Cette thèse a pour objet l’invention de soi chez Patrick Modiano. Le syntagme invention de soi peut s’interpréter de trois manières différentes selon que l’on met l’accent sur la recherche de l’identité pour répondre à la question qui suis-je ?, ou que l’on interroge la rhétorique pour y chercher les idées et arguments pour composer son discours ou encore que l’on ne fasse appel qu’à sa mémoire puisque rien de nouveau n’a été inventé. De ses trois approches, la première guide en majorité les travaux de cette thèse, menée à l’aide des outils traditionnels de l’analyse littéraire et en excluant toute approche psychanalytique que Patrick Modiano récuse pour lui-même. La démarche suivie l’est en trois points. Dans un premier temps, il s’agit de rechercher ce qui alimente l’œuvre romanesque de Patrick Modiano, entre l’Histoire et plus particulièrement l’histoire de la Collaboration en France entre 1940 et 1944 ou de la fin de la guerre d’Algérie, très présente dans plusieurs de ses romans, ses sources littéraires et plus spécialement des auteurs antisémites de l’entre-deux guerres qu’il cite souvent et sa vie partagée, c'est-à-dire partagée avec ses lecteurs. Ensuite il s’agit de se demander chez cet auteur qui pratique quasiment exclusivement le Je-narrateur, quel est le genre de ses récits entre roman, autobiographie et autofiction. Enfin la question de son identité est posée : qu’est ce pour lui être né en 1945, être le fils d’un collaborateur ou présumé tel, être fils d’un Juif ou encore être écrivain ? Ces analyses nous permettent de répondre à la question posée par cette thèse et de déterminer de quelle manière Patrick Modiano s’invente soi-même dans ses récits. Est-ce en s’inventant de fausses dates de naissance, une fausse date de mariage de ses parents, une fausse sœur ou un faux oncle ou ne serait-ce pas plutôt en s’inventant à chaque récit une identité imaginaire comme si elle était la sienne, pour l’abandonner au récit suivant et en reprendre alors une nouvelle ? / This dissertation addresses the question of the invention of oneself by Patrick Modiano. The terms invention of oneself can be interpreted on three ways, depending on the manner the accent is made on the definition of identity, answering the question : “Who am I?”, or finding the ideas and arguments to prepare a discourse as it is done in the rhetoric or questioning one’s memory as nothing new can be invented. Amongst these three approaches, the first one about the question of identity is mainly studied with the literary tools, excluding the psychoanalytical view which is rejected by Patrick Modiano himself. A three steps approach is followed. At first we analyze how the Patrick Modiano’s romanesque art is influenced by History, mainly the history of the French collaboration during World War II but also by the history of the Algeria war at the beginning of the sixties, his literary sources mainly among French anti-Semite authors who published their books just before World War II, and of course his shared life, that is to say the life he is sharing with the readers. The following question concerns the literary genre of the novels written by an author using the I narrator. Is he writing novels, autobiographies or autofictions? The last issue is about the question of identity: what does it mean for Patrick Modiano to be born in 1945, to be the son of a supposed collaborator, or the son of a Jew, or to be a writer? Answering these different questions should help to approach the definition of the invention of oneself. Is it related to the invention of several birth dates, a false date for the wedding of his parents or imaginary family members for himself or on the opposite is it related to the invention of a new imaginary identity at each novel till the previous identity is abandoned and a new imaginary identity is created in the following novel?

