Education and Research Topics

De Cecília Helena Giansanti de Carvalho Ferreira Barbazia, Adriana Ieremciuc, Alexandre Marzullo e mais 26

This book brings together texts that involve research covering various topics. The main objective of this work is to highlight the plurality of methodologies, bibliographic sources and objects of study that circulate in the most diverse countries in the postgraduate area.

• Idioma: Português
• Editora: Tesseractum Editorial
• Data de lançamento: 6 de ago. de 2023
• ISBN: 9786589867579

Pré-visualização do livro

capa.jpg

Education and Research Topics

Organization:

Ana Maria Haddad Baptista

Ciprian Vălcan

Márcia Fusaro

.

This book brings together texts that involve research covering various topics. The main objective of this work is to highlight the plurality of methodologies, bibliographic sources and objects of study that circulate in the most diverse countries in the postgraduate area.

Dados Internacionais de Catalogação na Publicação (CIP)

(Câmara Brasileira do Livro, SP, Brasil)

____________________________________________

Education and research topics [livro eletrônico] /

organização Ana Maria Haddad Baptista, Ciprian

Valcan, Márcia Fusaro. -- São Paulo :

Tesseractum, 2023.

ePub

Vários autores.

Bibliografia.

ISBN 978-65-89867-57-9

1. Artigos - Coletâneas 2. Educação 3. Educação

- Pesquisa 4. Práticas educacionais I. Baptista, Ana

Maria Haddad. II. Valcan, Ciprian. III. Fusaro, Márcia.

23-159264                      CDD-370.72

_____________________________________________

Índices para catálogo sistemático:

1. Educação: Pesquisa 370.72 Aline Graziele Benitez –

Bibliotecária - CRB-1/3129

Coordenação Editorial: Equipe Tesseractum Editorial

Diagramação: Equipe Tesseractum Editorial

Capa: Lucien Serge

Revisão: Autores

Primeira Edição, São Paulo, Junho de 2023 © Tesseractum Editorial Site da Editora: www.tesseractumeditorial.com.br

Nenhuma parte dessa publicação, incluindo o desenho de capa pode ser reproduzida, armazenada, transmitida ou difundida, de maneira alguma nem por nenhum meio sem a prévia autorização do autor. A violação dos direitos autorais é punível como crime (art. 184 e parágrafos do Código Penal), com pena de prisão e multa, busca e apreensão e indenizações diversas (art. 101 a 110 da Lei 9.610 de 19.02.1998, Lei dos Direitos Autorais).

CONSELHO EDITORIAL

ANA MARIA HADDAD BAPTISTA

Mestrado e doutorado em Comunicação e Semiótica. Pós-doutoramento em História da Ciência pela Universidade de Lisboa e PUC/SP onde se aposentou. Possui dezenas de livros, incluindo organizações, publicados no Brasil e no estrangeiro. Atualmente é professora e pesquisadora da Universidade Nove de Julho dos programas stricto sensu em Educação e do curso de Letras. Colunista mensal, desde 1998, da revista (impressa) Filosofia (Editora Escala).

MÁRCIA FUSARO

Pós-doutoramento em Artes (UNESP), Doutora em Comunicação e Semiótica (PUC-SP), Mestra em História da Ciência (PUC-SP), Especialista em Língua, Literatura e Semiótica (USJT). Professora e pesquisadora do Programa Stricto Sensu em Gestão e Práticas Educacionais (PROGEPE) e da licenciatura em Letras da Universidade Nove de Julho. Líder do grupo de pesquisa Artes Tecnológicas Aplicadas à Educação (UNINOVE/CNPq). Membro dos grupos de pesquisa Performatividades e Pedagogias (UNESP/CNPq), Palavra e Imagem em Pensamento (PUC-SP/CNPq) e do Centro Interdisciplinar de Ciência, Tecnologia e Sociedade (CICTSUL) da Universidade de Lisboa (2009-2018).

FLAVIA IUSPA

Diretora e professora de programas internacionais e iniciativas do Departamento de Pós-Graduação em Ensino e Aprendizagem da Florida International University (FIU). Doutora em Educação, com foco em currículo e instrução. Possui MBA em Negócios Internacionais e especialização em Educação Internacional e Intercultural pela Florida International University (FIU). Suas áreas de pesquisa incluem: internacionalização de instituições de ensino superior, desenvolvimento de perspectivas globais em professores e alunos (Global Citizenship Education) e política de currículo.

ABREU PAXE

Poeta angolano, licenciado pelo Instituto Superior de Ciências da Educação (ISCED), Luanda, onde trabalha como professor de literatura. Doutor em Comunicação e Semiótica pela PUC/SP. Membro da União dos Escritores Angolanos. Possui diversas obras publicadas (poesia) em diversos países.

MÔNICA DE ÁVILA TODARO

Graduada em Pedagogia, mestre em Gerontologia e doutora em Educação pela UNICAMP. É professora adjunta do Departamento de Ciências da Educação (DECED) da UNiversidade Federal de São João del Rei (UFSJ). Docente do Programa de Mestrado em Educação da UFSJ. Pesquisadora nas áreas de Educação e Gerontologia, com ênfase nos seguintes temas: Dança; Corpo e Educação; Ludicidade; Alfabetização dos Idosos (EJA); Relações intergerencionais; e práticas educativas. É líder do Núcleo de Estudos sobre Corpo, Cultura, Expressão e Linguagens (NECCEL), da UFSJ. Pós-doutorado na Escola de Artes, Ciências e Humanidades (Each) da Universidade de São Paulo (USP).

