Este trabalho apresenta uma análise intertextual do romance The Solid Mandala, do escritor australiano, ganhador do prêmio Nobel, Patrick White, publicado em 1966, como parte de um esforço para estimular estudos sobre sua obra no Brasil e para investigar por que sua fortuna crítica tem passado por uma fase negativa recentemente. Primeiro, mostramos brevemente sua biografia e as condições relacionadas à produção e publicação de The Solid Mandala. Em seguida, apresentamos o contexto histórico do romance. As relações de conflito e complementação envolvendo os irmãos gêmeos Waldo e Arthur Brown na narrativa são analisadas, com destaque para a relação deles com a literatura (um tema importante no romance), retratando o papel das personagens como leitores e escritores na história, apreendendo, assim, seus sentimentos, suas visões de mundo e filosofia de vida (Waldo aspira à uma carreira de escritor e Arthur de fato compõe um poema). Os estudos de Gérard Genette sobre Narratologia são utilizados para embasar a análise, particularmente na relação intertextual entre The Solid Mandala e The Brothers Karamazov, do escritor F. Dostoyevsky, que é o título que chama a atenção de Arthur. Na busca pelo todo de sua vida, Arthur incorpora vários elementos (centrados em um único ponto, suas mandalas) e consegue criar sua própria filosofia. No final vemos que Arthur transcende sua realidade ao usar a leitura do romance russo como um instrumento. Esse estudo destaca a pertinência de revisitar a obra de Patrick White (uma vez que ela prova estar em sintonia com as questões filosóficas sendo discutidas atualmente) e coloca The Solid Mandala no contexto da literatura mundial. / This work performs an intertextual analysis of the Nobel Prize winning Australian novelist Patrick White’s The Solid Mandala, published in 1966, as part of an effort to boost studies of his novels in Brazil and to investigate why his critical fortune has been undergoing a negative phase recently. First, we briefly present his biography and the conditions surrounding the writing and publication of The Solid Mandala. Later on, we present the historical context of the novel. The relations of conflict and complementation involving the twin brothers Waldo and Arthur Brown in the narrative are analysed, but we focus on their relation to literature (which is an important theme in the novel), depicting their roles as readers and writers in the story, thus, apprehending their feelings towards each other, worldviews and outlook on life (Waldo aspires to become a great writer, and Arthur actually produces a poem). Gérard Genette’s studies on Narratology are used to support our analysis, particularly in the intertextual relation between The Solid Mandala and F. Dostoyevsky’s The Brothers Karamazov, which is the title that calls Arthur’s attention. In his pursue to find the whole of his life, Arthur incorporates various elements (centred at just one point, his mandalas) and is able to create his own philosophy. At the end we see that Arthur transcends his reality by using the reading of the Russian novel as an instrument. This study enlightens the pertinence of revisiting Patrick White’s oeuvre (since it proves to be so well tuned in to the current philosophical issues being discussed), and places The Solid Mandala in the context of worldwide literature.

