Avec la conscience grandissante de la constructibilité de l’histoire, l’historiographie et les sciences littéraires se sont beaucoup rapprochées dans les dernières années. Hayden White a montré, dans son livre Metahistory (1973), que dans la construction de l’histoire, les historiens utilisent, pour construire leur récit, des techniques de narration semblables à celles utilisées par les écrivains. La narratologie devient ainsi une discipline qui rend possible le dialogue entre l’historiographie et les sciences littéraires. Par ce dialogue entre les deux disciplines, les théories (post)modernes de l’historiographie et les concepts de la métafiction dans la littérature s’influencent réciproquement. Dans ce contexte, il est d’autant plus intéressant d’analyser le roman Novembre 1918 de l’écrivain allemand Alfred Döblin (1878-1957), qui anticipe sur cette évolution de l’historiographie et de la littérature, mais qui, malgré sa modernité, reste paradoxalement très peu connu et quasiment ignoré par la critique littéraire. Dans son roman historique, Döblin combine le récit épique des faits historiques avec l’analyse existentielle des protagonistes, en vue de décrire l’histoire comme procès. Du point de vue formel, il combine les moyens narratifs expérimentaux et avant-gardistes, avec la conviction traditionnelle de l’auteur réaliste, c’est-à-dire qu’un récit de fiction puisse dire la vérité sur la réalité et l’histoire. Ainsi il crée une forme singulière de récit entre tradition et innovation, forme qu’il caractérise dans ses essais poétologiques à partir de deux concepts clés : « modernes Epos » et « Tatsachenphantasie », « épopée moderne » et « fantaisie de la réalité ». Dans ma thèse, j’entends définir ces concepts clés de la poétique d’Alfred Döblin pour ainsi établir le cadre théorique de l’interprétation du roman Novembre 1918. L’auteur lui-même définit dans ses essais esthétiques la « fantaisie de la réalité » comme union entre des faits réels et des faits fantastiques. C’est pourquoi ma thèse se concentre sur ce jeu fictionnel entre réalité et fantaisie, entre les éléments du récit réaliste et ceux du récit fantastique. « L’incursion de la démonie » et « le narrateur démiurge » sont deux concepts innovateurs de ma thèse qui aideront à mieux comprendre et définir la poétique du roman d’Alfred Döblin. / As a result of the acute understanding of the constructibility of historical writings, the historiography and the literary sciences have come closer in the last few years. Hayden White shows in his book Metahistory (1973) that the narrative techniques historians use in their historical writings are similar to those used by the authors of literary writings. The narratology has also become a discipline, which allows the dialogue between historiography and literary sciences. Thus, the (post)modern theories of historiography and the concepts of metafiction in literature have an impact on one another. In this context, it is more than challenging to analyse the historical novel November 1918 written by the German author Alfred Döblin (1878-1957), as he already anticipates in the 1920es this evolution of historiography and literature. His historical novel November 1918 is, despite its modernity, a relatively unknown novel, not only to the public, but also to the literary critics. Döblin combines in this novel the monumental realistic description of historical events with the existential analysis of his protagonists. As far as the formal aspects are concerned, he combines the experimental narrative techniques of the avant-garde with the traditional elements, thus unveiling the conviction of the traditional realist author that a fictional literary work can bring out a hidden truth about history and reality. Therefore, he creates a unique form of literature linking tradition and innovation. He caracterises this form, in his poetological writings by means of two key-concepts: “modernes Epos” and “Tatsachenphantasie”: “modern epos” and “fantasy of the real”. In my dissertation I intend to define these key-concepts in Alfred Döblin’s poetics with a view to establish the theoretical setting for the interpretation of his novel November 1918. Since Döblin himself defines in his theoretical essays the “fantasy of the real” as portrayal of both real and fantastic elements, my dissertation focuses on this fictional tension between reality and fantasy, between the elements specific to the realist writings and those specific to the fantastic ones. The “incursion of the demonic” and “the narrator demiurge” are two innovative concepts I present in my dissertation. These concepts should lead to a better definition and understanding of Döblin’s novel poetics. / Die Historiographie und die Literaturwissenschaft haben sich in den letzten Jahren sehr viel angenähert. Durch sein bahnbrechendes Buch Metahistory (1973) bringt Haydn White ans