O estudo de obras clássicas literárias japonesas do gênero zuihitsu é um desafio para pesquisadores no Brasil, pois, além das dificuldades trazidas pelas diferenças entre as línguas, incorre em novas conceituações de modalidade de escritos. Apesar de ser considerado em geral como equivalente ao ensaio ocidental, é possível observar divergências que indicam uma necessidade de adequar o olhar crítico ao gênero oriental. Para isso, foram abordadas questões concernentes às definições de gênero literário no ocidente através de um apanhado histórico da crítica, levando em conta a etimologia do termo; e algumas considerações a respeito do caráter linguístico dos conceitos conforme a teoria de Wittgenstein. Em seguida, pretendeu-se esquematizar as abordagens do ensaio enquanto gênero, remontando sua história, através de passagens dos Ensaios de Montaigne, de alguns textos de Bacon, Hume e Adorno, entre outros ensaístas e críticos que versam sobre o assunto, de maneira a delinear características próprias dessa categoria ocidental. Além disso, examinamos, a partir de suas formulações e de sua recepção, a possibilidade de se encontrar uma tradição também no Brasil. Posteriormente, buscamos mapear as origens do zuihitsu em paralelo com as do ensaio. E, então, analisamos alguns textos de Makura no Sôshi em comparação a outros de Tsurezuregusa , duas das três obras consideradas basilares e essenciais à compreensão do gênero japonês. Essa análise comparativa foi feita tendo por base principalmente a presença de certos temas em comum, como a motivação da escrita, certas considerações sobre as quatro estações, sobre os momentos de ócio ou, ainda, sobre os monges. Nosso intuito foi trazer à tona semelhanças e diferenças entre as obras de modo a elucidar características do gênero que o aproximam ou o distanciam dos ensaios e de outros gêneros ocidentais, na esperança de que isso nos levasse à adequação do olhar supramencionada. E, por fim, foi realizado um fechamento a partir de considerações a respeito dos gêneros ocidentais e do ensaio, do zuihitsu e do cotejo das obras clássicas japonesas, que nos leve à conceituação desse gênero japonês. / The study of classic Japanese literatures genre zuihitsu is a challenge for scholars in Brazil, because besides the difficulties about languages differences, it incurs in a new conceptualizations of written genres. Although some scholars consider it as equivalent to Western essays, it is possible to observe some disparitys that indicate a need to adjust our critical view to the Eastern genre. In order to achieve that goal, we had approached some questions about Western genres definitions through a historical and literary overviews, as well as we had taken into consideration the terms etymology, and referred some ponderations about the linguistic character following some of the Wittgenstein theory concepts. After that, we intended to outline a scheme of essays as a literary genre, retracing its history, through passages of Montaigne\'s Essays, of some texts from Bacon, Hume and Adorno, among others essayists and critics that deal with the subject, in order to delineate its characteristics. More than that, we have examined, from its formulations and its reception, the possibility of finding also such a tradition in Brazil. Subsequently, we have seek mapping zuihitsu origins in confrontation to the essays ones. In addition, thereafters, we have analysed some texts from Makura no sôshi and compared them to others from Tsurezuregusa, two of the three masterpieces which are considered basic and essential to understanding the Japanese genre. This comparative analysis was done by means of their common themes, such as the written motivations, some considerations of four seasons, moments in idleness or even monks. Our aim was to bring out similarities and differences between them to elucidate genre characteristics that bring them nearer or make them apart of essays, hoping that this would lead us doing some adjustments of our critical view. Finally we have finalized this dissertation by referring some considerations on the Western genre, the essays, the zuihitsu, and the comparison of Japanese classical pieces, which lead us to conceptualyze the Japanese genre.

