Ce travail de recherche met en perspective la trajectoire picturale de Santiago Rusiñol i Prats (1861-1931) afin de révéler les traces de la socialité, à l'aide de la méthode analytique qu'offre la sociocritique. Ces tensions sociales ne sont pas reflétées dans le texte culturel, mais sous-tendent sa structure. La lecture sémiologique de ses œuvres picturales, surtout de ses œuvres intimistes et de ses jardins, permettent de détecter la présence des référents culturels communs à la mémoire collective catalane dans ses tableaux. Tenter de saisir cette nouvelle lecture de ses œuvres implique une étude approfondie dans le passé et donc, dans l'héritage socio-historique et culturel que reçoivent les individus en Catalogne, afin de débusquer par la suite l'idéologique présent structurellement, et transmis de manière non-consciente par l'artiste.Un aspect de la société catalane présent à tous les niveaux va être retranscrit dans la production artistique de Santiago Rusiñol : il s'agit de l'intimisme comme valeur de construction identitaire basée sur l'idée de l'importance de l'environnement domestique catalan, mais également, à un niveau davantage émotionnel, sur l'idée du « bien chez soi », sans pour autant signifier un repli sur soi, mais plutôt en célébrant la vie casolana1 comme symbole et rappel de la figure de l'homme catalan pagès2, empli de sagesse et en communion avec sa terre. Comprendre la dimension de l'intime dans l'imaginaire collectif catalan implique une recherche tant au niveau de la valeur et des types de foyers et de familles (au sens large) en Catalogne, mais également de déterminer un cadre théorique pour délimiter une définition de « l'intime » en art assez stable pour pouvoir comprendre les interrelations entre la valeur sociologique de l'intimisme en Catalogne et/ou à Barcelone, et son apparition sous-jacente dans l’œuvre picturale.Ce concept d'intimisme est donc décelable dans l'art de Santiago Rusiñol, qui parvient à l'exprimer tout en ayant importé, avec son acolyte Ramon Casas, les traces de l'impressionnisme parisien lors de leur séjour à la fin des années 1880. Force est de constater que ce flux artistique, provenant de Paris et ayant subi une métamorphose au travers de la main de ces artistes étrangers, est reçu par un public, qui parachève l’œuvre avec son regard. La problématique alors consiste en l'analyse du transfert de cet art vers l’œil du spectateur barcelonais, puis il s'agit de déceler si cet art prend un caractère emblématique, mais aussi revendicatif. Pour cela, la sémiologie visuelle est un outil d'analyse qui permet de dévoiler les signes qui convergent et créent un sens propre au contexte de la société catalane. Le but de l’œuvre dépasse alors celui de la simple contemplation pour devenir explicitement signifiante, à travers notamment l'apparition d'intertextes dans les œuvres qui résonnent dans la conscience collective catalane. L'artiste est alors un passeur : un passeur d'images, un passeur de messages, d'idées, un passeur qui secoue la société toute entière afin de la révolutionner et de la faire renaître. Par là-même, il accélère le processus d'évolution de cette dite société. Le fil du raisonnement nous conduira donc en toute logique à la question de la réception des œuvres aujourd'hui, en étudiant donc leur transcendance historique. Ainsi, et à la vue de ces données, il convient de répondre à la problématique qui vise à mettre à jour les moyens par lesquels l'art de Santiago Rusiñol, inscrit dans le mouvement moderniste, parvient à participer à l’élaboration d'une re-construction identitaire catalane, d'abord au XIXe siècle, mais également dans la Catalogne actuelle, en faisant appel à des signes qui interpellent les sujets transindividuels catalans, à des référents culturels communs qui sollicitent et réactivent la mémoire collective. / This work of research puts in perspective the pictorial path of Santiago Rusiñol i Prats (1861-1931) in order to reveal the traces of sociality, with the aid of the analytic method that the sociocriticism offers. These social tensions are not reflected in the cultural text, but they underlie its structure. The semiological reading of his pictorial works, especially of his intimate works and of his gardens, permit to detect the presence of the common cultural referents to the catalan collective memory in his pictures. Trying to seize this new reading of his works involves a deepened study in the past and therefore, in the socio-historical and cultural inheritance that the individuals in Catalonia receive, in order to flush thereafter the present ideological structurally, and transmitted in a non-conscious way by the artist.An aspect of the Catalan society present at all the levels is going to be retranscribed in the artistic production of Santiago Rusiñol : it is a matter of the intimism as value of identity building based on the idea of the importance of the catalan domestic environment, but also, at a level more emotional, on the idea of the « well by itself », without for all that meaning a fold on themselves, but rather celebrating the life « casolana »1 as symbol and recall of the figure of the catalan « pagès »2 man, filled with wisdom and in communion with his ground. Understanding the dimension of the intimacy in the catalan collective imagination implies a research so much as regards the value and of the types of homes and of families (in the broad sense) in Catalonia, but also of determining a theoretical frame to define a definition