Dissertations / Theses on the topic 'Sartre, Jean Paul, Gaze in literature'

Mon sujet de thèse est une tentative d’éclairage de l’énigme du corps absent/ présent, obscur, fictif et extraordinaire chez les personnages romanesques et philosophiques d’un grand auteur français du XXe siècle : Jean-Paul Sartre. L’énigme de ce corps obscur traduit dans les œuvres de Sartre une réalité ontologique, charnelle. Or, la description du corps (absent ou présent) chez Sartre est avant tout imaginaire et il y a un nombre infini d’énigmes corporelles dans son œuvre. Elles se cherchent encore des significations. Le savoir encyclopédique de Sartre mérite, et sans limite, une multitude de lectures qui pourraient enrichir durablement la compréhension du texte littéraire de cet auteur. Beaucoup de questions cherchent des réponses bien précises. La recherche de l’absence du corps ou de l’énigme corporelle dans le texte sartrien n’a jamais été l’objet principal d’une étude entière, ce qui nous permet de prétendre à l’originalité d’un nouveau trajet de lecture. Notre étude a pour objectif de définir les modalités, les structures, les emblèmes, le sens et la nature de l’énigme dans l’œuvre de Sartre. Faire une analyse détaillée de l’énigme existentielle du corps surtout mais tout en s’appuyant sur ce que nous pouvons appeler l’herméneutique de l’énigme et les différents aspects de la présence/ absence. Lire Sartre, avec cette nouvelle méthode va tracer, nous l’espérons bien, une nouvelle ligne de recherche et créer une nouvelle dimension dans la compréhension de la philosophie et de l’écriture littéraire de Sartre
The subject of my thesis is an attempt to shed light on the enigma of the mysterious human body which is fictitious and extraordinary as depicted in the characters of the philosophical works of French writer Jean-Paul Sartre. These contradictions demand an understanding of the ultimate nature of the reality of the body which is both carnal and at the same time real. But the description of the body by Sartre is essentially imaginary and can lead to an infinite number of interpretations The information and facts provided by this author therefore fully deserve an analysis meant to enrich the understanding of his literary works. Such an attempt to solve these riddles through a search for the understanding of the puzzle of the body in the text of Sartre has never been the main subject of a full study. This allows us to claim originality of a new way of understanding his work. Our study aims to determine the structures, symbols, meaning, and nature of this enigma. This dissertation contains a detailed analysis of the existential contradictions of the body primarily based on interpretation of the absence/ presence dilemma. Hence a reading of Sartre with these hopefully more enlightening insights is intended to develop a novel thought process for research and to create a new dimension in the understanding of Sartre’s philosophy and writings

Orientador: Arnaldo Franco Junior
Banca: Márcio Scheel
Banca: Márcio Roberto do Prado
Resumo: Jean-Paul Sartre, filósofo e escritor francês do século XX, embasou seus romances nos ditames de seu pensamento existencialista e em suas ideias a respeito da literatura, considerando a escrita romanesca, cuja tarefa seria a de apresentar-se como meio para possíveis soluções simbólicas dos conflitos existenciais do homem de seu tempo, uma possível via de desvelamento do mundo e de afirmação da liberdade humana. A partir de uma relação dialética entre autor e leitor, Sartre aponta que essas duas partes incitam-se reciprocamente, levando ao fato de a liberdade de uma, quando manifesta, desvendar a liberdade da outra. O escritor francês defendeu uma teoria do romance existencial a partir da qual será abandonada a posição do narrador onisciente e empregada uma técnica de composição romanesca fundada em uma metafísica da liberdade a recusar todo traço de determinismo no decorrer da narrativa. Trata-se, segundo Sartre, de romances voltados para as inquietações humanas, situados em uma época de grandes conturbações políticas, sociais e culturais, na qual, por meio de uma arte engajada, o autor fomentaria, de acordo com um pacto de generosidade entre ele e o leitor, a reflexão crítica e a responsabilidade do homem. Diante disso, nosso propósito foi o de estudar duas obras do universo romanesco do autor - quais sejam, Os dados estão lançados e Com a morte na alma - à luz dos fundamentos elencados em seus trabalhos críticos e teóricos, nos quais Sartre defende os aspectos formais de uma técnica de composição narrativa capaz de conceber textos em conformidade com sua concepção de literatura. Por esse viés, cruzaremos dados teóricos e produção romanesca do autor a fim de identificar as convergências e divergências, os alcances e as limitações entre o que o autor teoriza e o que, de fato, cumpre como romancista, indo ao encontro de nossos objetivos principais...
Résumé: Jean-Paul Sartre, philosophe et écrivain français du XXe siècle, a conçu ses romans selon sa pensée existentialiste et ses idées sur la littérature, lorsque l'on considère l'écriture romanesque, dont la tâche serait de se présenter comme un moyen de solutions symboliques des conflits existentiels d'homme de son temps, comme une manière possible de dévoiler le monde et d'affirmer la liberté humaine. À partir d'une relation dialectique entre l'auteur et le lecteur, Sartre souligne que ces deux parties ont besoin les uns des autres, ce qui conduit au fait que la liberté d'une, quand s'est manifeste, dévoile la liberté de l'autre. L'écrivain français a plaidé pour une théorie du roman existentiel à partir de laquelle sera abandonné la position du narrateur omniscient et sera employé une technique de composition romanesque fondée sur une métaphysique de la liberté, en refusant toute trace de déterminisme dans le cours du récit. Il s'agit, selon Sartre, des romans centrés sur les préoccupations humaines, situés dans une époque de grands bouleversements politiques, sociaux et culturels, dans lequelle, à travers un art engagé, l'auteur encourageait, conformément à un pacte de générosité entre lui et le lecteur, la pensée critique et la responsabilité de l'homme. Par conséquent, notre objectif était d'étudier deux oeuvres de l'univers romanesque de l'auteur - à savoir, Les jeux sont faits et La mort dans l'âme - à la lumière des motifs énumérés dans ses travails critiques et théoriques, dans lesquels Sartre soutient les aspects formels d'une technique de la composition narrative capable de concevoir des textes conformément à sa conception de la littérature. De ce point de vue, nous étudions la production romanesque et les données théoriques de l'auteur afin de idéntifier les convergences et les divergences...
Mestre

