Dissertations / Theses on the topic 'Marcel Pagnol'

L'originalité de l'oeuvre cinématographique de Marcel Pagnol est qu'elle comprend près de 50% d'adaptations. Outre quatre livres de Jean Giono, Pagnol a adapté a l'écran des récits de Georges Courteline, d'Alphonse Daudet, Guy de Maupassant, Emile Zola, ainsi que des pièces de théâtre. Ce cinéaste qui déclarait que le sujet original lui faisait peur s'est pourtant rarement soucié de demeurer fidèle à l'esprit de l'ouvrage original. Il voyait dans les oeuvres adaptées l'occasion d'exercer son propre talent de dramaturge, qu'il concevait comme l'application de principes généraux, susceptibles de définir l'art dramatique. Il y a donc, comme l'écrivait André Bazin, un cas Pagnol. Non seulement parce que cet adaptateur a mené en parallèle une oeuvre originale, mais aussi parce qu'il fut le contemporain, l'ami et le rival d'un des écrivains les plus importants de sa géneration : Jean Giono. Cette rencontre entre deux talents finalement très différents, voire opposés, permet de se re-interroger sur le problème de la fidelite; d'une adaptation cinematographique à son modèle littéraire : on constatera paradoxalement que Pagnol a connu, dans son travail d'adaptateur, ses plus grands succès lorsqu'il a pris le plus de distance par rapport à l'oeuvre originale. Sans doute faut-il voir dans ce fait la preuve que l'art dramatique et l'art du roman obéissent, ainsi que le pensait Pagnol, à des règles bien différentes, et donc qu'il ne saurait y avoir d'adaptation réussie d'une oeuvre romanesque sans une nécessaire trahison ; leçon à ne pas oublier quand on s'efforce de juger le travail de Marcel Pagnol, qui fut le créateur d'une forme de tragédie populaire et, souvent, un remarquable peintre de caractères ; à la manière des auteurs classiques. Ce talent original, y compris dans ses travaux d'adaptation, lui assure une place non négligeable parmi les dramaturges et écrivains du XXème siècle, et il est regrettable que la critique ne l'ait généralement pas admis plus tôt
The uniqueness of Marcel Pagnol's film works resides in the fact that screen adaptation makes up nearly 50% of his work. In addition to four books by jean giono, pagnol adapted to the screen stories by Georges Courteline, Alphonse Daudet, Guy de Maupassant, Emile Zola, as well as some plays. Although Pagnol the filmmaker was fond of saying that an original theme terrified him, he rarely remained loyal to the spirit of an original work. He saw in the process of screen adaptation the opportunity to make use of his own talent as a playwright, which he considered to be the application of general principles capable of defining the dramatic arts. There is, consequently, as André Bazin wrote, a Pagnol case ; not only because his screen adaptations were original works, but also because he was the contemporary, the friend, and the rival of one of the most eminent writers of his generation : Jean Giono. This meeting of the proverbial minds, which in itself was an encounter between ultimately two very different talents, (even opposing ones) affords an opportunity to revisit the problem of loyalty ; of a screen adaptation vis-a-vis its literary model. In doing so, one notices, interestingly and paradoxically, that Pagnol enjoyed his greatest successes as a screen adapter when he distanced himself the furthest from the original work. Undoubtedly, one sees in this phenomenon proof that dramatic arts and the art of novel writing follow, as Pagnol believed, very different rules, and that there can never be a successful screen adaptation of a novel without the "requisite " betrayal of the literary work - a lesson to bear in mind when one attempts to study Marcel Pagnol's work ; he was also the creator of a popular tragedy genre, and often, sketched remarkable character portraits in the style of the classical authors. His unique talent, including that used in his screen adaptations, ensures him place among both playwrights and writers of the 20th century, and it is regrettable that this critique was not acknowledged earlier

