Outre-amer is a collection of short stories set in a contemporary Quebec society and depicting events in the genealogy of a family doomed with mythological predispositions. / Intertextuality is an important aspect of Outre-amer, since the stories are independent from one another, while linked together by various themes, clues and details which carry enigmas beneath the surface of the stories from one end of the collection to the other. Thus, it is suggested to read the stories in a chronological order. / Etude du dialogue dans Nouvelles de J. D. Salinger studies the conversational aspect of the prose of the American author J. D. Salinger. It reflects on the importance and the role of dialogues within a short story, as well as their scriptural representation and mimetic function. The article investigates the French translation of two short stories which are part of Nine Stories. It analyzes the particularities of the translated dialogues compared to those of the original version, and questions the critical validity of a text in translation. The study raises and discusses issues related to the process of translation towards French and denounces the French translator's ethnocentrical approach towards the American text: in this case, the French language and culture assimilate Salinger's stories, thus altering the poetics of the text in translation.

The aim of this essay was to show that the theme of how a troubled young man in a crisis who is saved by the love of a little girl is central in J.D Salinger’s novel The Catcher in the Rye, as well as in his short story “For Esmé - with Love and Squalor”. Furthermore, the argument was that there is a strong kinship between the protagonists of both stories as well as the little girl, thereby supporting the existing opinion of critics that Salinger is a writer who returns to favored themes and characters.

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In this thesis I aim to analyze the modern classic book The Catcher in the Rye by J.D. Salinger (1951) in an attempt to determine whether one can categorize it as a Young Adult book or not. The novel itself was published as an adult book, but my research shows that it gets both mentioned and used as an example as a novel that has influenced Young Adult literature since its publication. Furthermore, it features many of the criteria that define Young Adult literature. The aforementioned criteria are as follows: death, drugs, war, sex, alcohol, politics, suffering, gender roles, (sexual) liberation, and absent or unaware parents and adults. In addition, Young Adult literature usually uses a first-person perspective, which has led to discussions about whether the said narrator can be trusted or not. The Catcher in the Rye demonstrates many of these criteria – death, war, sex, alcohol, suffering, and parental figures and their roles. In my analysis, I focus on death, parents and the narration, specifically whether or not Holden Caulfield can be classified as an unreliable narrator. By researching the history of Young Adult literature – when it first appears as a genre and how the events come about – as well as looking into the criteria that defines the genre, I perform my analysis by doing a close reading of The Catcher in the Rye. By using my newfound facts, I discuss whether or not the novel can be categorized as Young Adult literature.

O objetivo deste trabalho é apresentar uma leitura dos contos que compõem o volume Nine Stories, do escritor americano J. D. Salinger (1919-2010), publicado em 1953. Para orientar a discussão, partimos de termos que apareceram durante uma polêmica crítica nos anos 70 entre Richard e Carol Ohmann, de um lado, e James E. Miller, de outro. Por tratar-se de um conflito entre métodos interpretativos diferentes e pressupostos incompatíveis, tal polêmica revela uma ambiguidade que orienta a obra escritor, cujas histórias oscilam entre a observação crítica da sociedade e a exaltação da sensibilidade especial de certos personagens. Mostramos que os dois termos têm relação com a matéria histórica do período e com o contexto imediato que compunha os Estados Unidos durante a metade do século XX, especificamente com a questão do dissenso e da revolta pessoal de membros de uma classe média afluente da costa leste americana. Esperamos que o trabalho lance luz sobre questões importantes do gênero narrativo, tal como a relação entre enredo e narrador, pois compreender as idas e vindas da ficção de Salinger é testemunhar de perto como valores muitas vezes contraditórios podem estar presentes em um texto e como os acontecimentos narrativos podem chocar-se com a maneira pela qual são mediados por narradores não-confiáveis. / The aim of this work is to present a reading of the short stories collected in the book Nine Stories, first published in 1953 by the North American writer J. D. Salinger (1919-2010). In order to guide our discussion, we take arguments that appeared in a critical debate between Richard and Carol Ohmann, on one side, and James E. Miller, on the other, during the 1970s. Due to the acritics different interpretative methods and incompatible assumptions, the debate end up revealing an ambiguity central to Salinger\'s work, whose stories oscillate between the critical observation of society and the celebration of a special sensibility present in some characters. We show that both terms bear relation with the historical matter from the period and with the immediate context that formed the United States during the middle of the 20th century, specifically with problems of dissent and personal revolt in members of an affluent middle class from the East Coast. We hope this work will shed light on important issues concerning the narrative genre, such as the relationship between plot and narrator, since this is fundamental in understanding the comings and goings of Salinger\'s fiction, the way in which sometimes contradictory values can be present in the text, and how the character\'s actions might conflict with the way in which they are mediated by unreliable narrators.