Licht, dass sowohl die Schriftsteller als auch die Historiker sich ähnlicher narrativer Verfahren bedienen, um die Wirklichkeit zu beschreiben. Durch dieses Bewusstsein der Konstruktivität und Narrativität von Geschichte ist die Narratologie zur verbindenden Wissenschaft geworden. Darum ist es interessant, sich Alfred Döblins historischem Roman November 1918, einem der großen historischen Romane der deutschen Literatur, zuzuwenden, weil er vieles davon vorwegnimmt, was die (post)modernen Theorien der Historiographie und die metafiktionalen Konzepte der Literatur ins Blickfeld rücken. Aufgrund unglücklicher Rezeptionsbedingungen wurde Döblins Roman bis heute kaum beachtet, sowohl vom Publikum als auch von der literarischen Kritik. In seiner Darstellung der deutschen Revolution verknüpft Döblin die experimentell-avantgardistischen Erzählverfahren und das Misstrauen gegenüber der Erzählbarkeit der Geschichtsprozesse mit der traditionellen Einstellung, dass eine fiktive Erzählung die Wahrheit über Wirklichkeit und Geschichte sagen kann. Dementsprechend schafft er eine einzigartige Erzählform zwischen Tradition und Innovation, die er bereits in seinem Berliner Programm anhand von zwei Schlüsselbegriffen definiert: „modernes Epos“ und „Tatsachenphantasie“. Meine Arbeit versucht, Döblins Geschichtsepos November 1918 im Lichte dieser zwei Begriffe zu analysieren und zu zeigen, wie Döblin sein ästhetisches Postulat der „Tatsachenphantasie“ in seinem Roman literarisch realisiert. Da Döblin selbst die „Tatsachenphantasie“-Ästhetik als Verbindung der wirklichen und der phantastischen Fakten und Elementen definiert, befasse ich mich in meiner Arbeit mit diesem Zusammenspiel zwischen den narrativen Formen der realistischen Erzählung und denjenigen Motiven und Elementen, die in den phantastischen Erzählungen vorkommen. „Der Einbruch des Dämonischen“ und „der Erzähler als Demiurg“ sind zwei innovative Schlüsselkonzepte meiner Arbeit, die zu einer besseren Begriffsbestimmung von Döblins „Tatsachenphantasie“-Ästhetik führen werden. / Thèse réalisée en co-tutelle avec l'Université Libre de Berlin, Institut für Deutsche und Niederländische Philologie

This thesis examines the novels of Christine Brooke-Rose and A. S. Byatt in order to question the extent to which contemporary British novelists are free to innovate with the forms of literary realism, forms that have a long and valued tradition in British literary production. Both authors, I argue, have reassessed the limits of the realist novel over the course of their careers, and the specific ways in which they engage with, or depart from, their literary inheritance are discussed. The introduction contextualises the literary climate out of which the two writers emerge. In the 1960s and 1970s, it was a commonplace of literary criticism to declare the “death of the English novel.” In the years following modernist experimentation, British novelists made a conscious return to the mimetic realism of the nineteenth century. Rather than the intellectual sterility that is often assumed to have dominated this period, I observe that there were in fact many writers who were continuing the innovations of the preceding generations, Christine Brooke-Rose and A. S. Byatt amongst them. To view realism to be in need of renewal is first of all to view literary production in terms of an ontological-historical distinction of texts as types of objects. It may be also to neglect the ways in which literary history is always already in dialogue with the present. Both authors have made concerted efforts to refresh literary realism; however, they have proceeded in very different ways. Brooke-Rose has experimented with the content and the form of the novel in order to renew conventions she insists are fatigued or overworked. The novels she has published since 1964 depart radically from what would ordinarily be recognised as realist fictions as they make no attempt to disguise their own textuality. Byatt, on the other hand, has reassessed realism through the forms of realism itself. Through an engagement with literary history, she revisits realism to pursue what has always been of value within it. In so doing, she creates a developmental model of literary production in which literary debts are made visible in the work of the contemporary writer. Chapter One examines Thru, the literary experiment for which Brooke-Rose is most celebrated. My starting point is her claim, following Roland Barthes’s S/Z, that she is the author of writerly as opposed to readerly texts. I argue that to establish any such easy opposition is to neglect Barthes’s departure from the polemicism that had marked his earlier work. Rather than interrogating how well her texts are supported by her claim to be writerly, I turn the opposition around in order to examine precisely how Barthes’s readerly operates within Thru. Through a close