Notadamente um dos escritores russos mais bem-sucedidos na decada de 1990, Victor Pelevin se caracteriza por uma obra pouco convencional no que concerne a construção de personagens e mundos em que elas habitam. A transicão poltica e cultural ocorrida após a queda do governo soviético, em 1991, e um dos fatores que influenciam as obras de grande parte dos autores pós-modernos na Rússia; entretanto, o sucesso de Pelevin se deve também as peculiaridades de sua escrita que, em vez de apenas promover críticas a sociedade que o precedeu, também inclui reflexões filosóficas e metafisicas por vezes consideradas pretensiosas demais pela critica que abordam essa transição. Em A metralhadora de argila, romance de 1996, o autor remonta as batalhas da Guerra Civil Russa, em 1919, colocando-as como um mundo paralelo a uma instituição psiquiátrica em 1991. O interesse, então, e estudar o processo de recriação que Pelevin faz da realidade pré-soviética e como ele a compara ao periodo pos-sovietico, apontando aspectos no romance que identifiquem a nocao de identidade e a mudanca a que este conceito esta sujeito apos as transformacoes sociais nesses periodos da historia recente da Russia. / One of the most renowned Russian writers of the 1990s, Viktor Pelevi distinguishes himself for the construction of characters and worlds in which they inhabit. The political and cultural transition after the end of the Soviet government, in 1991, is one of the factors that have an effect on most of the literary works from Post-Modern authors in Russia; although, Pelevin\'s success as well is due to singularities in his writing, which instead of only criticise the Soviet society before him, also includes philosophical and metaphysical thoughts sometimes viewed as too pretentious by the critics that discuss the transition. In The clay machine-gun, a 1996 novel, Pelevin remembers the battles of the Russian Civil War, in 1919, putting them as a parallel world within a madhouse in 1991. So, the interest in this study is to understand Pelevin\'s recreation of the Pre-Soviet reality and how he compares it to the Post- Soviet period, highlighting elements on the novel that trace the notion of identity and the adjustment it takes after the social transformation in these both recente Russian times.

Notadamente um dos escritores russos mais bem-sucedidos na decada de 1990, Victor Pelevin se caracteriza por uma obra pouco convencional no que concerne a construção de personagens e mundos em que elas habitam. A transicão poltica e cultural ocorrida após a queda do governo soviético, em 1991, e um dos fatores que influenciam as obras de grande parte dos autores pós-modernos na Rússia; entretanto, o sucesso de Pelevin se deve também as peculiaridades de sua escrita que, em vez de apenas promover críticas a sociedade que o precedeu, também inclui reflexões filosóficas e metafisicas por vezes consideradas pretensiosas demais pela critica que abordam essa transição. Em A metralhadora de argila, romance de 1996, o autor remonta as batalhas da Guerra Civil Russa, em 1919, colocando-as como um mundo paralelo a uma instituição psiquiátrica em 1991. O interesse, então, e estudar o processo de recriação que Pelevin faz da realidade pré-soviética e como ele a compara ao periodo pos-sovietico, apontando aspectos no romance que identifiquem a nocao de identidade e a mudanca a que este conceito esta sujeito apos as transformacoes sociais nesses periodos da historia recente da Russia. / One of the most renowned Russian writers of the 1990s, Viktor Pelevi distinguishes himself for the construction of characters and worlds in which they inhabit. The political and cultural transition after the end of the Soviet government, in 1991, is one of the factors that have an effect on most of the literary works from Post-Modern authors in Russia; although, Pelevin\'s success as well is due to singularities in his writing, which instead of only criticise the Soviet society before him, also includes philosophical and metaphysical thoughts sometimes viewed as too pretentious by the critics that discuss the transition. In The clay machine-gun, a 1996 novel, Pelevin remembers the battles of the Russian Civil War, in 1919, putting them as a parallel world within a madhouse in 1991. So, the interest in this study is to understand Pelevin\'s recreation of the Pre-Soviet reality and how he compares it to the Post- Soviet period, highlighting elements on the novel that trace the notion of identity and the adjustment it takes after the social transformation in these both recente Russian times.

