Esta pesquisa, em um primeiro momento, pretende apreender o existencialismo como parte dos ideários integrantes das vicissitudes que marcaram a transição para a modernidade literária. A seguir, conceitos presentes na obra O Ser e o Nada: Ensaio de Ontologia Fenomenológica, do filósofo francês Jean-Paul Sartre, são relacionados a elementos constituintes da estrutura narrativa, a saber, o espaço, o tempo e o narrador. Com isso, os conceitos sartrianos de consciência, de Ser e de liberdade, uma vez inter-relacionados a esses elementos da estrutura narrativa, possibilitam a criação de ferramentas que melhor assinalam a relação dessa corrente filosófica com a obra de Clarice Lispector, A Paixão Segundo G. H. É nessa perspectiva que os conceitos de narrador, espaço e tempo à luz do existencialismo são utilizados a fim de que, sob uma ótica filosófica, novos leituras sobre o romance sejam possibilitadas. / This research aims at identifying points of connection between Existentialism and the Modern agenda using as a corpus of investigation the novel A Paixão Segundo G. H., by the Brazilian writer, Clarice Lispector. Concepts apprehended from Jean-Paul Sartre‟s Being and Nothingness: An Essay on Phenomenological Ontology are related to three aspects of the narrative structure, namely space, time and narration. The French philosopher‟s concepts respecting consciousness, being and freedom, when interrelated with Lispector‟s narrative structure, allow the creation of tools that emphasize this relation between philosophy and literature in the analyzed novel. We expect that this endeavor may open new possibilities of reading to that novel, in which narration, space and time can be examined in the light of Existential concepts.

A publicação de La Terre, em 1887, provoca, na França, uma avalanche de ataques a Zola e ao Naturalismo. O romance, que dá continuidade à saga dos Rougon-Macquart, aborda não apenas a vida do campo e dos camponeses mas também questões sociais ligadas à realidade agrícola do país no final do século XIX. Ao ser lançado em capítulos, o romance é objeto de severas críticas, como o Manifesto dos Cinco, que ataca violentamente a obra e acusa o autor de obscenidade doentia. Críticos de renome como Anatole France e Brunetière também priorizam a dimensão moral em sua avaliação do romance e deploram o que qualificam de crueza naturalista. A crítica francesa utiliza o romance La Terre para decretar a bancarrota do Naturalismo . No Brasil, o prestígio de Zola e do Naturalismo encontra-se em momento de ascensão como parte do movimento mais amplo de adoção dos moldes literários franceses como recurso para consolidar a independência cultural em relação à literatura portuguesa. Romero, Veríssimo e Araripe Jr. se valem repetidamente do autor francês para discutir seus projetos para a literatura nacional. Araripe Jr. - que por certo período havia se afastado de Zola imputandolhe um pessimismo inadequado ao Brasil encontra, em La Terre, tema para trazer novamente Zola para o centro de suas reflexões. O presente trabalho busca refletir sobre o sentido dessa recepção diversa de La Terre na França e no Brasil, examinando o modo como Araripe Jr. transforma o romance em argumento para discutir questões relativas à formação da literatura brasileira. / Zolas La Terre,(1887) causes an uproar in France and triggers a series of violent attacks against its author and Naturalism, the literary school he represented. The novel, part of the Rougon-Macquart saga, focuses not only on country life and peasants but addresses also the loaded social issues shaking rural France at the end of the 19th century. Published in episodes, the novel is the object of fierce criticism, epitomized by Le Manifeste des Cinq, a heavy invective against the novel and its author, who is accused of inexcusable obscenity. Major critics such as Anatole France and Brunetière also highlight the moral dimension in their censure, and most French critics denounce La Terre as proof that literary Naturalism was dead. In Brazil, however, Zolas prestige and that of Naturalism are on the rise, as they seem apt to help foster a national literature finally rid of Portuguese models. Romero, Veríssimo e Araripe Jr. repeatedly refer to Zola when discussing their projects for Brazilian literature. Araripe Jr., who had for a moment detached himself from Zola due to what he saw as the authors objectionable pessimism, finds in La Terre a good opportunity to reconcile himself with Zolas works. The present dissertation discusses these different responses to the novel, in France and in Brazil, focusing on the way Araripe Jr. makes the novel a powerful argument to buttress his views on the ideal path for Brazilian literature.

