Dissertationen zum Thema „Imagologie“

Sodomy and buggery are two elements of the wide historical and literary problematic of the Gay Past. During the French Renaissance, many images were closely related to unnatural vices: hermaphroditism, representation of the foreigner, effeminacy, and so on. In order to avoid anachronical statements, our study will be preceded by an historical and methodological essay that will bring us to a literary concept, l'imagologie.
In many ways, religious reforms in the last decades of the Sixteenth Century added to the complexity of the image of the sodomite. We know that the Holy Bible and religious writings put a stigma on such practices. But the hermaphrodite, the mignon, and some motifs from Antiquity were also known or discovered, transformed or travestied.
Finally, the image of the sodomite built up in French Renaissance literature is neither similar to today's Gay person, nor to an oversimplified figure of a medieval sinner. Its organization and meaning will depend mostly on the type of work in which it appears. Moreover, Italian and North-African epistemologies, and polemics using effeminacy or mollities set-ups add to the complexity of the discursive structure.

Le domaine de l’imagologie est défini, par les comparatistes, comme un domaine de frontière, entre littérature comparée, histoire, ethnopsychologie. Nous nous sommes situés dans une perspective imagologique dans le cadre de cette recherche, pour décrire les étapes de la formation de l’image des Roumains dans des écrits français du XVIIIe et XIXe siècles. Ces étapes sont marquées par des textes de référence dans l’histoire des relations franco-roumaines, nous mentionnons ici le premier grand livre sur les Moldo-Valaques de Jean-Louis Carra, en passant par le livre de Stanislas Bellanger, jusqu’aux écrits d’Abdolonyme Ubicini, sans oublier ceux des divers consuls français, ou historiens, amis des Roumains.La Roumanie ne s’est pas faite en un jour. L’image des Français sur les Roumains s’est cristallisée durant le XIXe siècle. Il est vrai, dès le XIIIe siècle, des militaires français, des commerçants étaient arrivés sur les terres habités par les ancêtres des Roumains. Mais l’attraction vers l’Orient, cultivée surtout par le XVIIIe et le XIXe siècle, tout comme l’inquiétude qu’exerçaient en Europe les Empires Ottoman et Russe ont fait que de plus en plus de Français, aventuriers, révolutionnaires, exilés, hommes politiques, militaires voyagent vers l’Est européen.Même s’ils sont rédigés durant un séjour en pays roumain, au début, les écrits français sur les Roumains sont influencés par les chroniques moldo-valaques et par les textes antérieurs. Au fur et à mesure que les moyens de transport s’améliorent et que le kéroutza est remplacé par le train ou le bateau sur le Danube, les ouvrages sont beaucoup plus personnels, sans ignorer les textes antérieurs. Nous avons démontré que cette reprise des mêmes fragments d’images, faisant référence à des domaines récurrents (histoire, habits, logements, moeurs, organisation, ressources naturelles, paysage, ethnies), a abouti à composer une image qui est loin de la touche négative du cliché. Les enregistrements scripturaux sur les Roumains du XIXe siècle allaient préparer le terrain pour la naissance de la nation roumaine. Ce moment, ouvrant la voie à la grande amitié France-Roumanie, coïncide avec l’apparition dans les textes officiels des mots Roumain, Roumanie.Nous nous sommes intéressés aux écrits français sur les Roumains d’une période mal connue, sinon pas du tout, mais ce n’est pas une analyse exhaustive, notre recherche ne fait que commencer un travail qui pourra déboucher sur l’étude des textes d’ambassade, des échanges de messages entre les consuls français et le gouvernement français, avant même que la première ambassade française s’installe en Roumanie au XIXe siècle. L’étude des écrits sur lesquels nous nous sommes arrêtés se constitue en analyse de divers documents, essais historiques, mémoires, récits de voyage, statistiques. Notre analyse opère avec les concepts d’image (au sens de représentation), de8 stéréotype, d’ethnotype, en termes de réception de l’Autre, avec tout ce que l’altérité a de caractéristique. L’image finale ressort des récurrences des mêmes éléments sur lesquels les auteurs insistent (stéréotypes)
The field of imagology is defined by comparatists as a frontier domain, somewhere in between comparative literature, history and ethnopsychology. We have approached the subject matter from an imagological perspective in order to describe the image formation stages of the Romanians in several French writings in the 18th and 19th century. These stages are marked by several reference texts along the history of the French-Romanian relations, we mention here the first great work on the Moldo-Vlachs by Jean-Louis Carra, following Stanislas Bellanger’ book to Abdolonyme Ubicini’s writings, without forgetting those of various French consuls or historians, friends of the Romanians.Romania has not come into being within a single day. The French people’s image on the Romanians crystallized along the 19th century. True, in the 13th century French military men and merchants arrived in the lands inhabited by the ancestors of the Romanians. But the attraction of the Orient, cultivated especially in the 18th and 19th century, as well as the apprehension exerted in Europe by the Ottoman and Russian Empires determined more and more adventurers, revolutionaries, exiles, politicians and soldiers to travel towards Eastern Europe. Even if they were written during a stay in the Romanian countries, at first, the French writings about the Romanians bear the influence/ mark of the Moldo-Vlach chronicles and earlier texts. As transport is getting better and the keroutza is replaced by train or ship along the Danube, later works become increasingly personal without disregarding previous writings. We have demonstrated that this resuming of the same fragments of images referring to recurring domains (history, habits, dwellings, morals, organization, natural resources, landscape and ethnic groups) resulted into composing an image which is far from the touch of the negative cliché. The scriptural records about Romanians in the 19th century would prepare the ground for the foundation of the Romanian nation. This point coincides with the appearance in the official texts of the words Romanian, Romania, everything preparing the ground for the great France-Romania friendship. We are mainly interested in the period when the writings are scarce, as compared with the French books appearing in the 20th century. The study of these writings constitutes in the analysis of various documents, historical essays, memoirs, travel narratives and embassy reports. This analysis operates with concepts of image (meaning representation), stereotype, ethnotype in the terms of perceiving the Other with everything Alterity has characteristic. The finale image is appearing of recurrence of the same elements which the authors insist on (stereotypes)

Cette étude en imagologie explore les représentations des Portugais dans la production romanesque de deux littératures française et portugaise de 1950 à l’an 2000, période pendant laquelle ils deviennent la première communauté étrangère en France à la fin des années 70. En analysant les discours et images véhiculés par les sciences humaines et sociales, mais également par les services de propagande et les différents guides destinés aux étrangers, pour tenter de définir l’imaginaire identitaire portugais et mettre en lumière les mythes, il ressort que les images émises par Salazar ont été parfois indélébiles perdurant jusqu’à nos jours, servies par des écrivains, admirateurs du dictateur, qui se sont appropriés les thèmes portugais le plus souvent historiques. Ce ne sera qu’après la Révolution des œillets que les figures du Portugais sortent de leurs chrysalides, les familles et les jeunes issus de l’immigration entrent en littérature pour occuper la place des dominés et des marginaux, d’autres écrivains préféreront se perdre dans Lisbonne sans jamais rencontrer un Portugais. Au Portugal, la censure a bâillonné les auteurs qui s’opposaient au pouvoir et faisaient fi des interdictions. Les œuvres publiées devaient suivre l’idéologie du Portugais-aventurier ou bien mettre en scène l’échec du parcours migratoire pour empêcher les départs. L’avènement de la démocratie, mettra sur la place publique les thèmes de l’exil politique et de l’émigration qui étaient jusque là honnis, les auteurs interrogeant désormais leur identité ainsi que le retour au pays natal. Les deux littératures ne se sont que très rarement croisées, le peu de traductions survenues en est le témoin
This study in the field of literary imagology investigates the representations of the Portuguese both in French and Portuguese narratives, from 1950 to 2000. By the end of the 70s, Portuguese have become the most important foreign community in France. We analyze the speeches and the images conveyed by human and social sciences, but also by the Portuguese propaganda agencies and various guides intended for foreigners. Thus, we try to define the main aspects of the Portuguese imaginary identity and to shed light on the myths that are related to it. It appears that some images issued by Salazar and his ideologues have survived until today. They have been conveyed by writers who were admirers of the dictator and who developed certain topics, often related to the history of Portugal. But, after the “Revolution of the carnations”, the literary figures of the Portuguese become less conventional. Fiction concentrates on families and young people stemming from the immigration, who are often presented as dominated or eccentric figures. A few writers have preferred to write about their wanderings in Lisbon, daydreaming without ever meeting “real” Portuguese. In Portugal, the censorship silenced the authors who resisted the dictatorship. In order to be published, works had to harp on the ideology of the Portuguese adventurer or to evoke the failure of emigration (such an image was supposed to prevent Portuguese from leaving their country). With the advent of democracy, political exile and emigration, two topics that were previously held in contempt, became important Portuguese literary themes. The authors have tended to question their identity as well as the meaning of the return to their native country. Ultimately, it appears that the two literatures intersected very rarely, as the low number of translations would show

Definir les etrangers est une entreprise pleine de risques. Quand elle observe l'autre, la culture regardante s'empare de ce qui lui semble utile, et fait abstraction de ce qui n'est pas conforme a sa propre conception du monde. D'ou la naissance du stereotype culturel, repere le plus basic, mais aussi le plus reducteur, pour celui qui observe les cultures etrangeres. Cette these vise d'abord a analyser la facon dont les stereotypes culturels, voire raciaux, sont exploites dans quelques textes modernes. L'etude d'ouvrages populaires permet de cerner leur traitement dans l'imaginaire populaire, avec un minimum de modifications apportees au stereotype fige tel qu'il circule dans la societe. Dans un deuxieme temps, nous avons essaye de definir en quelle mesure le stereotype culturel fondait la perception de l'autre dans certains ouvrages d'auteurs dont la vision du monde est a priori plus nuancee et complexe. Nous voulions definir la facon dont ceux-ci s'affranchissent d'une pensee stereotypee afin de laisser apparaitre l'autre dans toute sa complexite. Les textes etudies progressent ainsi des plus simples aux plus complexes, en meme temps que nous nous eloignons de l'imaginaire populaire, au profit de l'imaginaire personnel des auteurs suivants: 1) asterix, bande dessinee de rene goscinny et albert uderzo, 29 volumes depuis 1961. 2) les carnets du major thompson, roman de pierre daninos, 1954. 3) le caporal casse-pompon, chanson de jacques brel, 1961. 4) siegfried et le limousin, roman de jean giraudoux, 1922. 5) le hussard sur le toit (1951) roman, et voyage en italie (1954), recit de voyage, de jean giono. 6) desert (1980), le chercheur d'or (1985) et onitsha (1991) romans de j. M. G. Le clezio
Attempting to define other cultures is a risky enterprise. When looking at the other, the observing culture seizes upon anything that seems useful to it, and ignores anything that does not fit in with its particular world view. Thus, a stereotype is born to serve as the simplest - and the most simplistic - point of reference. The aim of this thesis is to analyse the way that cultural and/or racial stereotypes are treated in some modern french texts. The way other cultures are perceived in the popular imagination is revealed through the study of popular texts, which keep original contributions on the part of the author to a minimum. Secondly, the way in which authors who are considered more subtle or "literary" integrate or exploit cultural stereotypes in their work is examined. What techniques do they use to allow the other's culture to escape the immobility and the simplification inherent in stereotyping? thus, the selected texts become progressively more complex as we distance ourselves from the popular imagination, and enter the personal imaginations of the following authors: 1) asterix, comic books by rene goscinny and albert uderzo, 29 volumes since 1961. 2) les carnets du major thompson, a novel by pierre daninos, 1954. 3) le caporal casse-pompon, a song by jacques brel, 1961. 4) siegfried et le limousin, a novel by jean giraudoux, 1922. 5) le hussard sur le toit (1951), a novel, and voyage en italie (1954), a travel narrative, by jean giono. 6) desert (1980), le chercheur d'or (1985) and onitsha (1991), novels by j. M. G. Le clezio

Explorant les textes d’Ernest Psichari issus de la mission du Haut-Logone dirigée par le commandant Lenfant, à partir de l’histoire littéraire, cette étude tente de répondre aux questions suivantes : que signifie l’Afrique subsaharienne chez Psichari ? Comment la représente-t-il ? Quels sont les enjeux de ces figures et représentations ? Quels rapports avec la situation postcoloniale ? Cette recherche illustre que l’Afrique constitue quasiment l’unique cadre de ses productions. Plus qu’un cadre, plus qu’un décor, elle est un vivant actant qui, par son action omniprésente, transforme les autres actants. Mais elle demeure une terre à civiliser. Cette ambiguïté est entretenue par le fait que la pensée de Psichari, ses idéaux voire son style d’écriture laisse dans l’indécision. Car, il semble à la fois proche et éloigné des indigènes. Le ton alangui et impressionniste de son œuvre, situé entre rêve et réalité, alterne avec des passages plus affirmés et dénués de tout sentiment de douceur où le seul sentiment patriotique est de mise. Tout en affichant son amour pour les indigènes, défendant leurs droits et leurs cultures, Psichari ne dissimule pas son patriotisme en œuvrant pour la colonisation. Ce qui ne l’empêche pas de rejeter la gouvernementalité du système colonial de la IIIe République
Exploring Ernest Psichari’s texts from the Haut-Logone Mission directed by Commandant Lenfant, from literary history, this study attempts to answer the following questions: what does Africa means for Psichari ? How does it represent? What are the challenges of these figures and representations? What relationship with the post-colonial situation? This research shows that Africa is virtually the only part of its productions. More than a frame, more than a decoration, it is a living actant which through its ubiquitous action transforms other actants. But it remains a civilized land. This ambiguity is maintained by the fact that Psichari’s thought and ideals or his writing style leaves undecided. He seems both near and far natives. Impressionist and languid tone of his work, between dream and reality, alternates with passages more assertive and devoid of any sense of softness where the only patriotism is required. While displaying his love for the indigenous, defending their rights and cultures, Psichari does not hide his patriotism by working for colonization. This did not prevent him from rejecting the governmentality of the colonial system of the IIIe Republique