reading both of the novel and of Barthes, I illustrate that many characteristics of literary realism that Brooke-Rose argues are exhausted, in particular characterisation and narration, are still operating in Thru. Chapter Two develops Brooke-Rose’s opposition of readerly and writerly in order to examine its consequence for her own experimental writing. Here I return to Thru to demonstrate the ways in which Barthes’s readerly and writerly operate as interdependent processes rather than as opposing terms. I then reconsider her earliest work, a period she has since disavowed. I argue that rather than a separation, there is a continuum between her earliest works and her later, more experimental, writing that has not been recognised by the author or her critics. In Chapter Three I turn my attention to Byatt’s insistence on a developmental model of literary production. Here I identify the role that evolutionary narratives play in her texts. Two of her works, Possession and “Morpho Eugenia” are set largely in 1859, a year in which a specific epistemological emergence was to reconsider genealogical relations. In this chapter I examine the writings she invents for her characters and argue that she takes metaphors from natural history in order, not only to show the close relationship between literature and natural history, but to provide her reader with a framework of literary-generational descent. Chapter Four examines more closely the ways in which Byatt converses with her literary predecessors. She offers a version of realism that has always been concerned with perception, and with the impossibility of translating that perception into verisimilar fiction. In this chapter I identify the role that art works play within two of Byatt’s earlier novels, The Virgin in the Garden and Still Life, as she finds in them the same metaphorical ambiguities that bind the language of the novelist to imprecision. I then examine the ways in which metaphor works in these novels to elude precise signification of meaning. Chapter Five returns to Byatt’s neo-Victorian texts, Possession and Angels and Insects, and examines the author’s ventriloquism of her Victorian characters, which includes Alfred, Lord Tennyson and Arthur Hallam. Ventriloquism, I argue, is concerned with a remembrance of the literary dead within the present work and is thus an expression of mourning. However, to avoid melancholia the new text must also emphasise its difference from that which is being ventriloquised. I then discuss Byatt’s focus on nineteenth-century spiritualism, as it is through the trope of the séance that she reconsiders the afterlife of literary history itself. The final chapter examines the role of the critic. The mourning of Byatt’s fictionalised Tennyson is singular and overpowering. Chapter Six begins with a consideration of two of Possession’s critics, Mortimer Cropper and Leonora Stern, whose readings, I argue, are similar to Tennyson’s mourning in their inhospitality to other readings, other mournings of the literary text. I compare Cropper and Stern to Possession’s other critics, Roland Michell and Maud Bailey, whom Byatt places in the role of literary heir. Not only do Roland and Maud display an essential respect for the texts that they study, but also their reading is open to revision. The literary text, as Barthes argues, must always keep in reserve some essential meaning. Only through interpretive revision, Byatt implies, is the promise of this hopeful-yet-impossible revelation made to the reader.

This thesis examines the novels of Christine Brooke-Rose and A. S. Byatt in order to question the extent to which contemporary British novelists are free to innovate with the forms of literary realism, forms that have a long and valued tradition in British literary production. Both authors, I argue, have reassessed the limits of the realist novel over the course of their careers, and the specific ways in which they engage with, or depart from, their literary inheritance are discussed. The introduction contextualises the literary climate out of which the two writers emerge. In the 1960s and 1970s, it was a commonplace of literary criticism to declare the “death of the English novel.” In the years following modernist experimentation, British novelists made a conscious return to the mimetic realism of the nineteenth century. Rather than the intellectual sterility that is often assumed to have dominated this period, I observe that there were in fact many writers who were continuing the innovations of the preceding generations, Christine Brooke-Rose and A. S. Byatt amongst them. To view realism to be in need of renewal is first of all to view literary production in terms of an ontological-historical distinction of texts as types of objects. It may be also to neglect the ways in which literary history is always already in dialogue with the present. Both