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Les années 1910 ont été lues tour à tour comme celles des avant-gardes, de la « crise du roman », de la « crise des intellectuels », de la « Belle Époque », de la « conscience malheureuse ». La notion de « laboratoire » semble bien faite pour contenir cette multiplicité. Qu’il s’agisse d’une crise ou d’un foisonnement de nouvelles beautés, le trait commun de ces différentes interprétations de la période semble être la réinvention de l’appréhension du mouvement. De quelle manière les œuvres emploient-elles l’aventure comme moyen de refondation de la péripétie romanesque ? Quels sont les types de mouvements narrés et comment dialoguent-ils avec ceux des narrations de la fin-de-siècle ? À la veille du premier conflit mondial, les champs littéraires français et italien sont proches. La plume d’Aldo Palazzeschi en a donné peut être la meilleure illustration, lorsqu’il considère qu’en 1914 « L’Italie déménage à Paris ». Quel est l’apport spécifique de chacun de ces univers littéraires à la réinvention de l’aventure dans le roman ? De quelle manière l’analyse des échanges entre les deux pays contribue-t-elle à éclairer les poétiques romanesques du mouvement et à dessiner leurs formes ? Peut-on parler d’un axe franco-italien de renouvellement narratif ? À travers le rapprochement d’œuvres habituellement dissociées ou même oubliées, notre étude se propose de forger des notions pouvant mettre en lumière les spécificités de cette saison du roman, qui ne peut être lue comme un « paléomodernisme » ou comme un simple prolongement du XIXe siècle. / The 1910s were read like those of the avant-gardes, of the "crisis of the novel", of the "intellectual crisis", of the "Belle Epoque",of the "unhappy conscience". The notion of "laboratory" seems well suited to contain this multiplicity. Whether it is a crisis or an explosion of new aesthetics, the common feature of these different interpretations of the period seems to be the reinvention of the conception of the movement. How do narrative works use adventure as a way to reimagine the plot? What are the types of movements narrated and how do they interact with those of the end-of-the-century? On the eve of the First World War, the French and Italian literary fields are close to each other that they almost overlap. Aldo Palazzeschi gave perhaps the best illustration, when he points out that in 1914 "Italy moves to Paris". What is the specific contribution of each of these literary worlds to the reinvention of adventure in the novel? How does the analysis of the exchanges between the two countries help to shed light on the poetics of the movement and to draw its forms? Is it possible to talk about a Franco-Italian axis of narrative renewal? Our thesis aims to use concepts that may be useful to distinguish the features of a certain novel’s era (which cannot be read only as a "paleomodernism" or as a simple extension of the nineteenth century) through the reconciliation of works that are usually dissociated or even forgotten. / Gli anni ’10 sono stati letti di volta in volta come gli anni delle avanguardie, della «crisi del romanzo», della «crisi degli intellettuali», della «Belle Époque», della «conscience malheureuse». La nozione di «laboratorio» appare utile per contenere questa molteplicità. Che si tratti di crisi o di effervescenza di nuove strade, il tratto comune delle diverse interpretazioni del periodo sembra essere la riconfigurazione della concezione di movimento. In che maniera le opere narrative utilizzano l’avventura come modo di rigenerazione della parola romanzesca? Quali sono i tipi di movimento narrati e come dialogano con quelli della fin-de-siècle? Alla vigilia della prima guerra mondiale, i mondi letterari francese e italiano sono vicini fin quasi a sovrapporsi. La penna di A. Palazzeschi ne ha dato forse la migliore illustrazione scrivendo, a proposito dell’anno 1914, che “L’Italia ha traslocato a Parigi”. Qual è l’apporto specifico di ciascuno dei due universi letterari alla rinascita dell’avventura nel romanzo? In che maniera l’analisi degli scambi tra i due paesi contribuisce a fare luce sulle poetiche romanzesche del movimento e a disegnarne le forme? È possibile parlare di un asse italo-francese di rinnovamento narrativo? Attraverso uno studio comparativo di opere abitualmente dissociate o cadute nell’oblio, la tesi propone delle nozioni che possano distinguere le specificità di una stagione del romanzo che non può essere letta come un “paleo-modernismo” o come un semplice prolungamento dell’Ottocento.