Face aux grands drames historiques du 20ème siècle, Louis Aragon (1897-1982) et Pablo Neruda (1904-1973), deux poètes communistes, amis dans la vie, développent à travers leur œuvre une conception de la poésie et de l’art en général comme une conquête, qu’ils nomment « chant ». Bien qu’il renvoie au lien séculaire entre musique et poésie, le « chant », que la thèse prend pour objet, n’est ni réductible ni à la musique ni au texte. Pour eux, le chant est le symptôme de l’unité fondamentale de l’art et de la vie et peut constituer une expression valant dans n’importe quelle sphère de l’activité artistique. Cette étude défend l’hypothèse selon laquelle le chant est d’abord une énergie qui non seulement fonde le texte littéraire, mais irrigue également les autres arts, et notamment les arts plastiques. La thèse propose ainsi de réinterroger ce que l’on appelle « chant » à travers deux œuvres originales qui cherchent à redessiner des communautés politiques et esthétiques, à l’échelle nationale et internationale. En saisissant d’abord leur œuvre par le dehors, l’étude met en lumière les étapes de la fabrique du chant à partir de deux manières de relier les espaces poétiques et politiques : celui de l’histoire littéraire et artistique et celui de la traduction. Ensuite, la thèse se fonde sur une approche poétique pour examiner de l’intérieur le chant sous l’angle de l’énergie. Si le chant semble indéfinissable, c’est aussi parce qu’il n’est pas une forme ni même un genre à proprement parler, mais l’expérience sensible d’une présence partagée. Démesurée, l’énergie du chant défie les cadres de la représentation pour s’afficher comme une expression. C’est sous ce dernier prisme que l’étude inscrit le chant dans un horizon qui outrepasse la poésie et le confronte à des problématiques visuelles en convoquant les écrits sur l’art de l’un et de l’autre, de rares livres illustrés par les peintres muralistes (Siqueiros, Rivera, Venturelli et Léger) et en examinant de près les extensions du chant (le livre, le mur et la tapisserie), afin d’identifier la communauté d’enjeux entre ce que nos poètes appellent « chant » et des réalisations plastiques majeures du 20ème siècle. / Facing the great historical dramas of the 20th century, Communist poets and friends Louis Aragon (1897-1982) and Pablo Neruda (1904-1973) showcased in their respective bodies of work a certain conception of poetry and of art as a conquest, which they named “canto” (in French “chant”). Although the term denotes the primeval relation between music and poetry, this dissertation postulates that the canto is not to be reduced to the sole musical or textual contexts. What both poets term “canto” is rather akin to the basic unity of art and life, and finds itself applicable to all artistic fields. In this sense, this dissertation first and foremost defends a vision of the canto as energy, which not only rests at the basis of textual creation but which also informs all other means of artistic expression, especially visual and plastic arts. The aim of this study is therefore to question what the term “canto” purportedly signifies in critical context. It does so by inspecting how the two oeuvres under scrutiny are relentlessly committed to shaping new political and esthetical communities, both nationally and internationally. Firstly approaching Aragon and Neruda’s works from an exterior viewpoint, the dissertation sheds light on the various elements that are generative of the canto by soliciting two areas which fundamentally connect poetical and political spaces: that of literary history and that of translation. The study then proceeds to examine the poetical works themselves through the notion of energy. If the defining contours of the canto remain elusive, it is precisely because it cannot be characterized as a form or as a genre in itself, but rather stands as the sentient experience of a shared presence. The overflowing energy emanating from the canto thereby begs the question of representation, whose frames it constantly defies in order to offer itself rather as an expression. This last notion serves as the final prism through which the canto is considered in this study, as something essentially exceeding the mere art of poetry and which interrogates the modalities of the visual. This concluding demonstration relies on Aragon and Neruda’s critical essays on art as well as rare books illustrated by muralist painters (Siqueiros, Rivera, Venturelli and Léger); it carefully explores the plastic prolongations of the canto (in book, wall or tapestry form) in order to further identify the common goals and implications of this literary entity, along with those of some major plastic arts achievements of the 20th century.