Esta disertación tiene como objetivo realizar el análisis de la crítica literaria en tres autores: el brasilero Mário de Andrade (1893-1945), el colombiano Baldomero Sanín Cano (1861-1957) y el mexicano Alfonso Reyes (1889-1959), dentro de los contextos histórico-culturales del Modernismo Hispanoamericano de entre siglos y el Modernismo Brasilero de los años 20 y 30, así como de la Revolución Cultural mexicana de inicios del siglo XX. El concepto que sustenta tal análisis es el de valor menor que remite, a partir de la idea barthesiana de imagen, a una palabra que, estando dentro del texto crítico mismo, funciona como clave reveladora y potencializadora del sentido de esa lectura crítica. El valor menor, a diferencia del valor mayor que sería la expresión de una época y de una generación, se propone aquí como la expresión subjetiva que mejor se alía a la práctica de la crítica literaria ejercida desde el ensayo como escritura de búsqueda de sentido y no de certezas conclusivas. / The aim of this this thesis is to analyze the practice of literary criticism in Brazilian Mário de Andrade (1893-1945), Colombian Baldomero Sanín Cano (1861-1957), and Mexican Alfonso Reyes (1889-1959), inside the historical and cultural context of Hispano-American Modernism (between centuries) and Brazilian Modernism (20´s and 30´s) as well as the Mexican Cultural Revolution at the beginning of the XX century. \"This analysis relies upon the concept of Minor Values, which departs from Barthes\' proposed image. It refers to a word which, being part of the critical text, works as a revealing key, strengthening the sense of the critical text. Different from the major value -true expression of an epoch and generation-, the minor value is the most subjective expression that best adheres to the practice of literary criticism from the point of view of the literary essay as a quest for sense instead of certainties.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-04-08T18:16:07Z No. of bitstreams: 1 webertguiducidemelo.pdf: 793120 bytes, checksum: d9e5aa0c6430c9d9f143393d73e4e8f4 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-04-24T03:39:33Z (GMT) No. of bitstreams: 1 webertguiducidemelo.pdf: 793120 bytes, checksum: d9e5aa0c6430c9d9f143393d73e4e8f4 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-04-24T03:39:45Z (GMT) No. of bitstreams: 1 webertguiducidemelo.pdf: 793120 bytes, checksum: d9e5aa0c6430c9d9f143393d73e4e8f4 (MD5) / Made available in DSpace on 2016-04-24T03:39:45Z (GMT). No. of bitstreams: 1 webertguiducidemelo.pdf: 793120 bytes, checksum: d9e5aa0c6430c9d9f143393d73e4e8f4 (MD5) Previous issue date: 2013-12-12 / Essa dissertação focaliza as canções e a literatura de Chico Buarque de Hollanda, um intelectual e um artista totalmente vinculado à produção cultural brasileira das últimas cinco décadas. Chico Buarque construiu uma obra que repensa o Brasil e, ao mesmo tempo, desenha a utopia de uma sociedade mais democrática. Procurou-se, então, identificar as continuidades entre o compositor e o escritor de romance, visto que esta dualidade de persona artística leva a uma tensão interna da crítica em relação ao conjunto de sua obra. Analisamos como a sociedade brasileira é representada socialmente e culturalmente e como os elementos estéticos e críticos, já presentes em suas primeiras canções, permanecem constantes em sua produção artística. Na leitura de Leite Derramado, o destaque será para a representação e função do narrador, e de elementos e personagens, em paralelo com aspectos da estrutura cultural e social brasileira. Ou seja, observando gêneros, forma e temas, buscamos refletir como Chico Buarque de Hollanda pensa o Brasil e expressa esse pensamento em sua obra. / This dissertation focuses on the songs and literature of Chico Buarque de Hollanda, an intellectual and artist totally tied to Brazilian cultural output of the past five decades. Chico Buarque constructed a work that rethinks Brazil and at the same time, draws the utopia of a more democratic society. It was attempted to identify the continuities between the composer and writer of romance, since this duality of artistic persona leads to an internal tension of criticism over the set of his work. We have analyzed how Brazilian society is socially and culturally represented, and how critical and aesthetic elements, already present in his first songs, remain constant in their artistic production. When reading Leite Derramado, the highlight will be for the representation and role of the narrator, and elements and characters, in parallel with aspects of Brazilian social and cultural structure. I.e. observing genres, forms and themes, we reflect how Chico Buarque de Hollanda thinks Brazil and expresses this thought in his work.