Tesseractum Editorial

www.tesseractumeditorial.com.br

Summary

Marco Lucchesi’s mathematical poetry

Cecília Helena Giansanti de Carvalho Ferreira Barbazia

L’image de la femme mûre dans le roman chéri de colette

Adriana Ieremciuc

Innocence : innocence

Alexandre Marzullo

The dazzle of reading literature in teacher’s development: inspired in Marco Lucchesi

Alexandra Fransoze de Oliveira

New path to financial education: would this be an egalitarian process?

Bruno Santos Nascimento

Les Belles traditores and Marco Lucchesi

Dartagnhan Salustiano Rodrigues

Reading under Marco Lucchesi’s perspective

Carla Maria Menezes

To Be or Not to Be – Literature Revisited or The War on Words and Meanings

Ana-Maria Clep

Les personnages de Jules Verne – une typologie identitaire

Costinel-Iulian Partenie

Science and Literature: bridging education and worldview

Daisy Alves de Souza Lopes

The usage of digital games as a pedagogical resource for students diagnosed with dyscalculia

Edmur Mасhаdо SiIvа

The Yugo-nostalgy and the decline of identity in Dubravka Ugresičʼs novels, The Ministry of Pain and The Museum of Unconditional Surrender

Iasmina Bot

Transdisciplinarity in education: utopia or necessity?

Janaina Campos Peres

Time and chaos survivals: books and libraries

Kacianna Patrícia de Jesus Barbosa e Amorim

Crossroads and cloudy waters of Silvina Ocampo’s representations of death

Leonardo Brandão de Oliveira Amaral

Investigación educativa y soledad: breve recorrido del proceso

Jazmin Lizárraga Ortiz

La genealogía: una herramienta teórico-metodológica para pensar (de otro modo) las prácticas educativas neoliberales.

Gabriel Macías Cruz

Physics and train: diopters

Carlos Magno Sampaio

Hello, Pirandello: Marco Lucchesi and the invitation to dramaturgy

Paulo Saul Duek

Visual literacy through Comics

Rafael Da Silva Pereira

El estigma social en salud mental: aportes desde las ciencias de la complejidad

Social stigma in mental health: contributions from the sciences of complexity

Sandra Paola Mondragón Bohórquez

The reversed odyssey of the Trickster in Hopscotch, Julio Cortázar’s novel

Ioana-Spătaru Iacob

The Brazilian youngsters and literary reading: the power (trans) formator of the word

Viviane Barbosa Rasga Aires

Overhearing uninterpreted sounds: challenges in Davidsonian interpretation

Vladimir Lazurca

The impenetrable enigma of the mind of others

Shara Victória Haddad

Mínima luz: notas sobre a resistência das imagens artísticas em Georges Didi-Huberman e Jacques Rancière

Caio Russo

Marco Lucchesi’s mathematical poetry

Cecília Helena Giansanti de Carvalho Ferreira Barbazia¹

The idea of beauty in mathematics, found in several authors, such as Hardy or Poincaré, made a great impact on me. As if I would faced a lost truth, an archaeological substratum that seemed strangely familiar and decisive. (LUCCHESI, 2015, p. 52).

This text presents an alternative strategy for working on mathematical content in the classroom, which motivates students, involving them in a way that favors mathematics learning through historical investigation, an by Marco Lucchesi’s works.

The need to write about Marco Lucchesi and his relationship with mathematics arose from the discovery of his literary texts, especially poetry, in which he reveals, based on his experiences from school days, admiration, interest and academic challenges which involved that uninteresting discipline. The author was very uncomfortable with the numbers. He didn’t like mathematics, whose horizons were restricted to simple and repetitive operations. At the end of elementary school, he wanted to know more about its inventive processes, perhaps its history and philosophy. (LUCCHESI, 2015, p. 52).

The Brazilian writer’s ability to appreciate mathematics is a talent that many people lack, even those considered as great thinkers. He makes mathematics a pleasant language, harmonizing it with the Universe through poetry and the ability to apply imagination and sensitivity to science, overcoming the limits of arithmetic, when he favors the dialogue between poetry and mathematics, contributing to an interdisciplinary teaching by the provocation in bringing us closer to apparently different fields, insofar as he proposes a dialogue between exact science, mathematics and literature, one of the most striking artistic expressions of humanity. According to Valerio (2021, p. 10), it is not mathematics that discourages – the adventurous subject like a psychedelic jungle in which [...], you never know what you are talking about, nor if what you say is true –, but the way it is written and presented.

Lucchesi is not a mathematician, but he is an avid student, able to understand abstract concepts and, with his artistic sensibility, he shows us that the charm of mathematics, as Ada Lovelace, quoted by Isaacson (2014, p. 29) said., is spiritual; it is the instrument by which the human mind can most efficiently read the work of its creator. Through his works, we understand that the history of mathematics or the mathematics philosophy do not represent disconnected information, as they are presented in other undergraduations, especially in training courses.

This scenario is characterized in his literary productions, in which mathematics enters as an important living element in a perfect combination with literature. Here it is the opportunity to lose that fear of mathematics.

Even considered by many as the backbone of modern science, mathematics reaches few of us with its full potential, with its true mission; after all, we’ve heard the question several times: What is this learning for? According to Baptista (2020), mathematics has become the necessary ruler to measure and judge knowledge from different natures, and Lucchesi (2015) presents us with his work exclusively focused on mathematics, