Th. 3e cycle--Litt. fr.--Paris 8, 1987.

Thèse de doctorat : Lettres : Lyon 2 : 2000. / Titre provenant de l'écran-titre. Bibliogr.

Thèse de doctorat--Lettres--Paris 13, 1995. N°: 1995PA131031. / Bibliogr. p. 277-290.

Reproduction de : Thèse de doctorat : Lettres et arts : Lyon 2 : 2007. / Titre provenant de l'écran-titre. Bibliogr.

Th. Ph. D.--French literature and language--Univeritet Stockholms, 2003. / Bibliogr. p. 189-199. Index.

Este estudo consiste numa análise da tradução do romance Tistifil Miril Strib, de Rachid Daif, proposta por nós, do árabe ao português brasileiro. Com base no trabalho de Antoine Berman, A Tradução e a Letra, ou o Albergue do Longínquo, selecionaram-se decisões tradutórias que demonstrassem o nosso esforço em realizar uma tradução que levasse em conta o objetivo ético do traduzir, acolhendo o Estrangeiro que reside no texto original. Com essa finalidade, analisou-se a ação de três tendências deformadoras próprias da tradução da prosa literária, que agem sobre os traços mais característicos desse romance; são elas: 1) o empobrecimento quantitativo; 2) a destruição ou a exotização das redes de linguagens vernaculares; e 3) o apagamento das superposições de línguas. Em seguida, avalia-se até que ponto se consegue evitar essas forças deformadoras que afastam a tradução de seu objetivo ético, uma vez que destroem a letra do texto, isto é, a sua forma, em favor da transmissão do sentido. Conclui-se que, embora o tradutor tenha consciência da atuação dessas tendências durante o processo tradutório, esse não consegue se libertar plenamente delas. No entanto, isso não o impede de encontrar soluções que possibilitem a manifestação das estranhezas e das particularidades do texto original na língua de chegada, obedecendo à ética da tradução / The purpose of this study is to analyze the translation, proposed by us, of the novel Tistifil Miril Strib by Rashid Al-Daif, from Arabic into Brazilian Portuguese. Based on the theory proposed by Antoine Berman in his work La traduction et la lettre, ou Lauberge du lointain, we selected some of our translation decisions so as to demonstrate the effort of performing a translation with the ethical goal of hosting the foreigner who inhabits the source text. In order to do so, we analyze the action of three deforming tendencies typical of translating literary prose, which affect the inherent character of this novel. They are as follow: 1) quantitative impoverishment; 2) the destruction of vernacular networks or their exoticization; and 3) the effacement of the superimposition of languages. Then, we consider how well we can neutralize these deforming forces, which keep the translation away from its ethical aim by destroying the text letter, its form, so as to keep the content transmission. To summarize, even though the translator is conscious of how these tendencies work during the translation process, he cannot free himself completely from these forces. However, this does not stop him from finding solutions that enable the manifestation of the strangeness and particularities of the source text, within the target language, according to the ethics of translation

Este estudo consiste numa análise da tradução do romance Tistifil Miril Strib, de Rachid Daif, proposta por nós, do árabe ao português brasileiro. Com base no trabalho de Antoine Berman, A Tradução e a Letra, ou o Albergue do Longínquo, selecionaram-se decisões tradutórias que demonstrassem o nosso esforço em realizar uma tradução que levasse em conta o objetivo ético do traduzir, acolhendo o Estrangeiro que reside no texto original. Com essa finalidade, analisou-se a ação de três tendências deformadoras próprias da tradução da prosa literária, que agem sobre os traços mais característicos desse romance; são elas: 1) o empobrecimento quantitativo; 2) a destruição ou a exotização das redes de linguagens vernaculares; e 3) o apagamento das superposições de línguas. Em seguida, avalia-se até que ponto se consegue evitar essas forças deformadoras que afastam a tradução de seu objetivo ético, uma vez que destroem a letra do texto, isto é, a sua forma, em favor da transmissão do sentido. Conclui-se que, embora o tradutor tenha consciência da atuação dessas tendências durante o processo tradutório, esse não consegue se libertar plenamente delas. No entanto, isso não o impede de encontrar soluções que possibilitem a manifestação das estranhezas e das particularidades do texto original na língua de chegada, obedecendo à ética da tradução / The purpose of this study is to analyze the translation, proposed by us, of the novel Tistifil Miril Strib by Rashid Al-Daif, from Arabic into Brazilian Portuguese. Based on the theory proposed by Antoine Berman in his work La traduction et la lettre, ou Lauberge du lointain, we selected some of our translation decisions so as to demonstrate the effort of performing a translation with the ethical goal of hosting the foreigner who inhabits the source text. In order to do so, we analyze the action of three deforming tendencies typical of translating literary prose, which affect the inherent character of this novel. They are as follow: 1) quantitative impoverishment; 2) the destruction of vernacular networks or their exoticization; and 3) the effacement of the superimposition of languages. Then, we consider how well we can neutralize these deforming forces, which keep the translation away from its ethical aim by destroying the text letter, its form, so as to keep the content transmission. To summarize, even though the translator is conscious of how these tendencies work during the translation process, he cannot free himself completely from these forces. However, this does not stop him from finding solutions that enable the manifestation of the strangeness and particularities of the source text, within the target language, according to the ethics of translation