Orientador: Antonio Arnoni Prado / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-24T20:31:07Z (GMT). No. of bitstreams: 1 Moraes_RicardoGaiottode_M.pdf: 2099601 bytes, checksum: 52657ab8b82d5fb17b6a55c9051d6cc3 (MD5) Previous issue date: 2014 / Resumo: Esta tese propõe uma pesquisa de comparação detalhada das categorias críticas de Mário de Andrade e Sérgio Buarque de Holanda, observando-se a complexidade das formulações críticas dos dois autores e, a partir daí, analisando-se os temas semelhantes e, em que medida, as ideias de um são permeáveis às do outro. Como Mário de Andrade e Sérgio Buarque de Holanda têm presença tanto em periódicos modernistas como naqueles de circulação menos específica, atentou-se também para a especificidade do contexto histórico e material dos artigos comparados, construindo um panorama da participação de ambos em jornais e periódicos. Além disso, em vários momentos, para compreender melhor os conceitos empregados, estudou-se a apropriação que os dois autores fizeram de textos teóricos de autores estrangeiros. Assim, buscou-se, por meio de uma criteriosa análise da crítica de Sérgio Buarque de Holanda e Mário de Andrade, reconstituir seus pontos de interseção, observando tanto a especificidade da crítica circunstancial, quanto a sua inserção na produção intelectual de cada autor, e procurando identificar, no caso de Mário de Andrade, as relações com a obra ficcional e, no caso de Sérgio Buarque de Holanda, com a obra historiográfica / Abstract: The aim of this dissertation is to develop a comparative study of the literary criticism of Mario de Andrade and Sergio Buarque de Holanda. Andrade¿s oeuvre includes criticism, novels, poems, several modernist manifestos and a number of newspaper articles. Holanda¿s, on the other hand, is the author of historical studies like Raízes do Brasil and Visão do Paraíso. Through a comparative approach, this dissertation intends to focus on the literary criticism written by both authors, paying attention to their methodological choices and to the role played by intellectuals in their imagination. Besides considering the criteria of approach to literary work and reflections on the role of intellectuals in critical articles, this dissertation also searched for evidence in the intertextual references of both literary and theoretical texts from other authors. For this study, it was important to identify the references throughout the critical work of authors who have driven the most important reflections over their productions. Thus, the literature studied included these references in the case of texts by Mario de Andrade and Sergio Buarque de Holanda, including books of Brazilian and foreign artists of the late nineteenth century, the avant-gardes of the early twentieth century, and authors who have treated arts and literature, both in the context of avant-garde and of the critique, for example, the New Criticism / Mestrado / Teoria e Critica Literaria / Doutor em Teoria e História Literária

Orientador: Maria Betânia Amoroso / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-23T15:11:11Z (GMT). No. of bitstreams: 1 Oliveira_EvaAparecidade_D.pdf: 2179062 bytes, checksum: 61aca1792eb8aca46254c3f7ae732cea (MD5) Previous issue date: 2013 / Resumo: Italo Calvino dedicou dois anos de trabalho, durante a década de 1950, ainda no começo de sua carreira, "para dar à Itália o seu Grimm". Tendo como base um extenso material reunido a partir de coletâneas regionais, elaboradas por estudiosos durante a segunda metade do século XIX, a empresa se baseou em leitura e reescrita das narrativas da tradição popular, mas não se limitou a tradução e organização do volume. Passando os contos da tradição pela pena do escritor, elaborou o "seu" livro de contos populares. O trabalho com o gênero, porém, produziu outros frutos. Ao identificar nos textos da tradição popular estruturas e motivos que vinham ao encontro de suas próprias aspirações estilísticas, soube utilizar esse conhecimento de forma a ampliar suas possibilidades narrativas. O "fiabesco", o "fantástico" e a "ficção científica" de Calvino possuem suas raízes nesses elementos. Já no final prematuro de sua carreira, ao deixar para o século XX suas propostas de literatura reunidas nas cinco conferências de Lezioni Americane, é justamente do conto popular que o autor vai retirar alguns dos exemplos do que acredita serem valores importantes para o futuro da narrativa / Abstract: In the beginning of his career during the 1950's, Italo Calvino has dedicated two years of his work to "give Italy their Grimm". Based on an extensive material gathered from regional collections during the second half of the nineteenth century, this achievement has relied on reading and rewriting narratives of popular tradition but it was not limited to translation and organization of the volume. Passing tradition tales by his feather, the writer wrote "his" book of popular tales. However the work with the genre produced good fruits. Identifying in popular tradition texts structures and reasons that supported his stylistic aspirations, he knew how to use this knowledge in order to expand his narrative possibilities. Calvino's "fiabesco", "fantastic" and "science fiction" have their roots in these elements. In the premature end of his career, by leaving for the twentieth century his literature proposal collected into five Lezioni Americane conferences, the author will highlight from popular tales some examples he believes that are important values for the future of narrative / Doutorado / Teoria e Critica Literaria / Doutora em Teoria e História Literária

Notre travail de thèse, « La Première œuvre poétique de Jean Boudou : édition philologique, commentaire littéraire et glossaire lexicologique », constitue à ce jour l'unique étude philologique portant sur l'œuvre de Jean Boudou, écrivain majeur de la littérature occitane du XXe siècle. Nous établissons l'édition critique des deux premiers recueils de l'auteur, Lo frescun del nóstre Viau (1945) et La canson del paìs (1948), ainsi que de ses poèmes de jeunesse, et présentons pour la première fois ces textes en respectant les choix typographiques et linguistiques de Boudou. Nous complétons notre approche philologique par un glossaire lexicologique. Concevant notre glossaire comme une première étape analytique à l'étude de la langue de l’auteur, nous soumettons notre description aux exigences méthodologiques de la linguistique contemporaine. Nous optons, dans nos analyses littéraires, pour une étude structurale des textes. Nous avons cherché à situer l'œuvre de Boudou dans l'histoire des littératures occitane, française et européenne afin d’en dégager les principaux partis pris esthétiques. / The thesis research The first poetic work of Joan Bodon: philological edition, literary commentary and lexicological glossary is to this day the only philological study dedicated to the work of Joan Bodon, a major author of 20th century Occitan literature. The thesis establishes the critical edition of Bodon’s first two collections - Lo frescun del nóstre Viau (1945) and La canson del paìs (1948) – as well as of his early poems. The texts are studied for the first time in a version respecting Bodon’s typographical and linguistic choices. The thesis’s philological approach is complemented by a lexicological glossary, as the first analytical step towards the study of the author’s language. The lexicological glossary follows the methodological rigor of contemporary linguistics. The thesis focuses its literary analysis on a structural study. It aims at replacing Bodon’s work in the historical context of Occitan, French and European literatures in order to extract author’s main aesthetic choices.

Abstract Literary criticism lost its connection with textual criticism as formalist theories gained ground after the 1950s. The formalist conceptions of the autonomy of the literary work, however, have been subsequently questioned while the relationship between literary and textual criticism has remained distant. The present study searches for the historical reasons for this, and with the help of literary philosophy strives to revive the vanished relationship by demonstrating the essential signification of textual criticism to literary criticism. In the Anglo-American context the literary critics’ disinterest in textual criticism has been explained away as a vestige of New Critical literary theory. The present study brings a new interdisciplinary viewpoint to this discussion by showing that Analytic Aesthetics has had a central role in maintaining the separation of textual criticism and literary criticism. By examining prominent theories of the ontology of the literary work the study reveals a tradition of a monolithic conception of the literary work within Analytic Aesthetics that considers the literary work to have only one stable text. In