This study focuses on Bruegel's parodic legacy in the picaresque tradition. It is based, on the one hand, on visual rhetoric, visual parody, and the poetics of epideictic rhetoric; and, on the other, on the interaction between epideictic rhetoric's salient features and the Bruegelian themes of camivalisation, the satirising of human folly, and the ontic order of the World Upside Down topos as organising principles. The relationships between the above themes are chronologically traced in various disguises in pictures by representative picaresque artists from the sixteenth to the twentieth centuries: i.e., in Bruegel, Steen, Hogarth, Daumier, and Grosz. Each of these picaresque artists battled with their own times, parodying the paradigmatic targets of the high mode, in both social and genre hierarchy, and in doing so revealed the complexities of the above themes at work within an ever changing context-bound rhetoricity. / Art History, Visual Arts and Musicology / Thesis (D.Litt. et Phil.)

Text in English / This study offers a close look at Andrew Niccol’s (b 1964) satirical film S1mOne from a biocultural perspective emphasising the technological simulation of a Hollywood celebrity and the farce ensuing from her creation. The film is based on Niccol’s assumption that the hypertrophied culture into which he places his cultural object will be one in which human traits of sociality will be well advanced and the highly demanding genre of satire will be entertaining, persuasive, and on occasion punitive in its ridicule of Hollywood. The study makes a contribution to the idea that a cultural object/text operates as a rapid mechanism for propagating cognition — it shows how Niccol has adapted to less than optimal conditions in his world of Hollywood — in this case he parodies the role of the director of Hollywood films in the figure of Taransky. Cognition is understood as that series of mental processes which include attention, memory, learning (from mimicry as well as other forms), problem solving, ratiocination, and making decisions. Niccol relies on his audience's embodied capacities and skills of recognition, thinking, feeling, remembering, and accounting for his message to be understood. Niccol’s technical skill in editing his narrative to emphasise the satire of the narrative of Taransky and Simone is a critical part of the film’s success. Interpersonal and social propagation of cognition is achieved through reference to other cultural artefacts recalling a variety of similar ideas used in film and other visual creations. The cultural significance of the simulacrum, Simone, is that she is a vehicle for and a form of socially propagated cognition. The powerful imagistic impression of film helps to structure internalised cognitive artefacts in the viewers who are expected to reflect on their habits of viewing and thinking. When a film, artwork, poem or novel is analysed, then such a cultural object becomes a vehicle of and for propagating cognition. / Art History, Visual Arts and Musicology / D. Litt. et Phil. (Art History)

Thèse de doctorat effectuée en cotutelle au Département d’histoire de l’art et d’études cinématographiques, Faculté des arts et des sciences, Université de Montréal et à l’Institut de recherche sur le cinéma et l'audiovisuel (IRCAV), Arts et Médias, ED 267, Université Sorbonne Nouvelle – Paris 3 / L’œuvre de William Klein est reconnue pour ses stratégies formelles innovatrices et avant-gardistes qui attireront l'attention des artistes et des professionnels de sa génération, non sans provoquer au passage quelques scandales ni sans subir les contrecoups de la censure. La trentaine de courts, moyens et longs métrages réalisés par Klein, forme un corpus hétérogène qui affiche à première vue des incohérences sociologiques, politiques, économiques et culturelles potentiellement discutables. Dans ces conditions, la position critique de Klein paraît ambiguë, inconséquente voire, contradictoire, parce que les films diffèrent également par leur thème, leur cible, leur mode de production et leur genre. Nous croyons cependant que l’engagement politique de Klein est le fil d'Ariane qui unit son œuvre cinématographique et dissipe toute idée de rupture que ses contemporains pourraient lui reprocher. Au cours de cette période cruciale qui s'étend de 1965 et 1970, alors que le libéralisme en tant qu’idéologie officielle du système capitaliste cherche à vaincre le communisme pour s'imposer à l'échelle mondiale, Klein pose son regard sur les célébrités en tant que figures médiatiques