Mestrado em Estudos Franceses
L’écriture de Marcel Pagnol est souvent connotée comme une écriture facile de la part des critiques, tenant particulièrement en conte l’oeuvre Souvenirs d’enfance, dont maints extraits sont habituellement utilisés pour l’apprentissage de la lecture et de l’écriture dans les écoles. D’autre part, Marcel Pagnol est aussi connoté comme un écrivain régionaliste, ce qui cache l’étendue littéraire et méta-littéraire de son oeuvre. Nous avons décidé de travailler sur l’oeuvre de Marcel Pagnol dans une perspective différente, prenant comme point de départ l’écriture de la mémoire autobiographique qui caractérise les Souvenirs d’enfance et tenant en ligne de compte que l’oeuvre de cet auteur obéit à une cohérence interne autour de la même thématique. Nous prétendons ainsi, dans ce travail, faire une approche de l’oeuvre de Marcel Pagnol du point de vue de l’écriture de la mémoire. Pour ce faire, nous dédierons un chapitre à la typologie de l’écriture de la mémoire autobiographique en vue de l’encadrement génologique de l’écriture de la mémoire de Marcel Pagnol dans la littérature française contemporaine. L’insertion de l’écriture de la mémoire de Pagnol dans le contexte de son époque littéraire sera l’objet d’un autre chapitre qui aura comme objectif l’identification des caractéristiques spécifiques du «genre» littéraire de l’écriture de l’auteur face à ce contexte. Le dernier chapitre permettra d’approfondir le traitement que Pagnol donne à l’écriture de la mémoire dans chacun des genres identifiés. Pour ce faire, nous travaillerons alors sur les textes de l’auteur et les informations fournies par le paratexte: titres, avant-propos, préfaces, discours. Nous analyserons les motivations et les sources de la mémoire, la notion de «souvenir» dans l’oeuvre et la reconstruction de ces mémoires réalisée dans le texte. Nous pensons ainsi identifier ce qui constitue la matière du «souvenir» dans l’oeuvre de Marcel Pagnol.
A escrita de Marcel Pagnol é muitas vezes conotada como uma escrita fácil por parte dos críticos, tendo particularmente em conta a obra Souvenirs d’enfance cujos extractos são habitualmente utilizados para a aprendizagem da leitura e da expressão escrita nas escolas. Por outro lado, Marcel Pagnol é também conotado como um escritor regionalista, o que obnubila o alcance literário e meta-literário da sua obra. Decidimos trabalhar na obra de Marcel Pagnol numa perspectiva diferente, tomando como ponto de partida a escrita da memória autobiográfica que caracteriza Souvenirs d’enfance, e levando em conta que a obra deste autor obedece a uma coerência interna à volta da mesma temática. Pretendemos então, neste trabalho, fazer uma abordagem da obra de Marcel Pagnol do ponto de vista da escrita da memória. Assim, dedicaremos um capítulo à tipologia da escrita de memória autobiográfica com vista ao enquadramento genológico da escrita de memórias de Marcel Pagnol na Literatura Francesa contemporânea. Será objecto de outro capítulo a inserção da escrita de memórias de Pagnol no seu contexto epocal e literário com o objectivo de identificar as características específicas do “género” literário da escrita do autor perante este contexto. O último capítulo permitirá aprofundar o tratamento que Pagnol dá à escrita de memórias em cada um dos géneros identificados. Para tal, trabalharemos com os textos do autor e com as informações fornecidas pelo paratexto: títulos, prefácios, discursos, “avant-propos”. Analisaremos as motivações e as fontes da memória, a noção de “souvenir” na obra e a reconstrução dessa memória realizada no texto. Pensamos assim identificar o que constitui a matéria do “souvenir” na obra de Marcel Pagnol.
Marcel Pagnol's writing is usually regarded by the critics as being somewhat "easy", particularly when you consider Souvenirs d’Enfance, whose excerpts are normally used in schools to teach children to read and write. Also, Marcel Pagnol is also seen as a parochial writer, which is contradicted by the literary and meta-literary scope of his work. I have decided to investigate Marcel Pagnol through a different perspective, taking the writing of autobiographical memoir as a starting point. This kind of writing not only informs Souvenirs d’Enfance but it is also a recurrent and organizing theme of Marcel Pagnol's work. Marcel Pagnol's work will therefore be analysed from the viewpoint of memoir writing. One chapter will assess the types of autobiographical memoir writing so as to analyse Marcel Pagnol's writing as a genre within contemporary French literature. Another chapter will deal with Marcel Pagnol's memoir writing within its historical and literary context in order to identify what specific characteristics his writing may have. The last chapter will address the issue of how Marcel Pagnol inscribes his memoir writing in each of the identified genres. The author's texts will be used and any other relevant written materials also by the author: titles, prefaces, “avant-propros”, speeches. The motivations and the sources of memory, the notion of "remembrance" and the reconstruction of memory in the text will also be analysed. The identification of what constitutes "remembrance" in Marcel Pagnol's work will hopefully be achieved within this investigation.