Depuis qu’en 1977, en quatrième de couverture de Fils, Serge Doubrovsky employa le mot « autofiction » pour décrire son roman, les études doubrovskiennes ont eu tendance à se focaliser sur les questions génériques que sous-tendait ce néologisme. Ainsi on a écarté un autre aspect, tout aussi important, de l’œuvre de l’auteur : celui du lien avec le lecteur qui, en plus d’être mis en scène dans chacune des autofictions doubrovskiennes, est associé dès Fils au rapport complexe, inextricable et conflictuel entre les sexes. « J’écris mâle, me lis femelle », dit le narrateur-écrivain ‘Serge Doubrovsky’ – lui qui vivra sous nos yeux une série d’histoires passionnelles avec des compagnes qui sont également ses lectrices. Repris d’épisode en épisode, le rapport entre le héros doubrovskien et sa compagne du moment rappelle les hypothèses de Doubrovsky dans Corneille ou la dialectique du héros (1963), inspirées de la dialectique hégélienne du Maître et de l’Esclave. Cette thèse s’attache donc à analyser la relation dialectique auteur-lectrice telle que mise en scène et approfondie dans l’ensemble de l’édifice autofictionnel. Après présentation et étude des mécanismes dont se sert l’auteur pour construire son Lecteur Modèle (Première partie), les trois autres sections principales de la thèse sont consacrées à l’analyse de Fils et Un amour de soi (1977 et 1982 ; Deuxième partie) ; du Livre brisé et de l’Après-vivre (1989 et 1994 ; Troisième partie) ; et enfin de Laissé pour conte (1999 ; Quatrième partie). Il s’agira enfin de montrer la portée non seulement littéraire, mais également sociale (la réflexion s’élargit à chaque épisode pour aborder les questions de la réception contemporaine de l’œuvre littéraire) et historique (le motif Maître-Esclave s’inscrit dans l’Histoire de l’Europe du XXe siècle, plus précisément la Seconde Guerre mondiale et la Shoah) du thème dialectique doubrovskien. / Since Serge Doubrovsky coined the term « autofiction » to describe his own novel on the back cover blurb of Fils (1977), doubrovskian studies have tended to focus on the literary genres issues implied by his neologism. Consequently, another aspect of the writer’s work, and a quite crucial one, was somewhat neglected: the relationship with the reader, which is not only represented and acted out by the characters in doubrovskian autofictions but also linked to a another complex, tempestuous and inextricable relationship, that of man and woman. “I write male, read myself female”, says the doubrovskian narrator, who happens to take part, under our very eyes, in a series of passionate relationships with mates that are also readers of his works. Repeated from novel to novel, the mise en scène of the rapport between the doubrovskian hero and his lady companion of the moment reminds us of Doubrovsky’s hypotheses in Corneille ou la dialectique du héros (1963), which were inspired by the Hegelian master-slave Dialectics. This study thus concentrates on the representation of the dialectical relation between male author and female reader in Doubrovsky’s autofictions. After a brief survey and description of the tools used by the author in order to construct his own Model Reader (First section), our three other principal sections will focus on the analysis of Fils and Un amour de soi (1977 and 1982; Section Two); Le livre brisé and l’Après-vivre (1989 and 1994; Section Three); and finally Laissé pour conte (1999; Section Four). We will ultimately attempt to demonstrate the doubrovskian dialectal theme’s literary richness as well as its social and historical implications – the author’s reflexion widens with each episode, touching on questions of reader-response and reception of the literary work, while the master-slave motif resonates in the History of twentieth century Europe, mainly the Second World War and the Holocaust.

Cette étude examine comment différents textes du XVIIIe siècle traitent du roman. L’hypothèse est la suivante : le genre choisi pour parler du roman participe de manière intrinsèque à la critique ou à l’apologie véhiculée dans l’œuvre. Le corpus est composé de quatre textes plus ou moins (re)connus par les historiens de la littérature narrative : De l’Usage des romans (1734) de Lenglet-Dufresnoy, le Voyage merveilleux du Prince Fan-Férédin dans la Romancie (1735) du père Bougeant, De Libris qui vulgò dicuntur Romanenses (1736) du père Porée et les Entretiens sur les romans (1755) du père Jacquin. À l’aide d’une méthode hybride d’analyse générique et d’analyse rhétorique du discours, cette étude s’intéresse aux genres employés par les auteurs du corpus (le traité, le roman, le discours académique et l’entretien) de même qu’à trois thématiques argumentatives reliées au roman (le poison, l’amour et la femme). / This study examines how different texts dealing with the 18th century novel. The hypothesis is that the literary genre chosen to speak of the novel plays an intrinsic role in the criticism or the apology conveyed in the work. The corpus is composed of four texts more or less known by historians of narrative literature: De l’Usage des romans (1734) by Lenglet-Dufresnoy, Le Voyage merveilleux du Prince Fan-Férédin dans la Romancie (1735) by father Bougeant, De Libris qui vulgò dicuntur Romanenses (1736) by father Porée and Entretiens sur les romans (1755) by father Jacquin. Using a hybrid method of generic analysis and rhetorical analysis of discourse, this study focuses on the genres used by the authors of the corpus (the treaty, the novel, the academic discourse and the dialog) as well as three argumentative themes related to the novel (poison, love and woman).