et identitaires comme autant de moyens des pouvoirs politiques, économiques et religieux. À l'ère de la guerre froide, de la guerre du Vietnam et des combats pour la décolonisation, il prend le parti des mouvements de droits civils et de libération et se range du côté des révolutionnaires qui les défendent. Il brosse notamment le portrait de personnalités associées à la contre-culture américaine; il remet en question les modèles qui s'étaient jusque-là imposés dans la culture de masse et les idéologies dont ils étaient investis et va jusqu'à critiquer le concept même de célébrité. En procédant notamment à une démystification des moyens de la représentation de l'American Dream et de l’American way of life, William Klein s'en prend aux faux-semblants issus de ces industries (du divertissement) et de ce champ (politique) qui mettent en place des systèmes de production et d’exploitation de la célébrité en tant que symbole, destiné à orienter les goûts esthétiques, les comportements commerciaux et/ou les opinions politiques des individus. Il dénonce ainsi les injustices raciales, les inégalités sociales, les abus de pouvoir et les débordements des gouvernements attribuables à l’impérialisme occidental qui est à l'époque sous l'influence des États-Unis. Le corpus qui nous permettra de développer notre argumentation comprend quatre films, soit deux films de fiction et deux films documentaires. Qui êtes-vous, Polly Maggoo? (1966) et Mister Freedom (1968) sont les deux films de fiction que nous avons qualifiés de « parodies satiriques ». En ces termes, le film Polly Maggoo parodie les contes de fées pour faire la satire de l’industrie de la mode, tandis que le film Mister Freedom parodie les super-héros de bande dessinée et autres justiciers des films hollywoodiens, pour faire la satire de la politique étrangère américaine. Les documentaires politiquement engagés sont à notre avis expressionnistes, comme le propose le critique américain Jonathan Rosenbaum. Muhammad Ali, The Greatest (1964-1974) ; Eldridge Cleaver Black Panther (1970) mettent en scène ceux que William Klein appelle les « Super Noirs américains » et par des moyens réflexifs, ils démontrent de l’inter-subjectivité entre le cinéaste et ses sujets. / Satirical parodies and expressionist documentaries: The Critical Representation of the Celebrity in the Films of William Klein. The films of William Klein are still little known. His filmography includes thirty titles which appear at first sight heterogeneous, while their sociological, political, economic, and cultural inconsistencies seem questionable. As such, and because the themes of his films, their targets, their production modes and their genres are constantly moving, Klein’s critical position seem ambiguous, inconsistent if not contradictory. Yet, we believe that the political commitment of William Klein is at the core of all of his films and dissipates all discrepancies. Between 1965 and 1970, while liberalism as the official ideology of the capitalist system is fighting against communism to expand its power around the world, Klein is looking at celebrities as vectors of the political, the economical and the religious powers. While the Cold War, the Vietnam War and the anti-colonial armed struggles are shaking the world, he associates with the counter-culture and youth culture movements and questions the role models advertised in the mass media, and the ideologies they represent. Portraying the modes of representation that shapes the American Dream and the American Way of Life, William Klein criticises the makes-believes found in the entertainment industry and the political field that aim at shaping our identities, our commercial behaviours and our political opinions. We propose to analyse two fiction films and two documentaries in the course of our argumentation in order to demonstrate how he condemns racism, social inequalities and abuses of power associated with Western imperialism. Qui êtes-vous, Polly Maggoo? (1966) and Mister Freedom (1968) are what we have called after Daniel Sangsue, satirical parodies. Accordingly, Polly Maggoo parodies fairy tales to satirize the fashion industry, while Mister Freedom parodies the superheroes of the comic books to satirize American foreign policies. Based on Jonathan Rosenbaum thesis, we consider Muhammad Ali, The Greatest (1964-1974) and Eldridge Cleaver Black Panther (1970) as expressionist documentaries. The reflexive strategies found in these films are symptomatic of an inter-subjectivity between the filmmaker and his subjects.