Marcel Pagnol est un écrivain régionaliste parce qu'il situe une partie de ses œuvres en Provence et emprunte personnages, récits et dialogues à la réalité locale, parce qu’il s'inspire d'un modèle que l'on peut considérer comme folklorique, les Lettres de mon moulin de Daudet, et enfin parce qu’il écrit parfois ses dialogues en français de Provence. Mais il est encore plus un auteur universaliste - la nature rustique de la majorité de ses œuvres provençales ne constitue pas en cela un obstacle car le rustique n'est nullement assimilable au régional par sa philosophie qui ne traite que rarement de questions spécifiquement provençales, par la langue qu'il emploie, le français, car il n'écrit pas comme les félibres en provençal, enfin et surtout par son esthétique. Cet écrivain possède à fond son histoire littéraire et sait réutiliser les acquis de ses prédécesseurs, depuis les grecs jusqu’a ses contemporains. Il est profondément influencé par la tragédie grecque, le classicisme, le romantisme et le réalisme mais il n'ignore pas les autres mouvements. En revanche, il ne participera à aucune avant-garde, sa position restant celle d'un humaniste et d'un classique au sens large du terme
There are several reasons which make Pagnol a regionalist writer. Part of his work is located in Provence, he draws on local reality to create characters, narratives and dialogues, he takes his inspiration from a model we can consider to be a folklore tale, the Lettres de mon moulin by Daudet, and lastly he sometimes writes his dialogues in Provence French. But he is even more a universalist - the rustic nature of most of the work that is situated in Provence is not a drawback as such for rusticity is not similar to regionalism - because of his philosophy which only rarely deals with specific local problems, because of the language he uses - French and not Provencal as the felibres did last but not least because of his esthetics. Pagnol ha a thorough knowledge or literary history and knows how to learn from his predecessors, from the Greeks down to his contemporaries. He is deeply influenced by Greek tragedy, classicism, romantism and realism but at the same time he is well aware of the other literary movements. However, he will never take part in any avant-garde, his position being one of a humanist and a classical writer, in the broad sense of the term

Marcel pagnol, si connu et si inconnu. Marcel pagnol aux multiples identites : dramaturge, cineaste, romancier, adaptateur, essayiste, dialoguiste, traducteur mais aussi mathematicien, mecanicien, inventeur, ingenieur, geologue et medecin. Chez pagnol tout semble s'organiser comme si l'instauration d'une identite se devait de passer par la multiplicite des identites. Personnage en perpetuelle mouvance, en constante mobilite. Tout aura commence par le deces de la mere lorsque pagnol avait quinze ans. A partir de ce jour, pagnol s'etourdira dans une sorte de mouvement perpetuel dont le but sera d'occulter au mieux l'inconsolable perte mais dans le meme temps l'insupportable immobilite, l'insoutenable statisme de la mort. Desormais chez pagnol on ne pourra plus faire l'impasse sur la mobilite, et que ce soit par la structure de son oeuvre qui s'inscrit dans le dynamisme genealogique de la reference, de la repetition et de l'affiliation, par ses theories sur le rire considere comme la mobilite de l'ecriture ou par son obsessionnelle curiosite, pagnol instaurera constamment la mobilite et le dynamisme en veritable ethique. Toutefois, ce pagnol aux multiples identites, ce pagnol disperse reussira in extremis a s'y retrouver dans son oeuvre ultime : le secret du masque de fer, ou, derriere une banale enquete historique s'inscrira enfin, par un travail de dix ans sur un demasquage, le demasquage de son propre personnage. Oeuvre qui s'organisera au bout du compte comme une psychanalyse liberatrice ou pagnol, enfin retrouve, tombera lui-meme son propre masque
Marcel pagiiol wellknown and also unknown has so many identities : dramatist, film-maker, novelist, adapter, essayist, screen-writer, translator but also mathematician, mechanic, inventor, engineer, geologist, doctor. Concerning pagnol everything seems to be organized as if the establishment of an identity would have to go through numerous identities. He is a character in a never-ending and continuous mobility. It all began with the death of his mother when pagnol was fifteen. From that day on, pagnol drowned in a never ending movement which aim was to overshadow the best he could the unbearable loss and in the same time the unbearable stillness, the unbearable immobility of death. From that time on it will be impossible to miss mobility concerning the structure of his work fitting in with genelogical dynamism, as well as the reference, the repetition, the affiliation according to his theories on laughter leading to mobility in writing, according to his obsessional curiosity. Pagnol constantly established his ethics witli mobility and dynamism. However this pagnol with numerous identities, this scattered pagnol will succeed in extremis in his ultimate work "le secret du masque de fer" where behind a very common historical quest, there is a ten-years-work on unveiling his own character. This work is, therefore, organized as a freeing psychoanalyse leading pagnol to drop his own mask

