Esta pesquisa tem como enfoque as personagens femininas de Graciliano Ramos em suas obras Caetés, São Bernardo, Angústia, Vidas Secas e Infância. Partindo dos conceitos de Antonio Candido sobre estrutura e função, busca-se analisar como a construção literária se relaciona com os dados sociais e históricos da época em que os livros foram escritos e/ou publicados, a década de 1930. A partir das análises feitas, desenvolve-se a ideia da importância dessas personagens que, mesmo deixadas em segundo plano, são essenciais para a construção dos textos literários. / The following research focuses on the female characters of Graciliano Ramos in his works Caetés, São Bernardo, Angústia, Vidas Secas and Infância. Thinking about the concepts of Antonio Candido on structure and function, we analyze how the literary construction relates to the social and historical life in the moment that the books were written, the decade of 1930. From the analyzes made, we realized the importance of these female characters, even when left in the background.

La Révolution Française a été à l’origine d’une accélération de l’histoire aussi bien que de la création de « l’Ancien Régime », sur les plans institutionnel et impressionniste. De nombreux romanciers, historiques ou sensibles (et souvent les deux), nés avant 1789, ont exprimé, sous les différents régimes qui se succèdent par la suite, une nostalgie de la civilisation des divers Anciens Régimes, en représentant les heures glorieuses de la Monarchie Absolue, la « douceur de vivre » d’un XVIIIe siècle apaisé, la courtoisie héroïque des dames et chevaliers dont les amours sont appelées à illustrer le courant troubadour. Ces travaux s’arrêtent sur les moyens et visées de la reconstruction romanesque des périodes prérévolutionnaires dans un large corpus, chronologiquement étendu jusqu’à 1847, en convoquant certains auteurs canoniques (Chateaubriand, Florian, Sade) ou souvent sollicités (Mme Cottin, Mme de Genlis, Mme Gay, Mme de Souza) et plusieurs « minores », dont certains n’avaient pas encore fait l’objet d’études modernes, (Mme de Bawr, Mme Brossin de Méré, Mme Candeille, Guesdon, l’abbé Proyart …) / The French Revolution creates a History’s acceleration and the concept of the Ancien Regime, on institutional and impressionist levels. After 1789, numerous novelists, historical or sentimental (many times both), born during Louis XV and Louis XVI reigns, express nostalgia for Ancien Régime’s civilization. They write about the highlights of the Bourbon’s monarchy, the “douceur de vivre” of the Marie-Antoinette era or the medieval courtesy (in troubadour pieces of work about ladies and knights). This doctoral thesis explores the purposes and methods of the representation of prerevolutionary periods in novels. The large corpus (1789-1847) include famous male (Chateaubriand, Florian, Sade) and female (Mme Cottin, Mme de Genlis, Mme Gay, Mme de Souza) authors and several “minores” – some of them still ignored by modern studies - (Mme de Bawr, Mme Brossin de Méré, Mme Candeille, Guesdon, l’abbé Proyart …)

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Cette thèse se propose d'étudier la question du Bouc Emissaire dans les œuvres de Gabriel García Márquez. Le thème du Bouc Emissaire est étroitement lié aux personnages dont l'existence semble attachée à ce phénomène. Soumis à leur triste sort, il est difficile d'envisager les personnages de Gabriel García Márquez en dehors de ces cercles vicieux. L'auteur associe inconsciemment ou pas ce phénomène du Bouc Emissaire aux thèmes tels que ceux de la Maison, du Corps meurtri ou sublimé, de l'Identité, de l'Altérité... qui seront exploités tout au long de ce travail. Il est donc intéressant de se demander pourquoi l'auteur semble ressentir le besoin pressant et permanent de construire des sociétés fictives faites avec et par des personnages boucs émissaires. En se servant de l'écriture, l'auteur semble dévoiler et affronter son univers personnel, le monde, notre actualité. Aussi, ce travail compte bien interroger certains ouvrages de Gabriel García Márquez afin d'observer dans un premier temps les éléments nécessaires à la formation du Bouc Emissaire. Puis notre analyse nous permettra de voir comment se manifestent les phénomènes d'exclusion en parallèle avec les réalités sociétales, tout en gardant en toile de fond la vie de l'auteur. / This thesis proposes to study the issue of Scapegoat in the works of Gabriel García Márquez. The theme of the Scapegoat is closely related to characters whose existence seems attached to this phenomenon. Submitted to their fate, it is difficult to imagine the characters in Gabriel García Márquez outside these vicious circles. The author combines unconsciously or not this phenomenon Scapegoat themes such as those of the House, the bruised body or sublimate, Identity, Otherness ... of which will be used throughout this work. It is therefore interesting to ask why the author seems to feel the pressing need to build permanent and fictitious companies made with the characters and scapegoats. By using writing, the author seems to reveal and confront his personal universe, the world, our news. Also, this work intends to examine certain works of Gabriel García Márquez to observe in the first place the elements necessary for the formation of the Scapegoat. Then our analysis allow us to see how phenomena occur in parallel with the exclusion societal realities, keeping in the background the life of the author.