O estudo de obras clássicas literárias japonesas do gênero zuihitsu é um desafio para pesquisadores no Brasil, pois, além das dificuldades trazidas pelas diferenças entre as línguas, incorre em novas conceituações de modalidade de escritos. Apesar de ser considerado em geral como equivalente ao ensaio ocidental, é possível observar divergências que indicam uma necessidade de adequar o olhar crítico ao gênero oriental. Para isso, foram abordadas questões concernentes às definições de gênero literário no ocidente através de um apanhado histórico da crítica, levando em conta a etimologia do termo; e algumas considerações a respeito do caráter linguístico dos conceitos conforme a teoria de Wittgenstein. Em seguida, pretendeu-se esquematizar as abordagens do ensaio enquanto gênero, remontando sua história, através de passagens dos Ensaios de Montaigne, de alguns textos de Bacon, Hume e Adorno, entre outros ensaístas e críticos que versam sobre o assunto, de maneira a delinear características próprias dessa categoria ocidental. Além disso, examinamos, a partir de suas formulações e de sua recepção, a possibilidade de se encontrar uma tradição também no Brasil. Posteriormente, buscamos mapear as origens do zuihitsu em paralelo com as do ensaio. E, então, analisamos alguns textos de Makura no Sôshi em comparação a outros de Tsurezuregusa , duas das três obras consideradas basilares e essenciais à compreensão do gênero japonês. Essa análise comparativa foi feita tendo por base principalmente a presença de certos temas em comum, como a motivação da escrita, certas considerações sobre as quatro estações, sobre os momentos de ócio ou, ainda, sobre os monges. Nosso intuito foi trazer à tona semelhanças e diferenças entre as obras de modo a elucidar características do gênero que o aproximam ou o distanciam dos ensaios e de outros gêneros ocidentais, na esperança de que isso nos levasse à adequação do olhar supramencionada. E, por fim, foi realizado um fechamento a partir de considerações a respeito dos gêneros ocidentais e do ensaio, do zuihitsu e do cotejo das obras clássicas japonesas, que nos leve à conceituação desse gênero japonês. / The study of classic Japanese literatures genre zuihitsu is a challenge for scholars in Brazil, because besides the difficulties about languages differences, it incurs in a new conceptualizations of written genres. Although some scholars consider it as equivalent to Western essays, it is possible to observe some disparitys that indicate a need to adjust our critical view to the Eastern genre. In order to achieve that goal, we had approached some questions about Western genres definitions through a historical and literary overviews, as well as we had taken into consideration the terms etymology, and referred some ponderations about the linguistic character following some of the Wittgenstein theory concepts. After that, we intended to outline a scheme of essays as a literary genre, retracing its history, through passages of Montaigne\'s Essays, of some texts from Bacon, Hume and Adorno, among others essayists and critics that deal with the subject, in order to delineate its characteristics. More than that, we have examined, from its formulations and its reception, the possibility of finding also such a tradition in Brazil. Subsequently, we have seek mapping zuihitsu origins in confrontation to the essays ones. In addition, thereafters, we have analysed some texts from Makura no sôshi and compared them to others from Tsurezuregusa, two of the three masterpieces which are considered basic and essential to understanding the Japanese genre. This comparative analysis was done by means of their common themes, such as the written motivations, some considerations of four seasons, moments in idleness or even monks. Our aim was to bring out similarities and differences between them to elucidate genre characteristics that bring them nearer or make them apart of essays, hoping that this would lead us doing some adjustments of our critical view. Finally we have finalized this dissertation by referring some considerations on the Western genre, the essays, the zuihitsu, and the comparison of Japanese classical pieces, which lead us to conceptualyze the Japanese genre.