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A presente proposta de pesquisa objetiva realizar um estudo da memória e criação nos romances: Le Château de ma Mère, La Gloire de mon Père do escritor Marcel Pagnol. Com base na hipótese de que a memória, nestes textos, é imaginação de possibilidades do devir que não se esgota em quadros fixos. A tese focalizará as dominantes técnicas e temáticas de construção da narrativa por meio do uso feito pelo autor do motivo da viagem, dos diferentes espaços e na composição dos quadros da memória. O estudo desses dois romances permitirá a análise da memória como princípio da elaboração das obras a forma como é utilizada na elaboração do discurso de narradores e personagens. A importância de estudar esse tema nos romances de Pagnol se dá pelo fato de que o escritor elabora suas narrativas num espaço de misturas e de conflitos, onde a família é um elemento fundamental nas relações sociais, fazendo confluir a memória individual e coletiva. Em seus romances a memória é um lugar de criar mundos possíveis pela capacidade de sonhar do pensamento: a memória criativa.
The present proposal of research aims to carry out a study of memory and creation in the novels: Le Château de ma Mère, La Gloire de mon Père by the writer Marcel Pagnol. Based on the hypothesis that memory, in these texts, is an imagination of possibilities of becoming that does not end in fixed frames. The thesis will focus on the technical and thematic dominants of narrative construction through the use made by the author of the motif of the trip, of the different spaces and in the composition of the pictures of memory. The study of these two novels will allow the analysis of memory as the principle of the elaboration of works as it is used in the elaboration of the discourse of narrators and characters. The importance of studying this theme in Pagnol's novels is because the writer elaborates his narratives in a space of mixtures and conflicts, where the family is a fundamental element in social relations, bringing together individual and collective memory. In his novels, memory is a place of creating possible worlds by the capacity to dream of thought: the creative memory.

Orientador: Claudia Fernanda de Campos Mauro
Banca: Ivair Carlos Castelan
Banca: Fernanda Aquino Sylvestre
Banca: Erika Bergamasco Guesse Borges
Banca: Márcia Eliza Pires
Resumo: A presente proposta de pesquisa objetiva realizar um estudo da memória e criação nos romances: Le Château de ma Mère, La Gloire de mon Père do escritor Marcel Pagnol. Com base na hipótese de que a memória, nestes textos, é imaginação de possibilidades do devir que não se esgota em quadros fixos. A tese focalizará as dominantes técnicas e temáticas de construção da narrativa por meio do uso feito pelo autor do motivo da viagem, dos diferentes espaços e na composição dos quadros da memória. O estudo desses dois romances permitirá a análise da memória como princípio da elaboração das obras a forma como é utilizada na elaboração do discurso de narradores e personagens. A importância de estudar esse tema nos romances de Pagnol se dá pelo fato de que o escritor elabora suas narrativas num espaço de misturas e de conflitos, onde a família é um elemento fundamental nas relações sociais, fazendo confluir a memória individual e coletiva. Em seus romances a memória é um lugar de criar mundos possíveis pela capacidade de sonhar do pensamento: a memória criativa.
Abstract: The present proposal of research aims to carry out a study of memory and creation in the novels: Le Château de ma Mère, La Gloire de mon Père by the writer Marcel Pagnol. Based on the hypothesis that memory, in these texts, is an imagination of possibilities of becoming that does not end in fixed frames. The thesis will focus on the technical and thematic dominants of narrative construction through the use made by the author of the motif of the trip, of the different spaces and in the composition of the pictures of memory. The study of these two novels will allow the analysis of memory as the principle of the elaboration of works as it is used in the elaboration of the discourse of narrators and characters. The importance of studying this theme in Pagnol's novels is because the writer elaborates his narratives in a space of mixtures and conflicts, where the family is a fundamental element in social relations, bringing together individual and collective memory. In his novels, memory is a place of creating possible worlds by the capacity to dream of thought: the creative memory.
Doutor

RésuméLa notoriété de Marcel Pagnol n’est plus à attester, mais force est de reconnaître que les universitaires ne manifestent généralement pas de considération pour lui. Ce magicien des mots, ce conteur héritier de la tradition orale provençale, joue avec virtuosité de la parole, et sa création est le résultat d’interférences littéraires. Les différentes perspectives de l’œuvre de Marcel Pagnol, qui prend sa source dans sa formation classique, ont déterminé cette recherche, laquelle se concentre sur une analyse de certains de ses écrits. Ainsi vise-t-elle à une reconnaissance de son capital symbolique et de son apport à la littérature. Le classicisme qui imprègne l’éducation qu’il a reçue, a orienté l’ensemble de ses réalisations littéraires, théâtrales et cinématographiques; en conséquence, il en a déterminé sa réception, car le caractère de son œuvre, enrichie par l’héritage antique et le patrimoine culturel provençal, est d’avoir atteint l’universel. Ce travail porte sur les aspects de ses écrits qui reflètent non seulement l’éducation, mais surtout la capacité de l’auteur d’utiliser des genres différents tels que la bucolique et ses ramifications qui vont de la poésie au roman et au théâtre, puis au cinéma avec lequel il entretiendra des rapports étroits et complémentaires. Influencé par la musique et par la culture latine et provençale, Marcel Pagnol est sorti des sentiers battus de la littérature de son époque, en mettant son originalité créatrice au service de la poésie, de la prose, du théâtre et du cinéma
AbstractThe notoriety of Marcel Pagnol is no longer to be attested to, but it is clear academics do not generally show any consideration for him. This magician of words, this storyteller heir to the Provencal oral tradition, plays as a virtuose with speech, and his creation is the result of literary interferences. The different perspectives of the work of Marcel Pagnol, which has its source in his classical training, have determined this research, which focuses on analysis of some of his writings. Thus, this aims at recognizing his symbolic capital and contribution to literature. The classicism that permeates the education he received has guided all his literary, theatrical and cinematographic achievements; consequently, it determined his reception because the character of his work, enriched by the ancient heritage and the Provençal cultural patrimony, is to have reached universality. This thesis focuses on aspects of his creations, which reflect not only his education, but especially the ability of the author to use different genres such as the pastoral and its ramifications, which range from poetry to novel and to theater, then to film with which he will maintain close and complementary relations. Influenced by Music, Latin and Provençal culture, Marcel Pagnol diverged from the beaten track of literature of his time, by putting his creative originality at the service of poetry, prose, theater and film

Cette thèse propose une étude inédite sur un auteur négligé par l’Université et la recherche : Marcel Pagnol. À partir de son cas, ce travail interroge les processus de légitimation et déconstruction du canon. Cette recherche, qui s’inspire de la sociologie de la littérature, explore les paradoxes d’un « illustre méconnu » qui relève d’une littérature officielle, classique, patrimoniale, mais se trouve déconsidéré à plusieurs titres. Sa célébrité et ses succès nuisent à son capital symbolique ; son particularisme régional l’empêcherait d’atteindre l’universel. Entre institutionnalisation et discrédit, Pagnol dessine une voie moyenne et réalise un art moyen (middlebrow culture) qui concilie bonne littérature et grand public. Au théâtre, il met d’accord le théâtre commercial, le théâtre de boulevard et une partie de l’avant-garde, démontrant la perméabilité du champ dramatique. Au cinéma, il associe le cinéma d’auteur, le scénario littéraire et l’avant-garde néoréaliste aux mélodrames populaires. Dans ses récits, il met en valeur la continuité entre tradition orale et innovation médiatique. Ce classique-populaire, ce conservateur moderne se tient en équilibre entre régionalisme et parisianisme, entre intellectualisme et pragmatisme, sur une voie moyenne qui hybride cinéma et théâtre, théâtre et music-hall, conte et radio
This thesis provides a new study on a writer usually neglected by scholarship : Marcel Pagnol. Taking his case as a starting point, this study aims to analyze the processes of legitimation and construction of canon. This research, building on sociology of literature, investigates the paradoxes of an “illustrious unrecognized” who pertains to official, classical and patrimonial literature but that nonetheless remains discredited by several matters. His fame and successes damage his symbolic capital; his regional particularism may prevent him from reaching universality. Between institutionalization and disrepute, Pagnol draws a medium path and carries out a medium art (middlebrow culture) which reconciles goodliterature and general public. In theater, he makes commercial theater, boulevard theater and some of the avant-garde come to an agreement, proving the permeability in dramatic field. In cinema, he combines art-house movies, literary script and neorealist avant-garde with popular melodramas. In literature, he emphasizes continuity between oral tradition and media innovation. This middlebrow author, this modern conservative balances regionalism against parisianisme, intellectualism against pragmatism, in a medium way that makes cinema and theater, theater and variety, tale and radio interact

Cette thèse interroge le destin de Judas chez cinq écrivains : Paul Claudel (Mort deJudas), Marcel Pagnol (Judas), Jean Ferniot (Saint Judas), Armel Job (Judas le bien-aimé)et Eric-Emmanuel Schmitt (L’Évangile selon Pilate). Passant du cadre général à celuiparticulier, la recherche se propose d’envisager la figure de Judas dans les transpositionsbibliques contemporaines et d’évaluer les nouvelles visions que le siècle a inventées.L’analyse comprend des approches s’appuyant sur les contributions du domaine du mythe,de l’exégèse biblique, historique, de la sociologie, de la psychanalyse. La plupart des récitscontemporains font de Judas un sujet moderne très complexe : il devient figure de l’artiste,du philosophe et de l’acteur.Les problématiques d’ordre social et politique se révèlent primordiales : dans uncontexte succédant à l’Holocauste, Judas renoue avec l’univers judaïque. Retranscrivant lemythe du Juif errant, Judas devient figure de la scission, du départ et de l’errance ; lesrelations au sein de la famille sont vivement remises en cause. La figure du traître devientaussi le support d’une parole restitutive. L’idiotie de filiation dostoïevskienne attribuée àJudas fait bon ménage avec le contexte littéraire contemporain ainsi qu’avec celuilégendaire réévalué.Constamment hésitant entre la réhabilitation de Judas proposée par Pagnol, Ferniot,Job, Schmitt et la réprobation du personnage par Claudel, le parcours propose un richeréseau construit autour de thématiques communes mais différemment évaluées
This doctoral dissertation questions Juda's destiny in five authors: Paul Claudel(The Death of Juda), Marcel Pagnol (Juda), Jean Ferniot (Saint Juda), Armel Job (TheBeloved Juda) and Eric-Emmanuel Schmitt (The Gospel according to Pilate). Fromgeneral to specific, this research aims at outlining the image of Judas within thecontemporary biblical renditions and to evaluate new perspectives on it. This analysistouches upon myth, biblical and historical exegesis, sociology and psychoanalysis. Mostcontemporary stories make Juda a very complex and modern subject: he embodies theartist, the philosopher, the actor.Social and political issues prove to be crucial: in a context which follows theHolocaust, Juda reconnects with the Judaic universe. By rewriting the myth of thewandering Jew, Juda becomes the figure of the scission, of the departure and of the roving;family relationships are strongly questioned. Furthermore, the figure of the traitor becomesthe repository for a restitutive speech. The idiocy, in the Dostoievskian sense, associatedwith Judas, blends well both with the contemporary literary context as well as with thereconsidered mythical one.Constantly hesitating between Judas' redemption that Pagnol, Ferniot, Job andSchmitt adopt and the condemnation of Claudel's character, this thesis focuses on aconvoluted network built around common themes that are tackled differently

Orientador: Adalberto Luis Vicente
Banca: Maria Cláudia Rodrigues Alves
Banca: Maria Dolores Aybar Ramírez
Resumo: A produção romanesca de Marcel Pagnol se inicia em 1957, com a publicação dos dois primeiros volumes de sua trilogia Souvenirs d'enfance: La Gloire de mon Père e Le Château de ma Mère. O terceiro volume, Le Temps des Secrets, foi publicado somente em 1960. Mas, de certa forma, essa denominação de Souvenirs d'enfance como trilogia é questionável, pois, em 1977, houve uma publicação póstuma do que seria o quarto volume chamado de Le Temps des Amours. Marcel Pagnol começou a escrever suas memórias de infância quando seu pai Joseph morreu. Certamente este evento contribui para o autor como um retorno à sua vida passada e à sua infância. Destas reflexões, ele lançou o primeiro romance La Gloire de mon Père, no qual a figura do pai possui um papel primordial na vida do personagem Marcel. Vale ressaltar que Pagnol para homenagear a sua mãe Augustine, escreveu seu segundo romance Le Château de ma Mère, a partir de um conto no qual narrava suas memórias da infância para a edição de Natal da revista feminina Elle. Este trabalho tem como finalidade o estudo do espaço geográfico e simbólico nos dois romances citados. Para isso, faz-se a análise dos romances a partir da teoria da narrativa e de estudiosos do espaço romanesco. Apresenta-se, primeiramente, um estudo sobre o narrador, uma vez que o olhar deste configura o espaço, seguido de análise de componentes espaciais concretos e simbólicos presentes dois romances. Pode-se verificar que o espaço é um componente fundamental na criação literária de Marcel Pagnol
Abstract: The production novelistic of Marcel Pagnol begins in 1957 with the publication of the two volumes of his trilogy Souvenirs d'enfance: La Gloire de mon Père and Le Château de ma Mère. The third volume, Le Temps des Secrets, was published only in 1960. But somehow, the name of the trilogy as Souvenirs d'enfance is questionable, because in 1977 there was a posthumous publication of what would be the fourth volume called Le Temps des Amours. Marcel Pagnol began writing her memories of childhood when his father Joseph died. Certainly this event contributes to the author as a return to his past life and childhood. These reflections, he released his first novel La Gloire de mon Père, in which the father figure has an essential role in the life of the character Marcel. It is noteworthy that Pagnol to honor his mother Augustine, wrote his second novel Le Château de ma Mère, from a story in which recounted his memories of childhood for the Christmas edition of the women's magazine. This work aims to study the geographic and symbolic in the two novels mentioned. To achieve this, the analysis of the novels from the theory of narrative and scholars of space romance. It presents, first, a study of the narrator, since the look of this sets up the space, followed by analysis of concrete and symbolic space components present two novels. You can check that space is a critical component in creating literary Marcel Pagnol
Mestre

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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
A produção romanesca de Marcel Pagnol se inicia em 1957, com a publicação dos dois primeiros volumes de sua trilogia Souvenirs d’enfance: La Gloire de mon Père e Le Château de ma Mère. O terceiro volume, Le Temps des Secrets, foi publicado somente em 1960. Mas, de certa forma, essa denominação de Souvenirs d’enfance como trilogia é questionável, pois, em 1977, houve uma publicação póstuma do que seria o quarto volume chamado de Le Temps des Amours. Marcel Pagnol começou a escrever suas memórias de infância quando seu pai Joseph morreu. Certamente este evento contribui para o autor como um retorno à sua vida passada e à sua infância. Destas reflexões, ele lançou o primeiro romance La Gloire de mon Père, no qual a figura do pai possui um papel primordial na vida do personagem Marcel. Vale ressaltar que Pagnol para homenagear a sua mãe Augustine, escreveu seu segundo romance Le Château de ma Mère, a partir de um conto no qual narrava suas memórias da infância para a edição de Natal da revista feminina Elle. Este trabalho tem como finalidade o estudo do espaço geográfico e simbólico nos dois romances citados. Para isso, faz-se a análise dos romances a partir da teoria da narrativa e de estudiosos do espaço romanesco. Apresenta-se, primeiramente, um estudo sobre o narrador, uma vez que o olhar deste configura o espaço, seguido de análise de componentes espaciais concretos e simbólicos presentes dois romances. Pode-se verificar que o espaço é um componente fundamental na criação literária de Marcel Pagnol
The production novelistic of Marcel Pagnol begins in 1957 with the publication of the two volumes of his trilogy Souvenirs d'enfance: La Gloire de mon Père and Le Château de ma Mère. The third volume, Le Temps des Secrets, was published only in 1960. But somehow, the name of the trilogy as Souvenirs d'enfance is questionable, because in 1977 there was a posthumous publication of what would be the fourth volume called Le Temps des Amours. Marcel Pagnol began writing her memories of childhood when his father Joseph died. Certainly this event contributes to the author as a return to his past life and childhood. These reflections, he released his first novel La Gloire de mon Père, in which the father figure has an essential role in the life of the character Marcel. It is noteworthy that Pagnol to honor his mother Augustine, wrote his second novel Le Château de ma Mère, from a story in which recounted his memories of childhood for the Christmas edition of the women's magazine. This work aims to study the geographic and symbolic in the two novels mentioned. To achieve this, the analysis of the novels from the theory of narrative and scholars of space romance. It presents, first, a study of the narrator, since the look of this sets up the space, followed by analysis of concrete and symbolic space components present two novels. You can check that space is a critical component in creating literary Marcel Pagnol

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This research has as aim the comprehension of symbolic images by the relation with the hyper mark Harley-Davidson, starting with a presupposition that this images drive a kind of image consumption of the brand, as we purposed to think. The theoretical basis of the research consists of the basic notions of the imaginary, Gilbert Durand’s symbolic image; anthropological comprehension of the image and its production by the Hans Belting’s elucidations; comprehension of the brands and the consumption in the contemporary context by Gilles Lipovetsky and the comprehension of the consumption and it’s aspects beyond the objects with the Jean Baudrillard reflections’ help. The methodological path followed was the Michel Maffesoli’s Comprehensive Sociology, and Tim May and Maria Eugênia Costa’s Facal Group research technique. We see that the symbolic image emanating from the “individual-brand” transforms the way of consumption, which is a way to be explored by the branding as a way of providing transcendence relationship with brands.
Esta pesquisa tem como objetivo a compreensão das imagens simbólicas a partir da relação com a hipermarca Harley-Davidson, partindo do pressuposto que tais imagens impulsionam uma espécie de consumo-imagem da marca, como propomos pensar. A fundamentação teórica da pesquisa consiste nas noções de imaginário e imagem simbólica de Gilbert Durand; na compreensão antropológica da imagem e de sua produção a partir das elucidações de Hans Belting; no entendimento sobre as marcas e consumo, no contexto contemporâneo, a partir de Gilles Lipovetsky; bem como a percepção do consumo e seus aspectos para além do objeto, com o auxílio das reflexões de Jean Baudrillard.O caminho metodológico seguido foi o da Sociologia Compreensiva de Michel Maffesoli e, para a técnica de pesquisa Grupo Focal, utilizou-se as propostas de Tim May e Maria Eugênia Belczak Costa. Percebemos que a imagem simbólica que emana da relação indivíduo-marca transforma os modos de consumo, sendo este um caminho a ser explorado pelo branding como um meio de propiciar relação de transcendência com as marcas.