Des études sur la traduction des oeuvres nigérianes rédigées en anglais, de même que d’autres oeuvres africaines, ont conclu que les spécificités culturelles des oeuvres sont souvent conservées lorsqu’elles sont traduites en langues européennes, afin de préserver leurs éléments typiques. Cette thèse élargit ce champ d’analyse aux éléments qui se trouvent autour des oeuvres. Elle explore les paratextes (mises en page, titres, images de couverture, textes de présentation et préfaces) de romans nigérians rédigés en anglais et traduits en français de 1953 à 2013 pour découvrir comment les romans sont présentés au public français, en d’autres termes, comment le public cible est supposé recevoir les oeuvres. L’hypothèse de la thèse est que les perceptions du Nigéria ont influencé la présentation la commercialisation des oeuvres.Le concept des études descriptives de la traduction a été appliqué. Les différentes perceptions du Nigéria ont été définies. Par la suite, les paratextes des romans sources et des romans cibles ont été extraits et comparés pour découvrir des pratiques récurrentes dans les paratextes cibles et établir s’il y a eu des références aux images du Nigéria.Les résultats de l’étude révèlent que, tout comme la traduction d’oeuvres nigérianes (africaines) dans laquelle les spécificités culturelles sont souvent conservées dans le texte cible, les spécificités culturelles des oeuvres sont également conservées dans les paratextes des textes cibles et celles-ci indiquent que les romans sont présentés comme une documentation narrative de la culture et des valeurs nigérianes. Elles sont commercialisées en mettant en avant leur aspect exotique. En outre, les images du Nigéria ont non seulement influencé la présentation et la commercialisation des romans, mais ont également joué un rôle décisif lors du choix d’une oeuvre nigériane à traduire en français.Cette manière de présenter les oeuvres nigérianes au public français renforce les images négatives du Nigéria. Elle minimise les aspects esthétiques de ces romans et oblige le lecteur de s’engager avec les romans nigérians uniquement de ce point de vue
Research on the translation of Nigerian literary texts written in English, and even other African texts, has demonstrated that the cultural specificity of the texts is often retained when they are translated into European languages in order to preserve their local colour. This thesis adds to the scholarship by examining the elements that surround the texts. It explores the paratexts (layouts, titles, cover images, blurbs, synopses and prefaces) of Nigerian novels written in English and translated into French from 1953 to 2013 to determine how the novels are presented to the target audience, in other words, how the French audience is envisaged to receive the works. The hypothesis of the thesis is that the images of Nigeria influenced the presentation and promotion of the novels.The framework of descriptive translation studies was applied. Different perceptions of Nigeria were defined. Afterwards, the paratexts of the source and target novels were extracted and compared in order to find recurrent patterns in the target paratexts and to establish if there were references to Nigerian images in the paratexts.The findings of the research revealed that, like the translation of Nigerian (African) works in which the cultural specificity is preserved in the target texts, the cultural specificity of the works is also retained in the target-text paratexts, and it indicates that the novels are construed as narrative documentation of Nigerian culture and values. The works are marketed for their exoticism, which is emphasised in the paratexts. Furthermore, the images of Nigeria in France did not only shape the construal and marketing of the novels but also played a role in the selection of the works for translation.The presentation and promotion of these novels as documentation of Nigerian culture and values reinforce the negative images of Nigeria. It downplays the aesthetic qualities of the novels and can prevent a reader from engaging with Nigerian works from a different standpoint

Cette thèse prolonge les études déjà menées sur l'image du Japon en France et en Europe à partir de l'ère de Meiji (1868-1912). Elle analyse la production littéraire en France, ainsi que certains films et bandes dessinées, à compter de l'ère de Heisei (1990-2010). Elle soutient que, malgré les progrès du savoir et des mentalités, l'observateur français continue de considérer le Japon, les Japonais, les choses japonaise, d'un point de vue moins compréhensif et moins informé que critique et passablement négatif. Elle fonde son examen sur les méthodes de l'imagologie littéraire qui détermine la place, le rôle, le sens de la représentation d'un pays dans une oeuvre à partir de traits précis (nomination, distance hiérarchique, scénario, mythe personnel)
This thesis extends the existing studies on Japan's image in France and Europe from the Meiji era (1868-1912). It analyzes the literary production in France, as well as some movies and comics, as they have been developping since the Heisei era (1990 and 2010). It argues that despite the progress of knowledge and attitudes, the French observer continues to view Japan, Japanese, Japanese things, from a point of view far less comprehensive and informed than critical if not quite negative. It bases its scrutiny upon the methods of literary imagology, which determines the place, role, the meaning of the representation of a country in a given work from specific features (naming, hierarchical distance, plot, personal myth)

Cette étude comparative des œuvres d’Edouard Glissant et de Derek Walcott examine le devenir de la littérature antillaise ainsi que l’évolution des littératures dites postcoloniales.A partir des notions critiques d’esthétique, de politique, de culture et de stratégie discursive, nous avons examiné les œuvres de Glissant et celles de Walcott selon une perspective historique. En effet, la question de la place de l’Histoire étroitement liée à l’expérience personnelle des auteurs est au cœur des textes. Ils mettent en avant l’odyssée d’une Histoire antillaise marginale et fantasmée qui cherche à se frayer un chemin et concurrencer une Histoire traditionnelle.De cette tension, se dégage un jeu de dualité où continuités et ruptures, résistance et appropriation du discours de l’Occident constituent au fil de l’étude un trait distinctif de l’approche des textes. Mais ce qui en montre l’intérêt et l’originalité, c’est leur capacité à s’ériger comme un exposé représentatif du monde contemporain. La question de l’Histoire va au-delà du parcours colonial du monde occidental et le discours qui s’en rattache est loin d’une dénonciation ou l’expression d’une culpabilité et encore moins celle des bienfaits de la colonisation. Les auteurs appellent en revanche à l’expression d’une vision fragmentée de l’Histoire dont l’approche se situe dans la reconnaissance de la diversité des représentations historiques, littéraires et culturelles. Qu’il s’agisse d’épopées, de récits de vie, de chroniques historiques ou politiques, de simples anecdotes ou de réflexions philosophiques qui ponctuent le vaste champ de leur production, Walcott et Glissant apportent un souffle nouveau à la pensée postcoloniale et prolongent son avenir. Ensemble, ils communiquent, échangent et s’opposent parfois pour faire apparaître des procédés conceptuels et méthodologiques qui permettent d’appréhender autrement la littérature, les sciences humaines et sociales
This comparative study of the works of Edouard Glissant and Derek Walcott examines the development of postcolonial literatures especially west indies literature.Based on the critical notions of aesthetic, political, cultural and discursive strategy, we assessed the works of authors through a historical perspective. Indeed, the question of the place of history and personal experience is at the heart of the texts. The authors highlight the fantasised odyssey of a marginal Caribbean History which is trying to make its way and to be in competition with a traditional History.From this tension, emerges a set of duality where continuities and ruptures, resistance and appropriation of the discourse of the West are honoured hallmark of this works. However, what shows interest and originality, is their ability to establish themselves as a functional presentation of the contemporary world. The question of history goes beyond the colonial path of the Western world, hence the discourse that is coming from it isn’t relegated to complaint or quest of guilt and even less of the benefits of colonization. On the contrary, the authors call the expression of a fragmented view of History. Whether epics of life story, historical or political columns, simple stories or philosophical reflections that punctuate the vast field of production, Walcott and Glissant give new impetus to the postcolonial thinking and extend its future. Together, they communicate, interact and sometimes clash to reveal the conceptual and methodological processes that allow us to understand literature in antoher way, humanities and social sciences

Metteur en scène contemporain dont l’itinéraire personnel est une conséquence de la décentralisation théâtrale, Daniel Benoin tire sa force de création du passage de l’image mentale à sa concrétisation dans le spectacle vivant par l’hybridation de savoirs multiples et de techniques artistiques. Cette étude d’un destin particulier dans un rapport holiste avec l’art dramatique permet une théorisation du processus de création dans lequel un regard croisé entre phénoménologie et pragmatique confirme l’hypothèse d’une empreinte matérielle et stylistique. L’approche comparative d’un grand nombre de représentations et de l’ensemble des répétitions préalables à cinq spectacles (Wozzeck, La Cantatrice chauve, Faces, la reprise de La Cantatrice chauve, Le roman d’un trader) définira cette empreinte comme idiosyncrasique, formelle et originale, le tout commun à l’ensemble de l’œuvre observée. Ainsi, grâce aux concours de pré-images modulables et fécondes, les images mentales primordiales s’installent au cœur de la création et la vision onirique se révèle être l’essence même de la particularité artistique de ce metteur en scène. La recherche entreprise ouvre alors des perspectives renouvelées quant à l’esthétique et à la présence/absence de l’artiste dans des domaines élargis (cinéma, danse, peinture, photographie, musique, écriture)
Daniel Benoin, a contemporary stage director whose personal career was a consequence of theatrical decentralization, draws his creative strength from his ability to make mental images become concrete in live shows by using numerous knowledge and artistic techniques in a hybrid way. This project on a distinctive destiny in a holist connexion with Drama enables to theorize about the creation process in which a crossed look at phenomenology and pragmatism confirms the hypothesis of a material and stylistic imprint. The comparative approach of many performances and of all the preliminary rehearsals to five theatrical shows (Wozzeck, La Cantatrice chauve, Faces, the remake of La Cantatrice chauve, Le roman d'un trader) will eventually define this mark as an idiosyncratic, formal and original one, to be found in the whole work which was studied. Thus, thanks to the help of fertile and adjustable pre-images, essential mental images settle in the heart of creation and the oneiric vision turns out to be the very essence of the artistic particularity of this stage director. Therefore the research opens up renewed angles about the aesthetics and the presence/absence of the artist in enlarged fields (such as cinema, dancing, painting, photography, music, writing)

La recherche se focalise sur l’étude d’un corpus composé d’œuvres littéraires françaises et de la région du Río de la Plata (Amérique du Sud), qui vont de la seconde moitié du XIXe siècle jusqu’à 2015. L’étude s’appuie aussi sur l’analyse d’images iconographiques, pour analyser l’image du personnage de l’employée domestique qui se dégage dans la convergence entre la littérature et les arts plastiques. Dans une perspective comparatiste, le travail explore les formes de la représentation de cette figure d’un point de vue stylistique, thématique et politique. Les contiguïtés entre les deux corpus nationaux montrent non seulement l’existence d’une dynamique d’échanges entre le Río de la Plata et la France en ce qui concerne les débats esthétiques et politiques, mais aussi l’existence d’un partage du sensible commun. L’étude établit une périodisation des modes de représentation du personnage, depuis son accès au rôle principal, à travers l’analyse de la construction littéraire de sa voix, de son parcours de vie, de son intimité et du regard qu’il porte sur le monde. Cette recherche se fonde sur la conviction que la domesticité est un fait social total, dont l’analyse mène à une radicale interrogation ontologique. Cela marque de son empreinte le personnage et les rapports qui se tissent autour de lui et résulte dans sa puissance politique, dont les auteurs se sont emparés. Finalement, et suivant une tradition d’études qui se font sur la longue durée et en prenant compte d’une certaine « transnationalisation » de la figure, nous entendons encourager l’étude de la domestique dans le domaine de la littérature comparée
This research focuses on the study of a corpus composed of French literary works, as well as those from the Latin American region of Río de la Plata, ranging from the mid-nineteenth century to the year 2015. The study is also based on the analysis of some iconographic images, in order to analyse the image of the housemaid’s character that emerges in the convergence between literature and visual arts. From a comparative perspective, the work explores the forms which represent this figure from a stylistic, thematic and political point of view. Adjacencies between the two national corpora show not only the existence of exchanges between the Río de la Plata and France regarding the aesthetic and political debate, but also the existence of a common distribution of the sensible. The study establishes a periodization of the character representation modes, from the character’s access to the main role, through to the analysis of the literary construction of her voice, her course of life, her intimacy and the view she has of the world. This research is based on the belief that domestic service is a total social fact, whose analysis leads to “a radical ontological questioning”. This leaves a mark on the character and on the plot that develops around her. As a result, the authors capture an image of political power. Following on from a tradition of studies that are made in the long term and also taking into account a certain "trans-nationalisation" of the character, we intend to promote the study of housemaids and domestic service in the field of comparative literature

En analysant les images françaises du Maroc, avant le Protectorat (XVIIe-XXe siècle), nous avons espéré réfléchir sur la spécificité de ce genre littéraire à partir des schèmes narratifs et discursifs qu’il met en œuvre. L’étude de ces images, dans leur genèse et dans leur typologie, présuppose une approche pluridisciplinaire. Car, nous semble-il, il est indispensable de mettre en relation les analyses littéraires, l’histoire, l’histoire des idées sachant que les images culturelles d’un pays peuvent ne pas être le reflet d’une réalité politique, historique d’un moment, mais elles s’avèrent, en revanche, liées à une situation culturelle historiquement déterminée. Pour saisir la présence de l’étranger, ou son image, dans un texte, il faudrait tenir compte des conditions de production de ce texte. Par conséquent, l’mage se constitue, en fait, d’un ensemble d’idées sur l’étranger évoluant dans un processus de «littérarisation et de socialisation » Dans cette perspective, notre démarche se veut à la fois chronologique, synchronique et interdisciplinaire. Ainsi, en recensant les images constituées sur le Maroc et ses habitants, depuis le XVIIe jusqu’au XXe siècle, nous espérons voir, s’il y a ou non une filiation dans la perception française de l’Autre. Contextualisation exige, pour mieux cerner l’arrière-plan de cette perception, nous aurons recours, naturellement, aux textes produits par les voyageurs, mais aussi aux documents historiques, ethnologiques et sociologiques. L’élargissement du champ de la réflexion à d’autres disciplines, relevant du champ des sciences humaines et sociales, nous permettra, de saisir comment la représentation de l’Autre, pourrait nous révéler les fonctionnements d’une instance idéologique historiquement repérable (exotisme, racisme, par exemple …). Aussi, nous demanderons-nous, à titre d’exemple, si l’appartenance d’un auteur au catholicisme n’infléchit pas dans un sens ou dans un autre sa vision du musulman et du juif. On pourra se demander aussi si le regard des voyageurs du Grand siècle n’a pas changé avec l’apport des idées du siècle des Lumières, fondées sur l’apologie de la raison et d’une certaine rationalité scientifique et académique
By analysing the images that the French make of Morocco before the Protectorate, we have hoped to reflect on the specificity of this literary genre from the narrative and discursive schemas that it sets out to make use of. The study of these mental presentations or images in their genesis and typology presupposes a multidisciplinary approach, for, as it appears, it is crucially important to relate literary analysis, and the history of ideas to this study while being, at the same time, aware that cultural images of a country may not truly reflect the political and historical reality of a given time. These images are, however, related to a cultural backdrop which is historically determined. In order to seize the presence of theStranger, the Other, his or her image in a text, it is essential to take into consideration the conditions that contributed to the production of that text. Therefore, an image consists of a group of ideas that are conjured up about the Other or Foreigner evolving in a literacy and socialisation process. It is in the above mentioned perspective that the present paper attempts a chronological, synchronic and an interdisciplinary approach. Thus, by shedding light on the multi images made about Morocco and its inhabitants since the 17th up to the 20th century, we hope to trace whether there or does not exist a filiation of the other in the French perception. Hence,some contextualisation is of the essence in order to encompass the background of thisperception of the Other. Naturally, we have had recourse not only to texts which were produced by travellers across Morocco, but also to historical, ethnological as well as sociological documents addressing this issue. Also, the enlarging of our reflection field to touch on other disciplines, such as human and social sciences, will allow us to come into grips with how the concept and presentation of the Other could reveal the functioning of an ideologicalinstance, be it exotic or racist, which is historically traceable. For exemplification sake, we also wonder if a Christian author is not influenced in his vision of the Muslims and Jews in a way or another. We could also wonder if the outlook of the travellers of the Grand century has not been altered by the contribution of the ideas of the century of light which is based on the dominance of reason as well as a certain scientific and academic rationality