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
A articulação entre as obras filosóficas e literárias de Jean-Paul Sartre nos permite acompanhar o processo de elaboração da compreensão de subjetividade do autor. A partir do método comparativo e do método progressivo-regressivo, Jean-Paul Sartre desenvolve uma compreensão de subjetividade que tem por base a relação dialética do homem com a história, através da qual ocorre a constituição dos valores que orientam a ação humana. Buscando analisar de queforma a narrativa literária pode auxiliar o pesquisador a compreender este processohistórico, faço a leitura reflexiva dos romances que compõem a trilogia Os caminhos da liberdade de Jean-Paul Sartre, tendo por foco as vivências do personagemMathieu Delarue. Ao possibilitar que o pesquisador acompanhe o movimento deconstituição da temporalidade de um sujeito singular, a literatura contribui para que o campo da psicologia social seja capaz de criar caminhos de compreensão darealidade humana a partir da condição de abertura própria ao jogo dialético dohomem com a história.
The relationship between the literary and the philosophical works of Jean-Paul Sartre allows us to follow the development of the author's understandingof subjectivity. From the comparative method and the progressive-regressive method,Jean-Paul Sartre develops an understanding of subjectivity that is based on thedialectical relationship between man and history, in which occurs the formation of thevalues that guide human action. In order to analyze how literary narrative may helpresearchers to understand this historical process, I propose to do a reflective readingof the novels that compose the trilogy The paths of freedom of Jean-Paul Sartre focusing on the experiences of the character Mathieu Delarue. By enabling theresearcher to track the movement of constitution of the temporality of a singularindividual, I consider that literature contributes to social psychology's field to create ways of understanding human reality by respecting the dialectic that exists between man and history.

Il existe un domaine où Jean-Paul Sartre paraît n’avoir laissé, malgré sa polygraphie, presque aucune trace : la poésie. Mais était-elle dès lors étrangère à sa pensée ? Loin de là selon nous. L’acception de ce mot ne se limite pas chez lui au sens ordinaire d’un genre littéraire, mais elle désigne aussi un mode d’être-dans-le-monde propre au poète-écrivain, qui se résume en choix de l’« échec » ou de « l’impossible ». Même si larvée dans ses écrits, la réflexion de Sartre autour de cette idée nous semble former une systématicité qu’on pourrait appeler un « deuxième Qu’est-ce que la littérature ? » qui, en articulant de manière paradoxale l’esthétisme antihumaniste et la moralité de l’« anthropodicée », trahit parfois le premier — qui ne cesse, pour autant, d’être la pensée de la « littérature engagée ». Dans cette présente étude, suivant de telles lignes conductrices, nous avançons nos analyses en deux étapes. Le premier temps de notre travail sera consacré à l’analyse structurelle de la « poésie » sartrienne, menée d’abord sur le plan du projet existentiel (Partie I), ensuite sur le plan de la création poético-littéraire (Partie II). À cette analyse fera suite le second temps de la recherche, la réflexion sur la portée morale de la « poésie » comprise au sens sartrien (Partie III)
There is a domain in which Jean-Paul Sartre appears not to have left any trace, in spite of his polygraphy: poetry. Was it then strange to his thought? Far from it, in our opinion. In Sartre’s work, this word is not limited to the ordinary sense of a literary genre, but also designates a mode of being-in-the-world specific to the poet-writer, which comes down to the choice of “failure” or “impossibility.” Though it remained latent in his writings, his reflection on this idea seems to form a systematicity of what we could call the “second What is literature?” that, articulating in a paradoxical way the antihumanistic aestheticism and morality of “anthropodicy,” sometimes betrays the first What is literature? — without ceasing to be the thought of “committed literature.” Following these guidelines, in this thesis, we advance our analysis in two steps. The primary phase of our work will be devoted to the structural analysis of Sartrian “poetry,” led first on the level of an existential project (Part I), and subsequently, on the level of a poetico-literary creation (Part II). This analysis will be followed by the second phase of the research, reflection on the moral range of “poetry” understood in the Sartrian sense (Part III)