of « intimacy » in art stable enough to be able to understand the interrelations between the sociological value of the intimism in Catalonia and/or in Barcelona, and its underlying appearance in the pictorial work.The concept of intimism is therefore detectable in the art of Santiago Rusiñol, who arrives to express it while having imported, with his confederate Ramon Casas, the traces of the Parisian impressionism during their stay at the end of the years 1880. It is clear that this artistic flood, coming from Paris and having undergone a metamorphosis through the hand of these foreign artists, is received by a public, which perfects the work with its glance. The problems then consists in the analysis of the transfer of this art to the eye of the barcelonian spectator, then it is a matter of detecting if this art takes an emblematic, but also claiming character. For that, the visual semiology is an analysis tool that allows unveiling the signs that converge and create a sense own to the context of the catalan society. The goal of the work exceeds then that of the simple contemplation for evolution explicitly meaningful, through notably the appearance of intertexts in the works that resonate in the catalan collective conscience. The artist is then a transmitter : a transmitter of pictures, a transmitter of messages, of ideas, a transmitter who shakes the all society in order to revolutionize it and of making it reborn. Thereby, he accelerates the process of evolution of this society. The thread of the reasoning will drive us therefore in every logic to the question of the reception of the works today, studying therefore their historical transcendence. Thus, and in full view of these data, we should replying to the problems that aim at updating the means by which the art of Santiago Rusiñol, noted down in the modernistic movement, arrives to participate in the elaboration of an catalan identity re-construction, first at the 19th century, but also in the present Catalonia, calling on the signs that concern the catalan transindividual subjects, the common cultural referents that solicit and reactivate the collective memory.

O Livro do Desassossego, chamado por Fernando Pessoa de autobiografia sem fatos, diário lúcido ou ao acaso, entre outras tantas classificações, atribuído a Vicente Guedes e a Bernardo Soares, seu heterônimo e semi-heterônimo, respectivamente, apresenta temáticas e estratégias textuais várias que podem aproximá-lo da literatura intimista. Motivado aparentemente pela reflexão íntima ou por um minucioso exame de consciência, essa voz narrativa autoral, que é observadora atenta da vida cotidiana circundante, considerada reles e comezinha, registra suas impressões pessoais num pretenso diário íntimo ficcional. Tais recursos, utilizados pela escrita intimista, bem como o texto fragmentário formado pelas anotações desse eu solitário e entediado, parecem ser uma tentativa de constituí-lo como sujeito. Além da complexa elaboração textual (cujos fragmentos soltos, a diarística e a narrativa autobiográfica são exemplos), que torna a escrita intimista ainda mais sui generis na obra, há outra problemática, não menos significativa - a condição editorial a que o Livro do Desassossego ficou sujeito, visto que, inacabado, foi ordenado e publicado postumamente, de acordo com as escolhas e critérios de seus organizadores. Esta tese, pois, à luz da escrita de si, delineia e analisa brevemente os sujeitos possivelmente constituídos em três edições do projeto da prosa pessoana em questão - as de Teresa Sobral Cunha, Jerónimo Pizzarro e Richard Zenith -, a fim de verificar se e como a ordenação desse complexo material deixado, com fins de publicação da obra, contribuiu para evidenciar o processo de busca ontológica desse(s) eu(s) ficcional(is). / TheBook of Disquiet, referred to by Fernando Pessoa as a factless autobiography, a lucid diary or a random diary, among so many other designations, and attributed to Vicente Guedes and to Bernardo Soares, his heteronym and semi-heteronym, respectively, presents diverse themes and writing strategies that may place it in the vicinity of Intimism. Apparently motivated by an intimate reflection or by thorough soul-searching, this authorial narrative voice an attentive observer of the surrounding daily life, which is considered vulgar and mundane records its personal impressions in a presumed fictional intimate diary. Such devices, which are used in writing of the self and the fragmentary text formed by the notes of this lonely and bored self, seem to be an attempt to constitute it as a subject. In addition to the complex text construction (examples of which are loose fragments, diaries and autobiographical narratives), which renders the writing of the self even more unique in the work, there is another and not less important issue the publishing condition to which The Book of Disquiet was subject. Left unfinished, it was posthumously ordered and published according to the organizers choices and criteria. Thus, this thesis, in the light of writing of the self, outlines and briefly analyzes the subjects possibly constituted in three editions of Pessoas prose project in question the ones organized by Teresa Sobral Cunha, by Jerónimo Pizzarro and by Richard Zenith , so as to check whether and how the ordering of this complex material, with the purpose of publishing the work, has contributed to reveal the process of ontological search for this fictional self or these fictional selves.