Made available in DSpace on 2016-04-27T17:27:31Z (GMT). No. of bitstreams: 1 Wesley Rodrigues Athayde.pdf: 591283 bytes, checksum: 57985a2772e0bd8877c9bda8caa099f2 (MD5) Previous issue date: 2009-11-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This máster`s dissertation describes the research results in two years and six months period (2007 to 2009). At the first phase has occurred a scientific publication survey related to the research. They could be found in Brazil as outside. A comprehensive reading work has been done of Hugh of Saint Victor Didascalicon. The reading job has included also the book Christian Doctrine by St. Augustin because it is possible to observe that the Didascalicon is a retaking of this work. Finally, the Didascalicon presentation, in all, treating of the six books composition, three of them dedicated to the knowledge of human being works and the rest of them dedicated to the knowledge of God´s things. At the second phase of this dissertation, it has been investigated the problem involved in research; Hugh of Saint Victor in XII century makes a new division the arts, by which philosophy is constituted. The trivium, formed by grammar, dialetic (or logic) and rhetoric, and the quadrivium, consisting of arithmetic, music, geometry and astronomy, are not more all that constitute philosophy and the knowledge of the time and they begin to be a part of philosophy. In the new constitution of education organized by Hugh of Saint Victor, philosophy is divided in four sciences: theoretical, practical, mechanical and logic. Theoretical science, which is divided into theology, mathematics and physics, receives as a subdivision in mathematics, the quadrivium (astronomy, music, arithmetic and geometry). In this new divisions of philosophy practical science is divided in individual, private and public; mechanical science is divided in woollen fabrication art, armament, navigation, agriculture, hunt, medicine and theatre; finally, logical science, which contains the trivium arts, is divided into grammar and reasoning. Reasoning being divided in demonstration, sophistry and proof, wich contains both other sciences wich belong to trivium: dialectic and rhetoric. Our research has been to investigate according to Hugh of Saint Victor why the quadrivium with theology and physics constitute a special way to arrive to God´s Mind. In this sense, Hugh of Saint Victor says that, these sciences have the objective to investigate the truth of things and such truth belong God; discovering them, are reach knowledge of the Wisdom. Why does not Hugh include in the constitution of this way, grammar, which belongs to logical science, dialetic and rhetoric belonging to argumentation theory and also to logic? The practical triad and mechanical arts are also excluded by him. Here, Hugh answers that practical, mechanical and logic science, do not have as objective to investigate the truth of things, but to take care of man s life, preserve his body, and make easier his life in earth. Then, what would be the most important characteristic of the theorical triad, which would become detached from the other sciences, in such a way, as to make possible to their expert to arrive to the secrets of Divine Wisdom is the investigation of the truth of things. And more, which would be the reason of utmost importance for man to know the sciences and their respective arts? As will be observed in the course of the dissertation, such knowledge is made necessary so that the human being can, with knowledge, interpret several obscure passage of Holy Scripture / Esta dissertação de mestrado descreve os resultados da pesquisa realizada durante o período de dois anos e meio (2007 2009). Na primeira fase deu-se o levantamento de publicações científicas relacionadas à pesquisa, que poderiam ser encontradas tanto no Brasil, como no exterior. Realizou-se um trabalho de leitura, extensiva do Didascálicon de Hugo de São Vítor. O trabalho de leitura estendeu-se também ao livro A doutrina Cristã de Santo Agostinho, pois se percebe que o Didascálicon é uma retomada dessa obra. Finalmente, a apresentação do Didascálicon, em seu conjunto, abordando a composição dos seis livros; três dedicados ao conhecimento das obras do homem e três dedicados ao conhecimento das