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La présente thèse cartographie et condense l'histoire des relations entre l'art et la télévision au cours du demi-siècle environ durant lequel la télévision maintint sa position de média de masse par excellence dans la société, des années 1950 au tournant du millénaire, jusqu'à la phase de vaporisation des médias récemment apportée par la profusion des technologies numériques et d'Internet. La centaine d'artistes étudiés appartient à différentes générations, des pionniers des années 1960 tels que Nam June Paik, Andy Warhol et divers collectifs de la guerilla television aux figures postmodernistes telles que Dara Birnbaum et General Idea, des artistes issus des années 1990 comme Phil Collins, Christian Jankowski et Matthieu Laurette aux figures émergées au XXIe siècle comme Keren Cytter, Hito Steyerl, Ryan Trecartin et les Yes Men.Les travaux abordés sont des vidéos, installations, performances, interventions et programmes télévisés conçus comme des formes de résistance, d'appropriation et de parodie de la télévision grand public, qui exposent les mécanismes par lesquels le média de masse influence notre perception de la réalité et de nous-mêmes. Les genres et les formats télévisuels les plus populaires sont ciblés : les informations, publicités, soap operas, talk-shows, émissions pour enfants, vidéoclips, téléréalité, divertissements éducatifs et séries télévisées. En permettant de « voir à distance », la télévision produit chez le spectateur un sentiment étrange de déplacement physique. Les travaux étudiés mettent en évidence et tentent de surmonter cette séparation entre les corps factuels et télévisés, qui est aussi une séparation entre réalité et représentation. / The present study maps and condenses the history of the relationships between art and television during the rough half century in which television maintained its position as society’s quintessential mass medium, from the 1950s to the turn of the millennium, through to the phase of vaporization of media recently brought by the profusion of digital technologies and the Internet. The close to one hundred artists discussed belong to different generations, from 1960s pioneers such as Nam June Paik, Andy Warhol and various guerrilla television collectives to postmodernist figures such as Dara Birnbaum and General Idea, from artists emerged in the 1990s such as Phil Collins, Christian Jankowski, and Matthieu Laurette up to figures emerged in in this early XXI century such as Keren Cytter, Hito Steyerl, Ryan Trecartin, and the Yes Men.The works discussed are videos, installations, performances, interventions and television programs conceived as forms of resistance, appropriation and parody of mainstream television, that expose the mechanisms through which the mass medium influences our perception of both reality and ourselves. To be targeted are the most popular television genres and formats including news, commercials, soap operas, talk shows, children's programs, music videos, reality shows, edutainment, and TV series. By allowing to “see at distance,” television produces in the viewer an uncanny feeling of physical displacement. What the works discussed highlight and try to overcome, is that split between factual and televised bodies, that is also a split between reality and representation.

Made available in DSpace on 2016-04-28T19:59:04Z (GMT). No. of bitstreams: 1 Alcina Aparecida Molina Ferreto.pdf: 423545 bytes, checksum: c1ca1b1ac49c4b9e8ca47f860f9dd8ad (MD5) Previous issue date: 2007-06-28 / The purpose of this dissertation is to analyze the parody on the novel O Evangelho Segundo Jesus Cristo by José Saramago. We pretend to establish a comparison between Jesus from the gospel s tests and Jesus made by Saramago, emphasizing the through test speech, which is used as a basis for dialog mechanisms, responsible for the critic-metalanguage-ironic of saramagy writing. The objective of this work is to make a reading of Jesus made by Saramago, trying to define the main difference between him and his gospel homonym. From all this mentioned above, we will demonstrate that the saramagy hero is a recreation of his model basis more human, which is the result from reading with criticism and irony of the biblike narrative again: the new character denies the values that characterize the Bible used to make this parody. This profaned version of Christ configurates as a twisted and uncharacterized image of this gospel character, imposing like a new model as much as from the human being as from the divine / A proposta desta dissertação é analisar o discurso paródico no romance O Evangelho Segundo Jesus Cristo, de José