This thesis is focused on Václav Řezáč's novel interpretation. To be more specific, it deals with the formation of the psychological novels (Černé světlo, Svědek, Rozhraní) and novels called as constructive novels (unfinished trilogy Nástup and Bitva). Although all of these works were created gradually over fifteen years, a contemporary situation was developing in the meantime as well. That's why we can find ourselves in two different state systems and in two different period atmospheres which significantly influenced the former art. The essential default method is a new historicism which is enriched by hermeneutic approaches.

Made available in DSpace on 2014-06-11T19:35:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-02-02Bitstream added on 2014-06-13T20:07:07Z : No. of bitstreams: 1 rodrigues_la_dr_sjrp.pdf: 1265381 bytes, checksum: 95543bd0725d905dc0695843c5030ae8 (MD5) / Esta tese tem como objetivo principal o estudo da poesia no Memorial de Aires, de Machado de Assis. Em uma primeira etapa buscou-se refletir a questão da poesia no romance no âmbito geral da prosa romanesca: Mikhail Bakhtin refere-se a essa problemática no ensaio O Discurso no romance. Para ele, a poesia e o romance estariam em campos opostos: enquanto neste se constata uma tendência à fragmentação da linguagem (refletindo, direta ou indiretamente, a estratificação social); naquela, ocorre uma tendência à centralização da linguagem (refletindo os processos sociais mais duráveis). Em razão dessa particularidade a poesia no romance, na grande maioria das vezes, não desempenha um papel de relevo: ou é rechaçada, mediante a ironia, a sátira, a paródia e a análise crítica ou permanece sob a forma de núcleos isolados distribuídos ao longo do texto romanesco. Em alguns casos raros, como no romance Memorial de Aires, a linguagem poética não só é importante enquanto voz isolada, mas também teria uma função determinante na composição geral do estilo deste romance. / The present dissertation has, as a main target, the study of poetry in Memorial de Aires, by Machado de Assis. In its first part, we tried to reflect on the poetry in the novel, in the general scope of the novelistic prose: Mikhail Bakhtin refers to this subject in his essay Discourse in novel. As he considers, poetry and novel would be in opposite fields: while in the last one we confirm a tendency to a language breaking up (reflecting, direct or indirectly, the social stratification), in that one, it occurs a tendency to language centralization (reflecting the more durable social processes). Because of this particularity, poetry in novel, in its great majority, doesn t play a relevant role: either it is rejected by irony, satire, parody and critical analysis, or it remains in the form of isolated nucleus, distributed along the novelistic text. In some rare cases, as in the novel Memorial de Aires, the poetic language is not only important as an isolated voice, but also would have a determining function in the general composition style of this novel.