coisas de Deus. Na segunda fase da dissertação foi investigado o problema envolvido na pesquisa: no século XII, Hugo de São Vítor apresenta nova divisão das artes que constituem a filosofia. O trívio, composto pela gramática, dialética e retórica e o quadrívio, composto pela aritmética, música, geometria e astronomia, deixam de ser o todo que constitui a filosofia e o conhecimento da época e passam a ser parte dessa filosofia. Nessa nova constituição do ensino organizada pelo mestre, a filosofia é dividida em quatro ciências: teórica, prática mecânica e lógica. A ciência teórica, que se divide em teologia, matemática e física, recebe como subdivisão da matemática o quadrívio (astronomia, música, aritmética e geometria). Ainda nessa divisão da filosofia, a ciência prática se divide em individual, privada e pública; a ciência mecânica em fabricação da lã, armamento, navegação, agricultura, caça, medicina e teatro; finalmente, a ciência lógica, que contém as artes do trívio, divide-se em gramática e raciocínio, sendo o raciocínio dividido em demonstração, sofística e prova, contendo esta as outras duas ciências que pertencem ao trívio: dialética e retórica. Nossa pesquisa foi investigar segundo Hugo de São Vítor qual a razão de o quadrívium junto com a teologia e a física constituir uma via especial para se chegar à Mente de Deus. Nesse sentido, Hugo de São Vítor diz que, essas ciências têm o objetivo de investigar a verdade das coisas e tal verdade pertence a Deus; descobrindo-a, chega-se ao conhecimento da Sapiência. Por que Hugo não inclui na constituição dessa via a gramática que pertence à ciência lógica, a dialética e a retórica que pertencem à teoria da argumentação e também à lógica? A tríade prática e as artes mecânicas também são excluídas por ele. Aqui, Hugo responde que tanto a ciência prática, como a mecânica e a lógica, não têm o objetivo de investigar a verdade das coisas, mas sim, de cuidar da vida do homem, ou seja, preservar seu corpo, e tornar mais fácil sua vida na terra. Portanto, a investigação da verdade das coisas é a característica mais importante da tríade teórica que se destaca tanto das outras ciências, de tal maneira que, torna possível àquele que as conhece chegar aos segredos da Sabedoria Divina. Ainda, qual seria o motivo de suma importância para o homem ter de conhecer as ciências e suas respectivas artes? Como observa no decorrer da dissertação, tal conhecimento se faz necessário para que o ser humano possa com conhecimento interpretar os diversos trechos obscuros das Sagradas Escrituras

Made available in DSpace on 2015-04-14T13:37:52Z (GMT). No. of bitstreams: 1 418243.pdf: 1534461 bytes, checksum: 963bca97503dd29aee82c441ea002b4d (MD5) Previous issue date: 2009-09-30 / Esta disserta??o apresenta um estudo descritivo e cr?tico do drama hist?rico Lucr?cia Borgia, de Victor Hugo, ? luz de teorias desenvolvidas por Anne Ubersfeld, Patrice Pavis, Constantin Stanislavski, Grotowski, Pierre Albouy, Jurij Alschitz. Escrita sob a perspectiva do ator, a disserta??o objetiva evidenciar que, a partir da leitura do texto dram?tico, com o conhecimento dos signos c?nicos, os temas presentes na obra emergem, produzindo novos sentidos. Eles constituem as potencialidades contidas no texto. A obra de Victor Hugo ? compreendida pelo escritor como um todo indivis?vel. Por isso, a pesquisa abrange a hist?ria de vida e a obra de Hugo, fatores fundamentais para se realizar o cotejo com Lucr?cia Borgia e para efetivar a tradu??o do drama hist?rico, escrito originalmente em l?ngua francesa.

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Submitted by Cleide Dantas (cleidedantas@ufpa.br) on 2014-10-29T13:45:49Z No. of bitstreams: 2 license_rdf: 22974 bytes, checksum: 99c771d9f0b9c46790009b9874d49253 (MD5) Dissertacao_MemoriaMunicipioCameta.pdf: 1386945 bytes, checksum: 6e037347546b3fcd17c978ad7e134877 (MD5) / Approved for entry into archive by Ana Rosa Silva (arosa@ufpa.br) on 2014-10-29T16:12:02Z (GMT) No. of bitstreams: 2 license_rdf: 22974 bytes, checksum: 99c771d9f0b9c46790009b9874d49253 (MD5) Dissertacao_MemoriaMunicipioCameta.pdf: 1386945 bytes, checksum: 6e037347546b3fcd17c978ad7e134877 (MD5) / Made available in DSpace on 2014-10-29T16:12:02Z (GMT). No. of bitstreams: 2 license_rdf: 22974 bytes, checksum: 