Orientador: Antonio Alcir Bernárdez Pécora / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-25T18:51:03Z (GMT). No. of bitstreams: 1 Scudeller_Gustavo_D.pdf: 2986764 bytes, checksum: 3727498fd871f3d35722837f19ca8943 (MD5) Previous issue date: 2014 / Resumo: Crítica e a teoria literária do século XX costumam definir a epopeia como um gênero de poesia arcaico, praticamente extinto na modernidade. Contudo, empregam as noções de épico e de poesia épica com notável recorrência para explicar como algumas das principais obras do período fazem do uso de tópicas tradicionais do gênero um elemento central de suas composições. Os Cantos (1930-1969), de Ezra Pound, Mensagem (1935), de Fernando Pessoa, e Invenção de Orfeu (1950), de Jorge de Lima, são casos paradigmáticos disso, sendo algumas das tópicas épicas adotadas por eles a concepção geral do poema como suma enciclopédica de saberes e experiências do passado, a preferência pelo verso de larga medida e a apropriação de motivos mitológicos na criação de seus heróis. Crítica e teoria dão, assim, testemunho da sobrevivência do gênero no período, mesmo que de maneira involuntária e fortuita. Tendo por base tais observações, este trabalho trata dos diferentes usos do épico na composição de Invenção do Mar (1997), do poeta cearense Gerardo Mello Mourão (1917-2007), e Galáxias (1984), do poeta paulista Haroldo de Campos (1929-2003), duas obras de considerável importância para se compreender o crescimento do interesse pelo gênero na poesia brasileira da segunda metade do século XX. Nossa tese é que estes poemas buscam no épico elementos para lidar com os novos desafios que se impõe à poesia moderna à medida que a expansão da cultura de massas e do consumo acaba por esvaziar as perspectivas de transformação social que animaram as utopias de vanguarda e os projetos nacionalistas da primeira metade do século, aos quais os poemas se mantêm vinculados. Nesta nova conjuntura, a poesia épica abandona o triunfalismo que caracterizava suas expressões tradicionais e passa a incorporar a perspectiva do fracasso como elemento central de sua composição, questionando o próprio sentido do fazer poético na modernidade / Abstract: Twentieth century literary theory and criticism usually define the epic as an archaic poetic genre that is virtually extinct in modernity. However, they frequently employ concepts like epic and epic poetry to explain how some of the major works of this period use traditional topics of that genre as their central compositional element. Ezra Pound¿s The Cantos (1930-1969), Fernando Pessoa¿s Mensagem (1935), and Jorge de Lima¿s Invenção de Orfeu (1950) are paradigmatic cases which draw on epic topics like the conception of the poem as an encyclopedic summary of experiences, the preference for the long poetic line, and the employment of mythological motifs in the creation of their heroes. Hence, criticism and theory, though fortuitous and unintentionally, testify to the survival of the epic genre in this period. Bearing these observations in mind, this study investigates the different uses of the epic in the composition of Invenção do Mar (1997), by Gerardo Mello Mourão (1917-2007), a poet from Ceará, and Galáxias (1984), by Haroldo de Campos (1929-2003), a poet from São Paulo. These books are considerably important to understand the growing interest in this genre in the Brazilian poetry of the second half of the twentieth century. Our thesis is that these poems seek elements in the tradition of the epic to handle the new challenges faced by modern poetry as the expansion of mass culture and consumption eventually voids the prospects of social transformation that inspired the utopias of the vanguard and the nationalist projects in the first half of the century, to which the poems remain bound. Under these new circumstances, epic poetry forgoes the triumphalism of its traditional expressions and incorporates the prospect of failure as its central compositional element, thus questioning precisely what it means to make poetry in modernity / Doutorado / Teoria e Critica Literaria / Doutor em Teoria e História Literária