In this dissertation I explain the transition from modernism to postmodernism through the study of the French existentialist novel. I follow theories that demonstrate that the latter owes its success to historiographic metafiction. By setting off the aporias that deeply penetrate modern novels, I demonstrate the obsolescence of the prototype of the realist novel and I explain the impasses towards which the project of a committed literature lead, inscribed in the line of realism and aimed at an almost direct relation with society and history through the mediation of art between 1945 and 1955 in France.
On one hand I consider literature as an object which can be described by the methodologies of history. On the other hand I suggest an analysis of the historicity of the text that is constituted by the dynamic system generated by the interaction, the interdependence, and the correlation of the poetic and aesthetic parameters and the factors of the historical context. My aim is to set off the poetic and aesthetic mecanism of stability and of transformation of literary creation according to the dynamic relation between the vector of the project associated to realism and the one of the prototype associated to the novel. I think that late modernism produces paradoxical configurations of the novel because it is the period in which the project of realism becomes lapsed and the prototype of the realist novel becomes dilapidated.
Among the works that are exemplary of the tension between fiction and history and between project and prototype in the framework of the representation of reality and of the inscription of history in novels, I identified Albert Camus' La Peste, Simone de Beauvoir's Les Mandarins and Jean-Paul Sartre's Les Chemins de la liberte . I conclude that the enterprise of committed literature was an aporias because it was generated from the impoverishment of the project of realism and the obsolescence of the prototype of the novel. Later literature was extricated, firstly, by the radically and extremely metafictional writing of the Nouveau Roman and, secondly, it was changed by postmodern historiographic metafiction. The crisis of history and of the writing of history was solved by works in which there is the acknowledgement and the use of sophisticated mediations to evoke and inscribe history in different ways.

Orientador: Arnaldo Franco Junior
Banca: Márcio Scheel
Banca: Pablo Simpson Kilzer Amorim
Banca: Márcio Roberto do Prado
Banca: Edison Bariani Junior
Resumo: Ao longo da primeira metade do século XX, a humanidade assistiu à derrocada traumática da razão. Muitas das utopias modernas, pautadas nos ideais de progresso técnico e tecnológico, resultaram em reais distopias com a ascensão, na Europa e em outros continentes, de regimes ideológicos totalitários. Aos poucos, o desvanecimento dos últimos resquícios de uma belle époque deu espaço a uma crise moral que perturbou as fronteiras da liberdade - e os limites da arte, o que levou artistas e intelectuais, dentre os quais Jean-Paul Sartre (1905-1980), a repensarem o seu papel na sociedade. Na produção romanesca de Sartre, encontramos a trilogia Les chemins de la liberté (1945-1949), ao longo da qual acompanhamos os eventos da Segunda Guerra Mundial a partir da consciência de personagens que discutem a liberdade em face de sua situação no mundo. Paradigmática para a literatura engajada, a trilogia sartriana apresenta muitos dos aspectos formais defendidos por Sartre em seus textos teórico-críticos: contextualizando a narrativa ao longo da guerra, a ideia de "liberdade" se encontra nos elementos composicionais das histórias e nos dilemas das personagens, livres da onisciência narratorial - o que requisita o leitor para a criação de hipóteses a respeito do que pensam (a partir de como agem) as consciências semilúcidas que interagem no universo romanesco criado por Sartre. Notamos, pois, uma relação entre a liberdade e a literatura (e a sua recíproca influência), relação que objetivamos...
Abstract: Throughout the first half of the twentieth century, humanity witnessed the traumatic overthrow of reason. Many of the modern utopias, based on the ideals of technical and technological progress, have resulted in real dystopias with the rise, in Europe and elsewhere, of totalitarian ideological regimes. Gradually, the fading of the last remnants of a belle époque gave way to a moral crisis that disturbed the frontiers of freedom - and the limits of art, prompting artists and intellectuals, including Jean-Paul Sartre (1905-1980), to rethink their role in society. In Sartre's romanesque production we find the trilogy Les chemins de la liberté (1945-1949), along which we follow the events of World War II from the consciousness of characters who discuss freedom in the face of their situation in the world. Paradigmatic for engaged literature, Sartre's trilogy presents many of the formal aspects defended by the author in his theoretical-critical texts: contextualizing the narrative throughout the war, the idea of "freedom" is found in the compositional elements of the stories and in the dilemmas of the characters, free of narrative omniscience - which requires the reader to create hypotheses about what they think (from how they act) the semilucidal consciousnesses that interact in the romanesque universe created by Sartre. We therefore note a relation between freedom and literature (and its reciprocal influence), a relation that we aim to investigate from the philosophical, political and literary texts of the author, and then to show how and why Sartre's thought and his production influenced and were influenced by freedom (or, rather, by its absence)
Résumé: Tout au long de la première moitié du XXe siècle, l'humanité a témoigné la débâcle traumatique de la raison. Beaucoup d'utopies modernes, basées sur les idéaux du progrès technique et technologique, ont entraîné de véritables dystopies avec l'ascension, en Europe et ailleurs, des régimes idéologiques totalitaires. Peu à peu, la disparition des derniers restes d'une belle époque a cédé la place à une crise morale qui a perturbé les frontières de la liberté - et les limites de l'art, ce qui a conduit les artistes et les intellectuels, y compris Jean-Paul Sartre (1905-1980), à repenser leur rôle dans la société. Dans la production romanesque de Sartre, nous trouvons la trilogie Les chemins de la liberté (1945-1949), dans laquelle nous suivons les événements de la Seconde Guerre Mondiale à partir de la conscience des personnages qui discutent la liberté face à leur situation dans le monde. Paradigmatique pour la littérature engagée, la trilogie sartrienne présente plusieurs des aspects formels préconisés par Sartre dans ses textes théoriques et critiques : en contextualisant le récit pendant toute la guerre, l'idée de « liberté » se retrouve dans les éléments de composition des histoires et dans les dilemmes des personnages, libres de l'omniscience narrative - ce qui oblige le lecteur à créer des hypothèses sur ce que pensent (à partir de la façon dont agissent) les consciences semi-lucides qui interagissent dans l'univers romanesque créé par Sartre. Nous notons donc une relation entre la liberté et la littérature (et son influence réciproque), une relation que nous cherchons à étudier à partir des textes philosophiques, politiques et littéraires de l'auteur, pour montrer comment et pourquoi la pensée sartrienne et sa production romanesque ont influencé et ont été influencés par la liberté (ou plutôt par son manque)
Doutor

