Este trabalho estuda as heroínas de Júlio Dinis, mostrando como no universo narrativo do autor, são sempre as protagonistas femininas, figuras de síntese entre o tradicional e o novo, a determinar a direção dos eventos narrativos, na oferta de uma solução ficcional dos conflitos político-sociais. Solução essa que transita pela categoria dos sentimentos e que se propõe num texto cujas características metafóricas são sustentadas pela intencionalidade pedagógica. / This work studies the heroines of Julio Dinis. Showing as in the author\'s narrative universe, the female protagonists, which are a synthesis between the traditional and the new, determine the narrative events direction, bringing a fictional solution to political-social conflicts. Such solution passes through the feeling category and is presented in a text whose metaphorical characteristics are supported by a pedagogical intentionality.

Este trabalho estuda as heroínas de Júlio Dinis, mostrando como no universo narrativo do autor, são sempre as protagonistas femininas, figuras de síntese entre o tradicional e o novo, a determinar a direção dos eventos narrativos, na oferta de uma solução ficcional dos conflitos político-sociais. Solução essa que transita pela categoria dos sentimentos e que se propõe num texto cujas características metafóricas são sustentadas pela intencionalidade pedagógica. / This work studies the heroines of Julio Dinis. Showing as in the author\'s narrative universe, the female protagonists, which are a synthesis between the traditional and the new, determine the narrative events direction, bringing a fictional solution to political-social conflicts. Such solution passes through the feeling category and is presented in a text whose metaphorical characteristics are supported by a pedagogical intentionality.

Orientador: Juliana Santini / Resumo: A concepção deste trabalho decorre da observação de um fenômeno presente na fortuna crítica do escritor brasileiro Michel Laub: parte considerável de sua obra tem sido associada ao conceito de “romance de formação”, tradução corrente do termo alemão Bildungsroman. No entanto, constatou-se que essa associação não havia sido ainda suficientemente desenvolvida, configurando uma lacuna na crítica sobre o autor. Considerando que o conceito de Bildungsroman foi criado para designar obras alemãs do final do século XVIII, faltava esclarecer as implicações de seu deslocamento para tratar de romances brasileiros do século XXI. Diante disso, esta pesquisa busca averiguar em que medida o conceito torna-se útil à compreensão dos romances do autor. Para tanto, realiza-se, primeiramente, um levantamento sobre o estado da questão na fortuna crítica de Michel Laub, bem como sobre a assimilação do conceito pela crítica literária brasileira. Em um segundo momento, recuperam-se algumas das principais definições do conceito, o qual surge de uma intrínseca relação com o Iluminismo, mas se transforma ao longo do tempo: expandindo-se para recobrir um conjunto de obras cada vez mais heterogêneo, seus sentidos passam a ser repensados em vista das peculiaridades dos diferentes objetos. Finalmente, retorna-se ao ponto de partida para apresentar, à luz desse percurso, uma leitura das obras de Michel Laub. Os romances selecionados são Longe da água, de 2004, Diário da queda, de 2011, e A maçã envenenada, ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The conception of this work comes from the observation of a phenomenon manifested in the critical fortune of Brazilian author Michel Laub: a considerable part of his literary work has been associated with the concept of “novel of formation”, which is a recurrent translation of the German term "Bildungsroman". However, it has been verified that this association has not been sufficiently developed yet, leaving a gap in the criticism about the author. Once one considers that the concept of Bildungsroman designates German novels from the end of the 18th century, there is a lack of clarification about the implications of dislocating this concept to Brazilian narratives of the current century. Faced with this situation, this dissertation aims to ascertain to what extent the idea of the novel of formation is useful to approach Laub’s novels. For this purpose, it has been conducted a research on the circumstances regarding this question in the critical fortune on Laub's work. In order to understand the context in which this discourse insertion occurs, we delineate a panorama about the assimilation of the concept of "Bildungsroman" by the Brazilian literary criticism. Then, some of the main definitions of the novel of formation are recovered, as it had first arose in an intrinsic relationship with the eighteenth century Enlightenment, but, after a while, suffered some conceptual modifications in the course of time. As the term expanded to cover an increasingly heterogeneous set of wor... (Complete abstract click electronic access below) / Doutor