Towards the end of the 1960s in France we witness the awakening of the memory of the Holocaust and the Occupation which coincides with the publication of Patrick Modiano’s first novel, La place de l’étoile. It is from this time that Jewish memory of the Holocaust begins to surface and we see the emergence of a literature of the post-Holocaust generation. Modiano belongs to this generation that, being deprived of a personal memory of the Holocaust, turns to this period in a quest for roots and identity. Like his Jewish colleagues, Modiano struggles to come to terms with a past that he has not experienced and an absence of memory. This dissertation analyses Modiano’s use of the period of the Holocaust as signifier of Jewish identity in four of his novels in order to highlight the role of the issue of Jewish identity in the construction of a textual identity / Vers la fin des années 60 on voit en France le réveil de la mémoire de la Shoah et de l’Occupation qui coïncide avec la publication du premier roman de Patrick Modiano, La place de l’étoile. C’est à partir de cette époque que la mémoire juive de la Shoah va pouvoir se faire entendre et qu’on constate l’émergence d’une littérature de la génération d’après la Shoah. Modiano appartient à cette génération qui, étant dépourvue d’une mémoire personnelle de la Shoah, se tourne vers cette période dans une quête de racines et d’identité. Comme ses confrères juifs, Modiano a du mal à se réconcilier avec un passé qu’il n’a pas vécu et une absence de mémoire. Cette étude examine de près le recours de Modiano aux années de la Shoah en tant que signifiant de l’identité juive dans quatre ouvrages afin de mettre en exergue le rôle de la problématique de l’identité juive dans la construction d’une identité textuelle chez cet écrivain / Linguistics and Modern Languages / M. A. (French)

Este trabalho apresenta uma análise intertextual do romance The Solid Mandala, do escritor australiano, ganhador do prêmio Nobel, Patrick White, publicado em 1966, como parte de um esforço para estimular estudos sobre sua obra no Brasil e para investigar por que sua fortuna crítica tem passado por uma fase negativa recentemente. Primeiro, mostramos brevemente sua biografia e as condições relacionadas à produção e publicação de The Solid Mandala. Em seguida, apresentamos o contexto histórico do romance. As relações de conflito e complementação envolvendo os irmãos gêmeos Waldo e Arthur Brown na narrativa são analisadas, com destaque para a relação deles com a literatura (um tema importante no romance), retratando o papel das personagens como leitores e escritores na história, apreendendo, assim, seus sentimentos, suas visões de mundo e filosofia de vida (Waldo aspira à uma carreira de escritor e Arthur de fato compõe um poema). Os estudos de Gérard Genette sobre Narratologia são utilizados para embasar a análise, particularmente na relação intertextual entre The Solid Mandala e The Brothers Karamazov, do escritor F. Dostoyevsky, que é o título que chama a atenção de Arthur. Na busca pelo todo de sua vida, Arthur incorpora vários elementos (centrados em um único ponto, suas mandalas) e consegue criar sua própria filosofia. No final vemos que Arthur transcende sua realidade ao usar a leitura do romance russo como um instrumento. Esse estudo destaca a pertinência de revisitar a obra de Patrick White (uma vez que ela prova estar em sintonia com as questões filosóficas sendo discutidas atualmente) e coloca The Solid Mandala no contexto da literatura mundial. / This work performs an intertextual analysis of the Nobel Prize winning Australian novelist Patrick White’s The Solid Mandala, published in 1966, as part of an effort to boost studies of his novels in Brazil and to investigate why his critical fortune has been undergoing a negative phase recently. First, we briefly present his biography and the conditions surrounding the writing and publication of The Solid Mandala. Later on, we present the historical context of the novel. The relations of conflict and complementation involving the twin brothers Waldo and Arthur Brown in the narrative are analysed, but we focus on their relation to literature (which is an important theme in the novel), depicting their roles as readers and writers in the story, thus, apprehending their feelings towards each other, worldviews and outlook on life (Waldo aspires to become a great writer, and Arthur actually produces a poem). Gérard Genette’s studies on Narratology are used to support our analysis, particularly in the intertextual relation between The Solid Mandala and F. Dostoyevsky’s The Brothers Karamazov, which is the title that calls Arthur’s attention. In his pursue to find the whole of his life, Arthur incorporates various elements (centred at just one point, his mandalas) and is able to create his own philosophy. At the end we see that Arthur transcends his reality by using the reading of the Russian novel as an instrument. This study enlightens the pertinence of revisiting Patrick White’s oeuvre (since it proves to be so well tuned in to the current philosophical issues being discussed), and places The Solid Mandala in the context of worldwide literature.