99c771d9f0b9c46790009b9874d49253 (MD5) Dissertacao_MemoriaMunicipioCameta.pdf: 1386945 bytes, checksum: 6e037347546b3fcd17c978ad7e134877 (MD5) Previous issue date: 2014 / Este trabalho é fruto da pesquisa de Mestrado intitulada Memória do município de Cametá: o contar e recontar dos “notáveis” Alberto Moia Mocbel e Victor Tamer, que tem como objetivo analisar narrativas que tematizam a memória histórica e temporal do município de Cametá, mediante a fatos contados e recontados pelos autores cametaenses Victor Tamer e Alberto Moia Mocbel. A análise das narrativas Visagens e Assombrações da infância I e O homem estrela foram escolhidas por se considerar que estas se encaixam no perfil do tema escolhido. A seleção também se justifica pelo fato das narrativas se relacionarem ao universo cotidiano que matiza os acontecimentos históricos da Cametá de outrora. Nesse sentido, o texto contempla referenciais teóricos voltados para as produções literárias de escritores locais, pesquisadores e estudiosos do cânone literário em geral. Desse modo, apresentaremos no texto alguns levantamentos históricos sob a secular cidade, objetivando contemplar também a memória testemunhal. Para tal fundamentação, se destaca alguns autores locais como Ignácio Moura (1910), Salomão Lâredo (2013), Danúzio Pompeu (2013), Doriedson Rodrigues (2003); relatos da entrevista concedida pelo escritor Alberto Mocbel no mês de setembro do ano de 2013 em Cametá e outras pesquisas documentais realizadas no Museu Histórico de Cametá e na Academia Paraense de Letras, onde também coletamos informações referentes ao antigo Sistema de Iluminação Pública. Disponibiliza-se fotografias com o intuito de elucidar e comprovar a veracidade de fatos apresentados e descritos nas obras de Mocbel (2009) e Tamer (2012). Frente aos estudos relacionados à categoria memória, recorremos às teorias de autores como Pierre Nora (1993), Jacques Le Goff (2003), Ecléa Bosi (1994), Jerusa Pires (2003), Aleida Assmann (2011), Walter Benjamin (1994) e Maurice Halbwachs (2006). Autores como Homi Bhabha (1998) e outros que trabalham com as categorias da identidade cultural, conceito este que também subsidiou o aporte teórico deste trabalho e, portanto, não menos importantes para as discussões que serão suscitadas. / This paper is the result of Master research titled Memory of the municipality of Cametá: the telling and retelling of “notable” Alberto Moia Mocbel and Victor Tamer, which aims to analyze narratives that thematize the temporal and historical memory of the municipality of Cametá, trought told‖ and retold facts by the Cametaenses authors Victor Tamer and Alberto Moia Mocbel. The analysis of the narratives of Visagens e assombrações da infância I and O homem estrela, were chosen because we believe they fit into the profile of the chosen topic. The selection is also justified by the fact that the narratives relate to the every universe that merges the historical events of Cametá of yore. Accordingly, the text contemplate theoretical frameworks focused on the literary productions of local writers, researches and scholars of the literary canon in general. Thus, we present in the text, some historical surveys in the secular city, aiming also contemplate the testimonial memory and for such reasons, we highlighted some local authors such as Ignácio Moura (1910), Salomão Larêdo (2013), Danúzio Pompeu (2013), Doriedson Rodrigues (2003), reports of an interview granted by the writer Alberto Mocbel in September of the year 2013 in Cametá and other documentary research accomplished in the Historical Museum of Cametá and in the Paraense Academy of Letters, where we also collected information referring to old public lighting system. We provided photographs in order to elucidate and prove the veracity of the facts presented and described in the works of Mocbel (2009) and Tamer (2012). Against studies related to the memory category, we used the theorics of authors such as Pierre Nora (1993); Jacques Le Goff (2003); Ecléa Bosi (1994); Jerusa Pires (2003); Aleida Assmann (2011); Walter Benjamin (1994) and Maurice Halbwachs (2006). Authors such as Homi Bhabha (1998) and others with cultural identily themes, which, subsidized the theoretical basis and no less important for the discussions that will be raised.