this tradition different phenomena of textual variation are marginalised as inessential to the identity of the work. By the same token, textual criticism is cast out from the field of literary criticism as being aesthetically insignificant. The study criticises the monolithic tradition for its historically limited conception of the work, one that is grounded in the invention of print and the modern conception of the author. This conception does not take into account the historically and constantly changing media of production, recording and transmitting that affects the relationship between the concepts of work and text. The monolithic conception is wholly unsuitable for the thinking of the works of oral literature, medieval manuscript culture and contemporary hypertexts. Neither does it work well with printed literature. This study demonstrates how this conception of the work supports a blind faith approach to the stability of the printed text that gives a completely false impression of the historical nature of the literary work. According to this study literary criticism should be based on an aesthetic of suspicion that approaches every text with a critical attitude. The literary critic should examine the history of textual transmission of the work under study and only then determine and justify from the viewpoint of the given research frame the selection of which text versions the work’s interpretation is based on. By examining unpublished as well as published versions of Aaro Hellaakoski’s Me kaksi, the present study demonstrates in practice how taking textual variation into account produces interpretations of the work that would not otherwise be possible when working only with a single text version. / Tiivistelmä Kirjallisuudentutkimus kadotti yhteyden tekstikritiikkiin formalististen teorioiden yleistyessä 1950-luvun jälkeen. Sittemmin formalistiset käsitykset teoksen historiattomuudesta ja autonomisuudesta on kyseenalaistettu, mutta suhde tekstikritiikkiin on jäänyt etäiseksi. Käsillä olevassa tutkimuksessa etsitään historiallisia syitä tähän ja pyritään elvyttämään näiden tutkimusalojen vuorovaikutusta osoittamalla kirjallisuuden filosofian keinoin tekstikritiikin olennainen merkitys kirjallisuudentutkimukselle. Angloamerikkalaisessa kontekstissa kirjallisuudentutkijoiden välinpitämättömyyden tekstikritiikkiä kohtaan on selitetty periytyvän uuskriittisestä kirjallisuusteoriasta. Tämä tutkimus tuo keskusteluun uuden poikkitieteellisen näkökulman osoittamalla, että analyyttinen estetiikka on ollut keskeinen tekijä tekstikritiikin ja kirjallisuudentutkimuksen välisen erottelun ylläpitämisessä. Tarkastelemalla keskeisiä kirjallisen teoksen ontologian teorioita tutkimus paljastaa analyyttisessa estetiikassa vallitsevan monoliittisen teoskäsityksen tradition, jossa teoksella ajatellaan olevan vain yksi muuttumaton teksti. Tässä traditiossa erilaiset tekstuaalisen variaation ilmiöt marginalisoidaan teoksen identiteetin kannalta epäolennaisina. Samalla tekstikriittinen tutkimus rajataan pois kirjallisuudentutkimuksen alueelta esteettisesti merkityksettömänä. Tutkimus kritisoi monoliittisen tradition historiallisesti rajoittunutta teoskäsitystä, joka pohjautuu kirjapainotekniikkaan ja moderniin tekijäkäsitykseen. Tämä teoskäsitys ei huomioi teoksen historiallisesti muuttuvien tuottamisen, tallentamisen ja välittämisen välineiden vaikutusta teoksen ja tekstin suhteeseen. Monoliittinen teoskäsitys ei sovellu esimerkiksi suullisen runouden, keskiajan käsikirjoituskulttuurin tai nykyajan hypertekstien tekstuaalisuuden ajattelemiseen, muttei myöskään painetun kirjallisuuden tekstuaalisuuteen. Tutkimus osoittaa, miten tämä teoskäsitys ylläpitää sokeaa luottamusta painettuun tekstiin, joka antaa virheellisen kuvan kirjallisen teoksen historiallisesta luonteesta. Tutkimuksen mukaan kirjallisuudentutkimuksen tulisi perustua epäilyksen estetiikkaan, jossa jokaiseen tekstiin suhtaudutaan kriittisesti. Kirjallisuudentutkijan olisi selvitettävä tutkimansa teoksen tekstuaalisen transmission historia sekä määritettävä ja perusteltava tutkimusongelmansa näkökulmasta mihin teoksen tekstiversioihin hän perustaa tulkintansa. Tarkastelemalla Aaro Hellaakosken Me kaksi -runoelman julkaisemattomia ja julkaistuja versioita tutkimuksessa osoitetaan käytännössä, miten tekstuaalisen variaation huomioiminen tuottaa tulkintoja teoksesta, jotka eivät olisi mahdollisia yksittäisen tekstiversion pohjalta.