O objetivo deste trabalho é apresentar uma leitura dos contos que compõem o volume Nine Stories, do escritor americano J. D. Salinger (1919-2010), publicado em 1953. Para orientar a discussão, partimos de termos que apareceram durante uma polêmica crítica nos anos 70 entre Richard e Carol Ohmann, de um lado, e James E. Miller, de outro. Por tratar-se de um conflito entre métodos interpretativos diferentes e pressupostos incompatíveis, tal polêmica revela uma ambiguidade que orienta a obra escritor, cujas histórias oscilam entre a observação crítica da sociedade e a exaltação da sensibilidade especial de certos personagens. Mostramos que os dois termos têm relação com a matéria histórica do período e com o contexto imediato que compunha os Estados Unidos durante a metade do século XX, especificamente com a questão do dissenso e da revolta pessoal de membros de uma classe média afluente da costa leste americana. Esperamos que o trabalho lance luz sobre questões importantes do gênero narrativo, tal como a relação entre enredo e narrador, pois compreender as idas e vindas da ficção de Salinger é testemunhar de perto como valores muitas vezes contraditórios podem estar presentes em um texto e como os acontecimentos narrativos podem chocar-se com a maneira pela qual são mediados por narradores não-confiáveis. / The aim of this work is to present a reading of the short stories collected in the book Nine Stories, first published in 1953 by the North American writer J. D. Salinger (1919-2010). In order to guide our discussion, we take arguments that appeared in a critical debate between Richard and Carol Ohmann, on one side, and James E. Miller, on the other, during the 1970s. Due to the acritics different interpretative methods and incompatible assumptions, the debate end up revealing an ambiguity central to Salinger\'s work, whose stories oscillate between the critical observation of society and the celebration of a special sensibility present in some characters. We show that both terms bear relation with the historical matter from the period and with the immediate context that formed the United States during the middle of the 20th century, specifically with problems of dissent and personal revolt in members of an affluent middle class from the East Coast. We hope this work will shed light on important issues concerning the narrative genre, such as the relationship between plot and narrator, since this is fundamental in understanding the comings and goings of Salinger\'s fiction, the way in which sometimes contradictory values can be present in the text, and how the character\'s actions might conflict with the way in which they are mediated by unreliable narrators.

Cette thèse se propose de relire l’œuvre de J. D. Salinger à la lumière de l'usage que fait l'écrivain des motifs du détour et du suspens, tous deux caractérisés par un fonctionnement ambivalent. L'écriture de Salinger, fondamentalement introspective, prend par bien des aspects des allures de quête, à la fois identitaire et littéraire. L'exploration de l'identité qu'elle met en scène implique notamment un détour par l'altérité, auteur et personnages revêtant un certain nombre de masques, au risque parfois de refuser de s'en défaire ensuite. L'auteur se devine également derrière ses pratiques d'écriture, dont la dimension obsessionnelle révèle un profond désir de maîtrise de son travail, qui l'amène parfois à se perdre dans ses textes et s'apparente finalement davantage à une attitude de fuite qu'à la recherche d'un idéal littéraire. Dans l’œuvre salingerienne, le détour participe d'une réflexion sur les concepts de norme et de déviance, ainsi que sur le thème de l'errance. D'abord perçu comme néfaste, il apparaît à terme comme un moyen privilégié d'accéder à des révélations insoupçonnées. L’éloge de l'écart que l'on observe sur le plan thématique trouve un écho dans l'utilisation par les personnages-narrateurs de stratégies narratives louant les mérites du détour. La digression, le fragment, le renvoi aux marges du texte ainsi que l'intertextualité – autant d'outils interrogeant la distinction généralement établie entre le centre et la périphérie, entre l'accessoire et l'essentiel – révèlent toute leur efficacité lorsqu'ils sont employés pour aborder des sujets qui échappent aux cadres traditionnels. Le décentrement du texte passe également dans certains cas par un recours à la métatextualité qui permet notamment à l'écrivain de prolonger et de mettre en scène la réflexion qu'il mène sur son écriture. Les encarts métatextuels, parce qu'ils viennent interrompre temporairement la narration, peuvent aussi être considérés comme des manifestations du suspens dans le texte, suspens d'abord employé par Salinger pour interroger les notions de progression et de stase. Son œuvre présente simultanément une réflexion sur la résistance au passage du temps et la notion d'entre-deux, l'auteur affectionnant particulièrement la représentation de périodes liminales, à la fois lieux du mouvement et lieux hors du temps. Par ailleurs, l'écrivain s'attache par diverses stratégies narratives déployées dans ses textes à suspendre l’interprétation du sens, qui se révèle mouvant, différé, voire tout simplement retenu, lorsqu'il ne s'abîme pas dans l'absurde ou le non-sens. Ce faisant, Salinger interroge la validité de toute interprétation, plaidant pour une approche plus intuitive de l'art, et s'efforce du même geste de repousser indéfiniment l'achèvement de son œuvre, trahissant par là l'urgence éprouvée de mettre à distance l'angoisse mortifère qui l'obsède. / The aim of this PhD research is to try to shed new light on J. D. Salinger's work by focusing on the writer's use of two inherently ambivalent motifs, namely detour and suspension. Salinger's writing, partly because of its introspective nature, often takes on the appearance of a quest, both personal and artistic. It stages the author's exploration of his own identity, which implies exploring otherness through the use of masks worn by both characters and writer, who sometimes refuse to later put them down. The study of Salinger's writing practices shows an obsessional dimension indicative of his powerful desire to control every aspect of his work, sometimes leading him to fully immerse himself in the world of fiction – an attitude in the end more evocative of evasion than of a search for literary perfection. In Salinger's work, the representation of detours is the starting point of a reflection on the concepts of norm and deviance, as well as on the theme of wandering. While it first appears as harmful, the detour motif eventually shows its potential for the revelation of unsuspected truths. Deviation is thus presented in a positive light, and its effectiveness as a writing strategy is repeatedly praised. Such stylistic devices as digression, fragmentation, or intertextuality are called upon to question the classical distinction between center and margins, between what is essential and what is incidental. Those devices are most effective when it comes to dealing with topics unfit for traditional approaches. The author’s will to decenter the text also involves the use of metatextuality, which serves the writer's exploration of his own writing and its staging for the reader's benefit. Metatextual passages, as they temporarily bring the narration to a halt, may also be seen as manifestations of suspension. In his work, Salinger first uses suspension to question the notions of progress and stasis. His texts invite the reader to engage in a reflection on the characters' resistance to the passing of time as well as the notion of in-betweenness. Indeed, the author has specialized in the depiction of those liminal periods in the lives of individuals, which are characterized by change and an out-of-time quality. Moreover, the writer makes use of different stylistic devices to suspend the reader’s access to the meaning of his stories. In most of them meaning remains unstable and unsure, whether elucidation is deferred or simply refused to the reader, who is also confronted to manifestations of the absurd or even utter nonsense. Salinger thus challenges the value of interpretation, pleading for a more intuitive approach to art, and makes sure he indefinitely postpones the completion of his own work, in the same way that his characters develop strategies to postpone their confrontation with death.