Ce mémoire porte sur une étude de différentes nouvelles de Guy de Maupassant et plus précisément sur la présence d’éléments du registre fantastique dans ces dernières. Nous étudierons les nouvelles de l’auteur intitulées Sur L’Eau, La Peur, Magnétisme, Apparition, Lui, La Main, L’Auberge et Le Horla. Nous tacherons de décrire comment le fantastique apparaît dans les nouvelles étudiées. Pour ce faire, il s’agira de définir le fantastique comme thème littéraire avant de voir comment il est présent dans lesdites oeuvres. Nous procéderons également à de courtes comparaisons des nouvelles entre elles dans le but de comparer les différents éléments témoignant du fantastique. Notre analyse portera sur différents éléments. Nous nous attacherons en effet à remarquer comment le fantastique apparaît d’un point de vue matériel, d’un point de vue psychologique et d’un point de vue linguistique. Nous analyserons d’autre part deux éléments essentiels au registre fantastique qui sont le thème du double ainsi que celui de la peur. / This essay is a study of different novels of Guy de Maupassant with a focus on the elements of the fantasy genre. We are going to study the novels of this author that are named Sur L’Eau, La Peur, Magnétisme, Apparition, Lui, La Main, L’Auberge et Le Horla. We will try to describe how the fan-tasy appears in the studied novels. To do this, it will be necessary to define the fantasy as a literary genre before seeing how the fantasy operates where it appears in the studied novels. We will also make short comparisons of the novels with each other’s in order to compare the different elements of the fantasy. Our analysis will focus on various elements. We shall point out in particular how the fantasy appears from a material point of view, from a psychological point of view and from a linguis-tic point of view. On the other hand, we will analyse two essential elements in the fantasy genre, which are the theme of the double as well as that of fear.

This thesis considers Jane Austen's reception in America from 1800 to 1900 and concludes that her novels were not generally recognized for the first half of the century. In that period, she and her family adversely affected her fame by seeking her obscurity. From mid century to the publication of J.E. Austen-Leigh's Memoir in 1870, appreciation of Austen grew, partly due to the decline of romanticism, and partly due to the focusing of critical theory for fiction, which caused her novels to be valued more highly. From 1870 to 1900 Austen's novels gained popularity. The critics were divided as to those who admired her art, and those who found her novels to be dull.

The separate sphere ideology, dominant but never hegemonic in Victorian Britain, dictated that women’s natural vocation was to be wives and mothers. Between the years 1850 to 1901, the surplus woman problem and a nascent feminist movement challenged the separate sphere ideology. It was also reinforced by imperialist ideologies that held the British family as a sign of Britain’s superiority, and eugenics which placed great importance on heterosexual marriage and reproduction. How did novelists, especially women novelists, respond to the challenges against the separate sphere ideology? How did they depict unconventional women such as surplus women, women who behaved in transgressive ways, feminist women, lesbians, and women who were in interracial relationships? The conventional narrative stressed the importance of marriage, and unconventional characters either reformed themselves or met tragic fates. This remained consistent throughout the second half of the 19th century. At mid-century, unconventional women were the ones who rejected marriage, had an affair, etc. As women began to gain rights in education, work, and civic rights, the temptations that drew middle class women away from conventional life shifted to wanting to work or becoming feminists. Novels also depicted alien others, such as lesbians and non-white people, as menaces and threats to conventional marriage. Acceptable unconventionalities were limited: it was acceptable for women to be unconventional if they were exceptional or they broke one convention but upheld another, such as motherhood. At the end of the century, New Women novelists and other novelists that sympathetically depicted unconventional women critiqued the separate sphere ideology, but were overwhelmingly pessimistic about the possibility that women could escape convention.