Alors qu’un nombre croissant d’écrivains allochtones d’expression allemande avance de la périphérie au centre du champ littéraire allemand, les auteurs d’origine chinoise restent assez méconnus. En les présentant ici, nous souhaitons combler une lacune, notre propos se concentrant par ailleurs sur les œuvres de trois auteures : Luo Lingyuan (1963-), Xu Pei (1966-) et Lin Jun (1973-). Ces dernières ne publient que de la fiction : des nouvelles, des romans et de la poésie. Afin de clarifier les conditions dans lesquelles elles ont fait leur entrée sur la scène littéraire allemande, nous replaçons la littérature « chinoise » d’expression allemande dans son contexte d’émergence. Le rappel de l’historique des relations germano-chinoises depuis la période coloniale jusqu’à aujourd’hui précède ainsi un retour sur l’histoire de la littérature d’expression allemande depuis les années 1970. Mobilisant le concept d’« existence diasporique », qui explicite le mouvement permanent que les auteures opèrent entre les cultures et les langues chinoise et allemande, l’objectif de cette étude est de proposer une première analyse littéraire interne de leurs textes, dont le caractère transculturel est illustré à travers trois enjeux : temporel, spatial et identitaire. Par le détour de la confrontation directe et croisée avec les œuvres, qui problématisent le caractère transnational, transculturel et plurilingue des sujets en diaspora, nous interrogeons finalement la conception monoculturelle et monolingue de l’identité d’une part et de la littérature dite « allemande » d’autre part, dont nous montrons qu’elle se nourrit d’influences culturelles diverses et dépasse l’horizon national
While an increasing number of foreign-born writers using German are leaving the fringes of the German literary scene and gaining prominence, authors of Chinese origin are still relatively unknown. We endeavour to fill this gap with a focus on the works of three of them: Luo Lingyuan (1963-), Xu Pei (1966-) and Lin Jun (1973-). Their publications are exclusively fictional: short-stories, novels and poetry. In order to highlight the conditions in which they entered the German literary scene, we place the literature written by Chinese in German in its context of emergence. We first present the history of Sino-German relations from the colonial period until today. Then, we describe the evolution of the literature written in German language since the 1970s. Using the concept of “diasporic existence”, which describes the authors’ constant back and forth movement between the Chinese and German cultures and languages, the aim of this study is to offer an initial internal literary analysis of the texts. Our ambition is to show their transcultural character in the light of three notions: time, space and identity. Through a direct and cross-cutting confrontation with these literary works that problematise the transnational, transcultural and multilingual quality of diasporic subjects, we finally question the monocultural and monolingual conception of identity on the one hand, and of the so-called “German” literature on the other, by pointing to the fact that the latter is impacted by diverse cultural influences and therefore exceeds the limits of the national horizon

Els Estats Units han generat la majoria dels mites de la modernitat i els han exportat a la resta del món a partir dels mitjans de comunicació, estandarditzant així l’imginari popular global. Malgrat tot, però, els símbols americans han inspirat obres molt diverses que reflecteixen la cultura nacional dels seus autors i les seves procupacions individuals. Per això la imatge dels Estats Units, vista a través d’ulls foranis, dóna una perspectiva interessant de la influència d’aquest país tan poderós en d’altres nacions. Aquesta tesi, doncs, pretén analitzar com autors catalans, culturalment situats a la perifèria, perceben aquest ‘altre’ poderós situat al centre que representa Amèrica del Nord i com poden sentirse fascinats pels seus mites i alhora conservar una actitud crítica envers la seva societat.
The United States of America have generated many of the myths of modernity and have exported them to the rest of the world through their mass media, thereby, somehow, standardizing the new global popular imaginary. American symbols nonetheless have inspired very diverse works of art that reflect the national culture of their authors and their individual and unique concerns. As a consequence, the image of the United States as seen through foreign eyes gives us an interesting new perspective with regard to the influence of this powerful country on other nations. For this reason, in this thesis, I analyze how Catalan writers, considered culturally peripheral, perceive the powerful and central “other” and how they can be, at the same time, fascinated by American myths while remaining critical of the state that produces them.

Abstract This study examines indices of Finnishness in the production of second- and third-generation Finnish-American authors. Its aim is to analyse the common ethnic traits of Finnishness proposed by ethnographic research in relation to the literary texts presented by the selected authors. The research is literary in nature, investigating both societal and social arguments that are depicted in the central works of five chosen authors: namely, Lauri Anderson's Heikki Heikkinen And Other Stories of Upper Peninsula Finns; Mary Caraker's Growing Up Soggy and Elina, Mistress of Laukko; Joseph Damrell's Gift; Lynn Laitala's Down from Basswood; and Paula Robbins's Below Rollstone Hill. One of the most important disciplines within the field of Comparative Literature – where the function of critical scrutiny is to examine cultural identity, and various cultural models – has been imagological literary research. For the purposes of the present thesis, the theoretical basis of this research has been taken as the cognitive theory of cultural meaning in Comparative Literature, with its imagological approach. Raija Taramaa's theoretical model of Finnishness provides a supportive framework which helps to analyse Finnishness in the works of the five selected writers (who have no developed ability in the Finnish language). Through these means it is hoped that the present research will open up to its readers a deeper understanding of the cultural models describing Finnishness in the production of second- and third-generation Finnish-American authors, leading them into a detailed exploration of the ways in which the ethnic indices of Finnishness have remained in the cultural memories of these chosen authors. The research has indicated that cultural indices endure from generation to generation in an unfamiliar environment even at the time when the identity of the person in question has been changed during the former generation, for example, with respect to his or her native language. The study also reveals that a number of the indices representing the original culture have become simplified over the years, and that the cultural cohort of individuals exhibiting those traits has developed certain stereotypes that have faded in past decades but not yet disappeared. The ethnicity of a minority group of Finnish Americans surrounded by several other more dominant ethnicities has developed into symbolic ethnicity with limited commitments to ethnic cultural activities. The ethnic activities of the symbolic identifiers are likely to have an occasional character and to be acceptable in a multiethnic setting
Tiivistelmä Tutkimuksen lähtökohtana on tarkastella toisen ja kolmannen polven amerikansuomalaisten kirjailijoiden tuotantoa suomalaisuuden näkökulmasta. Tarkoitus on tuoda esille niitä suomalaisuuden etnisiä piirteitä, jotka tänä päivänä ovat sellaisiksi tunnistettu sekä suomalaisten että amerikkalaisten etnografien tutkimuksissa. Työni sijoittuu kognitiivisen kirjallisuudentutkimuksen kenttään. Se sisältää yhteiskunnallisia ja sosiaalisia argumentteja siinä määrin kuin niitä esiintyy tutkimuksen kohteena olevissa teoksissa. Tutkimukseni kirjailijat sekä heidän teoksensa ovat: Lauri Anderson, Heikki Heikkinen And Other Stories of Upper Peninsula Finns, Mary Caraker, Growing up Soggy sekä Elina, Mistress of Laukko, Joseph Damrell, Gift, Lynn Laitala, Down from Basswood, ja Paula Robbins, Below Rollstone Hill. Tutkimuksessa käytetään kulttuurimalleja sekä skeemoja analysoitaessa imagologista lähestymistapaa, joka kirjallisuudentutkimuksen alalla on muodostunut yhdeksi tärkeimmistä lähestymistavoista nimenomaan kulttuuri-identiteettiä sekä eri kansallisuuksien kulttuurimalleja tutkittaessa. Kehittämäni teoreettinen malli suomalaisuuden eri piirteistä tukee fiktiivisten sekä osittain ei-fiktiivisten teosten analysointia luo sen viitekehikon, jonka mukaisesti olen tarkastellut suomalaisuutta valitsemieni viiden amerikansuomalaisen kirjailijan tuotannossa. Tutkimus pyrkii selvittämään missä määrin suomalaisuutta ilmentävät kulttuurimallit ovat säilyneet toisen ja kolmannen polven suomen kieltä osaamattomien amerikansuomalaisten kirjailijoiden kulttuurisessa muistissa sävyttäen heidän kerrontaansa suomalaisuuden eri etnisiä piirteitä tietoisesti tai tiedostamatta kuvaavina. Tutkimus osoittaa, miten kansalliset kulttuurilliset erikoispiirteet säilyvät sukupolvelta toiselle vieraassa kulttuuriympäristössä myös silloin, kun kulttuurin kokijan identiteetti on jo aiemman sukupolven aikana esimerkiksi kielen osalta muuttunut toiseksi. Moni suomalaista identiteettiä ilmentävä peruspiirre on vähitellen yksinkertaistunut tai saanut uusia vaikutteita mutta säilyttänyt kuitenkin siitä tietoisen ryhmän keskuudessa erilaisia suomalaisuudeksi luokiteltavia stereotyyppisiä käyttäytymisen malleja, jotka vuosikymmenten kuluessa ovat haalistunut, mutta eivät vielä hävinneet. Pienen amerikansuomalaisen vähemmistön identiteetti monien hallitsevampien etnisyyksien puristuksessa on vähitellen muodostunut symboliseksi etnisyydeksi, jolloin yksilöillä on vapaus valita sitoutumisensa aste kyseessä olevan kulttuurin vaatimuksiin. Näin ollen amerikansuomalaisuutta ilmentävät tavat ja tunnusmerkit ovat suomalaisuuteen liitettyinä saaneet osaksensa sellaisia arvoja ja toimintamalleja, jotka sekä symbolisen että epäsäännöllisen luonteensa vuoksi ovat helpommin hyväksyttäviä monikulttuurisessa ympäristössä

Les rapports entre la Pologne et l’Afrique sont abordés dans cette étude d’un angle historique et comparatiste, en vue de contribuer aux recherches sur l’image de l’Afrique dans les littératures européennes. En liaison étroite avec la situation géopolitique de la Pologne la problématique s’articule autour du regard posé sur un espace colonisé qui se constitue dans la littérature d’un pays n’ayant pas participé à la colonisation. Trois ordres de faits sont approfondis : les voyages des Polonais en Afrique, les récits issus de ces voyages et les images littéraires forgées dans l’imaginaire polonais avec leurs usages littéraires, idéologiques ou politiques. Les relations nouées entre les écrivains polonais et l’Afrique sont étudiées à travers un corpus étendu, qui se réfère aux grands écrivains de l’époque coloniale comme Joseph Conrad ou Henryk Sienkiewicz mais se focalise plus sur l’époque de la décolonisation des années 1950-1980, où les écrits de Ryszard Kapuściński sont mis en perspective par un grand nombre d’auteurs mineurs, reporters, médecins, missionnaires ou diplomates. L’altérité africaine est aussi approchée dans sa dimension spéculaire, comme un miroir à travers lequel s’observe et se définit l’identité polonaise. L’image polonaise de l’Afrique surgit ainsi dans son côté paradoxal en ce qu’elle va à l’encontre des images occidentales tout en les reproduisant. Lieu d’enracinement littéraire, l’Afrique devient dans la littérature polonaise un lieu de réflexion où – plus que des arrière-pensées politiques ou des culpabilités enfouies propres aux pays colonisateurs – se manifeste la communauté des destins
The relations between Poland and Africa are considered in this thesis in a historical and comparative approach in order to contribute to the studies of the image of Africa in European literatures. As a link to the geopolitical situation of Poland the questioning is articulated about the image of a colonised space created in the literature of a country not implicated in colonisation. Three kinds of facts are analysed. First, travels by the Polish in Africa, then, stories created as a result of these travels, and finally the images that exist in Polish imagery with their literary, ideological or political uses. The relations between Polish writers and Africa are studied in an extended corpus which refers to writers of the colonial period (Joseph Conrad and Henryk Sienkiewicz) but is more focused on the decolonisation period from 1950 to 1980, where Ryszard Kapuściński’s writings are put in perspective by a number of secondary writers, reporters, physicians, missionaries or diplomats. The African alterity is also approached in its specular dimension as a mirror through which the Polish identity is observed and defined. The Polish image of Africa comes into view as a paradox since it simultaneously is contrary to Western images and a reproduction of them. A place of deep literary roots, Africa becomes in Polish literature also a place of reflection which – more than some politic ulterior motives or hidden culpabilities characteristic of imperial powers – reveals the union of destinies

No atual contexto em que vivemos, a globalização, isto é, o fenômeno que promove a aproximação entre países e as representações culturais de seus produtores, justifica-se destacar a mais importante tarefa nesta realidade: a tradução. Destacamos nessa pesquisa a relevância e posteriores conseqüências num contexto intercultural cuja direção tradutória seja de países periféricos para os demais países, como a versão da obra literária infanto-juvenil Do Outro Mundo de Ana Maria Machado para o inglês. O livro traz uma série de referências culturais brasileiras, referências históricas e de conscientização sobre a igualdade social e racial discutidas em uma linguagem para crianças. Ainda, essa tradução não foi realizada por um falante nativo da língua meta, mas por uma tradutora que tem como língua materna a mesma da autora e respectiva obra literária, o português brasileiro. Assim, articulamos a Estética da Recepção e a Imagologia, teorias literárias que dialogam com os Estudos da Tradução, para a formulação da seguinte hipótese, de que a apreensão da cultura brasileira pelo consumo de uma produção cultural, como o livro infanto-juvenil, por um público alvo peculiar que se encontra ainda em processo de formação de seus valores e visão de mundo, dentro do contexto cuja autora deteve enorme controle do resultado final, visto a sua parceria de criação com a tradutora, privilegiará a manutenção de traços culturais da nossa sociedade. Aqui, estes se encontram representados por imagens construídas pela escritora no original e, posteriormente, pela tradutora na tradução, dentro de uma temática de extrema relevância social, além de uma forma engenhosa que exige diferentes níveis de interpretação dos leitores nesse contato entre culturas. Assim, com base nos fundamentos teóricos, buscaremos demonstrar essa hipótese no nível discursivo em três pontos principais: a identificação das imagens no texto original e traduzido que apresentam marcas da identidade cultural brasileira; segundo, o fato de que tradução e original fazem parte do universo infanto-juvenil exigindo um enfoque na recepção estética; e por último, a particularidade dessa tradução, isto é, os desdobramentos de uma parceria entre escritora e tradutora que traz uma diferente perspectiva para o resultado final.
In the current moment we live in, the globalization, that is a phenomenon that promotes approximation among countries and cultural representations from their producers, we highlight the most important task present and essential within it: translation. We emphasize in our research the possible consequences within an intercultural context where the translation direction is from periphery to center, as we see in Do Outro Mundo by Ana Maria Machado and its translation into English. This childrens book brings many Brazilian references about History facts, social and racial civil rights. Yet, its translation was not made by a native of English, instead, a Brazilian translator who happens to be the authors daughter who contributed with this research by revealing some of the issues presented in this particular translation. Therefore, we articulate the Reception Theory and the Imagology Studies both literary theories with Translation Studies to formulate the following hypothesis: the comprehension of Brazilian culture by a specific target audience, that is, children who are still developing their moral and social values by a translation of a book which there was a peculiar interference by the partnership between the author and the translator. It will show as a result the maintenance of the cultural representation of our society. Thus, this representation is composed by the images constructed by the author in the original text and later by the translator in the translated text revealing a theme of enormously social relevance and within a form that demands from the reader different levels of interpretation.