authors have made concerted efforts to refresh literary realism; however, they have proceeded in very different ways. Brooke-Rose has experimented with the content and the form of the novel in order to renew conventions she insists are fatigued or overworked. The novels she has published since 1964 depart radically from what would ordinarily be recognised as realist fictions as they make no attempt to disguise their own textuality. Byatt, on the other hand, has reassessed realism through the forms of realism itself. Through an engagement with literary history, she revisits realism to pursue what has always been of value within it. In so doing, she creates a developmental model of literary production in which literary debts are made visible in the work of the contemporary writer. Chapter One examines Thru, the literary experiment for which Brooke-Rose is most celebrated. My starting point is her claim, following Roland Barthes’s S/Z, that she is the author of writerly as opposed to readerly texts. I argue that to establish any such easy opposition is to neglect Barthes’s departure from the polemicism that had marked his earlier work. Rather than interrogating how well her texts are supported by her claim to be writerly, I turn the opposition around in order to examine precisely how Barthes’s readerly operates within Thru. Through a close reading both of the novel and of Barthes, I illustrate that many characteristics of literary realism that Brooke-Rose argues are exhausted, in particular characterisation and narration, are still operating in Thru. Chapter Two develops Brooke-Rose’s opposition of readerly and writerly in order to examine its consequence for her own experimental writing. Here I return to Thru to demonstrate the ways in which Barthes’s readerly and writerly operate as interdependent processes rather than as opposing terms. I then reconsider her earliest work, a period she has since disavowed. I argue that rather than a separation, there is a continuum between her earliest works and her later, more experimental, writing that has not been recognised by the author or her critics. In Chapter Three I turn my attention to Byatt’s insistence on a developmental model of literary production. Here I identify the role that evolutionary narratives play in her texts. Two of her works, Possession and “Morpho Eugenia” are set largely in 1859, a year in which a specific epistemological emergence was to reconsider genealogical relations. In this chapter I examine the writings she invents for her characters and argue that she takes metaphors from natural history in order, not only to show the close relationship between literature and natural history, but to provide her reader with a framework of literary-generational descent. Chapter Four examines more closely the ways in which Byatt converses with her literary predecessors. She offers a version of realism that has always been concerned with perception, and with the impossibility of translating that perception into verisimilar fiction. In this chapter I identify the role that art works play within two of Byatt’s earlier novels, The Virgin in the Garden and Still Life, as she finds in them the same metaphorical ambiguities that bind the language of the novelist to imprecision. I then examine the ways in which metaphor works in these novels to elude precise signification of meaning. Chapter Five returns to Byatt’s neo-Victorian texts, Possession and Angels and Insects, and examines the author’s ventriloquism of her Victorian characters, which includes Alfred, Lord Tennyson and Arthur Hallam. Ventriloquism, I argue, is concerned with a remembrance of the literary dead within the present work and is thus an expression of mourning. However, to avoid melancholia the new text must also emphasise its difference from that which is being ventriloquised. I then discuss Byatt’s focus on nineteenth-century spiritualism, as it is through the trope of the séance that she reconsiders the afterlife of literary history itself. The final chapter examines the role of the critic. The mourning of Byatt’s fictionalised Tennyson is singular and overpowering. Chapter Six begins with a consideration of two of Possession’s critics, Mortimer Cropper and Leonora Stern, whose readings, I argue, are similar to Tennyson’s mourning in their inhospitality to other readings, other mournings of the literary text. I compare Cropper and Stern to Possession’s other critics, Roland Michell and Maud Bailey, whom Byatt places in the role of literary heir. Not only do Roland and Maud display an essential respect for the texts that they study, but also their reading is open to revision. The literary text, as Barthes argues, must always keep in reserve some essential meaning. Only through interpretive revision, Byatt implies, is the promise of this hopeful-yet-impossible revelation made to the reader.