L’objectif de ce mémoire est la tentative d’une lecture psychanalytique de certains passages de deux livres L’Oiseau des origines (Gallo, 1974) et Le Testament français (Makine, 1995) afin de trouver le sens et les enjeux cachés dans les textes. Les livres racontent la quête d’identité des deux personnages principaux respectifs : les jeunes hommes Thomas et Aliocha. Avec la théorie de secrets de famille comme point de référence, nous allons suivre Thomas et Aliocha dans leurs parcours vers l’individuation.Notre première hypothèse est que la quête d’identité de Thomas et d’Aliocha s’est faite en passant par l’exagération, voire la fabulation, puisqu’ils grandissent dans des milieux familiaux où les autres leur cachent leurs vraies origines. Cette hypothèse s’est révélée inexacte. Notre seconde hypothèse est que leur identité, influencée par l’existence des secrets de famille, implique un personnage cachottier et dissimulé ayant des difficultés à distinguer entre la vie réelle et les rêves. Cette hypothèse a été partiellement corroborée par la lecture. Les deux personnages principaux du corpus se sont avérés avoir un personnage cachottier, avec une tendance à créer de nouveaux secrets. Toutefois, Thomas dans L’Oiseau des origines était le seul à avoir des problèmes à distinguer ce qui est réel de ce qui ne l’est pas.Un autre but, celui purement littéraire, est de vérifier s’il pourrait y avoir une influence de l’écriture de Patrick Modiano dans l’écriture d’Andreï Makine. Nous avons trouvé un nombre suffisant d’exemples textuels montrant cette influence pour qu’il soit justifié d’entamer d’autres recherches en ce domaine.Une réflexion sur l’influence qu’a pu avoir ses deux romans sur la psychologie des lecteurs sera faite. / This study proposes an attempt to a psychoanalytical reading of some parts of the two novels L’Oiseau des origines (Gallo, 1974) and Le Testament français (Makine, 1995), hoping to unveil some hidden issues. The novels recount the lives of two young men, Thomas and Aliocha, and their respective search for identity. The framework of family secrets offers an appreciation of the role played by the family background on the formation of their charactersThe first hypothesis is that the two young men’s identity search is marked by exaggeration or even fabrication since they grew up in family environments where others hid their true origins from them. That hypothesis was not confirmed. The second hypothesis is that they, influenced by the existence of family secrets, have developed a secretive and concealed character with problems to distinguish real life from dreams. That hypothesis was partly confirmed. The study proved that they have developed a secretive character with a predilection to create further secrets. However, only Thomas was found to have problems to distinguish real life from dreams.

Le présent mémoire adopte une perspective topographique pour examiner la façon dont est appréhendée, dans les œuvres littéraires des générations post-génocidaires, la mémoire d’événements traumatiques survenus dans le passé, mais dont l’empreinte demeure visible dans le présent, selon les structures de ce que Marianne Hirsch a qualifié de « postmémoire ». À travers les analyses de Dora Bruder (1997) de Patrick Modiano et Peut-être Esther (Vielleicht Esther, 2014) de Katja Petrowskaja, on observe comment la mémoire envisagée comme expérience topographique permet, par le rapport incarné qu’elle sous-entend, un contact riche et singulier avec cet héritage traumatique, et la naissance d’un regard pluriel, trans-temporel et transculturel sur la postmémoire et sur sa portée dans la littérature contemporaine. Le premier chapitre est consacré à la présentation, la définition et l’illustration des principaux concepts théoriques et des thèmes qui orientent la réflexion, soit la postmémoire, la question de la mémoire du corps, et la notion de topographie mémorielle. Le second chapitre est une réflexion sur les itinéraires de mémoire dans Dora Bruder et sur la présence-absence, dans la topographie contemporaine de Paris, de la jeune fille qui donne son nom au récit. Y sont examinés les procédés narratifs et littéraires employés par Modiano pour dessiner les