FARIAS, Pedro Nogueira. Filosofia e literatura no jovem Sartre: uma sustentação recíproca. 2013. 135f. - Dissertação (Mestrado) - Universidade Federal do Ceará, Programa de Pós-Graduação em Filosofia, Fortaleza (CE), 2013.
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A proposta da nossa pesquisa é analisar a relação de sustentação recíproca entre filosofia e literatura em Sartre por via da leitura dos textos filosóficos e das obras de ficção A náusea e O muro, observando no pensamento de juventude de Sartre a predominância da questão ética. Relacionando filosofia e literatura, almejamos, desta forma, esclarecer as correspondências e os entrelaces dos questionamentos éticos que unem o plano teórico e a investigação sobre a concretude da vida humana, ambos, instrumentos interdependentes de um projeto filosófico-literário de fundo ético. Observaremos também as condições éticas do compromisso histórico que se estabelece por via do engajamento do escritor: compromisso recíproco assumido entre o escritor e o leitor a partir da liberdade situada.

Cette thèse mène une enquête sur le concept d’imagination tel qu’il est abordé dans la réflexion littéraire de la période 1924-1948, dans le cadre plus vaste des rapports entre imagination et littérature à partir du romantisme. Elle interroge plus spécifiquement l’évolution du lien théorique établi entre la faculté imaginative et la définition des pouvoirs de connaissance de la littérature. Cette étude se compose de deux parties : la première, synthétique, met en relief les coordonnées du débat autour de l’imagination, dans la trajectoire qui mène jusqu’au XXe siècle. Quatre thématiques principales y sont développées : l’opposition entre imagination reproductrice et imagination créatrice, la centralité du modèle romantique, l’apport herméneutique des sciences humaines et la dialectique problématique entre ces deux derniers éléments, dans le contexte de la crise de légitimation que la littérature traverse dans l’entre-deux-guerres. La deuxième partie, se fondant sur une démarche analytique, se compose de chapitres monographiques consacrés aux théories de l’imagination élaborées par cinq auteurs principaux : André Breton, Gaston Bachelard, Roger Caillois, Armand Petitjean et Jean-Paul Sartre. Elle vise à étudier à la fois la spécificité de leur production et leur participation à un cadre commun, par l’analyse des différentes stratégies qu’ils emploient afin de préserver, par le concept d’imagination, un espace d’autonomie épistémologique pour la littérature
This dissertation investigates the concept of imagination in literary theory during the period 1924-1948, in the larger context of the relationship between imagination and literature from the Romantic period on. This work stresses in particular the evolution of the theoretical link between imagination and the cognitive power of literature. The text is composed of two main sections: the first part provides a synthetic consideration of the terms of the intellectual debate around the imagination, through the early twentieth century. Four main subjects are discussed: the conflict between reproductive imagination and creative imagination, the importance of the romantic model, the hermeneutical contribution of human sciences and the problematic dialectics between these latter two elements, in the context of the crisis of legitimacy faced by literature in the interwar period. The second, more analytical part is composed of five monographical chapters dedicated to the theories of imagination developed by five authors: André Breton, Gaston Bachelard, Roger Caillois, Armand Petitjean et Jean-Paul Sartre. This section aims to study both the specificity of these theories and their participation in a common framework. It analyzes the strategies these authors employ to preserve, through the concept of imagination, an epistemological autonomy for literature