Um estudo historiográfico das Historiae abbreuiatae de Aurélio Vítor. Nisto consiste o presente trabalho, que procura determinar de que modo o referido historiador, no ocaso do reinado de Constâncio II, compôs uma narrativa dedicada à história do Império romano em sua totalidade. Para tanto, em primeiro lugar buscamos definir a natureza da obra. Em que pese os nítidos elementos biográficos que a integram, assim como a brevidade do texto, a obra de Aurélio Vítor deve ser pensada enquanto uma história, na medida em que o objetivo do autor se voltava para a exposição das causas que teriam condicionado o curso dos acontecimentos, da batalha de Ácio até o penúltimo ano do governo de Constâncio II. Desta forma, em um segundo momento, analisamos as estratégias de periodização e as concepções que Aurélio Vítor adotou a fim de contemplar a história imperial. As ações e o caráter moral dos sucessivos imperadores emergem nas Historiae abbreuiatae como o motor a partir do qual se movimentava a história da era imperial romana. Isto implicava, pois, o reconhecimento das oscilações que o mundo romano teria vivenciado ao longo de quase quatro séculos e as contradições que animavam a conduta das personagens históricas. Do que resultava, igualmente, na impossibilidade de se identificar um modelo ideal de imperador, em razão dos fatores e das circunstâncias distintas que marcariam o desenrolar da história do Império romano, como narrada por Aurélio Vítor. / A historiographical study of Aurelius Victors Historiae abbreuiatae. That is what defines the present work, which tries to ascertain how the aforementioned historian settled up a narrative about the history of the Roman Empire in the twilight of the reign of Constantius II. Therefore, we discuss at first the nature of the work. Despite the clear biographical trend we can observe in the text, as well as the brevity that characterizes it, the work of Aurelius Victor should be seen as a historical narrative since the author aimed to expose both the causes and the course of Roman imperial history, from the Battle of Actium to the last but one year of Constantius IIs reign. Thereupon we examine the strategies of periodization and the perspectives defined by Aurelius Victor in order to compose his text. In the Historiae abbreuiatae, the conduct showed by the emperors and their moral character represented the driving force of the narrative. That led the author to emphasize the ups and downs of Roman past in almost four hundred years of history. In this sense, Aurelius Victor did not lose track of some contradictions that encourage historical figures into action. That resulted in Aurelius Victors failure to identify an idealized model of Roman emperor due to distinct elements and circunstances that he himself pointed out in the course of the history of the Roman Empire.

Spain's invasion of the Andes initiated a social drama unprecedented in the experience of the Andean natives. Spanish and Spanish-conscripted native chroniclers wrote extensively about Inca pageantry, spectacle, and ritual, and hastily attributed pagan belief to performances they witnessed or heard about. With equal haste, the Spanish appropriated performance as means of introducing and enforcing Christianity. In this thesis, I treat performance as the central feature of Andean Colonial transition. Performance may be viewed as an ephemeral feature of the Andean transition but fortunately, in mortuary performances (dealing with death and treatment of the body); there are many theatrical elements that survive in mortuary contexts (e.g., staging, setting, costumes, make-up, props, and choreography). Archaeology, history, and ethnographic observation together illustrate that performance has alternately established, celebrated, or subverted Andean power relations during hundreds of years. Mortuary performances are especially excellent commentaries about religious climate of Colonial Peru. In this thesis I analyze mortuary performance in Colonial and contemporary Peru. I argue that the Colonial Spanish saw performance as evidence of belief and sought to transform pagan belief to Christian belief. Ultimately, communities, religion, and performance itself were transformed; integrated and reintegrated into dynamic personal and public expressions.

This dissertation begins with a discussion of the rediscovery and rehabilitation of masks as tools of performance and pedagogy in Western theatre over the past century, considering the work of various theorists, directors, teachers and performers in whose work the mask occupies a significant position. Discussion then focuses on the development of the neutral mask as an object and as a paradigm of pedagogy for the actor over the past eighty years and undertakes a comparative investigation of the concept of neutrality as a performant state. The discussion takes in the teaching of Jacques Copeau, Etienne Decroux and Jacques Lecoq, and extends to the theories of Eugenio Barba, considering the possible parallels between Barba's 'pre-expressive' state and the state of neutrality which the mask assists to develop in the actor. The dissertation further proposes that the term 'performative liminality' is an appropriate term to adopt for this performant state, and makes this proposal with reference to the theories of anthropologist Victor Turner regarding the liminal state. The practice-as-research component of the project sought to investigate and document the various uses of the neutral mask and its application to the creative processes of the actor, and aimed to provide qualitative analysis and evaluation of the neutral mask when used in a developmental workshop environment. The dissertation contains a full account of the practice component of the project and details the processes used to investigate the neutral mask, offering analysis drawn from the inside experiences of the actors and the outside observations of the researcher. Within that analysis is a consideration of the neutral mask as a tool for developing the scenic presence of the actor. / Masters Thesis