En s'appuyant sur les outils fournis par la théorie de la littérature et la littérature comparée, cette thèse vise à mettre en évidence les relations entre la littérature hypertextuelle et la littérature potentielle développée par le groupe Oulipo (Ouvroir de Littérature Potentielle). Plus précisément, l'analyse des oeuvres hypertextuelles des principaux écrivains du groupe (Raymond Queneau, Georges Perec, Italo Calvino et Jacques Roubaud, sans que cela soit un obstacle à en convoquer d'autres) est une tentative de démontrer l'importance de l'Oulipo pour la naissance, le développement et la consolidation de l'hypertexte, compris comme une forme d'écriture multiséquentielle où différents fragments textuels reliés entre eux offrent un choix d'itinéraires de lecture. Cette conception structurelle du phénomène accueille à la fois les hypertextes sur support papier et les hypertextes numériques, tout en permettant de parcourir parallèlement l'histoire des littératures potentielle et hypertextuelle, depuis les années soixante (où sont forgés les deux termes), jusqu'à nos jours / The present dissertation aims to reveal the connections between hypertextual literature and potential literature developed by Oulipo (Ouvroir de Littérature Potentielle) using the tools given by the literary theories and comparative literature. More precisely, analysing the hypertextual works of the main driving forces of this literary group - Raymond Queneau, Georges Perec, Italo Calvino and Jacques Roubaud, among others - represents a way of proving the capital importance of Oulipo in the birth, developing and consolidation of hypertext as a form of multi-sequential writing, in which different parts of a text offer different itineraries for a particular reading. Conceiving this phenomenon structurally means including paper hypertexts as well as digital hypertexts, and makes possible a parallel journey along the history of potential and hypertext literature from the 1960s decade - where both terms where coined - to the present moment.

Orientador: Maria José Rodrigues Faria Coracini / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-17T05:49:07Z (GMT). No. of bitstreams: 1 Jalabert_AdelineMarie_M.pdf: 693645 bytes, checksum: 2bfca3c4ab3f575b1f3c54f1c26de6ac (MD5) Previous issue date: 2010 / Resumo: No romance Zazie dans le métro (1959), Raymond Queneau explora a linguagem coloquial, valendo-se da língua que chamou de neo-francês. O autor faz um verdadeiro "exercício de estilo" oral popular, em que mistura registros e faz paródias, imprimindo ao romance, além de um ritmo rápido, redundâncias, ortografia fonética, ausência de concordâncias gramaticais, arcaísmos etc. em franca oposição aos preconceitos em relação à língua oral. O oulipiano questiona a língua, provocando o leitor e obrigando-o a se distanciar da linguagem a que está habituado. Este trabalho propõe uma reflexão sobre a violência observada tanto no texto dito 'original' de Queneau, quanto na tradução e, em particular, na passagem do neo-francês à língua portuguesa do Brasil. Se a própria escrita de Zazie na língua original (o neo-francês) já é um exercício, da tradução espera-se um trabalho que podemos chamar de "trabalho dobrado". Para tanto, admite-se a violência na tradução, o que permite levantar várias questões relativas à língua, à cultura, à identidade, à dicotomia entre língua oral e língua escrita, entre obra original e obra traduzida, além de questionar os limites e as proibições, a criação literária, o trabalho do tradutor, as normas acadêmicas, o desafio da escrita e favorece a divulgação de obras literárias importantes / Abstract: In the novel Zazie dans le métro (1959), Raymond Queneau explores colloquial language, making use of what he called neo-French. The author makes a real popular and oral "exercise in style", mixing registers and parodies, making the novel fast paced and using redundancy, phonetic spelling, grammatically incorrect expressions, archaisms etc. in clear opposition to the prejudices about oral language. The oulipian questions language and culture provoking the reader and forcing him to distance himself from the language he is accustomed to. This work proposes a reflection on violence observed both in Queneau's 'original' text and in its translations, particularly between neo-French and Brazilian Portuguese. If the actual writing of Zazie in the original language (neo-French) was already an exercise, in translation, a kind of "double work" is expected. Admitting violence in translation allows us to raise several issues relating to language, culture, identity, the dichotomy between oral and written language, and between original work and translated work, to limits and prohibitions, literary creation, the work of the translator, academic standards, the challenge of writing and dissemination of important literary works / Mestrado / Teoria, Pratica e Ensino da Tradução / Mestre em Linguística Aplicada

The drole de roman gathers works by Marcel Ayme, Albert Cohen and Raymond Queneau, French novelists who belong to the same generation, share common readers and inspiration and, most of all, a specific vision: the nonserious. Their novels draw from the most obvious manifestations of the comical tradition (farce, burlesque) to its most subtle (irony, parody). In their works, laughter does not occupy a secondary position nor does it simply provide some reading impressions. In fact, laughter is often expressed by the characters and narrators themselves, whose sense of mischeviousness demonstrates the Rabelaisian joy of body and soul. / Besides, the drole is not restricted to its usual comical characteristics. In the prospect of literary history, it also refers to what stands apart from the realistic conventions inherited from Balzac and Zola. In other words, the drole is made of antirealism, merveilleux and fantasy. Thus, Ayme, Cohen and Queneau put forward their own response to the mimetic function of the 19th century realistic novel. Instead of renouncing the power of fiction, as Gide and Valery will often suggest, instead of denouncing its falseness, the three novelists give fiction even greater powers. / Based on the conclusions of the history of the novel and on studies concerning various aspects of its construction (the relation between reality and fiction, the conception of character and of its place in the community, the forms of the plot), this thesis wishes to shed light on the role and value of laughter through the study of three major themes: comedy, community and enchantment.

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