A questão do intimismo tem ocupado um grande espaço de discussão nos estudos literários com abordagens críticas que ou veem na obra de arte um reflexo da vida do autor, ou tendem a negar qualquer valor subjetivo do texto literário (falando-se, até, na morte do autor). Cada um dos enfoques atribui uma importância diferente para o texto literário. A presente pesquisa teve por objetivo investigar as representações do eu na poesia de Pessanha sem, no entanto, fazer de sua poesia motivo para levantamentos biográficos do poeta. Buscou-se, a princípio, comparar as possíveis relações existentes entre intimismo e modernidade e, estendendo tal relação, comparou-se o intimismo de Pessanha com dois outros poetas significativos da lírica portuguesa do século XIX. Depois, investigou-se, partindo-se de leituras em close reading de poemas do autor, as relações que o eu e o outro estabelecem na poesia de Pessanha. Para tanto, utilizou-se a noção de vulnerabilidade e de estranheza do ser do filósofo Emanuel Lévinas. Por último, foram investigadas as representações diretas do eu e as representações do eu em terceira pessoa. / The issue of intimism has occupied a large area of discussion in literary studies with critical approaches that, or see in a work of art a reflecting the life of the author, or tend to deny any subjective value the literary texts (talking, until, in \" author\'s death\"). Each of the approaches attaches a different importance to the literary text. This research aimed to investigate the representations of \"self\" in the poetry of Pessanha without, however, make of his poetry reason to the poet\'s biographical surveys. At first, we sought to compare the possibles relationships existents between intimism and modernity and, extending this relationship, we compare the intimism of Pessanha with two other significant poets of the nineteenth-century Portuguese poetry. Subsequently, we investigate starting from the reading in close reading of poems by the author, the relationship between the self\" and the \"other\" in the poetry of Pessanha. For both, the notion of vulnerability and strangeness of the being of the philosopher Emmanuel Levinas was utilized. Finally, we investigate the direct representations of the \"self and representations of the \"self\" in third person.

A questão do intimismo tem ocupado um grande espaço de discussão nos estudos literários com abordagens críticas que ou veem na obra de arte um reflexo da vida do autor, ou tendem a negar qualquer valor subjetivo do texto literário (falando-se, até, na morte do autor). Cada um dos enfoques atribui uma importância diferente para o texto literário. A presente pesquisa teve por objetivo investigar as representações do eu na poesia de Pessanha sem, no entanto, fazer de sua poesia motivo para levantamentos biográficos do poeta. Buscou-se, a princípio, comparar as possíveis relações existentes entre intimismo e modernidade e, estendendo tal relação, comparou-se o intimismo de Pessanha com dois outros poetas significativos da lírica portuguesa do século XIX. Depois, investigou-se, partindo-se de leituras em close reading de poemas do autor, as relações que o eu e o outro estabelecem na poesia de Pessanha. Para tanto, utilizou-se a noção de vulnerabilidade e de estranheza do ser do filósofo Emanuel Lévinas. Por último, foram investigadas as representações diretas do eu e as representações do eu em terceira pessoa. / The issue of intimism has occupied a large area of discussion in literary studies with critical approaches that, or see in a work of art a reflecting the life of the author, or tend to deny any subjective value the literary texts (talking, until, in \" author\'s death\"). Each of the approaches attaches a different importance to the literary text. This research aimed to investigate the representations of \"self\" in the poetry of Pessanha without, however, make of his poetry reason to the poet\'s biographical surveys. At first, we sought to compare the possibles relationships existents between intimism and modernity and, extending this relationship, we compare the intimism of Pessanha with two other significant poets of the nineteenth-century Portuguese poetry. Subsequently, we investigate starting from the reading in close reading of poems by the author, the relationship between the self\" and the \"other\" in the poetry of Pessanha. For both, the notion of vulnerability and strangeness of the being of the philosopher Emmanuel Levinas was utilized. Finally, we investigate the direct representations of the \"self and representations of the \"self\" in third person.