J.D. Salinger's "Hapworth 16, 1924," his last published work, is notorious for the initial critical silence it received, as well as the subsequent general consensus that it was a text to revile if not avoid. This thesis proposes that while "Hapworth" is a difficult and perplexing piece, there is a good deal about it that deserves if not outright praise, then a close critical re-examination. Assuming the "author" of the story is not the seven-year-old version of "A Perfect Day for Bananafish" suicide Seymour Glass, as the story purports, but his grieving younger brother Buddy, who has spent the years since his brother's death trying to come to terms with it. "Hapworth" is Buddy's final--and perhaps finally successful--attempt to do so.

This Diploma thesis deals with the character of Holden Caulfield, the main protagonist of J.D. Salinger's novel The Catcher in the Rye, identifying him as a liminal character. It is concerned with the term liminality and inbetweennes. It focuses on evidence of his inbetweennes by means of the examples from the novel itself. It illustrates the examples of his position between childhood and adulthood by way of some of Holden's manners, behaviour and talks.

Made available in DSpace on 2016-04-25T19:20:57Z (GMT). No. of bitstreams: 1 Adriana Buarque.pdf: 6014129 bytes, checksum: 708c15c22f1ca5497b92f7d694c55f24 (MD5) Previous issue date: 2005-09-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Compassion as redemption of the human being. The aim of this work is to show how Holden Caulfield, the character of The catcher in the rye, returns from his isolation of the world by means of his altruistic love, considering 'the other' more important than himself. From the hypothesis that Holden's grief in maintaining innocence leads him to depression, as compassion leads him to the answer for such conflict, the methodological procedures were based on the inductive method for elaborating theses: historical procedures, such as contextualizing the novel, bibliographical research, text selection, analysis, interpretation, organization and composition of the theoretical approach. Contextualizing J. D. Salinger and his narrative leads to a more accurate comprehension of Holden Caulfield. The anguish of being lonely makes him want to die, something that changes when he realizes, benevolently, that the answer to his question is to seek 'the other'. Then, compassion, the need to love, silences his inner pain / A compaixão como redenção do ser humano. O objetivo desta pesquisa é mostrar como Holden Caulfield, a personagem de O apanhador no campo de centeio, retorna de seu isolamento do mundo por intermédio de seu amor altruísta, considerando o 'outro' mais importante que si mesmo. Partindo da hipótese de que a angústia de Holden em querer perpetuar a inocência 0 leva à depressão, bem como a compaixão 0 leva até a resposta para tal conflito, foram traçados os procedimentos metodológicos a partir do método indutivo para a elaboração da dissertação: procedimento histórico, como a contextualização do romance, levantamento bibliográfico, seleção de textos, análise, interpretação, organização e composição do quadro teórico. Contextualizar J. D. Salinger e sua narrativa leva a uma compreensão melhor apurada do adolescente Holden Caulfield. A angústia da solidão o faz desejar a morte, quadro que é revertido quando percebe de modo compassivo que a resposta de seu questionamento está em olhar o 'outro'. Assim, a compaixão, a necessidade de amar cala a dor que o jovem traz consigo