Saramago. O que se pretende é estabelecer uma comparação entre o Jesus dos Evangelhos canônicos e o Jesus de Saramago, pondo-se em destaque o discurso intertextual que serve de base para o mecanismo dialógico, responsável pelo movimento rítico-metalingüístico-irônico da escritura saramaguiana. O objetivo é fazer uma leitura do Jesus de Saramago, procurando-se definir as principais diferenças que existem entre ele e seu homônimo bíblico. A partir disto, tentamos demonstrar que o herói saramaguiano é uma recriação humanizada de sua matriz modelar, fruto de uma releitura crítica e irônica da narrativa bíblica: a nova personagem nega os valores que caracterizam aquela que está sendo parodiada. A versão dessacralizadora do Cristo da Bíblia configurase como uma imagem desautomatizada e descaracterizada da personagem evangélica, impondo-se como um novo modelo não só do humano, mas também do divino

Made available in DSpace on 2016-04-28T19:59:12Z (GMT). No. of bitstreams: 1 Sergio Manoel Rodrigues.pdf: 2755114 bytes, checksum: 73bacfe9b4179d5cf75b98a6019e5a8e (MD5) Previous issue date: 2008-08-27 / The present work studies the dramatic gender, since its origins, the ritual stages of the old ones, until the main theatrical manifestations of the contemporaneity. It is centered, afterwards, in the Brazilian context, when dealing with the theatrical workmanship by Nelson Rodrigues, playwright that innovated the scenic language and restored modernity in the national theater, a time that, before this, the stages in our country only appropriated of comedies or foreign texts. By means of the inquiry and of the analysis, this research aims at to develop a critical study of Album of family (play written by related author, in 1945), with the objective to bring specific aspects of the dramatic action of the mentioned theatrical text into the open, that divides itself in two narrative plans that contradict themselves. The duality and ambiguity, enrolled in the text of the play, are argued and analyzed for the point of view of certain universal subjects (adultery, incest, violence, homosexuality, prostitution, preconception, maleness and paedophilia), considered taboos for the more conservatives and ranks in prominence by means of literary procedures over all the carnival theory and the parody , with which the author intends to show the chaos that afflicts the contemporary society and the man. Such procedures disclose a peculiar universe, where institutions, as the family and the Church, have its functions put in check for social and human blemishes. Moreover, by means of the criticism to the society and the family, Nelson Rodrigues looks for to distort myths, subjects and ideologies that serve of ground to the classic theater and to the bourgeois society too, at the same time where he dialogues with other theatrical manifestations, imposing himself thus, as the creator of an authentic Brazilian tragedy, in agreement with the carnival theory and the parody and, above all, morality / O presente trabalho estuda o gênero dramático, desde suas origens, as encenações ritualísticas dos antigos, até as principais manifestações teatrais da contemporaneidade. Centra-se, a seguir, no contexto brasileiro, ao tratar da obra teatral de Nelson Rodrigues, dramaturgo que inovou a linguagem cênica e instaurou a modernidade no teatro nacional, uma vez que, antes disso, as encenações em nosso país se apropriavam somente de comédias ou de textos estrangeiros. Por meio da investigação e da análise, esta pesquisa visa a desenvolver um estudo crítico de Álbum de família (peça escrita pelo referido autor, em 1945), com o objetivo de lançar luz sobre aspectos específicos da ação dramática do mencionado texto teatral, que se divide em dois planos narrativos que se contradizem. A dualidade e ambigüidade, inscritas no texto da peça, são discutidas e analisadas do ponto de vista de certos temas universais (adultério, incesto, violência, homossexualismo, prostituição, preconceito, machismo e pedofilia), considerados tabus pelos mais conservadores e postos em destaque por meio de procedimentos literários sobretudo a carnavalização e a paródia , com os quais o autor pretende desnudar o caos que aflige a sociedade e o homem contemporâneos. Tais procedimentos revelam um universo peculiar, em que instituições, como a família e a Igreja, têm suas funções postas em xeque pelas mazelas sociais e humanas. Além disto, por meio da crítica à sociedade e à família, Nelson Rodrigues procura desconstruir mitos, temas e ideologias que servem de fundamento ao teatro clássico e também à sociedade burguesa, ao mesmo tempo em que dialoga com outras manifestações teatrais, impondo-se, assim, como o criador de uma autêntica tragédia brasileira, carnavalizada, paródica e, acima de tudo, moralizante