Cette thèse porte sur la poétique du roman de Victor Hugo, Theodor Fontane et Thomas Hardy en s'appuyant plus spécifiquement sur l'étude de L'Homme qui rit (1869), Errements et Tourments (1888) et Tess d'Urberville (1891). En rapprochant ces trois romanciers majeurs mais tenus à l'écart des théories générales du roman, il s'agit de montrer le maintien d'une conception du roman moderne comme forme poétique du monde, s'inscrivant dans un horizon de pensée idéaliste, progressiste et critique. Hugo, Fontane et Hardy, romanciers qui se disent avant tout poètes, font le choix de faire du roman une tragédie, forme poétique du monde qui va à l'encontre du prosaïsme moderne et romanesque théorisé par Lukacs, à la suite de Hegel. Face au nihilisme et aux théories du roman réaliste qui voient le jour dans la seconde moitié du XIXe siècle et tentent de définir – au sens restrictif du terme – le genre romanesque, ils retrouvent le modèle du roman romantique et le redéfinissent face au roman réaliste. Leur poétique est alors fondée sur la « poiétisation » de la prose, autrement dit, sur l'imagination, le symbolique et le métaphorique. Ils affirment ainsi la spécificité et la possibilité d'une expérience poétique, c'est-à-dire subjective, héroïque et morale du monde, ainsi que la capacité du roman à produire un savoir poétique sur le monde et l'histoire. / This thesis deals with the poetics of the novel in Victor Hugo, Theodor Fontane and Thomas Hardy, with a specific focus on The Man who Laughs (1869), Trials and Tribulations (1888) and Tess of the d'Urbervilles (1891). By bringing together these three novelists who are widely acknowledged as major writers yet ignored by general theories of the novel, this study will show how a vision of the modern novel as a poetic rendition of reality, with an idealist, progressive and critical background, has maintained itself. Hugo, Fontane and Hardy, three novelists who considered themselves to be poets first and foremost, opted to turn the novel into a tragedy, a poetic rendition of reality which stands in contrast with Lukacs’ post-Hegelian theories of the modern novel as a prosaic literary genre. In the face of nihilism and the theories of the realist novel which surfaced in the second half of the XIXth century and attempted to define – in the restrictive sense of the word – the genre of the novel, they turned back to the model of the Romantic novel and reinvented it at a time when the realist novel was preeminent. Their poetics was therefore based on the “poietisation” of prose, in other words, based on the imaginary, the symbolic and the metaphoric. This enabled them to assert the specificity and possibility of a poetic, that is to say subjective, heroic and moral experience of the world, as well as the ability of the novel to generate poetical knowledge about the world and history.

Após a Guerra Civil Espanhola (1936-1939), conflito que durou quase três anos e culminou com a vitória das forças conservadoras fascistas e o estabelecimento da ditadura do general Francisco Franco, a Espanha atravessou um período de extrema miséria e desolação, período também conhecido como \"años de hambre\". Camilo José Cela retrata as mazelas sociais deste período em uma narrativa repleta de ironia e cinismo em La Colmena, romance que abriu portas para o realismo social na década de 50. Na obra de Cela, a perspectiva fragmentada da realidade, a reprodução dos valores conservadores e o conformismo disseminados no cotidiano constroem um quadro de inércia e desolação sociais, onde cada indivíduo é obrigado a aceitar a condição em que se encontra, tentando sobreviver por mais um dia em uma sociedade alienada e violenta. / After the Spanish Civil War (1936-1939), which lasted nearly three years and culminated in the victory of the conservative fascist forces and the establishment of General Franco\'s dictatorial regime, Spain experienced times of extreme poverty and despair known as \"años de hambre\". In La Colmena, Camilo José Cela depicts the social maladies of that time through a narrative where irony and cynicism abound. The novel cleared the way for social realism in the 50\'s. In Cela\'s work the fragmented perspective of reality, the reproduction of conservative values and the resignation disseminated in everyday life paint a portrait of inertia and social despair, where each individual is obliged to accept the conditions in which they find themselves and tries to survive one more day in a violent and alienated society.

