entre os grandes e renomados nomes da arte. Morou em Roma, onde abriu seu primeiro atelier, mas foi em Paris que elevou e firmou seu estilo. Sua temporada parisiense é recheada pelo aprendizado das três fontes: ênfase ao volume geométrico das esculturas cubistas, ao tratamento sintético da forma de Brancusi e à estilização elegante do Art Déco. Além desses estilos, Brecheret trouxe da Europa os traços do modernismo. Durante toda sua carreira artística, desenvolveu diversos e diferenciados trabalhos, porém, é sempre lembrado por talhar seu cinzel em gigantesco bloco de mármore, dando forma a magníficas e esculturais obras. Seu maior trabalho, o mais reconhecido e citado, é, sem sombra de dúvidas, o Monumento às Bandeiras, na cidade de São Paulo, pelo qual deixou sua marca registrada, eternizando seu nome e firmando sua arte. Brecheret também deixou sua marca em obras tumulares que encantam os olhos e transformam a dor da morte em beleza e suaves lembranças de uma vida plena. Sua principal obra, dentre a arte tumular, é a Musa Impassível, que adornou com graciosidade o túmulo da poetisa Francisca Júlia, por mais de 80 anos (1923-2006) e, desde 2006, está alocada na Pinacoteca do Estado de São Paulo. Criada como uma homenagem póstuma a uma grande mulher, a Musa Impassível é a união da literatura com a arte, da poetisa com o escultor, da dor com a beleza, da morte com a eternidade; é a real certeza de que uma pessoa pode ser eternizada por meio de uma escultura, admirada entre infinitas gerações e lembrada pelas suas conquistas e grandiosidade. / Ahead of his time and exceptional gifts, Victor Brecheret walked a hard path of success. Even with few resources, never discouraged or stopped trying, he studied at several art schools, including in Paris with a scholarship. Born in Italy, he came to Brazil when he was a child and grew up among the great and renowned art names. He lived in Rome, where he opened his first atelier, but it was in Paris that he raised and formed his own style. His Parisian season is filled by learning from three sources: emphasis on geometric volume of cubist sculptures, synthetic treatment of form of Brancusi and the elegant Art Deco styling. In addition to these styles, Brecheret brought from Europe traces of modernism. Throughout his artistic career, he has developed on diversed and differentiated work; however, he is always remembered for his chisel carving in mammoth marble blocks, forming the magnificent and sculptural works. His greatest work, which is the most recognized and quoted, is undoubtedly the Monument to the Flags in the city of São Paulo, and for which he left his trademark, immortalizing his name and establishing his art. Brecheret also left his mark on tomb works. His funerary art is to delight the eyes and transform the pain of death in beauty and soothing memories of a full life. His main work, in the funerary art, is the Impassive Muse, which has been adorning with grace, the tomb of the poet Frances Julia for over 80 years (1923-2006), and since 2006, has being allocated in the Pinacoteca of the State of São Paulo. Created as a posthumous tribute to a great woman, the Impassive Muse is the union of literature with the art, the poet with the sculptor, pain with beauty, death with eternity; it is the real certainty that a person can be immortalized by a sculpture, admired along endless generations, and remembered for its achievements and grandeur.

À frente de seu tempo e com dons excepcionais, Victor Brecheret trilhou um árduo caminho de sucesso. Mesmo com poucos recursos, nunca desanimou ou deixou de tentar, tendo estudado em diversas escolas de arte, inclusive em Paris, como bolsista. Nascido na Itália, veio para o Brasil quando ainda era criança, e cresceu entre os grandes e renomados nomes da arte. Morou em Roma, onde abriu seu primeiro atelier, mas foi em Paris que elevou e firmou seu estilo. Sua temporada parisiense é recheada pelo aprendizado das três fontes: ênfase ao volume geométrico das esculturas cubistas, ao tratamento sintético da forma de Brancusi e à estilização elegante do Art Déco. Além desses estilos, Brecheret trouxe da Europa os traços do modernismo. Durante toda sua carreira artística, desenvolveu diversos e diferenciados trabalhos, porém, é sempre lembrado por talhar seu cinzel em gigantesco bloco de mármore, dando forma a magníficas e esculturais obras. Seu maior trabalho, o mais reconhecido e citado, é, sem sombra de dúvidas, o Monumento às Bandeiras, na cidade de São Paulo, pelo qual deixou sua marca registrada, eternizando seu nome e firmando sua arte. Brecheret também deixou sua marca em obras tumulares que encantam os olhos e transformam a dor da morte em beleza e suaves lembranças de uma vida plena. Sua principal obra, dentre a arte tumular, é a Musa Impassível, que adornou com graciosidade o túmulo da poetisa Francisca Júlia, por mais de 80 anos (1923-2006) e, desde 2006, está alocada na Pinacoteca do Estado de São Paulo. Criada como uma homenagem póstuma a uma grande mulher, a Musa Impassível é a união da literatura com a arte, da poetisa com o escultor, da dor com a beleza, da morte com a