The image of Northern Sweden has long been subjected to stereotyping, and the stereo­typed image of the Northerner is widely spread in various media contexts within Sweden. Historically, Norrland has been regarded as a wide wilderness, and the Norr­landic literature in turn has typically been studied in terms of the pastoral genre, the romanti­cism of the wilderness, or from an eco-critical perspective. The study of masculin­ity within modern Norrlandic literature, however, is largely overlooked, de­spite the undeniable stereotyping of Norrlandic males within other forms of media. This the­sis aims to solve this anomaly by providing insights into the creation processes of masculinity in three contemporary Norrlandic novels. In the novels Smekmånader [Honeymoons, 2017] by Mikael Berglund, Solidärer [Solidarians, 2017] by Anna Jörgensdotter, and Silvervägen [The Silver Road, 2018] by Stina Jackson, the construct of Norrlandic masculinity is examined through close-reading. The questions of how Norrlandic masculinity is constructed is examined through a theoretical framework combining the hegemonic masculinity of R. W. Connell, the gender performativity and queer studies of Judith Butler, the frontstage and backstage perspective of Erving Goffman, and the creation of emotions of Sara Ahmed, in the reading of three contemporary novels following male protagonists—each seeing their identity challenged while on a journey far away from home. Viktor of Honeymoons is constructed as a brave cry-baby or a highly sensitive person whose self is disintegrated in the absence of his wife Maija. He is furthermore constructed as a person offering emotional comfort, despite being deeply void of such comfort himself. Ingemar of Solidarians is constructed as a mummy’s boy or a dreamer who ends up as a martyr, who always requires the presence of a woman—his mother Eivor, Klara whom he is wooing, or Conxa whom he meets in the war in Spain—in order to advance from a mere lust to an actual event of action. His emotions are slightly supressed. Lelle of The Silver Road is constructed as an emotionally blunted vigilant or a nervous wreck, who readily succumbs to aggression and violence towards other men, in his lack of emotional cathexis to a physical person. He is struggling with his perceived failure in his role as a father, and is furthermore driven to action by his need of reconciling with his past. Nonetheless, none of the male protagonists exhibits a lasting hegemonic masculinity. The study concludes that the analysed novels contribute to a new form of Norrlandic literature which challenges the traditional and stereotypical ideas of rural masculinity.

This study addresses the ideological properties of the two main modal strains in fictional representation of romance and realism in order to provide an antidote to the currently extremely negative view of the representational function of fiction. In the course of the discussion, three received positions in traditional literary criticism are challenged. Firstly, the view of literary form as ideology-free is undermined by demonstrating the ideological properties of the two modes. Secondly, the realism/romance binary opposition regarding the mode of fictional representation is critiqued by both uncovering the misconception of the former's competence for transparent representation and evincing the two modes' ideologically interactive relation. Lastly, the categorization of Henry James as an aesthete is problematized by historicizing and socializing his three texts.

In the first phase of my thesis I seek to explore how novelist use the fictional architectural environments in order to propel narrative and create an immersive experience for a reader, using the well-known 1984 by George Orwell and The Castle by Franz Kafka as the primary vehicle for investigation. The thesis studies the narrative and architectural typologies, physical settings and imagined spaces used to connect the viewer to the narrative’s highly detailed world. In the second phase of my thesis, I used elements learned from this two novels and applied them to propose a building in Midtown Manhattan in New York. I chose misinformation and fake news as the my main theme in order to design a mixed use proposal as it is one of the biggest challenges of our era. I end my thesis with a comic-style story using my proposal building as the main key in the comic-strips. If the first phase is about how architecture is used in fiction, the second phase is about creating a fictional story using architecture.