Made available in DSpace on 2016-04-28T19:59:16Z (GMT). No. of bitstreams: 1 Lilian Silva Salles.pdf: 493708 bytes, checksum: 2b749fcdf6f14148af1f472b90764d53 (MD5) Previous issue date: 2009-04-30 / This study aims to elucidate the parody rewriting of the Parable of the Prodigal Son and its mythic allusions in Raduan Nassar s novel Lavoura Arcaica. Our aim is to point out, in Nassar s narrative discourse, the peculiarity of its structure in which we have identified poetic procedures as lyricism, silence, the sacred and the profane. These strategies recur in the novel, alternating the organic and the visceral with the problematization of the natural and the mythic. Therefore, we raised the following question: how does Lavoura Arcaica engage itself in a dialogue parody with the Parable of the Prodigal Son , and reconstruct, in a poetical prose, the mythical family ties, generating the rite of cosmic renewal? For us Lavoura Arcaica reconstructs these mythical ties through a tense lyricism between the dialogism and the silence. The mythical family ties in Lavoura Arcaica promote a circular narrative in which the rite of comic renewal is organizing with the fusion of the mystic and of parodying the presence of the sacred and the profane that bring the subject back to the organic, visceral and natural. Reflecting upon this issue, we studied the theory of myth dealing with the concept according to some scholars as Mircea Eliade, Gilbert Durand and Joseph Campbell. For the discussion of parody and dialogism, we have focused on Mikhail Bakhtin studies. We also discussed, the sacred and the profane as a pecualiarity of Nassar s novel, focusing on Mircea Eliade s studies, and the question of silence, presented in the novel, basing on Eni Orland´s studies. On the relation between poetry and lyricism, we have chosen the critical essays of T.S. Eliot. This study on Nassar s novel showed us that the mythical family ties are the bases for the discursive tensions and the parody rewriting of myth. Along this project, we observed that in the narrative discourse the myth of the eternal return has constructed Lavoura Arcaica as a great allegory of the ruins of a family unit / O presente estudo tem por objetivo elucidar a reescritura mítico-paródica da Parábola do filho pródigo presente no romance Lavoura arcaica, de Raduan Nassar. Nosso intuito é flagrar, nesse discurso narrativo de Nassar, a peculiaridade de sua escritura, na qual identificamos procedimentos poéticos como: o lirismo, o silêncio, o sagrado e o profano que apresentam no discurso dialógico do romance recorrência e alternância do orgânico, do visceral e do natural que otimizam a questão do mito no romance. Para tanto, levantamos a seguinte questão: De que maneira o romance Lavoura arcaica, de Raduan Nassar, ao dialogar de forma paródica com a Parábola do filho pródigo, reconstrói, em prosa lírica, os laços míticos de família, gerando um rito de renovação cósmica? As principais hipóteses que nos orientaram foram: ao dialogar com a Parábola do filho pródigo, o romance Lavoura arcaica reconstrói os laços míticos de família por meio de um lirismo tenso entre o dialogismo e o silêncio. Ainda cogitamos que os laços míticos de família, presentes em Lavoura arcaica, promovem uma narrativa circular, na qual o rito de renovação cósmica assume a fusão do místico e do paródico pela presença do sagrado e do profano, trazendo o homem de volta ao orgânico, ao visceral e ao natural. Para refletir sobre essa problemática, traçamos um percurso de estudo do mito tratando o conceito segundo os teóricos Mircea Eliade, Gilbert Durand e Joseph Campbell. Da mesma forma, a respeito da paródia e do dialogismo, temos como base teórica os estudos de Mikhail Bakhtin. Por uma peculiaridade desse romance nassariano, o sagrado e o profano foram estudados a partir dos estudos também de Mircea Eliade, já a questão do silêncio presente no romance está embasado nos estudos de Eni Orlandi. Revelamos as relações de poesia e lirismo, tendo como embasamento os ensaios críticos de T.S. Eliot. Enfim, a pesquisa evidenciou-nos que os laços míticos de família foram os construtores das tensões discursivas e da reescritura paródico-mitica presentes no romance. Ao longo deste trabalho, observamos que o mito do eterno retorno no discurso da narrativa constrói Lavoura arcaica como metáfora da busca de uma unidade familiar perdida