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Cette thèse s’attache à explorer le métadiscours littéraire du Québec entre 1960 et 1969 en se concentrant plus particulièrement sur les questions de genres littéraires. Une représentation de la littérature et des mécanismes de la critique est également mise en relief dans l’analyse du corpus, composé de textes de réception d’un grand nombre d’œuvres littéraires publiées durant la décennie, ainsi que de quelques monographies et manuels d’histoire parus à l’époque. La thèse repose sur l’hypothèse selon laquelle la critique, malgré le climat d’effervescence qu’on associe souvent aux années soixante au Québec, pense la littérature et les genres littéraires selon un schéma résolument essentialiste ainsi qu’un horizon d’attente conservateur tout en réactivant différents lieux communs liés à la poésie et au roman qui marquent l’histoire littéraire depuis plusieurs siècles. S’affrontent la figure d’une poésie intransitive et noble ainsi que celle du grand roman réaliste cérébral et sérieux. Dans le premier chapitre de la thèse, les définitions explicites de la poésie et du roman proposées par les auteurs et autrices du corpus sont relevées, puis des figures génériques plus précises (la poésie engagée, la chanson, le poème en prose et le roman en vers) qui émergent dans le discours critique de l’époque sont étudiées. À travers ces dernières, il est possible de voir se profiler une définition ainsi que des valeurs liées aux genres littéraires. Dans le chapitre suivant, c’est le rapport dit contemporain de la critique avec le système générique qui est analysé. Nous mettons en lumière certains mécanismes qui laissent entrevoir les pouvoirs de la critique, et sa fonction résolument axiologique, notamment en créant de nouvelles étiquettes génériques, en classifiant la littérature des femmes sous l’égide du féminin ou en prédisant la venue du prochain grand romancier québécois. Enfin, nous nous arrêterons aux occurrences du Nouveau roman français dans les différents textes de notre corpus qui abordent le roman contemporain québécois. Le Nouveau roman est à la fois un moyen d’esquisser le climat de création romanesque québécois, une façon d’offrir une certaine légitimité à un ensemble de textes et une figure repoussoir pour la critique qui tente de définir et de cerner les spécificités de la littérature québécoise. Partie intégrante d’une littérature nationale, l’étude de la critique littéraire et de ses principaux mécanismes éclaire le contexte particulier dans lequel œuvre la littérature québécoise durant une de ses décennies les plus fastes. / This thesis tends to analyze Quebec’s critic discourse between 1960 and 1969 regarding literary genres. The study of the corpus, composed of reception texts about literary works, history books and monographies published in Quebec in the 1960s. The hypothesis of the thesis is that despite the fact that 1960s in Quebec are years of effervescence, critics tend to conceptualize literature and literary genres in an essentialist way and a rather conservative horizon of expectation. In the minds of critics, poetry and novel are two strictly separate forms followed with exclusive themes and values: the poetry is an intransitive and noble genre; the novel is a cerebral and serious type of artwork that has to embody Balzacian realism. In the first analytic chapter of the thesis, we study the explicit definitions of poetry and novel and some and then some generic figures such as political poetry, songs, prose poem and versified novel. The discourse on these genres relays the elements of the horizon of expectation on poetry and novel. In the next chapter, we analyze the contemporary relation between critic and generic system, which also reveal critics axiological and power mechanisms. In the last chapter, we observe the occurrences of French Nouveau roman in the texts of our corpus about Quebec’s contemporary novels. The Nouveau roman is a way for the critic to portrait the context of novel creation during the decade, but also a way to give legitimacy to emerging novels and a figure of opposition for the critics, who attempt to define Quebec literature’s specificities. Research on critic, which is an essential part of any literature, enlightens the whole context in which the Quebec’s writers of the 1960s were crafting their art.