Cette thèse se propose d'étudier les différentes manifestations de l'ironie dans la poétique romanesque de L'Homme qui rit de Victor Hugo selon trois axes d'étude. Le premier s'organise autour d'une analyse de l'énonciation polyphonique dans le roman. Qui prend en charge le récit et avec quelles intentions? Les propos des personnages sont souvent empreints d'ironie, et sont commentés par le narrateur ou l'auteur. Nous observons surtout la fonction de ses paroles dans l’énoncé : comment leur insertion influence-elle le déroulement du récit? Pourquoi favorisent-elles les manifestations de l’ironie? Puis, le deuxième axe de notre réflexion s'interroge sur le mélange des genres qui favorise également l’émergence de la parole ironique. L'utilisation de l’ironie permet à Victor Hugo de porter un regard critique sur son travail d'écrivain en reconsidérant ses pratiques d’écriture. Dans son roman L'Homme qui rit,il se veut, d’abord, poète en proposant une écriture proche de celle du texte poétique où l’image figure les idées et favorise aussi le registre ironique. L’auteur endosse aussi le rôle de dramaturge en mettant en scène la parole pour la rendre plus ironique et, en même temps, le travail de sape permanent de l’ironie ne fait qu’amplifier les visées politiques et littéraires de l’auteur. Victor Hugo dénonce certaines pratiques politiques afin de remettre en question aussi sa propre expérience d’homme politique. Enfin, le dernier axe de cette étude se propose d'observer la dimension métaphysique de l’ironie au cœur de la poétique en soulignant les différentes influences des mouvements de pensées philosophiques. Dans L’Homme qui rit, on peut distinguer deux choses : l’ironie classique, définie et utilisée au cours de l’Antiquité, et l’ironie moderne, apparaissant à la fin du 18ème siècle, qui correspond à l’émergence de l’ironie romantique. Dans le roman, l’ironie verbale s’inspire des procédés rhétoriques employés par les philosophes de l’Antiquité mais aussi de l’antiphrase, arme favorite des philosophes des Lumières pour qui la littérature ne se présente plus seulement comme un témoignage ou la critique d’une époque, mais elle devient aussi un intermédiaire entre l’écrivain et son lectorat afin que ce dernier s’interroge davantage sur sa condition et sur tout ce qui l’entoure. Dans L'Homme qui rit, l’utilisation de l’ironie n'a pas seulement pour vocation de railler, elle permet au lecteur d’étendre et d’approfondir sa réflexion sur sa propre condition. / This thesis suggests studying the various appearances of irony in the romantic poetics of The Man who laughs by Victor Hugo according to three axes of study. The first one gets organized around an analysis of the polyphonic statement in the novel. Who takes care of the narrative and what are the intentions? The comments of the characters are often tinged with irony, and are commented upon by the narrator or the author. We observe especially the function of his words in the statement: how does their insertion influence the unfolding of the narrative? Why do they favor the demonstrations of irony? Then, the second axis of our reflection leads us to wonder about the mixture of the genres which also favors the emergence of the ironic word. The use of irony allows Victor Hugo to take a critical look at his work of writer by reconsidering his practices of writing. In his novel The Man who laughs, he is meant to be, at first, a poet by proposing a writing close to that of the poetic text where the image represents the ideas and also favors the ironic register. The author also assumes the role of playwright by staging the word to make it more ironic and, at the same time, the permanent undermining of irony is only amplifying the political and literary aims of the author. Victor Hugo denounces some political practices to question also his own experience as a politician.

Après avoir distingué trois aspects explicatifs propres au roman (aspects psychologique, social ou romanesque) et défini, grâce à eux, trois types de romans (romans de caractères, de mœurs ou d’intrigue), ce travail s’intéresse plus particulièrement au roman de mœurs à l’époque de la Restauration et de la Monarchie de Juillet. Héritant de toute une tradition, ce genre s’illustre particulièrement dans le roman historique à la Walter Scott, puis dans le roman contemporain des physiologies. Balzac, d’abord influencé par le roman de mœurs en tant que tel, développe dans La Comédie humaine une forme hybride (mêlant aspects social et psychologique, roman de caractères et roman de mœurs), que l’on peut appeler roman réaliste (on y note un surinvestissement du vraisemblable romanesque). Cette définition du réalisme n’aplanit en rien les différences entre tel ou tel auteur ; elle permet, au contraire, de prendre la mesure des poétiques bien particulières développées par des romanciers comme Stendhal, George Sand ou Champfleury. / After having distinguished three explicative aspects of the novel (the psychological, social and plot-driven aspects) and defined three corresponding types of novels (novels of characters, manners and plot), this work focuses on the novel of manners during the Bourbon Restoration and the July Monarchy. Heir to quite an old tradition, this genre is at its peak with the Scottian historical novel and the novel of contemporary manners of the 1820’s. Balzac, first influenced by the novel of manners, develops in The Human Comedy a hybrid form (combining social and psychological aspects, novel of characters and novel of manners), which we may call the realistic novel (characterized by an overloading of verisimilitude). This definition of realism does not erase the differences between the authors; it allows, on the contrary, to appreciate the specific poetics developed by Stendhal, George Sand or Champfleury.