O romance Eu sou um Gato, do escritor japonês Natsume Sôseki, publicado entre 1906 e 1907, é marcado basicamente pela critica ao regime em voga, período Meiji (18681912) no Japão e seus costumes sociais. Entretanto, sua construção baseia-se em técnicas pouco utilizadas na época, pois o autor mescla influências dos romances naturalistas ocidentais à tradição oral e teatral do período Edo (1600-1867), a fim de descrever o período em que o homem transitava entre o antigo e o moderno. O autor se baseia, assim como sugere o título, no ponto de vista de um gato pedante e possuidor de uma linguagem aforística, que analisa o ser humano frente aos problemas do seu cotidiano, revelando seu caráter, seus vícios e segredos. Sugerindo que ao olhar para o íntimo do homem, encontramos também as mudanças sociais: a introdução do capitalismo e dos hábitos ocidentais, ainda alienígenas ao povo oriental, era ao mesmo tempo, discutida e porque não criticadas. Verificamos essas nuances desde a estrutura da obra, que mescla influências do conto e da novela, dando origem a uma voz narrativa polifônica e dialógica: o gato. Ele é a voz que narra e porque não escreve também a história, apesar de não possuir nem mesmo nome. Sua voz se alterna conforme pede a situção e durante o decorrer da obra, sua figura de inicio é um simples gato, se transforma em um ser monstruoso, fundamentado nas grandes figuras mitológicas e literárias de outros felinos. Tanto o gato quanto as outras personagens da obra utilizam-se de uma linguagem irônica e satírica revelando uma crítica sutil à sociedade de Meiji. Entretanto, para que esta linguagem surta o efeito desejado há o emprego do cômico e da paródia como apoio para a censura dos hábitos sociais. O cômico favorece o rir de si mesmo e das falhas humanas e a paródia faz alusão a uma desconstrução da literatura, visto que as estruturas sociais estão desgastadas e há algo que ainda precisa ser dito. A obra em questão é, em suma, uma grande afirmação de que a sociedade não está conformada com o que há. / The novel I am a Cat, of the japanese writer Natsume Sôseki, published between 1906 and 1907, it\'s marked basically, with the criticism of the regime in vogue, Meiji period (18681912) in Japan and your social habits. Nevertheless, your construction have based in techniques rarely used in that period, the author mix influences of occidental naturalist novels to oral and theatric tradition on the Edo period (16001867), with the objective of to describe a period that the man passed between the old and the modern. The author has based like was suggested in the title in the point of view from a pedantic cat and owner of a aphoristic language, that analyze the humans in their daily problems, exposing their character, their vices and secrets. Suggesting that when we look to the intimate of man, we too find socials changes: the introduction of the Capitalism and the occidentals habits, yet alienated to the oriental people, was in the same time discontinued and why didnt criticize. We verified this nuances since of the structure of the work, that mix influences of narrative and of novels, giving origin to the polyphony narrative voice and dialogic: the cat. It is the voice that report and because dont write too the history, although dont to posses neither same name. His voice change it according the situation and during the happening of the work, his figure in the start is a simple cat, that transform it in a monstrous be, it is founded in the literary and mythology greats figures of the others felines. So the cat as the others characters of work use it of a satiric and ironic language exposing a sewed criticism to the Meiji society. However, to this language to result in the effect desired must have the application of comic and of parody as support to the censure of socials habits. The comic encourage the laugh of himself and the humans mistakes and the parody make reference to the deconstruction of literature, looking that the social structure are consumed and there are something that yet need to be said. The work in question is a great affirmation that the society dont is resigned with that there is.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2018-05-18T12:18:30Z No. of bitstreams: 1 taisanascimentodesouza.pdf: 1060861 bytes, checksum: 18f51d80da3fa7e5ec8e564e3b85452a (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-09-03T16:03:47Z (GMT) No. of bitstreams: 1 taisanascimentodesouza.pdf: 1060861 bytes, checksum: 18f51d80da3fa7e5ec8e564e3b85452a (MD5) / Made available in DSpace on 2018-09-03T16:03:47Z (GMT). No. of bitstreams: 1 taisanascimentodesouza.pdf: 1060861 bytes, checksum: 18f51d80da3fa7e5ec8e564e3b85452a (MD5) Previous issue date: 2018-02-19 / A dominância de espécies exóticas é uma das principais características de florestas secundárias e dos chamados Novel Ecosystems. Apesar de estudos avaliarem os padrões destas comunidades em florestas tropicais úmidas, pouco ainda é conhecido sobre esses padrões em florestas tropicais. A espécie Pinus elliotti possui alto potencial invasor em florestas neotropicais, sendo encontrada em florestas secundárias da Zona da Mata Mineira. O objetivo deste estudo foi analisar a dinâmica (5 anos) da comunidade arbórea de uma floresta secundária urbana dominada por P. elliotti. As mudanças florísticas e estruturais foram analisadas a partir de