contours, à travers les brumes de l’histoire, d’un personnage qui demeure insaisissable et énigmatique. Le troisième chapitre se penche sur le récit fragmentaire et pluriel élaboré par Petrowskaja dans Peut-être Esther, en accordant une attention particulière à la façon qu’a la narratrice d’interagir avec les lieux mémoriels et de les relier entre eux par ses mouvements et voyages. L’analyse de différents passages met par ailleurs en lumière la richesse et la pertinence de la figure du palimpseste dans l’expression et l’appréhension de la topographie mémorielle. / This thesis uses a topographic perspective in order to examine how the memory of traumatic events is apprehended in the literary works of post-genocidal generations. While these traumatic events happened in the past, their imprint remains perceptible in the present, according to the structures of what Marianne Hirsch called “postmemory”. Through the analysis of Patrick Modiano’s Dora Bruder (1997) and Katja Petrowskaja’s Peut-être Esther (Vielleicht Esther, 2014), we look at how memory taken as a topographic experience allows for, by the embodied relation implied, a rich and singular contact with this traumatic heritage, as well as the emergence of a plural, trans-temporal and transcultural look on postmemory and its resonance in contemporary literature. The first chapter is dedicated to the presentation, definition and illustration of the main theoretical concepts and themes guiding the reflection, such as postmemory, embodied memory and the idea of memorial topography. The second chapter is a reflection on the memory itineraries in Dora Bruder and on the presence-absence, in the contemporary parisian topography, of the young girl who gives her name to the narrative. Therefore, the narrative and literary processes used by Modiano in order to draw, through the mists of history, the portrait of a character still remaining uncatchable and enigmatic are examined in this section. The third chapter addresses the fragmentary and plural narrative that Petrowskaja elaborates in Peut-être Esther, with a particular attention to the way that the narrator interacts with memorial sites and links them together through her movements and travels. The analysis of various passages also brings to light the richness and relevance of the figure of the palimpsest in the expression and apprehension of memorial topography.

L'objectif de ce mémoire consiste à comparer le rapport au photographique et au biographique dans l'œuvre d'Annie Ernaux et celle de Patrick Modiano. Nous pensons que ces deux auteurs ont une conception similaire de l'écriture qu'une telle étude, centrée sur Une femme et Chien de printemps, permet de mettre de l'avant. Notre analyse a révélé que ces deux œuvres remettent en question le caractère référentiel du photographique et du biographique. Les ekphraseis photographiques et la dimension biographique des textes soulignent l'impossibilité de récupérer le passé dans son intégralité. En plus d'interroger le rapport à l'objet photographique et biographique, les deux auteurs interrogent le rapport au sujet photographique et biographique. Le narrateur de chacun des récits s'assimile peu à peu au sujet dont il relate le vécu, de sorte que la dimension biographique des textes prend une tournure autobiographique. De plus, l'obsession des narrateurs pour les traces du passé et leur désir de ressusciter les êtres sans histoire les amènent à nier la perte qui est à l'origine de leur travail d'écriture. Ils sont cependant partagés entre ce désir et celui de témoigner de l'expérience de ces individus pour les sortir de l'oubli, désir qui implique une reconnaissance de la perte initiale. Enfin, les deux auteurs insistent sur la dimension collective du photographique et du biographique. Ils s'inspirent du caractère fragmentaire du photographique, qui rappelle le fonctionnement de la mémoire, pour proposer une alternative au récit traditionnel comme modalité d'écriture de l'Histoire. Ainsi, le photographique et le biographique dans leurs limites mêmes sont significatifs puisqu'ils permettent de livrer une représentation du passé qui est davantage de l'ordre de la recherche que de l'ordre de l'affirmation d'une vérité.