O Livro do Desassossego, chamado por Fernando Pessoa de autobiografia sem fatos, diário lúcido ou ao acaso, entre outras tantas classificações, atribuído a Vicente Guedes e a Bernardo Soares, seu heterônimo e semi-heterônimo, respectivamente, apresenta temáticas e estratégias textuais várias que podem aproximá-lo da literatura intimista. Motivado aparentemente pela reflexão íntima ou por um minucioso exame de consciência, essa voz narrativa autoral, que é observadora atenta da vida cotidiana circundante, considerada reles e comezinha, registra suas impressões pessoais num pretenso diário íntimo ficcional. Tais recursos, utilizados pela escrita intimista, bem como o texto fragmentário formado pelas anotações desse eu solitário e entediado, parecem ser uma tentativa de constituí-lo como sujeito. Além da complexa elaboração textual (cujos fragmentos soltos, a diarística e a narrativa autobiográfica são exemplos), que torna a escrita intimista ainda mais sui generis na obra, há outra problemática, não menos significativa - a condição editorial a que o Livro do Desassossego ficou sujeito, visto que, inacabado, foi ordenado e publicado postumamente, de acordo com as escolhas e critérios de seus organizadores. Esta tese, pois, à luz da escrita de si, delineia e analisa brevemente os sujeitos possivelmente constituídos em três edições do projeto da prosa pessoana em questão - as de Teresa Sobral Cunha, Jerónimo Pizzarro e Richard Zenith -, a fim de verificar se e como a ordenação desse complexo material deixado, com fins de publicação da obra, contribuiu para evidenciar o processo de busca ontológica desse(s) eu(s) ficcional(is). / TheBook of Disquiet, referred to by Fernando Pessoa as a factless autobiography, a lucid diary or a random diary, among so many other designations, and attributed to Vicente Guedes and to Bernardo Soares, his heteronym and semi-heteronym, respectively, presents diverse themes and writing strategies that may place it in the vicinity of Intimism. Apparently motivated by an intimate reflection or by thorough soul-searching, this authorial narrative voice an attentive observer of the surrounding daily life, which is considered vulgar and mundane records its personal impressions in a presumed fictional intimate diary. Such devices, which are used in writing of the self and the fragmentary text formed by the notes of this lonely and bored self, seem to be an attempt to constitute it as a subject. In addition to the complex text construction (examples of which are loose fragments, diaries and autobiographical narratives), which renders the writing of the self even more unique in the work, there is another and not less important issue the publishing condition to which The Book of Disquiet was subject. Left unfinished, it was posthumously ordered and published according to the organizers choices and criteria. Thus, this thesis, in the light of writing of the self, outlines and briefly analyzes the subjects possibly constituted in three editions of Pessoas prose project in question the ones organized by Teresa Sobral Cunha, by Jerónimo Pizzarro and by Richard Zenith , so as to check whether and how the ordering of this complex material, with the purpose of publishing the work, has contributed to reveal the process of ontological search for this fictional self or these fictional selves.