comparações entre dois inventários realizados em parcelas permanentes (15 parcelas de 20 x 20 m alocadas aleatoriamente na floresta) nos anos de 2011 e 2016. Todos os indivíduos arbóreos com DAP ≥ 5 cm foram amostrados, mensurados, e calculados os parâmetros estruturais, fitossociológicos e diversidade de espécies. Foram calculadas as taxas de dinâmica (recrutamento, mortalidade, ganho e perda de área basal), sendo amostrados 943 indivíduos, 168 recrutas e 151 mortos. A comunidade apresentou forte dominância específica, com grande concentração dos valores de importância (VI) distribuídos nas sete primeiras espécies (Pinus elliottii; Miconia artemisiana; Mimosa artemisiana; Myrcia splendens, Pleroma mutabilis, Piptadenia gonoacantha e Miconia urophyla), que, juntas, somaram 52,2% do VI total. Entre as duas medições, a taxa de mortalidade, de 3,50%.ano-1, foi pouco inferior a de recrutamento, de 3,85%.ano-1. A taxa de ganho em área basal de 5,98%.ano-1, superou a de perda, de 2,90%.ano-1. Apesar da presença das espécies invasoras e da dinâmica acelerada, não foram observadas grandes alterações estruturais no fragmento, com tendência da comunidade de se manter floristicamente estável, a curto e médio prazo, em função da resistência das principais populações. / The dominance of exotic species is a major feature of secondary forests and socalled Novel Ecosystems. Although studies assess the patterns of these communities in tropical rainforests, little is known about these patterns in tropical forests. The species Pinus elliotti have high invasive potential in neotropical forests, and are found in secondary forests of the Zona da Mata at Minas Gerais State. The aim of this study was to analyze the dynamics (5 years) of the tree community of an urban secondary forest dominated by P. elliotti. Floristic and structural changes were analyzed from comparisons between two inventories in permanent plots (15 plots of 20 x 20 m randomly allocated in the forest) in the years 2011 and 2016. All tree individuals with DBH ≥ 5 cm were sampled, measured, and calculated the structural, phytosociological and species diversity parameters. Dynamic rates (recruitment, mortality, gain and loss of basal area) were calculated, being sampled 943 individuals, 168 recruits and 151 deaths. The community showed a strong specific dominance, with a high concentration of importance values (VI) distributed in the first seven species (Pinus elliottii; Miconia artemisiana; Mimosa artemisiana; Myrcia splendens; Pleroma mutabilis; Piptadenia gonoacantha; Miconia urophyla), which accounted for 52.2% of the total VI. Between the two measurements, the mortality rate of 3.50% .year-1 was slightly lower than that of recruitment of 3.85% .year-1. The rate of gain in basal area of 5.98% .year-1 exceeded that of loss of 2.90% .year-1. Despite the presence of invasive species and accelerated dynamics, there were no major structural changes in the fragment, believing that the community is able to remain floristically stable in the short and medium term, due to the resistance of the main populations.

C’est en réinscrivant la notion d’engagement littéraire dans le contexte des années 1930, qui ont vu son émergence et sa mise en pratique, que nous nous proposons de rendre son caractère opérationnel à une expression trop souvent considérée comme contradictoire ou réductrice. Envisagée à travers des textes qui ont précédé la théorisation sartrienne – Le Monde réel d’Aragon, USA de Dos Passos et November 1918 de Döblin –, la notion d’engagement littéraire rend compte d’une écriture littéraire et d’une ambition politique qui ne se conçoivent que dans le rapport simultané de l’une à l’autre. Élaboré comme une réponse en acte à une situation jugée insupportable, le roman engagé des années 1930 apparaît comme le lieu de reconfigurations multiples : reconfiguration du regard porté sur le monde réel, dont le scandale est révélé en plein par la représentation romanesque ; reconfiguration de la langue de la nation et de l’entreprise narrative, redéfinies par opposition aux mésusages et aux manipulations des adversaires, et ainsi rénovées ; reconfiguration d’un espace politique intrinsèquement démocratique, dont la lecture permet l’expérimentation. / By inscribing the notion of literary commitment in the context of the 1930’s, which saw its apparition and its practice, we intend to restore the efficiency of an expression which is too often considered as the difficult conciliation between two areas supposedly antagonistic: politics and literature. Approached through novels which preceded Sartre’s theorization – Aragon’s The Real World, Dos Passos’ USA and Döblin’s November 1918 – the notion of literary commitment accounts for a literary writing and a political ambition which are only conceived in relation with one and another. Written as an answer in action to a situation considered as unbearable, the committed novel of the 1930’s appears as the place where multiple reconfigurations take place: reconfiguration of the perception of the real world, which scandal is revealed by the fictional representation; reconfiguration of the national language and of the narrative process, which are redefined by opposition to the misuses and the manipulations of the opponents; reconfiguration of a political space inherently democratic, experimented in the process of reading itself.