La présente thèse vise à analyser le thème de la mélancolie postcoloniale et son utilisation stratégique dans huit romans de Patrick Chamoiseau (Solibo Magnifique, Texaco, Biblique des derniers gestes et Un dimanche au cachot) et d’Émile Ollivier (Mère-Solitude, Passages, Les urnes scellées et La Brûlerie). Sous l’éclairage de la psychanalyse et de la critique postcoloniale, nous définissons cette notion fondamentale comme suit : un psychisme ambivalent entraîné par la perte ou le manque de certains objets d’attachement ––– objets qui sont en l’occurrence la mémoire collective et/ou le lieu d’appartenance identitaire. Comment et pourquoi ce thème se manifeste-t-il dans notre corpus ? Notre hypothèse est que l’utilisation dudit thème serait plus le résultat de leur choix stratégique que l’effet de leur état psychique. C’est afin d’examiner leurs propres problématiques des construction et perception identitaires dans le contexte postcolonial que ces écrivains mettent en récit une telle situation de manque mnémonique et spatial à travers l’écriture romanesque. Afin de mieux élucider la manifestation textuelle de ce thème, nous divisons celui-ci en deux motifs : la « non-histoire » et le « non-lieu ». En nous appuyant principalement sur les réflexions d’Édouard Glissant, de Takayuki Nakamura et de Marc Augé, nous définissons ces concepts comme deux aspects de la mélancolie postcoloniale : situation de manque de la mémoire collective et celle du lieu d’appartenance identitaire. Nos analyses de ces deux motifs sur un plan stylistique, narratologique, structurel et théorique permettent d’examiner de plus près les points de convergence et de divergence entre l’écriture romanesque de Chamoiseau et celle d’Ollivier. En nous fondant sur les quatre études dans la deuxième partie concernant la mise en récit de la non-histoire, nous analysons les utilisations stratégiques de ce motif afin de voir la mise en récit de la « vision prophétique du passé » (É. Glissant). Nous élucidons ensuite en quoi consiste cette vision temporelle paradoxale : choix de genres littéraires tels que le récit policier (Mère-Solitude et Solibo Magnifique) et le récit du retour au pays natal (Les urnes scellées et Bibliques des derniers gestes). Ce choix narratif se réfère toujours à ce que nous nommons la méthode inductive de la narration. La troisième partie, composée encore de quatre études, éclaire les stratégies de la description du lieu. Nous en déduisons une modalité sui generis de la description spatiale que nous appelons, d’après Marc Augé, l’« évocation prophétique d’espaces ». Cette stratégie descriptive se représente notamment par la spatialisation métaphorique de l’identité créole (Texaco et Un dimanche au cachot) ou migrante (Passages et La Brûlerie). En conclusion, nous résumons ces analyses pour en extraire les points communs et divergents entre les utilisations stratégiques de la mélancolie postcoloniale chez Chamoiseau et Ollivier. Entre autres aspects, nous constatons que la mise en récit de la vulnérabilité due à la mélancolie postcoloniale constitue leur positionnement esthétique et éthique afin qu’ils puissent réfléchir aux constructions et perception identitaires au sein du monde actuel devenu plus que jamais flou et fluide. / The purpose of this doctoral thesis is to analyse the theme of postcolonial melancholia and that strategic utilization in eight novels of Patrick Chamoiseau (Solibo Magnifique, Texaco, Biblique des derniers gestes et Un dimanche au cachot) et Émile Ollivier (Mère-Solitude, Passages, Les urnes scellées et La Brûlerie). From the perspective of psychoanalysis and postcolonial criticism, we define this fundamental notion in the following manner : an ambivalent psychology produced by the loss or lack of some objects of attachement ― objects which in this instance are the collective memory and/or the place of belonging. How and why does this theme manifeste itself in our corpus ? Our hypotheses is that the utilization of this theme would be their strategic choice rather than their psychological condition. It is in order to dissect their own problematics of identity construction and perception in the postcolonial contexte that these authors put into narrative form such situations of mnemonic and spatial lack through the writing of these novels. For the purpose of better clarifying the textual appearance of this theme, we divide it into two motifs : the « non-history (non-histoire) » and the « non-place (non-lieu) ». According to the reflections of Édouard Glissant, Takayuki Nakamura and Marc Augé, we define these concepts as being respectively one of the aspects of the postcolonial melancholia : a situation of lack of the collective memory and of the place of belonging. Our analyses of these two motifs from the stylistic, narratological, structural and theorical perspectives make it possible to examine with meticulous care the points of convergence and divergence of the novel writing between Chamoiseau and Ollivier. Based on four studies in the second part which concerns putting in narrative form of the non-history, we deduce that their strategic utilizations of this motif are actualized by « prophetic vision of past » in the glissantian meaning. We clarify subsequently what this paradoxal vision of time consists in : a choice of the literary genres such as the detective novel (Mère-Solitude et Solibo Magnifique) and the return to the native land (Les urnes scellées et Biblique des derniers gestes). This narrative choice is always supported by what we call the inductive method of narrating. The third part, composed again of four individual studies, throws light on strategies of spatial description. We abstract from these studies a way sui generis of the spatial description which we call, in Augé’s words, the « prophetic evocation of spaces ». This descriptive strategy is represented notably by the metaphorical spatialization of creole identity (Texaco et Un dimanche au cachot) or migrant identity (Passages et La Brûlerie). In conclusion, we summarize these eight studies to extract the points of convergence and divergence between the stratégic utilizations of the postcolonial melancholia in Chamoiseau and Ollivier. Prominently, we notice that the work of putting into narrative form the vulnerability due to the postcolonial melancholia constitutes their aesthétical and ethical standpoints so that they can reflect the identity construction and perception within the today’s world which is more blurred and fluid than ever before.