Made available in DSpace on 2016-04-28T19:59:18Z (GMT). No. of bitstreams: 1 Cilene Trindade Rohr.pdf: 1344775 bytes, checksum: fa9ab60656ec3c71a7d14320cf26f7b4 (MD5) Previous issue date: 2009-06-30 / Our study focused on the short story Theory of Medallion (1881), of Machado de Assis, with the aim of studying how the author articulates the use of parody understood in its double sense of parallelism and reversal in light of the theoretical foundations of Hutcheon (1995) for whom the parody is ironic "trans-contextualizing", that is, repetition with critical difference and Bakhtin (1993), which highlights the dialogical structure of parody speech: a "premeditated hybrid" between the parodied speech and the one which parodies it, without, however, destroying it. Although there are some studies in the critical fortune of this short story that go in that direction, such as: Almeida (2006) and Rego (1989), we would deal with parody under another perspective, that is, in the context of the serious-comic tradition, especially the Menippean satire, whose dialogical root is closely examined by Bakhtin as the original cell of Romanesque speech. It is under such strain which Machado was explicitly influenced by, as he has obliquely registered in a metafictional passage on Theory of Medallion: "you must not only use the irony, this movement at the corner of the mouth, full of mysteries, invented by a Greek of the decadence, contracted by Lucian, transmitted to Swift and Voltaire, common feature of the skeptical and insolent " that the subtitle "Dialogue" is materialized as a parody of a gender included in the tradition of the classical Platonic dialogues. By means of discourse analysis of the ambivalent Machadian short story, we point out the moments in which he was under a different discourse - that of The Republic of Plato - which now approached, now pushed away, in an alternate game of hiding-revealing in the manner of Machado, a reader of Lucian of Samosata. Our goal, however, was not only to unveil the parody construction within the narrative structure. We also intended, through this exemplary short story inside the short stories of the author, to reflect on the formative aspect that engenders, either at the level of gender as a hybrid of, at least, three matrices: the serious-comic of Menippean, the Platonic dialogue and the essay or "story-theory" (Bosi, 1999) or at the level of Machadian project of national literature whose cornerstone is the formation of a skillful reader capable of understanding, through an inside out reading, the critical hidden under the supposed praise of the picture of the medallion, typical successful citizen of the Brazilian society of the nineteenth century, which is nourished only of appearances / Nosso estudo centrou-se sobre o conto Teoria do Medalhão (1881), de Machado de Assis, tendo por objeto de investigação o modo como o autor articula o recurso da paródia entendida no seu duplo sentido de paralelismo e inversão à luz dos fundamentos teóricos de Hutcheon (1995), para quem a paródia é transcontextualização irônica, isto é, repetição com diferença crítica e Bakhtin (1993), que destaca a estrutura dialógica do discurso paródico: um híbrido premeditado entre o discurso parodiado e aquele que o parodia, sem, contudo, destruí-lo. Embora haja na fortuna crítica desse conto alguns estudos que caminham nessa direção, como os de: Almeida (2006) e Rego, (1989), aqui trataremos da paródia sob uma outra perspectiva, isto é, no contexto da tradição do sério-cômico, especialmente da sátira menipéia, cuja raiz dialógica é analisada rigorosamente por Bakhtin como célula originária do discurso romanesco. É no âmbito dessa linhagem - à qual Machado explicitamente se filia, conforme deixa registrado obliquamente num lance metaficcional em Teoria do Medalhão: somente não deves empregar a ironia, esse movimento ao canto da boca, cheio de mistérios, inventado por algum grego da decadência, contraído por Luciano, transmitido a Swift e Voltaire, feição própria dos céticos e desabusados. que o subtítulo Diálogo se materializa enquanto paródia de um gênero inscrito na tradição clássica dos diálogos platônicos. Por meio da análise do discurso ambivalente do conto machadiano, pudemos apontar os momentos nos quais havia sob ele um outro discurso o de A República de Platão do qual ora se aproximava, ora se distanciava, num jogo alternado de ocultar-revelar, bem ao gosto de um Machado leitor de Luciano de Samósata. Nosso objetivo, porém, não se limitou apenas ao desvelamento da construção paródica no âmbito da estrutura narrativa. Pretendemos, outrossim, por meio desse conto exemplar dentro da obra contística do autor, refletir sobre o aspecto formativo que engendra, seja em nível de gênero enquanto híbrido de, ao menos, três matrizes: o sério-cômico da menipéia, o diálogo platônico e o ensaio ou conto-teoria (Bosi, 1999) , seja em nível do projeto machadiano de literatura nacional cuja pedra de toque está na formação de um leitor capaz de perceber, por meio de uma leitura dos avessos, a crítica oculta sob o pretenso elogio da figura do medalhão, típico cidadão bem sucedido da sociedade brasileira do século XIX, que se nutria, apenas, das aparências