Cette thèse en Études Germaniques s'inscrit dans l'axe de recherche de la civilisation allemande ainsi que dans le domaine de l'imagologie et de la perception interculturelle. Elle a pour objectif de faire découvrir l'image de l'Allemagne unie en France à travers deux corpus d'ouvrages français, parus entre 1990 et 2006. Ces publications de spécialistes français de l'Allemagne contemporaine visent à informer le lecteur sur l'actualité du pays voisin. Le corpus principal comporte dix-sept essais, qui sont étudiés de façon approfondie (corpus A). Le corpus complémentaire englobe cent essais et ouvrages spécialisés, choisis pour leur représentativité, qui illustrent les tendances actuelles du secteur des livres sur l'Allemagne en France (corpus B). L'analyse du corpus A se compose de deux parties : d'une part la présentation (portraits,résumés, interprétations méthodologiques), et d’autre part l'étude thématique de sept champs différents (Histoire et Mémoire ; Actualité politique et économique ; Culture ; Individu ; Société ; Identité ; Perception). L'analyse du corpus B est un aperçu plus restreint qui apporte des renseignements sur les choix thématiques des auteurs, les stratégies des maisons d'édition ainsi que les chiffres de tirage et de vente, afin de déterminer les succès de librairie. La conclusion montre l’évolution de l'image de l'Allemagne en France depuis la réunification. D'un côté, les Allemands sont présentés comme 'psychorigides et malheureux' et de l'autre, comme étant 'heureux à leur façon'. La première vision est encore majoritaire, mais le démenti gagne du terrain et crée une nouvelle dynamique sur le plan imagologique
This thesis in German studies contributes to the research on German culture as well as imagology and intercultural perception. It aims at identifying the public image of unified Germany in France on the basis of two corpuses of French works published between 1990 and 2006. These publications by French experts on contemporary Germany seek to inform their readers on today’s life in the neighbouring country. The main corpus encompasses seventeen essays that are thoroughly analysed. The complementary corpus covers one hundred essays and specialized works, chosen for their representative character, which illustrate the current tendencies in the French book sector on Germany (corpus B). The analytical approach of corpus A is twofold: on the one hand it consists of a presentation (portraits, synopses, methodological interpretations) and, on the other hand, of a thematic analysis within seven different fields (history and commemoration ; current political and economic debates; culture; individual; society; identity; perception). Corpus B provides a more limited survey on the authors’ thematic choices, the strategies of the publishing houses and the circulation numbers and sales figures in order to determine their success on the book market. In conclusion, it is shown in what way the public image of Germany in France has been able to evolve since the reunification: While some authors present Germans as being “pig-headed and distressed”, others characterise them as being “happy in their own way”. The majority still takes the first view, but the opposing position is gaining ground, thus creating a new dynamic in imagology

Submitted by Aline Batista (alinehb.ufpel@gmail.com) on 2014-09-05T22:49:59Z No. of bitstreams: 2 license_rdf: 19874 bytes, checksum: 38cb62ef53e6f513db2fb7e337df6485 (MD5) Dissertação Alexandre Antonio Ramos Maciel para CD.pdf: 6613225 bytes, checksum: 413687c9e63d56e3231cd8305749b0a1 (MD5)
Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2014-09-06T00:26:57Z (GMT) No. of bitstreams: 2 license_rdf: 19874 bytes, checksum: 38cb62ef53e6f513db2fb7e337df6485 (MD5) Dissertação Alexandre Antonio Ramos Maciel para CD.pdf: 6613225 bytes, checksum: 413687c9e63d56e3231cd8305749b0a1 (MD5)
Made available in DSpace on 2014-09-06T00:27:29Z (GMT). No. of bitstreams: 2 license_rdf: 19874 bytes, checksum: 38cb62ef53e6f513db2fb7e337df6485 (MD5) Dissertação Alexandre Antonio Ramos Maciel para CD.pdf: 6613225 bytes, checksum: 413687c9e63d56e3231cd8305749b0a1 (MD5) Previous issue date: 2014-03
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Adotando a Teoria Crítica da Sociedade, fundamentada a partir da Escola de Frankfurt, este trabalho aproxima a narrativa ficcional à organização social ao qual integra. Problematizando os espaços de uma e de outra, passando pelos pontos de intersecção, pretende-se discutir o quanto o texto literário e o contexto podem dizer um sobre o outro, acima de tudo, através da pertinência da aplicabilidade destas observações nas obras Don Frutos e O dia em que o Papa foi a Melo, de Aldyr Garcia Schlee. Questões que presenciarão a discussão, aqui são apresentadas: a identidade, na perspectiva da imagologia; a historiografia, embricada nas relações com o ficcional, tanto como instrumento uma de outro, como em rediscussão de cada visão da narrativa; as linguagens em que o texto literário aproxima-se para sua construção formal e suas implicações.
Adopting the Critical Theory of Society, founded from the Frankfurt School, this work approaches the fictional narrative to the social organization which integrates. Questioning their spaces, passing through the points of intersection, we intend to discuss how the literary text and the context can tell one about the other, above all, through the relevance of the applicability of these observations in the works and The Don Frutos and El día en que el Papa fue a Melo of Aldyr Garcia Schlee. Issues that will witness the discussion, here are presented: the identity from the perspective of imagology; historiography, tied in relations with the fictional, both as an instrument one from another, as in view of the renewed discussion of each narrative; languages in which the literary text approaches to their formal construction and its implications.
Se propone tratar en ese trabajo el análisis de la narrativa de ficción a través de la organización del medio social que la integra, para tanto adoptando como soporte teorico la Teoría Crítica de la Sociedad basada en la Escuela de Frankfurt. Cuestionando los espacios de una y otra, traspasando por los puntos de intersección en el que se encuentra la intencionalidad de debatir cómo el texto y el contexto literario pueden decir uno sobre el otro, y sobre todo, a través de la relevancia y aplicabilidad de estas observaciones en las obras Don Frutos y El día en que el Papa fue a Melo, de Aldyr Garcia Schlee. Los temas que serán elementos de la discusión se presentan a la continuación: la identidad desde la perspectiva del estudio de las imágenes, la historiografía entrelazada a las relaciones con la ficción, una como mecanismo para la comprensión de la otra, como rediscución da visón de cada una en relación a la narrativa; las linguajes en que el texto literário tiene aproximaciones para la construción formal de sus implicaciones.

Esta tese pretende analisar as imagens de mulheres no semanário A Paródia (1900-1905) de Rafael e Manuel Gustavo Bordalo Pinheiro, tendo particular ênfase na ironia que perpassa em toda a obra gráfica de Bordalo. Para o efeito, dividimos a tese em três capítulos. No primeiro, fazemos a caracterização do nosso objeto de estudo: conceitos de jornalismo satírico, a integração da caricatura como género literário, as características da notícia satírica e alguns conceitos de sátira gráfica. Analisamos este jornal na história do jornalismo e do jornalismo satírico da época em que foi publicado, referindo alguns exemplos estrangeiros. Por fim, traçamos a biografia dos seus principais criadores. No segundo capítulo, contextualizamos a época em questão, tanto ao nível político como artístico e em termos da história das mulheres. Finalmente, referimos o papel que a imprensa desempenha na construção de género. No terceiro capítulo, temos especial atenção com as ferramentas que nos vão permitir fazer a análise: a iconologia, a literacia visual e aquele que pode ser considerado o código próprio da caricatura. Este código é subsidiário da Teoria Geral do Humor Verbal e da análise do discurso humorístico. O ato humorístico, segundo Charaudeau, utiliza tanto procedimentos linguísticos como discursivos e tem os seus efeitos de conivência. Após referirmos a importância da Imagologia, procedemos à análise de estereótipos de atrizes estrangeiras, à análise de imagens de outras mulheres que foram representadas n’ A Paródia, referimos a condição dos estereótipos detetados como redução do papel da mulher na época e, finalmente, procedemos a uma análise de estereótipos de representações femininas de personagens masculinos, que se podem considerar os travestimentos tão comuns em Rafael Bordalo Pinheiro; Abstract: This doctoral thesis aims to analyse women’s images in the weekly newspaper A Paródia (1900-1905) by Rafael and Manuel Gustavo Bordalo Pinheiro, with emphasis on the irony that spreads through the entire graphic work of Bordalo. With this purpose in mind, we proceeded to the division of the thesis in three chapters. In the first one, we characterize our object of study: concepts of satirical journalism, the integration of the caricature as a literary genre, the characteristics of satirical news and some concepts of graphic satire. We analyse this newspaper in the history of journalism and of satirical journalism until the time it was published, referring to some foreign examples, like French, Brazilian and North American. Finally, we refer to the biography of its main creators. In the second chapter, we contextualize the period in question, politically, artistically and in terms of women's history. Finally, we mention the role that the press plays in construction of gender. In the third chapter, we consider the tools that will allow us to develop the analysis: iconology, visual literacy and what can be called the caricature's specific code. In order to understand it we need to consider the contributions of the General Theory of Verbal Humor as well as humorous speech analysis. The humorous act according to Charaudeau involves linguistic and discursive procedures and has its own effects of connivance. After considering the importance of Imagology, we analyse the stereotypes of foreign actresses, as well as the images of other women represented in the newspaper, we refer to the condition of the stereotypes detected and which were determinant to reduce the role of women at the time, and finally we analyse female stereotypes representation of male characters, which can be called the travestisms that were so frequent in Rafael Bordalo Pinheiro.

La recherche se focalise sur l’étude d’un corpus composé d’oeuvres littéraires françaises et de la région du Río de la Plata (Amérique du Sud), qui vont de la seconde moitié du XIXe siècle jusqu’à 2015. L’étude s’appuie aussi sur l’analyse d’images iconographiques, pour analyser l’image du personnage de l’employée domestique qui se dégage dans la convergence entre la littérature et les arts plastiques. Dans une perspective comparatiste, le travail explore les formes de la représentation de cette figure d’un point de vue stylistique, thématique et politique. Les contiguïtés entre les deux corpus nationaux montrent non seulement l’existence d’une dynamique d’échanges entre le Río de la Plata et la France en ce qui concerne les débats esthétiques et politiques, mais aussi l’existence d’un partage du sensible commun. L’étude établit une périodisation des modes de représentation du personnage, depuis son accès au rôle principal, à travers l’analyse de la construction littéraire de sa voix, de son parcours de vie, de son intimité et du regard qu’il porte sur le monde. Cette recherche se fonde sur la conviction que la domesticité est un fait social total, dont l’analyse mène à une radicale interrogation ontologique. Cela marque de son empreinte le personnage et les rapports qui se tissent autour de lui et résulte dans sa puissance politique, dont les auteurs se sont emparés. Finalement, et suivant une tradition d’études qui se font sur la longue durée et en prenant compte d’une certaine « transnationalisation » de la figure, nous entendons encourager l’étude de la domestique dans le domaine de la littérature comparée.

La recherche concerne les représentations sociales du VIH/sida, en pays Moba (Nord Togo) telles qu’elles sont socialement et culturellement perçues, tant par les personnes vivant au quotidien avec le VIH/sida que par celles qui ne sont pas atteintes. Une revue de la littérature a mis en évidence l’évolution des connaissances, croyances, attitudes, inquiétudes et défenses au regard de l’évolution du VIH/sida à travers le monde. Elle a permis d’identifier les éléments constitutifs des représentations sociales du VIH/sida en les abordant à travers le prisme du modèle contagionniste, des théories profanes, de l’action raisonnée et du comportement planifié. On a exploré aussi les théories explicatives (du stigmate, des préjugés et des discriminations) et celles dites des «peurs liminales». Des travaux empiriques ont été menés en pays Moba, au Nord-Togo. Les objectifs ont été d’analyser les composantes des discours populaires/profanes des personnes non infectées et des personnes infectées afin de mettre en évidence les phénomènes cognitifs induits par les représentations sociales de la maladie qui contribuent à la construction d'une identité séropositive. Méthode 410 personnes, âgées de 18 à 56 ans, ont été interrogées : 376 personnes non infectées (dont 269 prises de manière aléatoire), 7 agents de l’Association Vivre dans l’Espérance prenant en charge des personnes vivant avec le VIH, 34 personnes infectées par le VIH/sida. Une analyse quantitative des données a été menée à l'aide du logiciel SPSS (Statistical Social Sciences Package); traitement des tests de khi-deux de Pearson. Une analyse de contenu sociolinguistique s’est appliquée aux différents discours produits. Elle s'est faite en identifiant des catégories clés. Pour effectuer une procédure de contrôle, nous avons eu recours à la méthode des jurés qui nous a permis de valider les catégories identifiées par deux enseignants de l'Université de Kara originaires du pays Moba comme nous.Résultats, discussion et conclusion Les représentations sociales du VIH/sida en pays Moba s’élaborent et se structurent sous l’influence de processus socioculturels qui demeurent préjudiciables pour les personnes atteintes du VIH. Si les personnes non infectées continuent de considérer le sida comme une maladie grave, mortelle ou encore comme une maladie «honteuse» parce qu’elle est liée au sexe, les personnes infectées ne semblent pas s’auto-stigmatiser comme des «personnes dangereuses» et se décrivent plutôt comme des patients atteints d’une maladie chronique, au même titre que ceux qui sont victimes du paludisme. Elles précisent que la prise en charge médicale et psycho-sociale a produit un changement (décrit comme «positif») dans la perception de la maladie et de celui qui en est porteur. Les attitudes à leur endroit seraient et resteraient malgré tout «hostiles». Ce facteur serait à l’origine de «souffrances» de ces personnes et de la mise en œuvre au quotidien de stratégies permettant de faire face à leur mal. Une véritable identité séropositive semble se construire autour des déterminants comportementaux qui portent sur la prévention d’une éventuelle double infection, le mariage entre séropositifs, le maintien de l'exercice d'un métier, le renoncement aux activités sexuelles, la participation à des rituels spécifiques de deuil, les témoignages à visage découvert, le maintien du non-dit et la politique du secret quant à leur séropositivité
The social representations of HIV/AIDS such as they are socially and culturally perceived and the strategies updated in the speech of the people living at the daily with HIV/AIDS in Moba's area were explored. A significant review of the literature tried to highlight the evolution of knowledge, beliefs, attitudes, concerns and defenses in comparison with the international social events and to identify the components of the social representations of HIV/AIDS by approaching them through the prism of the model contagionnist, the profane theories, the reasoned action and the planned behavior, as well as the explanatory theories (of the mark, the prejudices and discrimination) and those of the liminal fears. Empric work was undertaken in Moba’s area, in North-Togo. The objectives were to analyze the components of the common/profanes speeches of uninfected and infected people in order to highlight the cognitive phenomena induced by the social representations of the disease which contribute to the construction of an identity of HIV-positive individual. In all, 410 old people of 18 with more than 56 years including/understanding: 376 uninfected people including 269 catches in a random way and 7 agents of Association Food in the Hope dealing with people living with the HIV and 34 people infected by HIV/AIDS. A sociolinguistic analysis of contents applied to the various produced speeches. It was done by identifying key categories as well as verbatim while measuring their importance. The use of SPSS software (Statistical Social Package for the Sciences) allowed to classify the speeches in order to emphasize recurring. To carry out a check procedure, we had recourseto the method of sworn which enabled us to validate the dcatégories identified by two teachers of the University of Kara originating in the Moba’s area like us. The social representations of HIV/AIDS in Moba’s area are worked out and structured under the influence of processes socioculturels which remain prejudicial for the people reached of the HIV. If the not infected people continue to regard the AIDS as a serious illness, mortal or a venereal disease because it is related to the sex, the infected people do not seem car-to stigmatize themselves like “dangerous people” and describe themselves rather like patients reached of a chronic disease, as well as those which are victims of malaria. They recognize that the medical and psychosocial assumption of responsibility produced a change (positive) in the perception of the disease and that which of it is carrying. The attitudes at their place would be and remain in spite of very hostile. This factor would be at the origin of the sufferings of these people and the implementation to the daily living strategies to face their evil. A true seropositive identity seems to be built around the behavioral determinants which relate to the prevention of the double infection, the marriage between hiv-positive individuals, the maintenance of the exercise of a trade, the renouncement of the sexual activities, the ritual specific ones of mourning, testimonys with discovered face, the maintenance of the unvoiced comment and the policy of the secrecy as for their seropositivity

Des récits de voyage aux romans coloniaux européens, l’Afrique a toujours servi à affirmer les valeurs européennes, davantage qu’à montrer les réalités africaines. Quelles valeurs se dégagent alors du discours sur l’Afrique subsaharienne véhiculé par les romans pour la jeunesse parus en France et en Allemagne entre 1991 – fin de l’apartheid – et 2010 – cinquantième anniversaire des indépendances ? Quels regards portent ces romans sur l’Afrique subsaharienne ? Et quelles auto-images des Européens transparaissent à travers ces images de l’Afrique ? De nombreuses études insistent sur la pérennité de l’imaginaire colonialiste dans les productions culturelles européennes. Ce travail prend le parti de montrer dans quelle mesure il existe, dans bon nombre de romans pour la jeunesse, une volonté de prendre ses distances avec l’héritage colonialiste, voire à le dénoncer, ainsi que de favoriser l’entente interculturelle entre Européens et Africains et de sensibiliser aux problèmes socioéconomiques de l’Afrique. Or, ces « bonnes intentions » se heurtent régulièrement à des limites et à des paradoxes. Cela donne lieu à un écart entre les valeurs explicitement défendues par les textes et celles, moins avouables, que les textes véhiculent involontairement. À travers un corpus de plus de 120 romans pour la jeunesse sur l’Afrique subsaharienne parus en France et en Allemagne, ce travail identifie les manifestations narratologiques de cet écart et explore des pistes possibles pour le réduire
From travel writing to colonial European novels, Africa has always been used to affirm European values more than to show African realities. What values emerge then from the discourse on sub-Saharan Africa conveyed by the novels for young people published in France and Germany between 1991 – end of the Apartheid – and 2010 – 50th anniversary of the African Independences? How do these novels portray sub-Saharan Africa? And what self-images of Europeans appear through these images of Africa? Many studies insist on the persistence of the colonialist imagination in European cultural productions. This work looks at the extent to which many novels for young people try to distance themselves from the colonial heritage, or to criticize it, and to encourage intercultural understanding between Europeans and Africans and raise awareness of African socio-economic problems. These “good intentions” regularly run into limits and paradoxes. This gives rise to a gap between the values explicitly defended by the texts and those, less praiseworthy, that the texts convey involuntarily. Through a corpus of more than 120 novels for young people about sub-Saharan Africa published in France and Germany, this work identifies the narratological manifestations of this gap and explores ways to reduce it
Angefangen von historischen Reiseberichten bis hin zu den Kolonialromanen steht Afrika in der europäischen Literatur eher als Sinnbild für europäische Werte als für afrikanische Realitäten. Welche Werte wurden zwischen 1991 (dem Ende der Apartheid) und 2010 (dem fünfzigsten Jubiläum der Dekolonisation) im Afrikadiskurs der Kinder- und Jugendromane in Frankreich und Deutschland vermittelt? Welche Afrikabilder überliefern diese Romane? Und vor allem: welches Selbstbildnis der Europäer offenbart sich durch diese Afrikabilder? Viele Studien haben gezeigt, dass der Einfluss des kolonialistischen Erbes in den kulturellen Produktionen Europas immer noch nicht gänzlich verschwunden ist. Diese Arbeit zeigt, dass viele der Kinder- und Jugendromane sich einerseits von genau diesem kolonialistischen Erbe distanzieren wollen oder es sogar anprangern, und versuchen damit interkulturelle Arbeit zu leisten. Diese Absicht entwickelt andererseits jedoch häufig ihre eigenen Paradoxe und stößt somit an ihre Grenzen. Das führt zu einer Abweichung zwischen den Werten die explizit, und jenen, die unwillkürlich von den Texten vermittelt werden. Anhand eines Korpus von mehr als 120 Kinder- und Jugendromanen aus Frankreich und Deutschland analysiert diese Arbeit die erzähltheoretischen Merkmale dieser Abweichung und erforscht Möglichkeiten, diese auf narratologischer Ebene zu beheben

This thesis examines the images of Germany and Sweden in several travelogues during a period of approximately thirty years (1800–1828). The objective is to analyse German and Swedish travelogues and their descriptions of the respective neighbouring country to view how the relationship between the two countries was perceived. The first part of the analysis examines six Swedish travelogues about Germany, written by authors belonging to the Swedish Romanticism. The second part examines six German travelogues about Sweden. The study seeks answers to the following question: how is Germany and Sweden described in the travelogues from the first three decades of the 19th century and how do the German and Swedish national self-images and the images of others appear in the travelogues?  The thesis is to be regarded as a literary study in the field of comparative imagology. Analysing travelogues to which only a few scholars have payed attention, this study expands understanding of national (literary) discourses concerning the neighbouring country. The study of the Swedish travelogues reveals that the Swedish travellers depicted a deep personal relationship to Germany, a sort of ‘elective affinity’, which largely had been developed through the reception of German literature and culture. In Germany, the Swedish travellers were merely on the verge of a foreign space. In the analysis of the German travelogues the thesis shows that a noticeably development concerning the ideas of Sweden was taking place. At the turn of the 19th century, Sweden was often described as barbarian, poor and uncultured. With an increased interest of the German Romantics in Norse mythology and culture, the descriptions of Sweden moved to be positive, visionary and even idealized. The form of a new romanticized notion of Sweden is to be observed during this period.

A distrofia muscular de Duchenne (DMD) é uma doença neuromuscular fatal, a mais comum das distrofias musculares, causada pela ausência da proteína distrofina, componente importante do complexo glicoproteínadistrofina, que envolve as células musculares lisas, cardíacas e esqueléticas, estabilizando a membrana dessas células durante contrações e relaxamentos. Por ser uma doença genética ligada ao cromossomo X, acomete indivíduos do sexo masculino, sendo que casos raros de meninas afetadas também são relatados. Indivíduos afetados pela DMD apresentam alterações significantes na composição corpórea, comparados com a população normal. Cães da raça golden retriever que possuem distrofia muscular (GRMD) representam o melhor modelo animal para ensaios terapêuticos na busca do tratamento da DMD, sendo esses animais fundamentais para o estudo do desenvolvimento dessa anomalia, devido ao fato de apresentarem genes e sintomas clínicos homólogos aos dos pacientes humanos. A similaridade entre as duas doenças é surpreendente, ambas são caracterizadas por precoce miopatia degenerativa, com progressiva necrose, fagocitose, deposição de cálcio e fibrose endomisial e perimisial. O foco principal deste trabalho foi esclarecer dúvidas quanto ao comportamento da musculatura lisa dos animais distróficos e portadores da GRMD, para se conhecer os efeitos da doença nesse tipo de tecido. Para avaliação da musculatura lisa uterina foram utilizados quatro úteros de cadelas golden retriever saudáveis, cinco úteros de portadoras do gene e quatro úteros de animais afetados pela GRMD. Analisando as fotomicrografias uterinas dos grupos, podemos notar que não há diferenças morfológicas através dos estudos histológicos convencionais. Porém, quando analisamos as fotomicrografias polarizadas , nota-se nas cadelas saudáveis exclusivamente colágeno do tipo III, de coloração esverdeada. Quanto às portadoras do gene da GRMD, observa-se colágeno predominantemente vermelho, do tipo I, e pouco em verde, tipo III. Fotomicrografias das fêmeas afetadas pela GRMD encontraram colágeno tipo III na parte interna do endométrio, miométrio e perimétrio, e colágeno tipo I em epitélio vascular, porém ambos em menor quantidade. É possível visualizar colágeno entre as fibras musculares através da luz polarizada. Para a avaliação da digestibilidade dos nutrientes em cães GRMD e sua capacidade absortiva, foram utilizados nove cães GRMD, sete fêmeas portadoras e dez animais saudáveis; todos receberam a mesma dieta adicionada de oxido crômico. O período experimental constou de um intervalo de 10 dias, sendo os cinco primeiros dias de adaptação e os cinco restantes de coleta de amostras. Os coeficientes de digestibilidade aparente (CDAs) obtidos pelos grupos estudados foram comparados e analisados: os resultados indicaram que os cães com GRMD avaliados não apresentaram redução do aproveitamento nutricional. Novas pesquisas que avaliem o gasto energético e composição corpórea destes animais são necessárias para melhor compreensão dos mecanismos envolvidos no emagrecimento e perda de peso que apresentam. Para a avaliação do tempo de trânsito gastrintestinal (TTGI) em cães golden retriever saudáveis, portadores e afetados pela distrofia muscular, foram utilizados 18 cães divididos em três grupos animais saudáveis, portadores e afetados pela GRMD, com seis cães cada. Os animais foram acondicionados em canis individuais e receberam a mesma dieta; esferas de polietileno (BIPS) impregnadas com bário foram fornecidas durante a alimentação. Cada animal recebeu 10 marcadores de tamanho grande (5 mm de diâmetro) e 30 marcadores de tamanho pequeno (1.5mm de diâmetro). Os animais foram radiografados nos momentos antes (basal) da 1ª refeição, para confirmação da ausência de conteúdo alimentar e fecal no trato gastrintestinal, e após a alimentação, em intervalos de duas horas, até que os marcadores atingissem o cólon. Resultados apontaram que os cães GRMD avaliados apresentam TTGI mais rápido quando comparados aos demais grupos. Este trabalho comprovou que a mm. lisa de cães distróficos é, de diversas maneiras, afetada pela doença, apresentando tanto alterações morfológicas como morfofuncionais. Muitos estudos nessa área são necessários para melhor compreensão dos mecanismos da enfermidade, bem como maneiras de intervenção para melhoria da qualidade de vida dos indivíduos afetados. Cães GRMD(s) são o melhor modelo animal para estudos pré-clínicos da DMD, assim esses resultados são muito relevantes para aprimoramento e melhora de manejo em biotérios que abrigam esses animais e para extrapolação de dados na própria medicina
Duchenne muscular dystrophy (DMD) is a fatal neuromuscular disease, it is the most common muscular dystrophy caused by absence of dystrophin protein, an important component of the dystrophin-glycoprotein complex, involving cell membranes of smooth, cardiac and skeletal cells, stabilizing these cells during contractions and relaxations. Because it is a genetic disorder linked to the X chromosome, it affects males, with rare cases of girls affected also reported. Individuals affected by DMD show significant changes in body composition, compared with the normal population. Golden retriever dogs who have muscular dystrophy (GRMD) represent the best animal model for therapeutic trials in the treatment of DMD,; these animals are fundamental to the study of the development of this anomaly, due to the fact that they show clinical symptoms and genes homologous to the human patients. The similarity between the two diseases is staggering; both are characterized by early degenerative myopathy with progressive necrosis, phagocytosis, calcium deposition and endomysial and perimysial fibrosis. The main focus of this thesis was to answer questions about the behavior of smooth muscles of dystrophic animals and carriers of GRMD, to know the effects of the disease in this tissue type. For evaluation of uterine smooth muscle we utilized four uteri of golden retriever healthy bitches, five uteri of gene carriers and four uteri of animals affected by GRMD. Analyzing the uterine photomicrographs of the groups we note that there are no morphological differences in conventional histological studies. However, when we analyze the polarized photomicrographs, we note that in healthy bitches we can see only collagen type III of greenish color. As regards the carriers of the GRMD gene, there is predominantly red collagen , type I, and very little green, type III. Photomicrographs of females affected by GRMD found type III collagen inside the endometrium, myometrium and perimetrium and collagen type I in vascular epithelium, but both in a very little quantity. It is possible to visualize collagen between muscle fibers by polarized light. For the assessment of nutrient digestibility in dogs GRMD and its absorptive capacity, we used nine GRMD, seven carriers females and ten healthy animals and all of them received the same diet with added chromic oxide. The experimental period consisted of an interval of 10 days, with the first five days to adaptation and the last ones to sample collection. The apparent digestibility coefficients obtained by the groups were compared and analyzed; the results showed that dogs with GRMD evaluated showed no reduction in energy utilization. The experimental period consisted of an interval of 10 days, with the first five days to adaptation and the last of them to sample collection. The apparent digestibility coefficients obtained by the groups were compared and analyzed; the results showed that dogs with GRMD evaluated showed no reduction in nutritional absorption. New research to assess energy expenditure and body composition in these animals are needed to a better understanding of the mechanisms involving reduction and weight loss they present. For the assessment of gastrointestinal transit time (TTGI) in golden retriever dogs healthy carriers and affected by GRMD 18 dogs divided into three groups were used - healthy animals, carriers and affected by GRMD, with six dogs each. The animals were placed in individual cages and were fed the same diet; polyethylene spheres (BIPS) impregnated with barium were supplied during feeding. Each animal received 10 markers large size (5mm diameter) and 30 markers small size (1.5mm diameter). Radiographs were taken in the moments before (baseline) the 1 st meal, to confirm the absence of food and fecal content in the gastrointestinal tract and after feeding at two-hour intervals until markers reach the colon. Results indicated that GRMD dogs evaluated showed TTGI faster when compared to the other groups. This thesis has shown that the smooth muscles of dystrophic dogs are, in many ways, affected by the disease, with both morphological and morphofunctional alterations; many studies in this area are needed so we can better understand the mechanisms of disease, as well as ways of intervention to improve the quality of life of affected individuals. GRMD dogs are the best animal model for preclinical studies of DMD, so these results are very relevant to enhancement and improvement of management in bioteries these animals have

À travers cette recherche, nous avons tenté d’élucider la complexité de la vie de l’émir Abd el-Kader. Pour ce faire, nous avons choisi d’étudier un certain nombre de productions littéraires, iconographique et historiques en lien avec cette figure centrale de l’histoire de la colonisation et de l’indépendance de l’Algérie. L’intérêt principal de ce travail intitulé : Constructions littéraires et idéologiques autour de la figure de l’émir Abd el-Kader : Une individualité complexe à l’épreuve de la modernité, au-delà de l’aspect biographique, réside dans l’argumentation élaborée depuis le comparatisme et l’imagologie. La méthodologie choisie découle de la nécessité de croiser les regards et les points de vue, afin de faire ressortir la vie de l’émir comme le symptôme d’un malaise et du refus d’une parole pleine, afin de rendre compte de la difficulté de l’écriture de l’histoire. Ainsi certains aspects de la vie de l’émir, tels que son séjour forcé en France de 1847 à 1852, tout comme son adhésion à la franc-maçonnerie sont des faits purement occultés dans l’Algérie officielle. C’est ici que la complexité de l’individualité de l’émir résiste au moule idéologique dans lequel on veut l’enfermer, et cela des deux côtés de la Méditerranée
This research undertaking represents an attempt to shed light on the life of Emir Abd al-Qādir in all its complexity. In order to do so, we chose to study various literary, pictorial and historical productions linked to this key figure in the history of colonisation and of the independence of Algeria. The main interest of this work, entitled Literary and Ideological Constructions around the Figure of Emir Abd al-Qādir, lies in lines of argumentation drawn from comparativism and imagology. The chosen methodology derives from the need to confront outlooks and points of view, so as to study the Emir’s life as a symptom of malaise and refusal to engage in comprehensive discourse, and thereby bear witness to the difficulty of writing history. Thus, some aspects of the Emir’s life, such as his enforced stay in France between 1847 and 1852, as well as his membership of the Freemasons, are wholly suppressed in official Algeria. It is at this point that Abd el Kader resists the ideological mould in which he has been imprisoned, and this on both sides of the Mediterranean

Submitted by Thaís Nascimento do Vale null (tnv_unesp@yahoo.com.br) on 2018-01-16T14:16:17Z No. of bitstreams: 1 TESE_VALE.T.N.pdf: 4156716 bytes, checksum: 2a06dda7747d1476dc5357804112c79d (MD5)
Approved for entry into archive by Laura Akie Saito Inafuko (linafuko@assis.unesp.br) on 2018-01-16T16:53:14Z (GMT) No. of bitstreams: 1 vale_tn_dr_assis.pdf: 4156716 bytes, checksum: 2a06dda7747d1476dc5357804112c79d (MD5)
Made available in DSpace on 2018-01-16T16:53:14Z (GMT). No. of bitstreams: 1 vale_tn_dr_assis.pdf: 4156716 bytes, checksum: 2a06dda7747d1476dc5357804112c79d (MD5) Previous issue date: 2017-12-12
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Este trabalho propõe o estudo das notas produzidas pelo escritor argentino Roberto Arlt (1900-1942), durante sua estada no Brasil, em 1930. Dessa viagem resultaram quarenta e duas crônicas intituladas Notas de a bordo, Notas de viaje e De Roberto Arlt, originalmente publicadas no jornal argentino El Mundo, entre 2 de abril e 31 de maio de 1930. Posteriormente esses textos foram compilados em livros sob os títulos: Aguafuertes cariocas (Buenos Aires: Adriana Hidalgo, 2013); Águas-fortes cariocas e outros escritos (Rio de Janeiro: Rocco, 2013) e Águas-fortes portenhas seguidas por águas-fortes cariocas (São Paulo: Iluminuras, 2013), sendo os dois últimos traduções para o português. Com a leitura de tais textos, busca-se compreender como são formadas as imagens e as representações sobre o Brasil, mais especificamente sobre o Rio de Janeiro, e como o espaço urbano é representado no que diz respeito à construção da identidade nacional, por meio da análise das estratégias de tradução dessas imagens para o código linguístico. Nota-se que a construção de heteroimagens nos textos arltianos está intrinsecamente ligada à transmissão de autoimagens, sendo necessário questionar em que medida a questão do idioma interfere nesse processo de representação do outro. Mais do que uma dificuldade em compreender o outro através de um idioma estrangeiro, a presença das autoimagens nas águas-fortes cariocas e a constatação de uma suposta superioridade dos argentinos em relação aos brasileiros traduzem o estranhamento da linguagem arltiana, não apenas naquilo que diz, mas na forma como o faz, e que caracterizou toda a sua obra. Partimos, para tanto, dos conceitos de narrativa de extração histórica (TROUCHE, 2006), imagologia literária (SOUSA, 2004), e dos estudos sobre a narrativa de viagem (IANNI, 2003; TODOROV, 2006; CARRIZO RUEDA, 2008) dentre outros que auxiliam na compreensão dos mecanismos narrativos utilizados pelo escritor, sobretudo no que diz respeito às relações entre eu e outro, auto e heteroimagem.
This work proposes the study of the notes produced by the Argentine writer Roberto Arlt (1900-1942), during his stay in Brazil in 1930. This trip resulted in forty-two chronicles entitled Notas de a bordo, Notas de viaje and De Roberto Arlt, originally published in the Argentine newspaper El Mundo, between April 2 and May 31, 1930. Later these texts were compiled in books under the titles: Aguafuertes cariocas (Buenos Aires: Adriana Hidalgo, 2013); Águas-fortes cariocas e outros escritos (Rio de Janeiro: Rocco, 2013) and Águas-fortes portenhas seguidas por águas-fortes cariocas (São Paulo: Iluminuras, 2013), with the last two translations into Portuguese. With the reading of such texts, it seeks to understand how images and representations are made about Brazil, more specifically about Rio de Janeiro, and how the urban space is represented with regard to the construction of the national identity, through of the analysis of the translation strategies of these images into the linguistic code. It is noted that the construction of hetero-images in the arltians texts is intrinsically linked to the transmission of self-images, and it is necessary to question to what extent the question of language interferes in this process of representation of the other. More than a difficulty in understanding the other through a foreign language, the presence of self-images in Aguafuertes cariocas and the finding of a supposed superiority of the Argentineans in relation to the Brazilians translate the strangeness of the arltian language, not only in what it says, but in the way he does it, and that characterized all his work. For this purpose, the concepts of narrative of historical extraction (TROUCHE, 2006), literary imagology (SOUSA, 2004), and studies on travel narrative (IANNI, 2003; TODOROV, 2006; CARRIZO RUEDA, 2008) among others that help in the understanding of the narrative mechanisms used by the writer, especially with regard to the relations between the self and other, self- and hetero-images.
Este trabajo propone el estudio de las notas producidas por el escritor argentino Roberto Arlt (1900-1942), durante su viaje al Brasil, en 1930. De ese viaje resultaron cuarenta y dos crónicas intituladas Notas de a bordo, Notas de viaje e De Roberto Arlt, originalmente publicadas en el diario argentino El Mundo, entre 2 de abril y 31 de mayo de 1930. Posteriormente esos textos fueron compilados en libros bajo los títulos: Aguafuertes cariocas (Buenos Aires: Adriana Hidalgo, 2013); Águas-fortes cariocas e outros escritos (Rio de Janeiro: Rocco, 2013) e Águas-fortes portenhas seguidas por águas-fortes cariocas (São Paulo: Iluminuras, 2013), siendo los dos últimos traducciones para el portugués. Con la lectura de los textos, se busca comprender como son formadas las imágenes y las representaciones sobre el Brasil, más específicamente sobre el Rio de Janeiro, y cómo el espacio urbano es representado en lo que respecta a la construcción de la identidad nacional, por medio del análisis de las estrategias de traducción de esas imágenes para el código lingüístico. Se puede notar que la construcción de heteroimágenes en los textos arltianos está intrínsecamente asociada a la transmisión de autoimágenes, siendo necesario cuestionar en que medida la cuestión del idioma interfiere en ese proceso de representación del otro. Más que una dificultad en comprender el otro a través de un idioma extranjero, la presencia de las autoimágenes en las aguafuertes cariocas y la constatación de una supuesta superioridad de los argentinos en relación a los brasileños traducen el extrañamiento del lenguaje arltiano, no solo en lo que dice, pero en la forma como lo hace, y que ha caracterizado toda su obra. Partimos, para tanto, de los conceptos de narrativa de extracción histórica (TROUCHE, 2006), imagología literaria (SOUSA, 2004), y de los estudios sobre la narrativa de viaje (IANNI, 2003; TODOROV, 2006; CARRIZO RUEDA, 2008) entre otros que auxilian en la comprensión de los mecanismos narrativos utilizados por el escritor, sobretodo en lo que respecta a las relaciones entre el yo y el otro, auto y heteroimagen.

L'effondrement du communisme et la chute du mur de Berlin ont remis au centre des consciences européennes les anciens pays d'Europe de l'Est. Ce travail de recherche géocritique se veut d'étudier le regard porté sur cette partie du continent européen à partir de quelques écrivains-voyageurs qui, comme Rory MacLean avec Stalin's Nose (1992), Jason Goodwin avec On Foot to the Golden Horn (1993), François Maspero avec Balkans-Transit (1997), Wolfgang Büscher avec Berlin-Moskau. Eine Reise zu Fuß (2004), Andrzej Stasiuk avec Sur la route de Babadag (2004), Marco Belpoliti avec La prova (2007) et Paolo Rumiz avec Trans Europa Express (2012) ont traversé d'une manière ou d'une autre cette partie du continent après la chute du mur de Berlin. Autrefois espace strictement associé aux images de guerre froide et au communisme, il apparaît aujourd'hui comme un espace flou, ambigu, voire indéterminé : un espace partagé entre post-communisme et ultra-libéralisme, entre post-moderne et pré-moderne, entre connu et inconnu : des éléments qui font de l’Europe de l'Est un espace exotique de frontières
The end of communism and the fall of the Berlin wall have drawn attention to the ancient countries of Eastern Europe. This geo-critical research aims at studying and understanding perceptions of this part of European continent from few travelling writers. These ones, as Rory MacLean with Stalin’s Nose (1992), Jason Goodwin with On Foot to the Golden Horn (1993), François Maspero with Balkans-Transit (1997), Wolfgang Büscher with Berlin-Moskau. Eine Reise zu Fuß (2004), Andrzej Stasiuk with Sur la route de Babadag (2004), Marco Belpoliti with La prova (2007) and Paolo Rumiz with Trans Europa Express (2012) did, have crossed this part of Europe, in one way or another, after the fall of the Berlin Wall. In a traditional view, this space was used to be associated with the cold war and communism. Today, it seems to be vague, unclear, ambiguous and uncertain; a space shared between post-communism and ultra-liberalism, between early and post-modernism, between the known and the unknown. In other words, Eastern Europe has become an exotic borders’ space

Dans cette thèse est analysé le deuxième et dernier livre Beribilez (En voiture) de Jean Etchepare (1877-1935). Le but de la recherche est d’établir l'idéologie de l'auteur à l’âge adulte et l’image qu’il donne tout au long de ce récit de voyage, fait en voiture à travers le Pays Basque. On a utilisé deux méthodologies principalement : la sémiotique (Philippe Hamon) et l´imagologie (Daniel-Henri Pageaux). On a relu les critiques portant sur l´œuvre de cet auteur pour les comparer avec nos intuitions. Nous avons sondé la formation intellectuelle de Jean Etchepare, et nous avons vu qu'au Pays Basque du Nord, il était confronté à la pensée traditionnelle, dominante à cette époque. Durant la confrontation entre l'État et l'Église autour de la laïcisation, Etchepare a choisi une voie indépendante inspirée souvent par la philosophie allemande. Dans le domaine de la pensée esthétique, la vision du paysage basque est plutôt économiciste, l'appréciation des terres rurales se combine avec un mysticisme poétique. Au sein des beaux-arts, il critique l'enthousiasme théâtral du luxe religieux baroque qu'il voit dans le Sanctuaire de Loyola; dans l´aspect du savoir-vivre il s'éloigne modérément de l'ascétisme confessionnel traditionnel, donnant dans le texte une place inhabituelle jusqu’alors, aux petits plaisirs des sens (gastronomie, danse…). Dans le domaine de l'éthique, il critique la croissance urbaine de Saint-Sébastien : il proclame la spiritualité laïque contre le matérialisme et la dégénérescence de la haute bourgeoisie. Il prophétisa la Seconde Guerre mondiale qui s´approchait, parce qu'il voyait les êtres humains sans respect mutuel. En tant que positiviste, il critique aussi toute croyance irrationnelle. Enfin, il indique qu'à l'âge adulte il s'est aligné sur la philosophie grecque de la mesure. A propos du Pays Basque, il entend promouvoir la solidarité entre les deux versants basques des Pyrénées, en réinterprétant les avatars de l'Histoire de manière diplomatique. L'attitude envers le Sud-est de filia (Pageaux). En conclusion, on peut dire que l'écrivain dans ce livre a modélisé soigneusement l´expression de sa pensée, car il ne voulait pas que l´ouvrage soit rejeté, comme ce fut le cas avec le premier (Glanes, 1910)
The second book ((original Basque title) Beribilez; (engl.) By car) by Jean Etxepare (1877-1935) is analysed in this doctoral thesis. The aim of this research is to define the author’s ideology/ in his intellectual maturity and his image of the Basque Country, along the journey made by car through the Southern Provinces. Semiotic Methodology (Philippe Hamon) and Imagology (Daniel-Henri Pageaux) have been used as a study method. We have looked at the academic training of Jean Etxepare, and we have seen that in the Northern Basque Country he was confronted with the hegemonic traditional catholic way of thinking. During the years of dissent between the State and the Church, Etxepare chose the free-thinking path, inspired by German philosophy. In the area of aesthetics, his view of the Basque landscape is mostly economicist. His perspective of the appreciation of rural lands combines with a poetic mysticism. He considers the display of Baroque religious luxury that he sees in the Sanctuary of Loyola, spiritually deficient; we can see that, on the one hand, we are dealing with an intellectual author of petit bourgeois standing and sound artistic judgement... On the other hand, even if he proves to be a knowledgeable person, he is very capable of enjoying the small pleasures of life as gastronomy, wines, dances and eroticism in a harmonious and measured way. He moves moderately away from traditional confessional asceticism, giving in his book to the pleasures of the body an unusual and enlightening place unknown to the catholic dominant literature. In the field of ethics, he criticizes the urban growth of San Sebastian: he proclaims secular spirituality against the materialism and degeneration of the high bourgeoisie. He prophesied that there would be the Second World War, because he saw the human beings lacking mutual respect. As a positivist, he criticizes any irrational belief. Finally, he indicates that in adulthood he has been aligned with the Greek philosophy of measure, in spite of his non-conformist youth. About the Basque Country, he intends to promote solidarity between the two sides of the frontier, reinterpreting the history passages in a diplomatic way. His attitude towards the South is of a philia one (Pageaux). As a conclusion, we can say that the writer measured the expression of his dissident way of thinking, because he did not want his second book to be rejected as had been the case with the first one (Buruxkak, 1910)

[cat] Aquesta tesi estudia les representacions d’alteritat derivades del pas de fronteres —en el sentit diaspòric o en el transitori— a l’illa de Mallorca presents en les novel·les en català escrites per autors mallorquins entre 1968 i 2008. Es basa en concepcions teòriques que parteixen de dues aproximacions diferenciades: la primera, d’ordre filosòfic, que analitza l’alteritat com a element de construcció de la identitat; la segona, d’ordre social-icònic, que estudia les imatges mentals en les representacions públiques d’una cultura. L’estudi també inclou una visió panoràmica de la realitat històrica, demogràfica i social recent de Mallorca. L’objectiu de la tesi és examinar la construcció de les imatges de l’estranger com a resultat de processos culturals, socials i polítics, observar la circulació i el canvi que han anat experimentant i relacionar-les amb l’evolució dels estereotips en la societat mallorquina durant aquests anys. Aquestes imatges oscil·len entre la visió progressista que abraça el nou i la més conservadora que rebutja els canvis. La transformació apareix sovint en forma de conflicte i es relaciona amb la percepció d’un mateix i del forà. S’observa la porositat en la configuració de la identitat i de la construcció social i es fa evident la complexitat de percepcions i de reaccions davant la qüestió. Aquesta dicotomia es tradueix en dues visions oposades del subjecte transfronterer: l’amenaça i el camí de sortida que ajuda l’illenc a escapar del solipsisme de la societat mallorquina. A partir d’aquí, es repassen els diversos estereotips i imatges presents al corpus. Una de les representacions més significatives és la del turista —des de la imatge més habitual del visitant, banal i hedonista, fins a la del turista residencial, que combina aquesta posició mòbil del subjecte amb l’estabilitat que implica la propietat immobiliària. També es llegeixen críticament les construccions imagològiques que basteixen el discurs construït per la indústria turística, siguin visions generals o representacions de personatges històrics. L’adquisició d’habitatges per part d’estrangers introdueix la tipologia del nou resident, representat sovint a partir de la idea de desconnexió amb la societat de recepció, però que ocasionalment pot compartir algunes actituds amb els nadius. Davant l’estranger en posició hegemònica, també trobam imatges que situen el nouvingut en una posició feble, de refugiat o de migrant econòmic, que sol emprar-se per emmirallar la societat mallorquina i els seus valors. S’observa una tendència a sexualitzar l’estranger i a llegir-lo, especialment si és dona, com un mer objecte de desig que prestigia l’home que s’hi acosta. En canvi, la dona que s’hi relaciona és desacreditada, en particular en obres publicades a l’inici del període estudiat. La representació del negre té unes característiques específiques i sempre relacionades amb l’estrangeritat, i sovint es vincula a un primitivisme relacionat amb societats de caire tribal, de desenvolupament social poc complex. L’estudi també examina l’alterització del territori relacionada amb l’estranger: per un costat, s’observa la representació dels espais en què l’Altre és hegemònic, en els quals els illencs deixen de tenir preponderància i, per tant, consideren com a territori aliè; per un altre, s’estudia la presència de l’Altre en els espais en què no se l’espera, zones que la indústria turística de model fordista havia reservat a l’illenc i que reben un nombre cada cop més elevat de visitants o nouvinguts transfronterers. En tots els casos, aquestes representacions no són només analitzades per la seva proximitat al clixé, sinó sobretot en termes de l’espai de confluència amb els illencs, amb la imatge literària que reflecteix les dinàmiques de la convivència. La proximitat entre els col·lectius no sol originar una hibridesa que transcendeixi la representació binària i, quan apareix efectivament aquesta hibridesa, la imatge tendeix cap a una de les dues identitats que configuren el subjecte híbrid: es constata així una manca de presència del tercer espai de representació que exposava Bhabha.
[spa] Esta tesis estudia las representaciones de alteridad derivadas del paso de fronteras —en el sentido diaspórico o en el transitorio— en la isla de Mallorca presentes en las novelas en catalán escritas por autores mallorquines entre 1968 y 2008. Se basa en concepciones teóricas que parten de dos aproximaciones diferenciadas: la primera, de orden filosófico, que analiza la alteridad como elemento de construcción de la identidad; la segunda, de orden social-icónico, que estudia las imágenes mentales en las representaciones públicas de una cultura. El estudio también incluye una visión panorámica de la realidad histórica, demográfica y social reciente de Mallorca. El objetivo de la tesis es examinar la construcción de las imágenes del extranjero como resultado de procesos culturales, sociales y políticos, observar la circulación y el cambio que han ido experimentando y relacionarlas con la evolución de los estereotipos en la sociedad mallorquina durante estos años. Estas imágenes oscilan entre la visión progresista que acoge lo nuevo y la más conservadora que rechaza los cambios. La transformación aparece a menudo en forma de conflicto y se relaciona con la percepción de uno mismo y del foráneo. Se observa la porosidad en la configuración de la identidad y de la construcción social y se hace evidente la complejidad de percepciones y de reacciones ante la cuestión. Esta dicotomía se traduce en dos visiones opuestas del sujeto transfronterizo: la amenaza y el camino de salida, que ayuda al isleño a escapar del solipsismo de la sociedad mallorquina. A partir de aquí, se repasan los distintos estereotipos e imágenes presentes en el corpus. Una de las representaciones más significativas es la del turista —desde la imagen más habitual del visitante, banal y hedonista, hasta la del turista residencial, que combina esta posición móvil del sujeto con la estabilidad que implica la propiedad inmobiliaria—. También se leen críticamente las construcciones imagològicas que constituyen el discurso construido por la industria turística, sean visiones generales o representaciones de personajes históricos. La adquisición de viviendas por parte de extranjeros introduce la tipología del nuevo residente, representado a menudo a partir de la idea de desconexión con la sociedad de recepción, pero que ocasionalmente puede compartir algunas actitudes con los nativos. Ante el extranjero en posición hegemónica, también encontramos imágenes que sitúan el recién llegado en una posición débil, de refugiado o de migrante económico, que suele utilitzarse para reflejar la sociedad mallorquina y sus valores. Se observa una tendencia a sexualizar el extranjero y leerlo, especialmente si es mujer, como un mero objeto de deseo que prestigia al hombre que se le acerca. En cambio, la mujer que se relaciona con el extranjero es desacreditada, en particular en obras publicadas al inicio del periodo estudiado. La representación del negro tiene unas características específicas y siempre relacionadas con la extranjeridad, ya menudo se vincula a un primitivismo relacionado con sociedades de tipo tribal, de desarrollo social poco complejo. El estudio también examina la alterización del territorio relacionada con el extranjero: por un lado, se observa la representación de los espacios en que el Otro es hegemónico, donde los isleños dejan de tener preponderancia y, por tanto, consideran como territorio ajeno; por otro, se estudia la presencia del Otro en los espacios en los que no se le espera, zonas que la industria turística de modelo fordista había reservado al isleño y que reciben un número cada vez más elevado de visitantes o recién llegados transfronterizos. En todos los casos, estas representaciones no son sólo analizadas por su proximidad al cliché, sino sobre todo en términos del espacio de confluencia con los isleños, con la imagen literaria que refleja las dinámicas de la convivencia. La proximidad entre los colectivos no suele originar una hibridez que trascienda la representación binaria y, cuando esta hibridez efectivamente aparece, la imagen tiende hacia una de las dos identidades que configuran el sujeto híbrido: se constata así una falta de presencia del tercer espacio de representación que exponía Bhabha.
[eng] This thesis studies the representations of alterity derived from the passage of borders —both in the diasporic and transient sense— on the island of Majorca, present in the novels in Catalan written by Majorcan authors between 1968 and 2008. This study is based on theoretical conceptions that start from two differentiated approaches: the first, of philosophical order, that analyzes Otherness as an element of identity construction; the second, of social-iconic order, that studies the mental images in public representations in a given culture. The study also includes a panoramic view of the recent historical, demographic and social reality of Mallorca. This thesis aims to examine the construction of images of foreigners as a result of cultural, social and political processes, to observe the circulation and change that these images have been experiencing and to relate them to the evolution of stereotypes in Mallorcan society during these years. These images oscillate between the liberal vision that embraces the new and the most conservative one that rejects changes. This transformation often appears as a conflict and is related to the perception of the Self and the Other. Thus, the configuration of identity and social construction reflects an important degree of porosity and complexity of the perceptions and reactions towards the matter. This dichotomy translates into two opposing visions of the cross-border subject: the foreigner as a threat and the foreigner as an escape that helps the islander to evade the solipsism of Mallorcan society. Henceforth, the various stereotypes and images present in the corpus are reviewed. One of the most significant is the tourist —from the most usual image of the visitor, banal and hedonistic, to the image of the residential tourist, that combines this movable position of the subject with the stability that implies the real estate property. Critical readings are also given to the imaginary fabrications that build the discourse constructed by the tourist industry, whether they are general views or representations of historical figures. The acquisition of housing by foreigners introduces the typology of the new resident, often represented through the idea of disconnection with the receiving society, but occasionally s/he can share some attitudes with the native. As well as the hegemonic alien, we also find images that place the newcomer in a subaltern position, both as a refugee or as an economic migrant, which is usually used to mirror Mallorcan society and its values. There is a tendency to sexualize and to read the foreigner, especially if it is a woman, as a mere object of desire for the man who approaches her. Conversely, the woman who has a relationship with a foreigner falls into disgrace, especially in works published at the beginning of the studied period. The representation of blackness has specific characteristics, always connected to foreignness, and is often linked to a primitivism related to societies of a tribal nature, with unsophisticated social development. The study also examines the alterization of the territory in connection with the foreigner: on the one hand, the texts contain representations of the spaces where the Other is hegemònic and, because the islanders are no longer preponderant, are considered as foreign territory; on the other, the presence of the Other in areas where s/he is not expected, areas that the Fordist tourism industry had reserved to the islanders, and currently receive an increasing number of visitors or cross-border migrants. Both cases present a complex configuration. These representations are not only analyzed in terms of their proximity to the cliché, but also through their confluence with the Islanders and the dynamics of coexistence between groups. It is remarkable that the representation of the proximity between the groups does not usually result in a hybridity that transcends the binary representation. Furthermore, when this hybridity effectively appears, the image tends towards one of the two identities that make up the hybrid subject, which results in a lack of presence of the third space of representation as established by Bhabha.