This article claims that Ralph Ellison's use and then revision of French existential themes is essential to understanding his overriding message of Invisible Man: Ellison's hope for a more polyglot American democracy that transcends the white democracy of mid twentieth century America. Specifically, I argue that Ellison, after demonstrating his ability to understand and engage in the traditional ideology of European existentialism, deviates from its individualistic conclusions demanding that the larger community, not just the solitary individual, must become ethically responsible if the classic existential tenet of authenticity is to be achieved. In order to establish this claim, I identify key passages in Invisible Man that indicate Ellison's desire to engage the existential movement. Writings from Camus and Sartre provide the foundation for comparison between Ellison's work and the French based philosophy. This background provides the groundwork to explore Ellison's deviations from the existential forms of his day. These departures have significant implications for Ellison's view of a socially productive individual, and therefore of his message in Invisible Man. In order to document the prevalence of existentialism in Ellison's literary consciousness, I then discuss its rise and decline in postwar New York. I also outline what is known about Ellison's relationship to the movement. Lastly, I conclude with a discussion of the philosophical tradition of existential philosophy and the difference between the philosophy of existence, seen in the Western canon through philosophers like Kierkegaard, and existentialism, one of its popular manifestations that peaked in the 1940s. Separating the two existential movements allows me to explore the tangential way most Ellison critics have associated him with existentialism and advocate for a more inclusive critical discussion of Ellison's relationship to existentialism.

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This paper consists in analyse the conception of literature expressed in What is the Literature?, trying to elucidate what Sartre understands by engaged literature. This paper intends to show that the position of the author is linked in his biggest philosophical project, which means, the human s comprehension in the world from his condition as existent, whose unique basis is the freedom. Having its origin and ending in freedom, the literature runs towards the neighbor in which he belongs as human, his own freedom, and it is completed in a dialetic exercise of gratuities the reading. In this meaning, the mainly function of the engaged literature is to make it a mirror of the society itself in order to do men become conscious of themselves and of the reality and take their own decisions. The engaged literature, nevertheless, cannot be comprehended as an ideological pamphleteering, but as an action of the writer compromised to freedom and to his time
O presente trabalho consiste em analisar a concepção de literatura expressa em Que é a Literatura?, procurando elucidar o que Sartre entende por literatura engajada. Pretende-se mostrar que a posição do autor está ancorada em seu projeto filosófico maior, a saber, a compreensão do homem no mundo a partir de sua condição como existente, cujo fundamento único é a liberdade. Tendo sua origem e fim na liberdade, a literatura se dirige ao próximo naquilo que ele possui de mais humano, a sua própria liberdade, e se efetiva num exercício dialético de gratuidades a leitura. Nesse sentido, a principal função da literatura engajada é a de fazer-se espelho da sociedade para si mesma, a fim de que os homens possam tomar consciência de si próprios e da realidade e fazerem suas próprias escolhas. A literatura engajada, portanto, não pode ser compreendida como uma panfletagem ideológica, mas como uma ação do escritor comprometido com a liberdade e com o seu tempo

Loin d’être un terme dépassé, « l’engagement » reste, au prix de certains élargissements, une notion opératoire pour l’analyse littéraire, tant en Occident que dans d’autres régions du monde. Repenser l’engagement littéraire comme la « dénonciation d’un inacceptable » permet de mettre au jour et de confronter les stratégies rhétorico-poétiques caractérisant la production littéraire d’auteurs contemporains aussi divers que Waris Dirie, Peter Handke, Jean-Marie Gustave Le Clézio, Toni Morrison, Taslima Nasreen, Ben Okri, Orhan Pamuk, Salman Rushdie et Luis Sepúlveda. Nous cherchons ainsi à mettre en évidence l’intégration par les textes étudiés d’éléments idéaux-typiques de l’engagement littéraire, de l’investissement auctorial à la confrontation au politique. Ces éléments, liés à des discours théoriques dont certains ont parcouru tout le vingtième siècle, sont examinés selon leurs différentes élaborations dans les textes. En effet, c’est en faisant évoluer certains de ses traits idéaux-typiques que les auteurs étudiés renouvellent l’engagement littéraire. On peut dès lors présenter celui-ci comme la dénonciation, pas systématiquement polémique, d’un inacceptable. Cette notion d’« inacceptable », qui suppose entre autres la construction textuelle d’un jugement moral, permet ainsi d’entreprendre non seulement une analyse transhistorique, qui déborde la conceptualisation sartrienne, mais également une approche transculturelle de l’engagement littéraire
Far from being an outdated notion, "commitment" remains, with some enlargements, a valid concept for literary analysis, in the West as much as in other regions of the world. Rethinking literary commitment as the "denunciation of an unacceptable" allows us to unfold and compare the various rhetorical and poetic strategies characterizing the literary production of contemporary authors as diverse as Waris Dirie, Peter Handke, Jean-Marie Gustave Le Clézio, Toni Morrison, Taslima Nasreen, Ben Okri, Orhan Pamuk, Salman Rushdie and Luis Sepúlveda. We seek to highlight the ideal-typical elements of literary commitment in these texts, such as the authorial presence or the advocacy of certain political programmes. These elements are related to various theoretical discourses, some of which have traveled through the twentieth century. We examine their different patterns in the texts, showing that our authors renew literary commitment through the reorganization and alteration of its usual features. Thus, we define literary commitment as the denunciation of an unacceptable that is not necessarily polemical. The notion of "unacceptable", which implies the textual construction of a moral judgment, allows us not only to undertake a transhistorical analysis, which goes beyond the Sartrean conceptualization, but also to engage in a cross-cultural study of literary commitment

L’écriture de l’enfance à travers l’étude de Gide, Montherlant, Bazin, Sartre et Green consiste à examiner les motifs qui permettent de représenter ladite enfance au XXe siècle. Des théories élaborées par les pédagogues, telles que le morcellement, le tâtonnement, l’inachèvement, le désordre, le libre choix etc, placent l’enfance dans le contexte de la modernité. De l’autobiographie à la fiction, l’enfant est désormais exploité comme un sujet de discours souffrant d’une hybridité de genre. Qu’elle soit heureuse ou malheureuse, l’enfance reste une source inépuisable de création. Elle implique les relations familiales et permet de comprendre l’écriture réactionnaire ! L’enfance est ainsi liée au milieu originel. Chez Gide, l’enfant est façonné par son milieu comme dans les romans de Zola. Se développant sous l’autorité maternelle et dans le cadre d’une éducation puritaine, l’enfant est une victime de la bourgeoisie, il n’est pas encore né à lui-même ou à sa conscience. Il est également une source de naissance en soi, c’est l’attrait de « l’enfant autre ». Chez Bazin, l’enfant est chosifié par la mère. Le comportement de Jean Rezeau va basculer dans la dérive, car il va vivre avec ses frères une enfance et une adolescence compliquées sous l’autorité d’une mère résolue à détruire ses trois fils. L’objectif, avec Montherlant, est de montrer comment les enfants ont une influence sur les adultes. L’enfant est source d’ambivalence : il provoque à la fois des relations conflictuelles et constitue une entité d’espérance. Chez Green, les interférences avec l’enfance sont multiples et le transfert de l’enfance n’est possible que par le canal de la mère. Les souvenirs du Sud ou du royaume du bonheur de l’enfance sont rapportés par la mère. L’enfance est restée du côté de l’Amérique ou du pays perdu. L’enfant imaginaire de Sartre participe également à la naissance à soi. Ces auteurs font de l’enfance un motif de discours détourné et un motif de renouvellement esthétique. Ainsi, l’ouverture sur l’adolescence ou la jeunesse tend à ne pas se limiter sur un âge précis de l’enfance
The writing of childhood in the XXth century by Gide, Montherlant, Bazin, Sartre and Green consists in examining the use of the theme in the context of a particular representation. Family relations, the child and the grown-up world, belonging to a social class, a puritanical education or the influence of religion, such are the main subjects which. Whether it is about reporting one’s real-life experience or transposing one’s vision of childhood, it also means a different mode of existence. It is a question of representing oneself by treating the memories. Theories developed by the teachers such as the division, the experimentation, the incompletion, the disorder, the free choice, place childhood in the context of the modernity. Of the autobiography in the fiction, the child is exploited from now on as a subject of speech suffering from a hybridity of kind.The writers fight with techniques of ordinary language and opt for an irrational and misleading speech which partake of the idea of an impossible word. Thus the narrative of childhood is reminiscent of a known etymology. The word comes from the Latin "in fans" and means "the one who does not speak" which echoes the Greek "fémi", that is "the one who cannot show his thought by the word". The study of the theme in the whole of the corpus, shows that these authors choose an approach which aims at presenting childhood as a motive for break. From the fragmentation effect to the unspoken, what is being made manifest is a strong will of renewal which is influenced by the new approaches such as the sociological approach of literature and psychoanalysis. Witnesses of their time, of their environment, these writers act as doctors who point at the problems and at the crises of the nation in the XXth century. In so doing, they give the novels a social relevance, while they make childhood "a motive for writing