Made available in DSpace on 2015-07-15T13:31:35Z (GMT). No. of bitstreams: 1 Rosana Carvalho S Ghignath.pdf: 1325892 bytes, checksum: 999e87698bcdbc3db8145689158550ad (MD5) Previous issue date: 2008-02-20 / This dissertation has as objective to study, in comparative perspective , the works of E?a de Queir?s the "trip" Reports - Egypt, Palestine and High Syria -, everybody published posthumously, and the novel The Relic, published in the author's life. It fits to illuminate that the Portuguese novelist undertook a trip to the East, specifically to Egypt and Palestine, in the middle of 1869, motivated by the inauguration of the Channel of Suez. The annotations done by E?a concerning the places that he knew, in odds papers, they were published firstly by its son Jos? Maria d? E?a de Queiroz, fifty seven years then, entitling them as Egypto. Trip notes (1926). In 1966, the novelist's daughter, Maria E?a de Queiroz de Castro, picked up more notes of this material, composing the book Free Leaves, of which they make part the reports on Palestine and on Syria. In these works they are the author's personal impressions in relation to the that he saw in those distant places paragens. The Relic is already work ficcional published in 1887. In this novel, the narrator-character's trip, Teodorico Raposo, is shown by the Medium East. When doing an comparative analysis among these written, it is noticed that the novelist took advantage of its oriental course to redraft fiction, journalistic and epistle texts. Starting from the reading of the " Reports of Trip " and d?A relic, this dissertation seeks to investigate mapear the eatern imaginary in the works queirosianas, aiming the novelist's insert in the context of the easstern European century XVIII, as well as the influences that the writer received from the main works of French artists that also traveled to the East, to example of Flaubert, Renan and Gautier. He makes himself a literary analysis still comparing the texts of the "Reports of trip" writings for E?a young with the novel The relic, written in the writer's full maturity. They guide this study the theories of the parody, of the intratextualidade and of the irony as structures of the satirical and revision speech, that, it is believed, according to this novel of E?a de Queir?s. / Esta disserta??o tem como objetivo estudar, em perspectiva comparatista, as obras de E?a de Queir?s os Relatos de viagem O Egito, A Palestina e Alta S?ria , todos publicados postumamente, e o romance A rel?quia, publicado em vida do autor. Cabe esclarecer que o romancista portugu?s empreendeu uma viagem ao Oriente, especificamente ao Egito e ? Palestina, em meados de 1869, motivado pela inaugura??o do Canal de Suez. As anota??es feitas por E?a acerca dos lugares que conheceu, em pap?is avulsos, foram publicadas primeiramente pelo seu filho Jos? Maria d? E?a de Queiroz, cinq?enta e sete anos depois, intitulando-os como Egypto. Notas de viagem (1926). Em 1966, a filha do romancista, Maria E?a de Queiroz de Castro, recolheu mais notas deste material, compondo o livro Folhas Soltas, do qual fazem parte os relatos sobre a Palestina e sobre a S?ria. Nestas obras est?o as impress?es pessoais do autor em rela??o ao que ele viu naquelas paragens distantes. J? A rel?quia ? obra ficcional publicada em 1887. Neste romance, mostra-se a viagem do narrador-personagem, Teodorico Raposo, pelo M?dio Oriente. Ao fazer uma an?lise comparatista entre estes escritos, percebe-se que o romancista se aproveitou do seu percurso oriental para reescrever textos ficcionais, jornal?sticos e epistolares. A partir da leitura dos Relatos de viagem e d?A rel?quia, esta disserta??o procura mapear o imagin?rio oriental nas obras queirosianas, apontando a inser??o do romancista no contexto do orientalismo europeu oitocentista, bem como as influ?ncias que o escritor recebeu das principais obras de artistas franceses que tamb?m viajaram ao Oriente, a exemplo de Flaubert, Renan e Gautier. Faz-se uma an?lise liter?ria comparando os textos dos Relatos de viagem escritos por E?a ainda jovem com o romance A rel?quia, escrito em plena maturidade do escritor. Orientam este estudo as teorias da par?dia, da intratextualidade e da ironia como estruturadoras do discurso sat?rico e revisionista, que conforma este romance de E?a de Queir?s.