Esta tese apresenta e analisa excertos da minha tradução não publicada de The Solid Mandala, de Patrick White, em português brasileiro, considerando seus aspectos sóciohistóricos e culturais em três níveis: como tradutor, como revisor da tradução e como crítico literário. A teoria dos polissistemas de Itamar Even-Zohar é adotada para justificar a importância de (re)introduzir Patrick White como representante da Literatura Australiana em nosso sistema literário brasileiro por meio da tradução. Como suporte às capacidades necessárias para realizar a tarefa, o modelo de competências de Amparo Hurtado Albir é apresentado. Quanto aos aspectos culturais, a teoria dos itens específico-culturais de Javier Franco Aixelá é empregada. As traduções publicadas em francês, italiano e espanhol são contrastadas com a minha a fim de identificar inconsistências e/ou soluções, bem como chamar a atenção para desafios que não foram contemplados. A versão em português brasileiro é proposta por meio de excertos selecionados, com os três níveis estando em funcionamento durante o processo de revisão da tradução. Ao buscar fazer a obra de Patrick White ser redescoberta não somente no Brasil, mas também na América Latina e em outros países de língua portuguesa, por meio da tradução, esta tese oferece uma contribuição inédita aos Estudos de Tradução. / This dissertation presents and analyzes excerpts from my unpublished translation of Patrick White’s The Solid Mandala into Brazilian Portuguese considering its socio-historical and cultural aspects at three levels of reading: as a translator, as a revisor/proofreader of the translation and as a literary critic. Itamar Even-Zohar’s Polysystems Theory is adopted to justify the importance of (re)introducing Patrick White as a representative of Australian Literature into our Brazilian system via translation. Supporting the abilities necessary to perform the task, Amparo Hurtado Albir’s model of competences is presented. In regards to cultural aspects, Javier Franco Aixelá’s culture-specific items theory is used. The translations into French, German, Italian and Spanish are contrasted to mine, so as to identify inconsistencies and/or solutions and call attention to challenges which were not addressed. The version in Brazilian Portuguese is conveyed in this dissertation via selected excerpts, with the three levels being at work during the proofreading process of the translation. By attempting to make Patrick White’s oeuvre be rediscovered not only in Brazil, but also in South America and in other Portuguese-speaking countries, through translation, this dissertation presents an innovative contribution to Translation Studies.

This thesis is a commentary on Patrick McCabe's novel, The Butcher Boy, which was published in 1992. The novel is told through the perspective of the main character, Francie Brady, who through the majority of the narration is depicted as a young boy. Francie's life is riddled with tragedy with his moving from the loss of one important person in his life to another until the pain of these losses triggers a violent paranoid outburst resulting in the murder of the fixation of an obsession of his, Mrs. Nugent. This thesis looks at the events of the novel through the perspective and insight provided by Ursula K. Heise's theories of "posthistory" and the "hyper-present," as well as Paul Grainge's concepts of the "Mood" and the "Mode" of nostalgia.

No description available.