Comment concilier le récit d’une expérience personnelle qui met le “moi” écrivain au coeur de l’entreprise auctoriale avec le désir d’intervenir dans la chose publique et politique ? Et comment réunir ces deux dimensions dans l’espace poétique de la fiction afin que ni la biographie ni l’idée ne prennent le pas sur le romanesque ? C’est ce que nous nous sommes proposé d’étudier à travers les exemples de cinq oeuvres : La Maison du peuple de Louis Guilloux, L’Espoir d'André Malraux, La Conspiration de Paul Nizan, Les Mandarins de Simone de Beauvoir et Le Premier Homme d’Albert Camus. Il est apparu que nos auteurs n’ont pas seulement leur amitié ou leurs conflits en commun, mais également une vision convergente sur la manière de conjuguer leur vécu et les causes de leur temps, avec çà et là, les particularités propres à chacun, que nous avons tenté de mettre en lumière. La période que couvre le corpus allant de la fin des années 1920 jusqu’à la fin des années 1950, sa confrontation avec des théories littéraires qui ont fleuri à partir des années 1970 manifeste la pertinence des questions que continue à soulever une littérature engagée dont on a sonné le glas, et pas seulement sur le plan formel. Prenant ce corpus pour matériau d’analyse sans nous y restreindre, nous détaillons les questions de poétique et de genres littéraires que soulève la désignation “roman autobiographique”, les techniques de représentation et de transposition ainsi que la part de subjectivité qui préside à une écriture en situation, afin de déterminer comment une expérience personnelle se transforme en exercice esthétique pour aboutir à une éthique de l’action
How do authors reconcile the desire to share their personal experience — where the “I” is the heart of the work — with the desire to participate in public and political life ? And how can they bring together these two dimensions in the poetic space of fiction, so that neither their biography nor their main thesis end up of overshadowing the work’s novelistic qualities? These are the questions we proposed to examine through five novels: La Maison du Peuple by Louis Guilloux, L’Espoir (“Man’s Hope") by André Malraux, La Conspiration (“The Conspiracy”) by Paul Nizan, Les Mandarins (“The Mandarins”) by Simone de Beauvoir, and Le Premier Homme (“The First Man”) by Albert Camus. We found that, beyond their friendship and their shared battles, these authors also shared similar views on how to reconcile their personal experiences and the causes of their time — with, here and there, their own particularities, which we examined. The confrontation of these works, which range from the 1920s to the late 1950s, with the literary theories that emerged starting in the 1970s attests to the pertinence of questions raised by this socially-conscious literature (and not only on the formal level). Using this corpus for analysis, but without restricting ourselves to it, we examined the questions of poetics and genre raised by the term “autobiographical novel”, techniques of representation and transposition, and the subjectivity inherent to engaged writing. This will lead us to understand how a personal experience can be transformed into an aesthetic exercise and result in an ethics of praxis

Esta pesquisa, em um primeiro momento, pretende apreender o existencialismo como parte dos ideários integrantes das vicissitudes que marcaram a transição para a modernidade literária. A seguir, conceitos presentes na obra O Ser e o Nada: Ensaio de Ontologia Fenomenológica, do filósofo francês Jean-Paul Sartre, são relacionados a elementos constituintes da estrutura narrativa, a saber, o espaço, o tempo e o narrador. Com isso, os conceitos sartrianos de consciência, de Ser e de liberdade, uma vez inter-relacionados a esses elementos da estrutura narrativa, possibilitam a criação de ferramentas que melhor assinalam a relação dessa corrente filosófica com a obra de Clarice Lispector, A Paixão Segundo G. H. É nessa perspectiva que os conceitos de narrador, espaço e tempo à luz do existencialismo são utilizados a fim de que, sob uma ótica filosófica, novos leituras sobre o romance sejam possibilitadas.
This research aims at identifying points of connection between Existentialism and the Modern agenda using as a corpus of investigation the novel A Paixão Segundo G. H., by the Brazilian writer, Clarice Lispector. Concepts apprehended from Jean-Paul Sartre‟s Being and Nothingness: An Essay on Phenomenological Ontology are related to three aspects of the narrative structure, namely space, time and narration. The French philosopher‟s concepts respecting consciousness, being and freedom, when interrelated with Lispector‟s narrative structure, allow the creation of tools that emphasize this relation between philosophy and literature in the analyzed novel. We expect that this endeavor may open new possibilities of reading to that novel, in which narration, space and time can be examined in the light of Existential concepts.