Cette thèse examine en profondeur la nature et l’application du concept de genre en jeu vidéo. Elle se divise en trois parties. La première fait l’inventaire des théories des genres en littérature et en études cinématographiques. Les propriétés essentielles du genre comme concept sont identifiées : il s’agit d’une catégorisation intuitive et irraisonnée, de nature discursive, qui découle d’un consensus culturel commun plutôt que de systèmes théoriques, et qui repose sur les notions de tradition, d’innovation et d’hybridité. Dans la deuxième partie, ces constats sont appliqués au cas du genre vidéoludique. Quelques typologies sont décortiquées pour montrer l’impossibilité d’une classification autoritaire. Un modèle du développement des genres est avancé, lequel s’appuie sur trois modalités : l’imitation, la réitération et l’innovation. Par l’examen de l’histoire du genre du first-person shooter, la conception traditionnelle du genre vidéoludique basée sur des mécanismes formels est remplacée par une nouvelle définition centrée sur l’expérience du joueur. La troisième partie développe l’expérience comme concept théorique et la place au centre d’une nouvelle conception du genre, la pragmatique des effets génériques. Dans cette optique, tout objet est une suite d’amorces génériques, d’effets en puissance qui peuvent se réaliser pourvu que le joueur dispose des compétences génériques nécessaires pour les reconnaître. Cette nouvelle approche est démontrée à travers une étude approfondie d’un genre vidéoludique : le survival horror. Cette étude de cas témoigne de l’applicabilité plus large de la pragmatique des effets génériques, et de la récursivité des questions de genre entre le jeu vidéo, la littérature et le cinéma. / This thesis provides an in-depth examination of the nature and application of the concept of genre for the video game. It is divided in three parts. Part one features an overview of genre theory in literature and film studies. The essential properties of genre as a concept are identified: it is an intuitive and “thumbnail” classification method, discursive rather than systemic in nature, and that owes its existence to a common cultural consensus rather than theoretical divisions. More importantly, the notions of tradition, innovation and hybridity are found to be central to genre. In part two, these findings are applied to the case of video game genre. A few typologies are examined to show that authoritative classifications are impossible. A model of the development of genres is laid out, based on three modalities: imitation, reiteration and innovation. By studying the history of the first-person shooter, the traditional conception of genre being based on formal mechanics is replaced by a new definition centered on player experience. Part three details experience as a theoretical concept and places it at the center of a new conception of genre, the pragmatics of generic effects. In this view, any object is a matrix of generic anchors bound to become generic effects, provided the player possesses the generic competences required to recognize them. This new approach is demonstrated through an examination of the survival-horror videogame genre. This case study showcases the potential of the pragmatics of generic effects for other fields, and provides a testimony for the recursion of the questions of genre between the video game, literature, and film.

Affrontando lo studio della Letteratura Italiana risulta evidente l'omissione dai manuali, ad eccezione di Primo Levi, degli scritti di coloro che sono stati deportati tra il 1939 e il 1945 in seguito alle persecuzioni razziali. Il tempo trascorso dalla Shoah ha, invece, dimostrato la presenza di un ingente quantità di opere che costituiscono il corpus della Letteratura Concentrazionaria, ossia la letteratura dei campi di concentramento. Gli autori di questa letteratura sono poco conosciuti e considerati minori, ma la loro scrittura raggiunge spesso un'ineguagliabile altezza intellettuale, morale, stilistica. La narrazione dei loro ricordi traumatici è il risultato di precise decisioni: quali fatti raccontare, in che ordine cronologico, ma soprattutto attraverso quale forma. Questi testi concentrazionari, infatti, possono essere studiati da diversi punti di vista, quello più inusuale è la divisione per generi: racconto, autobiografia, saggio, romanzo, diario, lettera, poesia. Non sempre la distinzione fra questo o quel genere è netta, ma è molto significativo che a partire da una tragedia, quale l'Olocausto, si possa scegliere di raccontare la propria esperienza prestando attenzione al modo di esprimerla. È il primo segno che dimostra quanto anche di fronte al male l'uomo non perda il desiderio di ricercare il vero ed il bello. / Such a long time has passed since the end of the Shoah and it has become clear that there are a lot of works written in those years which now form the corpus of literature based on the experiences in concentration camps. The authors of these works are not very well-known and they are usually considered minor but their works have often reached highly intellectual, moral and stylistic results. The narration of their traumatic memories is the result of precise decisions, i.e. what to tell, in what chronological order, but especially in what forms. The texts based on the experiences in concentration camps can in fact be studied from different points of view. The most unusual is their study through genres: short story, autobiography, essay, novel, journal, letter, poetry. The distinction between one genre and another is not often clear-cut. What is interesting to underline is that in front of a tragedy, as the Holocaust was, it is possible to choose to tell one's own experience by paying special attention to the way of expressing it. This is evidence that in front of evil man does not ever lose the desire to look for truth and beauty.