This thesis entitled “Design and Synthesis of Peptidomimics Constrained in Helical and Sheet Conformations Using a Novel Covalent Surrogate for the Peptide Main Chain Hydrogen Bond” is divided into six chapters. Chapter 1: Introduction to Ordered Conformations of Peptides and Strategies for Constraining Short Peptides in Ordered Conformations. The first chapter describes the different types of protein secondary structures and introduces the various prominent strategies developed thus far to constrain short peptides in ordered secondary structure-like conformations, with specific emphasis on helical and parallel β-sheet folds. Chapter 2: Design of Structure and General Methodology for the synthesis of Novel H-Bond Surrogate Constrained Cyclic α-Helical Mimics Here we develop the first design of the propyl linker as a covalent surrogate for the peptide H-bond. The first synthetic methodology is described for the synthesis of constraining shortest peptide sequences (tripeptides) in α-helix-like conformations. The Macrolactamization strategy proved to work best as the final step for cyclization. All residues of the turn are completely retained in the constrained sequence, unlike any other earlier method. More importantly, there are no metal involved as catalysts in any of the synthetic transformations, hence removing the problem of metal-bound cyclic structures – which have otherwise rendered these structures non-usable as drug leads in the earlier models. Gly-rich peptides have been constrained as extreme cases of highest chain entropy and least helix propensity. Both secondary and tertiary amide containing peptides have been synthesized using this protocol. Note that the macrolactamization was found to be better than the Fukuyama-Mitsunobu N-alkylation protocol for the final cyclization step. Chapter 3: Synthesis of C-terminal Extended HBS-Constrained Helical Turn Mimics – Validation of the Versatility of Current synthetic protocol The developed cyclization protocol is extended towards the synthesis of C-terminal extended α-helical turn mimics using a solution phase peptide synthesis procedure. Peptides which extend belong the helical turn by a high entropy Gly-residue at the C-terminal are synthesized. The versatility of the synthetic methodology to accommodate sterically constrained amino acid residues – in the form of phenylalanine residue – at any of the positions i+1, i+2 or i+3 of the constrained helical turn is demonstrated. The synthesized are easily isolated without need for column chromatography, in high purity and good yields – this is due to the presence of the N-terminal amino group, salts of which are easily triturated to remove all other organic impurities. Chapter 4: Synthesis and CD conformational analyses of HBS constrained α-Helical turn mimics containing residues with improved helical propensities Alanine residue has the highest helix propensity among all other natural α-amino acid residues. Its enthalpic contribution to the helical conformation is 1 kcal/mol more than that for the Gly residue, which has the least propensity. Incorporation of Ala residue in the Gly-rich cyclic sequences in either the middle of constrained tripeptide or as the C-terminal extended residue has been accomplished. Comparison of the CD spectra of the synthesized cyclic α-helical turn peptides reveals that a tertiary amide linkage is essential for the propyl linker at the C-terminal amino appendage, for helicity to be observed. Helicity improves upon introduction of the first extended residue. The constrained and C-terminal extended α-helical turn mimics show consistently high helicity irrespective of the helix propensities of the component residues showing that the covalent propyl linker surrogate for the H-bond overwhelms the natural propensities of individual amino acid residues towards enabling stabilization of the helical turn and offer far better structural organization to this cause. Chapter 5: Synthesis of shortest HBS-constrained 310 and - helical peptide analogues The unique versatility of the novel covalent propyl linker surrogate for the peptide H-bond is exhibited by its ability to constrain dipeptides in 310-helix like structures. This is the first and the only HBS model that can achieve this synthetic target as the synthetic protocol allows the conservation of both the residues as is in the constrained helical turn. Similarly, the trapping of a pentapeptide in a C-terminal extended rare and unstable -helix like cyclic structure using the current HBS linker is achieved. Considering the high entropic cost for cyclizing such a long 16-membered chain into a constrained structure, this again exhibits the versatility of the currently developed HBS design and the currently developed synthetic methodology. Chapter 6: First design and synthesis of novel H-bond surrogate constrained parallel β-sheet mimics H-bonding interactions stabilize another prevalently observed secondary structure, other than helical structures, namely the -sheets. The parallel -sheets that almost qualify for super secondary structures due to the high contact orders in them are thought to mimic in models, unlike the easier antiparallel -sheets. Here we replace the inter-strand peptide H-bond between parallel -strands to create excised templates as parallel -sheet nucleators. The propyl linker acts as a dynamic linker in these models and the two amino groups are protected with bulky sulphonamides, in order to provide Thorpe-Ingold effect to the peptide chain. The protocol for synthesizing these models has been described and the different analogues that are synthesized thus have been described. This is the first instance of synthesis of parallel -sheet mimics using the covalent surrogates for the peptide H-bond.