Heine Steenhagen erzählt die Geschichte von Aufstieg und Fall eines unehelichen Kindes, das in einem holsteinischen Dorf der Jahrhundertwende, dem fiktiven Vollstedt, aufwächst und als Ausgleich für die in der Jugend erlittenen Demütigungen eine militärische Karriere anstrebt, mit der er es seinem Heimatdorf zeigen will („Ik wöll ju dat woll wiesen!“). Als er beginnt, die Sprossen der sozialen Leiter zu erklimmen, wird sein Jugendfeind Jürgen Grootholm zu einem Hindernis auf dem Weg nach oben. Um ihn zu „überholen“, sich an den Vollstedtern zu rächen und die berechnende Margot Kandelhardt heiraten zu können, denunziert Heinrich Steinhagen den Konkurrenten wegen einer Urlaubsüberschreitung in der Hoffnung, dessen Beförderung zu vereiteln und leitet damit sein eigenes tragisches Ende ein.

Le discours critique sur le roman-mémoires des années 1730 semble souvent hésiter entre deux attitudes antagonistes : soit il y discerne les signes d’une « naissance de l’individu » et y voit l’émergence du roman de formation (Bildungsroman). Soit il considère que ces catégories sont anachroniques : la notion d’« individu », comme être conscient de soi et de son intériorité affective et comme l’élément élémentaire dont se compose la société n’apparaît-elle pas seulement dans la deuxième moitié du XVIIIe siècle en particulier dans la réflexion de Jean-Jacques Rousseau ? et le roman de formation ne trouve-t-il pas son prototype en Allemagne, avec Les Années d’apprentissage de Wilhelm Meister de Goethe ? Mais en réalité, Rousseau et Goethe sont tous deux de grands lecteurs de romans-mémoires et ils s’en sont nettement inspirés dans leurs écrits. La présente thèse souhaite montrer que le roman-mémoires des années 1730 peut être analysé comme un roman de formation, dans la mesure où il décrit les étapes constitutives de l’identité d’un individu et porte une vision du monde sur sa place dans la vie sociale. Mais une telle hypothèse implique de s’interroger sur cette forme romanesque « rebelle à tout ordre » (Henri Coulet, Le Roman jusqu’à la Révolution) : Comment définir cette forme romanesque ? Quel est son rôle dans la cristallisation de la notion d’« individu » ainsi que du roman de formation ? C’est à ces questions que s’efforce de répondre cette thèse en analysant quelques œuvres emblématiques de cette nouvelle forme romanesque, ainsi que leurs enjeux, leurs dimensions philosophiques, esthétiques, politiques et anthropologiques et leurs contributions à l’avènement de l’individu et à l’émergence du roman de formation (Bildungsroman). / The critical discourse on the memoir novel of the years 1730 often seems to hesitate between two antagonistic attitudes : either it discerns in it the signs of a "birth of the individual" and sees in it the emergence of the novel of formation (Bildungsroman). Or it considers these categories as anachronistic : did not the notion of the "individual" as a being conscious of itself and of its emotional interiority and as the basic element of which society is composed only appear in the second half of eighteenth century, most notably in the reflections of Jean-Jacques Rousseau ? And did not the novel of formation find its prototype in Germany, with Goethe’s Wilhelm Meister’s Apprenticeship ? But in reality, Rousseau and Goethe were both great readers of memoir novels and were clearly inspired by them in their writings. The present thesis hopes to show that the memoir novel of the years 1730 can be analyzed as a novel of formation, insofar as it describes the constituent steps of individual identity and carries a worldview regarding its place in social life. However, such a hypothesis implies asking some questions about this novelistic form, considered as "rebellious to any order" (Henri Coulet, Le Roman jusqu’à la Révolution) : How can this novelistic form be defined ? What was its role in the crystallization of the notion of the "individual", as well as that of the novel of formation ? These are the questions that this thesis attempts to answer by analyzing some emblematic works of this then new novelistic form, as well as their importance, their philosophical, aesthetic, political and anthropological dimensions and their contributions to the advent of the individual and the emergence of the novel of formation (Bildungsroman).