According to some literary and anthropological theorists, the plurality of masculinities in Morocco cannot be adequately expressed by the concept of homosexuality. Nevertheless, as a result of colonialism, the hetero-/homosexual dichotomy has become part of the collective Moroccan consciousness, despite the fact that it remains in conflict with more traditional ways of thinking. The friction created by such opposing epistemologies is rendered even more complex as authors of Morrocan origin living in Paris endeavour to write of their marginalised sexualities, due in part to the lingering preference of the French literary market for exoticism, which brings with it a host of other identity-related expectations and challenges.  Two authors with similar origins and trajectories, both born and raised in Morocco and from roughly the same generation, Rachid O. (Abdellah Oubaïd) and Abdellah Taïa both immigrated to Paris as young adults, where they became published writers known primarily for the transcultural homoerotic themes and identity-related issues their works contain. Dealing in large part with stories of young Moroccan men coming to terms with their marginalised sexuality, many of their works are considered to be autobiographical in nature. Upon closer examination, it is interesting to note that both authors rarely use the words ‘homosexual’ or ‘homosexuality’ until much later in their respective careers.  Consequently, the current study seeks to compare how such ‘homosexuality’ is constructed in their works, by contrasting three works published by each author, two published toward the beginning of their literary career, and one a number of years later. In doing so, particular attention was paid to the relationships the protagonists of each author have not only with the words used to describe their sexuality, but also with the other characters and places around them. The theoretical framework for such analysis was provided by concepts such as hegemonic masculinity, cultural hybridity and identity allocation. A number of conclusions were drawn, the most striking of which is perhaps that, particularly in the works of Taïa, homosexuality as an identity is viewed more as an unwanted layer of skin imposed by society than as a source of liberation.

L'importance de l'Histoire dans l'œuvre de Rachid Boudjedra fait l'unanimité des critiques. En s'appuyant sur la narratologie et plus particulièrement sur la théorie du langage performatif de John Langshow Austin, le présent travail tâche de démontrer que la construction de ses romans est mobilisée dans l'objectif de faire émerger l'histoire de l'Algérie et du monde arabe tout en se distinguant de l'écriture de l'historien. Sans s'arrêter à la simple mention des événements historiques, l'Histoire dans l'écriture romanesque de Boudjedra les retrace en tant que mémoire individuelle. Cette posture amène l'écrivain à manipuler les faits et les textes historiques et ainsi à brouiller la frontière entre la fiction et l'histoire. Cette approche constitue, pour l'auteur, un acte d'appropriation d'une Histoire dépossédée par le colonialisme puis occultée par les autorités algériennes. L'écrivain participe ainsi à la réinvention, rendue nécessaire par l'acculturation consécutive à la période coloniale, de l'écriture algérienne. / Critics are unanimous regarding the importance of History in Rachid Boudjedra's work. Based on narratology and especially on the performative theory of John Langshow Austin, the present study tries to enlighten the fact that the construction of his novels aims to bring out history of Algeria and of the Arab world while distinguishing itself from an historian work. Without stopping at the mere mention of historical events, History in Boudjedra fictional writings introduces them as individual memory. This posture leads this author to manipulate historical facts and texts and thus to blur the line between fiction and history. This approach is, for the author, an act of appropriation of a History dispossessed by colonialism and then overshadowed by the Algerian authorities. The writer thus contributes to the reinvention, made necessary by the acculturation resulting from the colonial period, of writing in Algeria.