Nesta tese de doutorado, são analisados comparativamente dois romances, Terra sonâmbula do autor moçambicano Mia Couto e Mãe, Materno Mar do angolano Boaventura Cardoso. A abordagem incide no espaço por ser considerado categoria fulcral de ambas as narrativas, sendo estabelecidas as relações entre os elementos internos e externos dos textos quanto ao tema da nação. Os principais espaços da análise são a estrada, a terra e o mar, destacando-se a questão da transitividade dos veículos, ônibus e trem, sendo formulada a hipótese de que tal problema constitui-se, muitas vezes, como discurso metafórico para a situação de Angola e Moçambique no período posterior à Independência. Trata-se, portanto, de um estudo comparativo que tem como fundamentação teórica e crítica um conjunto de autores de áreas diversas, estabelecendo-se um diálogo entre literatura, geografia, história e religião. A análise e comparação apontou para a prevalência de dualidades, contrapontos e ambivalências de diversos motivos que se relacionam ao espaço, tais como: imobilidade/movimento, vontade/destino, vida/morte, luz/sombra, tradição/modernidade, realidade/imaginação, religião/política. Como a ambivalência caracteriza-se, geralmente, por um lado negativo e outro positivo, subentende-se que do caos enfrentado no espaço se pode passar à ordem, à harmonia. Assim, como a estrada projeta um futuro, fazendo-se na terra e terminando no mar com seus atributos maternais, considera-se possível entender os finais abertos dos romances como formas de esperança, indicando a possibilidade de um renascimento individual e da nação. / In this PhD thesis, two novels are comparatively analyzed, Sleepwalking land by Mia Couto and Mother, Maternal Sea by Boaventura Cardoso, from Mozambican and Angolan literatures, respectively. The approach focuses on the space, considered as the central category to the global sense of the novels, thereby establishing relations between internal and external elements of the texts in regard to the theme of the nation. The main spaces of the analysis are the road, the land, and the sea, with emphasis on the vehicles, bus and train, and their transit problems, which raise the hypothesis of being often metaphorically related to the characteristics of Angola and Mozambique in the post-Independence period. This is, therefore, a comparative study based on a theoretical and critical framework of a different set of authors in order to establish a dialog among literature, geography, history, and religion. Among the results of the analysis is the prevalence of dualities, counterpoints and ambivalences of several motifs related to the space, such as immobility/movement, will/destiny, life/death, light/shadow, tradition/modernity, reality/imagination, religion/politics. In some cases, the ambivalence involves both a negative and a positive side, e.g., after the chaos, it is possible to restore the order, the harmony. Thus, as the road projects the future, making its way from the land to the sea with its motherly attributes, it is possible to understand the open-ended denouements of the novels as a form of hope, suggesting the possibility of a rebirth of individuals and of the nation.

O objetivo desta tese é um estudo comparativo dos romances Fanny Hill, or Memoirs of a Woman of Pleasure (1748-1749), do inglês John Cleland, e Margot La Ravaudeuse (1750), do francês Jean-Charles Fougeret de Monbron. Os dois romances fazem parte do conjunto de narrativas eróticas libertinas que inundaram o emergente mercado livreiro europeu durante o Iluminismo e contam as memórias de duas jovens prostitutas respectivamente em Londres e Paris em meados do século. Partindo do pressuposto segundo o qual as duas narrativas se organizam num contínuo que oscila entre a sociabilidade e a individualidade, o objetivo desta análise comparativa é compreender como estes dois temas, fundamentais na experiência setecentista e no processo de formação do romance moderno, são formalizados nas memórias de Margot e Fanny Hill através de procedimentos estruturais recorrentes na literatura da libertinagem. / The aim of this dissertation is a comparative study of the novels Fanny Hill, or Memoirs of a Woman of Pleasure (1748-1749), by John Cleland, and Margot la Ravaudeuse (1750), by Jean-Charles Fougeret de Monbron. Both novels are part of the body of erotic libertine narratives that flooded the emerging European book market during the Enlightenment and tell the memoirs of two young prostitutes respectively in London and Paris during the mid-18th-century. Assuming that the two narratives are organized according to a continuum which oscillates between sociability and individuality, the objective of this comparative analysis is to understand how these fundamental themes in 18th-century life as well as in the rise of the modern novel are formalized in the memoirs of Margot and Fanny through reccurring structural procedures found in libertine literature.