Derrière l’expression « récit de meurtre » se dissimule une hybridité romanesque propre à la fin du XIXe siècle. En prenant appui sur diverses formes de fiction du crime (des écrits naturalistes et décadents, des romans, des contes et nouvelles et des feuilletons), il conviendra de déterminer quelles en sont les caractéristiques narratives. L’analyse est au cœur du sujet : l’enquête judiciaire, le profilage d’une psychologie de l’assassin et les références historiques constituent autant de pistes présentes dans ce type de récit. Un nouveau type de criminel apparaît ; le criminel élabore de nouvelles méthodes et évolue dans un univers moderne. Cette évolution est guidée par la nécessité de séduire un public plus vaste car l’écriture du crime suscite un véritable engouement. Si la presse transforme le journaliste en enquêteur, lui confiant la mission de tenir le lecteur informé des mystères urbains qui l’entourent, les romanciers sont amenés à puiser leur inspiration dans les récits d’enquête et les portraits criminels relayés par la presse. En outre, la notion de mystère est sous-jacente à celle de récit de meurtre dans la mesure où ces écrits cauchemardesques oscillent entre fantasme et réalité. Il s’agit ainsi de montrer que l’acte démesuré du meurtre recouvre la simple notion de thématique ; par son étude des déviances sociales, l’écrivain cherche à verbaliser des angoisses populaires. Plusieurs influences seront donc à prendre en compte : avec la perspective du changement de siècle, les récits sont affectés par la vague de pessimisme qui balaye l’Europe. Les débuts hésitants de la IIIe République, les Affaires et les attentats anarchistes marquent les esprits. L’objectif de cette thèse sera donc de définir ce qu’est le récit de meurtre à travers ses différentes formes, et son rôle médiatique. / There is a novelistic hybridity of “the narrative of murder” conducive to the late of the 19th century. Rested on several forms of crime’s fictions (it refers to decadents and naturalists works, novels, short stories, serials), I should explain its narrative forms. Analysis is at the very heart of this matter: inquest, psychological profile of the murderer and historical references participate to these narratives. A new kind of murderer comes out; criminal uses new skills as he evolves in a modern world. This evolution is header by the need to reach a wide audience for murder’s writing arouses such keen interest. If the press tends to change the journalist into a detective, assigning him the mission to keep the reader informed about urban mysteries surrounding, novelists draw their inspiration from the narrative of criminal investigation and portraits of criminals reported by newspapers. Besides, the notion of mystery is related to the one of murder’s narrative in so far these nightmarish writings oscillate between fantasy and reality. The aim is thus to explain the murder as an excessive act which goes beyond the simple idea of a thematic. Thanks to his study of social deviances, the writer tries to voice popular fears. Many influences must be taken into account: due to the turn of the century, a wave of pessimism sweeps through Europe. The third republic’s hesitant beginnings, the “Affaires” and the anarchist attacks make an unforgettable impression. The aim of this thesis will be to define the narrative of murder through the exhibition of its different forms, and its place in media environment.