Cette recherche porte sur dix romans d’auteurs francophones : Monnè, outrages et défis, d’Ahmadou Kourouma ; La mère du printemps et Naissance à l’aube, de Driss Chraïbi ; L’escargot entêté et Les 1001 années de nostalgie, de Rachid Boudjedra ; La déchirure et Le régiment noir, d’Henry Bauchau ; Prochain épisode, Trou de mémoire et L’antiphonaire, d’Hubert Aquin. Au-delà des différences sociohistoriques de leurs origines, les œuvres accusent des fortes similitudes tant au niveau de l’écriture qu’au plan de leur thématique. Nourries – pour la plupart – de l’expérience de vie des auteurs, elles s’ancrent dans l’époque ou convoquent les événements du passé (invasions, colonisation, guerres, résistances) afin de produire une intelligence de l’Histoire. Par métonymisation, cette dernière s’incarne dans un « Je » narrateur halluciné, blessé à l’origine et psychologiquement décomposé, qui engage désespérement l’écriture pour dire son mal être et, peut-être s’en guérir. La fiction de soi sert de moyen pour écrire l’Histoire et celle-ci se confond avec le récit, le discours sur le roman en train de s’écrire tendant à devenir l’objet même de la narration. Dans une autre perspective, prenant le détour de l’allégorie, les textes montrent à travers des événements plus anciens, même vécus ailleurs, des motifs et des figures qui illustrent le mécanisme cyclique, les modes de fabrication de l’Histoire, et témoignent de la résistance des peuples ainsi que de leurs stratégies de survie. Par une approche herméneutique, s’inspirant aussi du paradigme de « mort et naissance » à l’aune duquel Pierre Nepveu lit la littérature québécoise, cette analyse met en lumière la médiation symbolique à l’œuvre dans les romans. Tout en mettant en scène la déshérence des sujets (individuels ou collectifs) et l’impasse historique, ils proposent d’inventer des voies de dépassement. En montrant que les fausses évidences et tout « ce-qui-va-de-soi » dans les imaginaires ont été à l’origine choisis et fabriqués en réponse à des besoins contingents, les fictions du roman francophone attirent notre attention sur un principe majeur de regénération des mondes : une tradition, une culture, une civilisation s’invente ; précisément, elle invente le temps et, inversement, le temps la réinvente. / This research focuses on ten novels by Francophone authors: Monnè, outrages et défis, by Ahmadou Kourouma ; La mère du printemps and Naissance à l’aube, by Driss Chraïbi ; L’escargot entêté and Les 1001 années de nostalgie, by Rachid Boudjedra ; La déchirure and Le régiment noir, by Henry Bauchau ; Prochain épisode, Trou de mémoire, and L’antiphonaire, by Hubert Aquin. Beyond the socio-historical differences in their origins, the works show strong similarities both in writing and in their themes. Based – for the most part - on the life experience of the authors, they are rooted in the era or summon past events (invasions, colonization, wars, resistance) to produce an understanding of history. Through the device of metonymisation, the latter is embodied in an "I" hallucinated narrator, originally injured and psychologically broken down, desperately committed to writing in order to express his unhappiness and perhaps also to heal himself. Autobiography serves as a way to write history and it merges with the narrative, the discourse on the novel being written tending to become the object of the narrative. From another perspective, that of allegory, the texts show through older events, even experienced elsewhere, the patterns and figures that illustrate the cyclical nature and methods of building history, and reflect the resistance of the peoples and their survival strategies. Using a hermeneutic approach and also drawing upon the paradigm of "birth and death" in the light of which Pierre Nepveu understands Quebec literature, this analysis highlights the symbolic mediation at work in the novels. While featuring disinherited subjects (individual or collective) and the historical impasse, they propose ways to get around this. By showing that only false evidence and any "it-goes-without-saying " in imaginaries were originally selected and created in response to contingent needs, the fiction in the Francophone novel draws attention to a major principle in the regeneration of worlds : a tradition, a culture, a civilization is invented; specifically, it invents time and, conversely, time reinvents it.