This dissertation is basically a reading the book of Lamentation as a literary whole in a sense of a text-centred approach, which aims to interpret the Scripture as divine communicative action. The major philosophical resources that I employ in this study are the Speech-Act theory developed by J. Austin and J. Searle, and the concepts particularly exemplified in the work of K. Vanhoozer. I look at repetition and literary techniques in Lamentations as a clue to its structural unity. In the body of the dissertation, Instead of historical-critical approaches, I claim that the meaning exists not ‘behind the text,’ but ‘in the text itself as a whole.’ One of the most important literary approaches to understanding the book of Lamentations is to note the poetic voices, which interweave in the text. The poetic voices are my main focus of understanding the book of Lamentations. I explain the literary meaning reading the text and demonstrate that we must find the canonical level of the meaning which supervenes on the literary level. The meaning of a text at a literary level must be carefully studied and modified by the ‘fuller sense (or meaning)’ derived from the canonical context. The ‘fuller sense’ of Scripture associated with divine authorship emerges only at the level of the whole canon. Here for the canonical meaning of the text, I focus on Vanhoozer’s assertion, having proposed the suitability of speech act theory for the various tasks of biblical interpretation and theological hermeneutics. When we read the text, there is no utterance from God in Lamentations. It is the missing voice. The main theme of Lamentations is "Where is the true comfort?". The text presents no comfort. In the literary context, God keeps silent (non-speaking). Canonically, however, Christian readers as God’s people read the Bible, connecting it to Jesus Christ. Within the canonical context, we can indeed find an answer and God’s answering speech (that is, His act), because Jesus is their true comforter acting as God’s response. We can find this response in his teaching (e.g. Jesus’ Sermon on the Mount) and in his mission (e.g. presenting his body as the temple, being Immanuel, God-with-us). / Dissertation (MA(Theology))--University of Pretoria, 2009. / Old Testament Studies / unrestricted

Cette thèse est une recherche interdisciplinaire entre care et littérature, basée sur l'hypothèse d'un lien d'interdépendance entre les deux perspectives. Mon travail s’appuie sur l'idée que la littérature peut être un instrument particulièrement adéquat de recherche sur le travail et la relation de care justement parce que les romans racontent des histoires ordinaires. En effet, le care n’est pas un principe ontologique général, il est lié à des situations particulières, concrètes. De même, les récits littéraires de Slow Man de John M. Coetzee et Maria de Lalla Romano, sur lesquels va porter mon analyse, inversent la condition d'invisibilité sociale qui dans notre société touche les travailleuses de care. Dans les romans et les ouvrages sociologiques analysés les femmes care-givers occupent la scène principale : elles sont des héroïnes, non pas dans le sens de l'héroïsme universel masculin, mais de celui qui émerge des récits de care au prisme du genre. Enfin l'analyse des romans Maria et Slow Man a aussi nourri la réflexion sur le Unheimliche. En effet, le personnage de la care-giver est source d'inquiétante étrangeté, parce qu'elle est une femme, et que son travail consiste à s'occuper de ce qui est familier, mais aurait dû rester caché : la vulnérabilité humaine. De plus, très souvent la care-giver est une femme étrangère qui trouble l’espace de la domesticité et de l’intime. À travers la double perspective de la critique littéraire féministe et de l’éthique du care nous proposons une nouvelle lecture genrée de l’inquiétante étrangère familière au niveau des représentations sociales, littéraires et symboliques. / This thesis is an interdisciplinary research between care and literature, based on the assumption of an interdependence between the two perspectives. My work relies on the idea that literature can be a research instrument particularly suitable on work and care relation, precisely because novels can recount ordinary stories. Indeed, care is not a general ontological principle, it is related to specific situations, concrete. Then, literary narratives Slow Man by John M. Coetzee and Maria by Lalla Romano, basis of my analysis, reverse the condition of invisibility that affects care workers in our society. In novels and sociological works analyzed, care-givers occupy the main stage : they are heroines, not in the sense of universal male heroism, but in one that emerges from the care stories read from a gender perspective. Finally, the analysis of novels Maria and Slow Man has also inspired reflection on the Unheimliche. The character of the care-giver is a source of uncanny, because she is a woman, and that her job is to take care of what is familiar, but should have remained hidden: the human vulnerability. Moreover, very often the care-giver is a foreign woman who disturbs the space of domesticity and intimacy. Through the double perspective of feminist literary criticism and ethics of care we propose a new gendered reading of the uncanny in social representations, literary and symbolic.