Thesis (M.A.)--York University, 2005. Graduate Programme in Francaises.
Typescript. Includes bibliographical references (leaves 125-132). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR19692

The moral and ethical choices made during the Nazi Occupation of France would echo for generations: they served as a source of pain and pride when the French sought to rebuild their national identity after the ignominy of the defeat, and acted as the foundation for the intellectual legacy on which post-war life stands.

In my dissertation I examine the diverse trajectory of two writers, Jean-Paul Sartre and Jean Giraudoux, during the Occupation by focusing on their dramatic works. During this period, no writer could legally exercise his vocation and receive compensation without submitting to certain legalities designed to monitor the content of artistic output. Therefore, any author who published did, at least in some small way, collaborate. This particular line in the sand has become blurred with time and usage. Critics and intellectuals, not to mention the legal system, have initially categorized artists' politics, then, when the boundaries (or public opinion) have shifted, they have chosen to reclassify. Collaborationist, resistant, or neutral - these three convenient labels cannot do justice to the vast array of colors in the Occupation-era landscape.

Writers, like the public at large, responded to the Occupation by becoming extreme collaborators, opportunists, simply earning their daily bread, or becoming fierce resistants, with an infinite number of various roles in between. Although critics have historically attempted to evaluate Jean-Paul Sartre's and Jean Giraudoux's actions in order to classify them as "resistant" or "collabo," this is a reductive act. Both men, like so many Frenchmen of this period, made an infinite number of small and large decisions that refracted their post-war image according to which critic held the prism. The historiography with regards to this era has dramatically changed. Must the manner in which we "categorize" these two authors not change accordingly?

With this question in mind, I have carefully studied the authors' primary texts (plays, essays, critiques, memoirs, and letters). In particular, I focus on their theatrical offerings: Les mouches, Huis clos, and La folle de Chaillot, as these are their best-known works of the era. Next, I examined biographies of the Sartre and Giraudoux (as well as other major historical, political, and literary figures) in order to gain as much background information as possible, and moreover, to identify both tendencies and discrepancies with regards to the authors. After this I sifted through the contemporary press related to these two authors, including theatrical reviews of their plays, their own publications in order re-evaluate the Occupation-era theatrical offerings of Sartre and Giraudoux. I have chosen to focus mainly on their plays from the era, as it those are their best-known works, and the those which had the most influence, in creating their political legacy and reputation during the Occupation. Finally, I applied the theories from contemporary historians - Robert Paxton, Henry Rousso, Philippe Burrin, and Gisèle Sapiro among others - in order to develop my own analysis of the theater of Sartre and Giraudoux and their post-war legacy.

Themes centering on guilt and condemnation abound during the war, especially in these three works. Fueled by De Gaulle's myths of an almost unilaterally resistant French population, the immediate post-war period focused on deliverance from an exterior enemy. However, contrary to popular interpretation, the plays in my corpus condemn the enemy within, the French betrayal of the French.

Dissertation

The representation of the witch in French literature has evolved considerably over the centuries. While originally portrayed as a benevolent and caring healer in works by Marie de France, Chrétien de Troyes, and the anonymous author of Amadas et Ydoine , the witch eventually underwent a dramatic and unfortunate transformation. By the fifteenth century, authors began to portray her as a malevolent and dangerous agent of the Christian Devil. Martin Le Franc, Pierre de Ronsard, Joachim du Bellay, François Rabelais, and Pierre Corneille all created evil witch figures that corresponded with this new definition. It was not until the eighteenth century, through the works of Voltaire and the Encyclopédistes, that the rehabilitation of the witch began. By the twentieth century, Anne Hébert, Jean-Paul Sartre, Maryse Condé, and Sebastiano Vassalli began to rewrite the witch character by engaging in a process of demystification and by demonstrating that the "witch" was really just a victim of the society in which she lived. These authors humanized their witch figures by concentrating on the victimization of their witch protagonists and by exposing the ways in which their fictional societies unjustly created identities for their witch protagonists that were based on false judgments and rumors. Hébert attacks Sigmund Freud's association of the witch and the hysteric, Sartre utilizes his witches to expose many of his existential ideals, Condé highlights the role that racism played in witchcraft, and Vassalli strives to rewrite history by telling the story from the point of view of his witch character. Each twentieth-century author provides a story that deconstructs the very nature of the witch as this had been constructed over time, and shows how witches expose the problems associated with understanding one's place in the world in both their individual and their social dimensions. The witch, for these authors, challenges dominant norms and reveals how much our identities are influenced by our interactions with other individuals. And, because the witches in each text are marginal beings, they expose the repressiveness of their particular environments and the idiosyncrasies of their cultures. In all these ways, or so these 20 th -century authors contend, we as modern readers, can relate to their situations and learn from their stories.