Submitted by Aline Batista (alinehb.ufpel@gmail.com) on 2018-07-16T20:24:37Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_Fyama_da_Silva_Medeiros.pdf: 865181 bytes, checksum: b962bfaa29bfa9e7936da1d5bb20fd3e (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-07-17T21:24:13Z (GMT) No. of bitstreams: 2 Dissertacao_Fyama_da_Silva_Medeiros.pdf: 865181 bytes, checksum: b962bfaa29bfa9e7936da1d5bb20fd3e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-07-17T21:24:19Z (GMT). No. of bitstreams: 2 Dissertacao_Fyama_da_Silva_Medeiros.pdf: 865181 bytes, checksum: b962bfaa29bfa9e7936da1d5bb20fd3e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-02-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Esta dissertação analisa a adaptação do romance Heart of Darkness, de Joseph Conrad (2007), para o formato de graphic novel, publicada por Catherine Anyango e David Zane Mairowitz (CONRAD, 2010). A análise consiste no estudo da transição do foco narrativo, da personagem e do espaço do modo “contar” na narrativa literária para o modo “mostrar” e “contar” das graphic novels. Este trabalho de pesquisa aborda a adaptação como uma obra independente, uma recriação, conforme sugere Hutcheon (2013). A fim de explorar as similaridades entre a narrativa literária e a narrativa em graphic novel e verificar as transformações ocorridas no processo de adaptação, foram levados em consideração os estudos de Groensteen (2013; 2015) e outros autores da teoria literária e da teoria das graphic novels. A análise mostra que o trabalho de Anyango e Mairowitz recria, por meio do uso de recursos visuais e verbais, os aspectos centrais da narrativa de Heart of Darkness, destacando a história do período colonial do Congo através do acréscimo de fragmentos do relato autobiográfico presente em The Congo Diary e de elementos cartográficos, como os mapas do Rio Congo e da Colônia Belga no Congo. / This thesis analyzes the work published by Catherine Anyango and David Zane Mairowitz in 2010, which adapts Joseph Conrad’s novel Heart of Darkness (2007) into a graphic novel. The analysis of the transition of the narrative focus, characters and space from the literary narrative’s “telling mode” to graphic novel’s “telling” and “showing” modes. This research project addresses adaptation as an independent work, a recreation, as suggested by Hutcheon (2013). In order to explore the similarities between the literary narrative and the graphic novel and to verify the transformations taking place in the adaptation process, Groensteen’s (2013/ 2015) and other authors’ contributions to both literary and graphic novel theories were taken into account. The analysis shows that the work by Anyango and Mairowitz recreates through the use of both verbal and non-verbal resources the core aspects of Conrad’s novel, emphasizing the history of Congo’s colonial period by adding fragments of the autobiographical account found in The Congo Diary as well as cartographic elements such as maps of the Congo River and Belgian Congo.

A pesquisa consiste em aproximações aos Sonâmbulos, de Hermann Broch, e privilegia aspectos históricos e construtivos dessa trilogia composta de Pasenow ou o romantismo, Esch ou a anarquia e Huguenau ou a objetividade. Está dividida em duas partes. Na primeira, predomina a discussão do contexto literário e histórico, do pensamento do autor e de questões teóricas do romance como gênero. Aqui, tomamos a trilogia por um comentário sem igual à crise do romance de seu tempo, as ideias de Broch por uma ética da totalidade, e propomos uma retórica realista e metafísica como recurso-base do texto dos Sonâmbulos. Na segunda parte, prevalecem observações sobre a configuração da narrativa e investimos no jogo das semelhanças e diferenças dos três títulos. O objetivo é organizar um quadro para o entendimento do lugar dos Sonâmbulos e de sua especificidade literária. Impaciência do conhecimento, em Broch, significa poesia apta a se adiantar à ciência, romance capaz de se adiantar à filosofia. / This research is devoted to Herman Brochs trilogy The sleepwalkers. The focus of our interest lies on the historical and constructive aspects of the novels Pasenow the romantic, Esch the anarchist and Huguenau the realist. The study is divided in two parts. The first one contains a discussion on the literary and historical context, on the authors thought and on theoretical questions about the novel as a genre. In our view, the trilogy offers a unique commentary upon the crisis of the novel around 1930. Moreover, we take Brochs ideas as an ethics of totality and we propose a realist and metaphysical rhetoric as a key device of the text of The sleepwalkers. The second part consists of observations on the narrative composition, in which we analyze the dynamics of similarities and differences among the three titles. Our aim is to provide a framework for the understanding of the trilogys literary place and specificity. Impatience of knowledge in Broch means poetry capable of anticipating science, novel being able to anticipate philosophy.