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Made available in DSpace on 2015-04-17T19:21:06Z (GMT). No. of bitstreams: 1 467310 - Texto Completo.pdf: 2039761 bytes, checksum: cbfb0ccd833856e8230606d84431450a (MD5) Previous issue date: 2015-03-13
Conselho Nacional de Pesquisa e Desenvolvimento Cient?fico e Tecnol?gico - CNPq
This research has as aim the comprehension of symbolic images by the relation with the hyper mark Harley-Davidson, starting with a presupposition that this images drive a kind of image consumption of the brand, as we purposed to think. The theoretical basis of the research consists of the basic notions of the imaginary, Gilbert Durand?s symbolic image; anthropological comprehension of the image and its production by the Hans Belting?s elucidations; comprehension of the brands and the consumption in the contemporary context by Gilles Lipovetsky and the comprehension of the consumption and it?s aspects beyond the objects with the Jean Baudrillard reflections? help. The methodological path followed was the Michel Maffesoli?s Comprehensive Sociology, and Tim May and Maria Eug?nia Costa?s Facal Group research technique. We see that the symbolic image emanating from the ?individual-brand? transforms the way of consumption, which is a way to be explored by the branding as a way of providing transcendence relationship with brands.
Esta pesquisa tem como objetivo a compreens?o das imagens simb?licas a partir da rela??o com a hipermarca Harley-Davidson, partindo do pressuposto que tais imagens impulsionam uma esp?cie de consumo-imagem da marca, como propomos pensar. A fundamenta??o te?rica da pesquisa consiste nas no??es de imagin?rio e imagem simb?lica de Gilbert Durand; na compreens?o antropol?gica da imagem e de sua produ??o a partir das elucida??es de Hans Belting; no entendimento sobre as marcas e consumo, no contexto contempor?neo, a partir de Gilles Lipovetsky; bem como a percep??o do consumo e seus aspectos para al?m do objeto, com o aux?lio das reflex?es de Jean Baudrillard. O caminho metodol?gico seguido foi o da Sociologia Compreensiva de Michel Maffesoli e, para a t?cnica de pesquisa Grupo Focal, utilizou-se as propostas de Tim May e Maria Eug?nia Belczak Costa. Percebemos que a imagem simb?lica que emana da rela??o indiv?duo-marca transforma os modos de consumo, sendo este um caminho a ser explorado pelo branding como um meio de propiciar rela??o de transcend?ncia com as marcas.

Publicación a texto completo no autorizada por el autor
Promueve la emisión electrónica de los comprobantes de pago y documentos vinculados a estos, disminuir la evasión tributaria, impulsar las mejora de los procesos de las empresas y el comercio electrónico utilizando tecnologías de información, la Superintendencia Nacional de Administración Tributaria (SUNAT) aprobó el Sistema de Emisión Electrónica desarrollado desde los sistemas del contribuyente como el medio de emisión electrónica de comprobantes de pago electrónico (facturas, boletas de venta, notas de crédito y notas de débito) . El propósito y los objetivos de este trabajo se centraron en el análisis, diseño y propuesta de implementar una solución integral que permita crear comprobantes de pago electrónicos del EMISOR y transferirlos mediante el uso de herramientas de integración Web a la Superintendencia Nacional de Administración Tributaria (SUNAT) además de brindar un portal donde puedan visualizar el estado de sus comprobantes de pago electrónicos tanto el EMISOR como sus adquirientes. Cumpliendo con las reglas y normativas establecidas por la Superintendencia Nacional de Administración Tributaria (SUNAT) en el proceso de Emisión de Comprobantes de Pago Electrónicos desde los sistemas del contribuyente.
Trabajo de suficiencia profesional

RÉSUMÉ Marcel Pagnol et Tahar Ben Jelloun : enjeux culturels de l’apprentissage de la masculinité Naser Aldahham Marcel Pagnol et Tahar Ben Jelloun sont des auteurs méditerranéens. Le premier est né à Marseille en 1895, le second à Fès en 1944. Tous deux témoignent dans leur oeuvre de leur attachement, heureux ou malheureux, à leur lieu d’origine et le représentent dans leurs récits d’enfance, tels ceux faisant l’objet de cette étude, soit les textes autobiographiques de Pagnol, La gloire de mon père et Le château de ma mère, et les romans de Ben Jelloun, L’enfant de sable et La nuit sacrée. Dans ces récits, les auteurs racontent l’apprentissage d’un garçon, Marcel Pagnol enfant, et d’une fille, Zahra, que son père, à défaut d’un fils et d’un héritier, veut élever en homme. De quelle façon nos auteurs abordent-ils le thème de l’apprentissage de la masculinité ? Quelle influence leur origine méditerranéenne, française ou marocaine exercet- elle sur le traitement de leurs récits ? Quelles visions du monde nous rendent-ils à travers les valeurs de leurs sociétés et des états qui les gouvernent, celui laïc et moderne de Pagnol au début du XXe siècle ou celui religieux et traditionnel du milieu du XXe siècle décrit par Ben Jelloun dans ses romans ? C’est ce que ce mémoire entend montrer en abordant ce thème à la fois sur le plan narratologique et sociologique, soit, en premier lieu, par un examen comparatif des textes dans la perspective narratologique de Genette, et, en second lieu, par l’analyse des enjeux sociaux respectifs des récits.