eternidade; é a real certeza de que uma pessoa pode ser eternizada por meio de uma escultura, admirada entre infinitas gerações e lembrada pelas suas conquistas e grandiosidade. / Ahead of his time and exceptional gifts, Victor Brecheret walked a hard path of success. Even with few resources, never discouraged or stopped trying, he studied at several art schools, including in Paris with a scholarship. Born in Italy, he came to Brazil when he was a child and grew up among the great and renowned art names. He lived in Rome, where he opened his first atelier, but it was in Paris that he raised and formed his own style. His Parisian season is filled by learning from three sources: emphasis on geometric volume of cubist sculptures, synthetic treatment of form of Brancusi and the elegant Art Deco styling. In addition to these styles, Brecheret brought from Europe traces of modernism. Throughout his artistic career, he has developed on diversed and differentiated work; however, he is always remembered for his chisel carving in mammoth marble blocks, forming the magnificent and sculptural works. His greatest work, which is the most recognized and quoted, is undoubtedly the Monument to the Flags in the city of São Paulo, and for which he left his trademark, immortalizing his name and establishing his art. Brecheret also left his mark on tomb works. His funerary art is to delight the eyes and transform the pain of death in beauty and soothing memories of a full life. His main work, in the funerary art, is the Impassive Muse, which has been adorning with grace, the tomb of the poet Frances Julia for over 80 years (1923-2006), and since 2006, has being allocated in the Pinacoteca of the State of São Paulo. Created as a posthumous tribute to a great woman, the Impassive Muse is the union of literature with the art, the poet with the sculptor, pain with beauty, death with eternity; it is the real certainty that a person can be immortalized by a sculpture, admired along endless generations, and remembered for its achievements and grandeur.

À l’aube du XXIe siècle, le style-Minuit s’offre d’abord comme une construction critique. En effet, depuis les années 1950 et le mouvement du Nouveau Roman, aussi appelé école de Minuit, les récits publiés aux Éditions de Minuit sont perçus irréductiblement par l’histoire littéraire comme des productions homogènes. Ainsi, les écrivains "impassibles" ou "minimalistes" puis "ludiques" auraient succédé aux Nouveaux Romanciers et, jusque dans les années 1990, le mythique éditeur, Jérôme Lindon, aurait découvert trois écoles stylistiques. Les critiques littéraires contribuent également à perpétuer dans la presse l’idée d’un style-Minuit. Entre 1999 et 2009, les journalistes représentent, dans un discours métaphorique et métonymique qui joue sans cesse d’un glissement sémantique sur la lexie polysémique "style", le style-Minuit en tant qu’objet sociocritique stéréotypique. Mais, si l’on entend par style ce qui fait événement dans la langue, peut-on encore faire l’hypothèse selon laquelle il existe un style-Minuit ? Passée au crible d’une étude à la fois synchronique et diachronique, la langue littéraire des écrivains Minuit nés entre 1964 et 1973 (Éric Chevillard, Éric Laurrent, Laurent Mauvignier, Marie NDiaye et Tanguy Viel) révèle un méta-patron discursif composé de traits de style supra-individuels. Ainsi, une analyse approfondie de la ponctuation, la syntaxe et l’énonciation permet de dégager non seulement la singularité langagière de chaque écrivain mais aussi les convergences de pratiques stylistiques qui définissent bien un style collectif Minuit. / In the early twenty-first century, the “style-Minuit” can be first approached as a critical construction. Indeed, since the fifties literary movement called the Nouveau Roman (the New Novel), also known as the Minuit School, books published by Editions de Minuit have been received by the literary world as homogeneous productions. Thus, the “impassive” or “minimalist” writers, then the “ludic” ones would have followed the Nouveaux Romanciers and upto the nineties, the mythical publisher, Jérôme Lindon, would have discovered three stylistic schools. Literary critics also contribute to perpetuate the idea of a style-Minuit in the media and between 1999 and 2009 journalists have depicted the Minuit-style as a stereotypical socio-critical object through a metaphorical and metonymical discourse playing constantly with several meanings of the word “style”. However, if we restrict the meaning of style to what makes “an event in language”, can we still pretend there would be a “style-Minuit”? Examining on both a diachronic and a synchronic level the literary language of a generation of writers all born between 1964 and 1973 (Éric Chevillard, Éric Laurrent, Laurent Mauvignier, Marie NDiaye et Tanguy Viel) reveals a common pattern composed by similar stylistic figures. Therefore a deep analysis of punctuation, syntax and discourse makes it possible to highlight first the linguistic uniqueness of each writer but also the convergences of some stylistic practices which properly delimit the collective “style- Minuit”.