Ce travail partira d’abord d’une problématisation de la notion d’histoire universelle dont découlerait un comparatisme lisse et sans histoire lié à une forme d’imagologie schématique qu’il s’agira d’éviter. C’est sur cette base critique que s’élaborera une réflexion générale sur le lien entre histoire littéraire et colonialisme dans le sens également des réflexions de Pierre Halen. Il visera ensuite à une analyse scrupuleuse des textes d’une part tels que pris dans leur tradition esthétique respective (Heiner Müller comme représentant tardif d’une forme de théâtre propre à l’espace occidental, avatar du modèle aristotélicien, Bernard B. Dadié représentant d’une forme de théâtre de type populaire dont le thème majeur est la satire sociale) et donc lus relativement à un échange dialectique avec les conditions matérielles de leur production. On prendra en compte l’héritage dans lequel s’inscrivent ces textes ainsi que les mises en scène des textes. Puis, il visera à une lecture intrinsèque de ces textes où la sémioticité d’une part, la discursivité d’autre part serviront à mettre en évidence non seulement des modèles imagologiques mais encore des croisements possibles entre le discours dramatique et le discours idéologique ou philosophique ambiant mais aussi intrinsèquement à l’œuvre des auteurs, le carrefour reliant ces œuvres à d’autres genres (tels que pour Dadié, le reportage) On recourra aux catégories de Goldmann pour la sémioticité (en conscience de leurs limites) et de Maingueneau, entre autres, pour la discursivité. La question sera de savoir quelle lecture du colonialisme est reprise par les auteurs (lien à l’Aufklärung et au marxisme pour Müller posant la question d’un colonialisme fantasmé ; lien à la Négritude et à l’affranchissement de l’Afrique des nouvelles formes de colonialisme et du néocolonialisme ainsi que d’autres théories plus contemporaines pour Dadié). Le corpus comprendra certes principalement deux pièces de chaque auteur (Der Auftrag: Erinnerung an eine Revolution, Germania Tod in Berlin de Heiner Müller et Béatrice du Congo et Iles de tempête de Bernard B. Dadié), mais ne négligera pas de recourir pour préciser le regard à d’autres textes dramatiques ou théoriques de chacun des auteurs
This work will begin with a problematization of the notion of universal history from which a smooth and historyless comparatism would flow, linked to a form of schematic imagery that should be avoided. It is on this critical basis that a general reflection will be elaborated on the link between literary history and colonialism in the sense also of the reflections of Pierre Halen. It will then aim at a scrupulous analysis of the texts on the one hand as taken in their respective aesthetic traditions (Heiner Müller as a late representative of a theater form in Western space, the avatar of the Aristotelian model, Bernard B. Dadie representing of a form of theater of popular type whose major theme is social satire) and therefore read relatively to a dialectical exchange with the material conditions of their production. We will take into account the legacy of these texts as well as the staging of texts. Then, it will aim at an intrinsic reading of these texts where the semiocity on the one hand and the discursity on the other hand…On the other hand, the Goldman categories are used for semiocity… and Maingueneau’s among others for the discursity. The question will be which reading about colonialism is taken up by the authors ( link to Enlightenment and to Marxism for Müller posing the question of a fantasy colonialism; link to Negritude and Africa’s liberation from colonialism forms and neocolonislism and from other more contemporarary theories as well (for Dadié). The corpus will mainly include two plays belonging to each author (Der Auftrag: Erinnerung an eine Revolution…)… but not neglecting to resort to other dramatic texts pertaining to each author

The impact of the 2011 Tōhoku earthquake and tsunami that hit Japan on the 11th of March (3.11) extended far beyond the physical damage produced, prompting a myriad of political and cultural responses worldwide. The Japanese government and authorities, as well as mainstream international media, focused on the narrative of a disciplined, resilient and composed nation, with a vibrant community spirit, united in the face of the disaster. However, it is also true that the disaster sparked widespread public interest in the negative aspects of Japanese society. Left-wing activists and social commentators blamed the government as well as post-war Japanese systems and values for the manmade aspect of the disaster, namely the unresolved situation at the nuclear power plants in Fukushima. Spurred by the heightened emotions following the triple disaster, Japanese society has become increasingly polarized between these two views of how to represent itself. How has literature responded to this conflict? This thesis will examine this issue through an analysis of literary images portraying Japanese identity in post-3.11 literature. Texts will be selected from the Japanese, English and French languages, and the images will also be compared with images of Japanese identity from official government discourse and social commentators, in order to analyse how authors have been creatively adding new elements to the debate and providing alternative visions for Japan's future, in a way that was not achieved by non-literary media. I will argue that 3.11 literature has a significant role to play in mediating between radical views and creating new images for post-3.11 Japan.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2018.
Submitted by Raquel Viana (raquelviana@bce.unb.br) on 2018-07-12T21:26:35Z No. of bitstreams: 1 2018_IsraelVictordeMelo.pdf: 875483 bytes, checksum: cbff869d7420162aa346c5de9977d4f8 (MD5)
Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-07-14T20:15:44Z (GMT) No. of bitstreams: 1 2018_IsraelVictordeMelo.pdf: 875483 bytes, checksum: cbff869d7420162aa346c5de9977d4f8 (MD5)
Made available in DSpace on 2018-07-14T20:15:44Z (GMT). No. of bitstreams: 1 2018_IsraelVictordeMelo.pdf: 875483 bytes, checksum: cbff869d7420162aa346c5de9977d4f8 (MD5) Previous issue date: 2018-07-06
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES).
Ao representar a complexidade social francesa, Michel Houellebecq caracteriza sujeitos sociais, o que pode possibilitar o conflito naquilo que concerne à relação de interação desses sujeitos numa realidade não-ficcional. A partir de seu romance Submissão (2015), analisamos as narrativas de tensão político-social entre personagens árabes e não árabes para, desse modo, revelar o imaginário circunscrito ao outro, à outra árabe, sobretudo, na tradição cultural e científica cujo fim é a dominação colonial. Para isso, nosso embasamento teórico-metodológico parte do campo da Imagologia – Marius-François Guyard (1951), Daniel-Henri Pageaux (1989, 2011), Celeste Ribeiro de Sousa (2004, 2009, 2011) – e dos estudos culturais – por meio dos pressupostos defendidos por Edward Said (1978,1993) e Homi Bhabha (1994). Assim, investigamos o modo como o Outro foi visto, imaginado e narrado na produção cultural literária.
En représentant la complexité sociale française, Michel Houellebecq caractérise des sujets sociaux, ce qui peut rendre possible le conflit en ce qui concerne la relation d'interaction de ces sujets dans une réalité non-fictive. À partir de son roman Soumission (2015), nous analysons les récits de tensions politiques-sociales entre les personnages arabes et non-arabes afin de révéler l'imaginaire circonscrit à l'autre arabe, notamment dans la tradition culturelle et scientifique dont le but est la domination coloniale. Pour cela, notre base théorique-méthodologique part du domaine de l’Imagologie – Marius-François Guyard (1951), Daniel-Henri Pageaux (1989, 2011), Celeste Ribeiro de Sousa (2004, 2009, 2011) – et des études culturelles – à l’aide des hypothèses défendues par Edward Said (1978,1993) et Homi Bhabha (1994). Ainsi, nous étudions la façon dont l'Autre a été vu, imaginé et raconté dans la production culturelle littéraire.

Uppsatsen behandlar ämnet turism och rättvis handel ur en geografisk synvinkel. Utgångspunkten är den ideella organisationen Tourism Concerns kriterier för en rättvis turism, som poängterar researrangörernas uppfostrande roll i marknadsföringen. Enligt detta NGO-perspektiv borde researrangören tillgodose resenären med information som möjliggör ett medvetet val, uppmuntrar resenären till ett mer ansvarsfullt och rättvist beteende väl på destinationen samt en rättvis beskrivning av destinationer i marknadsföringen. De menar att en påläst turist bidrar till ett mer rättvist förhållande mellan turist och lokalbefolkning. Fair Trade – rättvis handel inom turism behandlas i uppsatsen dels som ett medel för en mer rättvis regionalgeografisk beskrivning av platser, dels som en väg till regional utveckling. Uppsatsen syfte är att beskriva och analysera de tre största svenska researrangörerna, Apollo, Fritidsresor och Vingresor, information till resenären gällande ansvarsfullt och rättvist resande, dels genom konkreta råd till resenären, dels i marknadsföringen av destinationer i utvecklingsländer. Vidare undersöker uppsatsen även svenska resenärers inställning till en mer rättvis turism. Uppsatsen beskriver resenärens respektive researrangörens roll för en utveckling av en mer rättvis turism i framtiden. Den empiriska undersökningen baserar sig på analyser av researrangörernas hemsidor och kataloger, en enkätundersökning om svenska resenärers inställning till en mer rättvis turism samt en intervju med Eleonore Fauré på Fair Trade Center. Uppsatsens resultat är att både researrangörerna och resenärerna spelar en stor roll för utvecklingen av en rättvisare turism. I dagsläget krävs förändringar dels hos researrangörerna, dels hos resenären för att en rättvisare turism ska bli möjlig i framtiden. Researrangörerna måste bredda sitt ansvarsområde och även innefatta frågor av ekonomisk, kulturell och social karaktär, inte bara miljöfrågor. De konkreta råden till resenären och beskrivningen av destinationer i marknadsföringen måste bli mer sanningsenlig och öppen med de problem som turismen för med sig. Resenären å andra sidan, måste använda sin konsumentmakt genom att öka sina krav på och ställa frågor till sin researrangör för att dessa frågor ska få högre prioritet. Resultatet av min enkätundersökning visar att i dagsläget är detta inte fallet. Ur ett geografiskt perspektiv är dessa förändringar viktiga, eftersom en mer rättvis turism kan främja den regionala utvecklingen i destinationsländerna.

Doktorska disertacija naslovljena Lik stranca u srpskom romanu 19. veka imagološkim istraživanjem identifikuje i osvetljava dominantne obrasce opisivanja drugoga (hetero-slika) kroz reflektovanje sopstenog identiteta (auto-slika) u razvojnom putu od staroga, preko novoga, do modernog srpskog romana. Slika stranca u srpskom romanu 19. veka kroz vreme istovremeno prikazuje i sam razvoj srpskog romana kao književne vrste od skromnih početaka, do najviših dostignuća. Slika stranca se kroz faze rada usložnjava i postaje od pukoga stereotipa, originalan autorski izraz stvaraoca, koji osim književne, ima i kulturološku, sociološku, psihološku i političku vrednost. Nudeći svoj uspostavljeni sistem kao obrazac, novo čitanje klasika koje se u ovom radu preduzima predstavlja istraživanje koje sažima i reinterpretira, revalorizuje i ponovo otkriva do sada zapostavljene, a u ovom radu potvrđene vrednosti srpskoga romana 19. veka. Rezultati koje takav pristup daje, mogu biti primenjeni i van okvira nauke o književnosti. Njihova multidisciplinarnost proizlazi iz čitavih studija o karakterima, nacijama i pojedincima, proizašlih iz devetnaestovekovnog konteksta stvarnosti prenesene u srpski roman. Ovi rezultati kao relevantni mogu biti primenjeni u savremenim istoriografskim, politikološkim i sociološkim istraživanjima celokupne srpske devetnaestovekovne kulture, jer pružaju savremen i unikatan pristup složenoj problematici društvenih procesa koji su u 19. započeti (npr, stvaranje nacija, izmišljanje tradicija), a na Balkanu im se ni danas ne vidi kraj.

Mestrado em Línguas, Literaturas e Culturas
No presente estudo procedemos a uma análise da representação do estrangeiro nas obras Uma Aventura Inquietante (1958), de José Rodrigues Miguéis; A Floresta em Bremerhaven (1975), de Olga Gonçalves; e O Apocalipse dos Trabalhadores (2008), de Valter Hugo Mãe, com recurso às ferramentas de análise e à terminologia provenientes do campo da Imagologia Literária. Desta forma, procuramos compreender a experiência migratória das personagens pertencentes às obras analisadas, bem como as dificuldades que estas encontram no seu caminho, através do estudo das suas relações com o trabalho, do modo como se integram, ou não, na sociedade de acolhimento e interagem com os «outros», e das interidentidades que são produto da sua interação com a cultura circundante.
In this study we analyzed the representation of foreigners in the literary works Uma Aventura Inquietante (1958), by José Rodrigues Miguéis; A Floresta em Bremerhaven (1975), by Olga Gonçalves; and O Apocalipse dos Trabalhadores (2008), by Valter Hugo Mãe, using the analysis tools and terminology from the field of Literary Imagology. With this analysis, we sought to understand the migratory experience of the migrant characters through their relationship with work, how they are integrated, or not, in the host society, how they interact with the «others», and the inter identities that are the product of their interaction with the surrounding culture.

Transculturalism refers to how cultural barriers are transcended and how cultures meet. Because the transcultural perspective reflects hitherto unrepresented spaces, it revises and innovates literary canons. This study investigates aspects of transculturalism in texts dealing with travel by the Canadian writer Janice Kulyk Keefer. It also explores how these aspects might alter our view of Canadian literature. The transcultural perspectives between mainstream Canada and Ukraine, Europe and Acadie have been analysed through three tropes of travel: departure, passage and arrival. Keefer’s texts have been read in accordance with Mikhail Bakhtin's dialogic theories to chart transcultural encounters and clashes. This thesis argues that a historic consciousness of their ethnic group gives the young generation a transcultural position that enables them to profit from their dual cultural competence. Although Imagined Communities are affirmed as receptacles of the cultural heritage, the impending environmental catastrophe demands that the national interests that they represent be abandoned for international co-operation. In Keefer’s European texts the transcultural aspects reflect how travel becomes synonymous with quests and epiphanies. Travelling is described as a learning process in Rest Harrow where the protagonist’s increasing cultural competence changes her from a tourist to a real traveller. The transcultural aspects also unmask prejudices, collisions and failed transitions. In this context Imagined Communities are criticized as agents of the colonial discourse, chauvinism, and intolerance. The transcultural perspective also reveals that patriarchal paradigms and the silencing of persecutions victimize the young generation. Furthermore, their ignorance of the mother tongue works as a linguistic barrier shutting them out from their ethnic group. Keefer's Acadian texts support Bakhtin's contention that isolated groups become intolerant to strangers and deviants. While the transcultural perspective unmasks tourists' perception of other countries as idiosyncratic, also the travellers' own ironic postmodernist view of themselves as tourists and of the artificiality of tourism is featured. The cultural assumptions of literary discourse are challenged by border blurring phenomena such as story-telling, the camivalesque, intertextuality and historiographic metafiction. Thus the morality of Keefer's transcultural approach lies also in her literary technique. The alternative perspective inherent in transculturalism makes individuals break away from their given cultural context to embrace a new transcultural ethos.

Diss. Umeå : Umeå universitet, 1996

digitalisering@umu

Ауторка је у раду систематизовала и представила слике, представе и стереотипе које су канонизовани песници српског романтизма у својим делима  конструисали о Србима и Другима, проблематизовала је и истражила везу и утицај канона на креирање слика и представа и њихову међусобну условљеност.
Autorka je u radu sistematizovala i predstavila slike, predstave i stereotipe koje su kanonizovani pesnici srpskog romantizma u svojim delima  konstruisali o Srbima i Drugima, problematizovala je i istražila vezu i uticaj kanona na kreiranje slika i predstava i njihovu međusobnu uslovljenost.
In this work, the author systematized and presented the images, notions and stereotypes that the canonized poets of Serbian romanticism have constructed in their works about Serbs and Others, questioning and researching the relationship and the influence of canons on creation of images and notions and their mutual conditionality.