Ce mémoire s’intéresse au Journal de la poète québécoise Marie Uguay et analyse comment la thématique du mouvement y engendre un rapport sensible aux lieux. Il s’appuie notamment sur les travaux sur l’espace de Pierre Nepveu et sur les théories contemporaines du paysage. La condition physique de Uguay, atteinte d’un cancer des os, détermine une manière particulière d’appréhender l’espace, au travers d’une écriture portée vers l’intime. Le premier chapitre est consacré à la dialectique entre intérieur et extérieur, l’écrivaine imaginant de nombreux voyages à partir de la réclusion de son appartement montréalais. Le deuxième chapitre porte sur les lieux effectivement parcourus. Finalement, le troisième chapitre explore une lecture similaire de l’espace chez les poètes Hector de Saint-Denys Garneau et Albert Lozeau, qui peut permettre d’établir une filiation intellectuelle entre eux et la diariste. Il examine également comment la reprise de la figure de Marie Uguay dans la littérature contemporaine tient compte d’une relation particulière à l’espace. / This dissertation focuses on the Journal of the Quebecoise poet Marie Uguay. It recuperates among other critical texts Pierre Nepveu’s study of space as well as contemporary landscape theories. It examines how the idea of motion enables a sensitive relationship with the environment inhabited by the writer. Uguay was suffering from bone cancer and this condition determined the distinctive way in which she conceived space in her intimist literature. The first chapter looks at the dialectic between inside and outside. From the reclusion of her Montreal apartment, the writer imagines numerous travels. The second chapter revisits the actual spaces in which the author is moving. Finally, the third chapter considers how a comparable way of conceiving space can bear an intelletual association between Uguay and the poets Saint-Denys Garneau et Albert Lozeau. It also looks at how the figure of Marie Uguay reappears in contemporary literature throught a relation of space.

Dans la première décennie du XXIe siècle, à l’ère des nouvelles technologies de communication électroniques, le courriel est devenu le moyen par excellence pour envoyer et recevoir du contenu privé, remplaçant dès lors l’envoi de lettres papier. Dans ce contexte, pour quelles raisons un individu souhaiterait-il partager ce contenu privé en le publiant ouvertement, publiquement, de plus, dans un format papier, le rendant désormais disponible à l’ensemble des lecteurs désirant en consulter le contenu? Pourtant, telle est la genèse du recueil Lettres à l’Indigène de Joël Des Rosiers dans lequel l’auteur fait don de lettres d’amour qui « deviennent alors des objets communs que partagent la destinataire et l’homme qui lui écrit, le livre et le lecteur » (LALI, p. 7). Ainsi, c’est par la réappropriation d’une pratique épistolaire ancienne que cet ouvrage rend compte d’une écriture intimiste dans laquelle lettres intimes et lettres ouvertes se côtoient. Les lettres intimes comportent plusieurs ressemblances avec les lettres conventionnelles, mais s’en distinguent sur certains points. Les lettres ouvertes, quant à elles, s’apparentent davantage aux publications libres que l’on retrouve dans les divers périodiques papier ou Web, ainsi que dans les divers blogues. Dans les deux types de lettres, nous voyons quelle est la place du destinateur et celle de l’Autre, nous présentons les différentes constructions de l’espace liées à chacune des formes de lettre et nous dévoilons les diverses stratégies formelles qui laissent voir un jeu entre les sphères publique et privée. Nous démontrons ainsi de quelles manières ce recueil questionne l’intimisme du XXIe siècle, ainsi que la pratique d’une écriture intimiste dans le cadre actuel. / In the first decade of the twenty-first century, the era of new technologies and electronic communication, email has become the preferred way to send and receive private messages, replacing therefore paper letters. Knowing this, why would an individual want to share his private content by publishing it openly, publicly, furthermore in a paper format, making it available to all readers wishing to view the content? Nevertheless, such is the genesis of the collection of letters, Lettres à l’Indigène of Joël Des Rosiers in which the author donated love letters that became " common objects that share the recipient and the man who wrote, the book and the readers "(LALI, p. 7). Thus, it is through the recovery of an old epistolary practice that this book reflects an intimate writing in which private letters and open letters meet. The intimate letters contain several resemblances with the conventional letters, but distinguish themselves from it on certain points. Open letters, as for them, are more similar to the free publications which we find in the diverse paper or Web periodicals, as well as in the various blogs. In both type of letters, we are able to see the place of the addresser and that of the Other, we present the various constructions of the space related with each of the forms of letter and we reveal the diverse formal strategies which allow to see a play between public and private spheres. Thus, we demonstrate different ways in which this book questions the intimacy of the 21st century, as well as the practice of intimate writing in the current era.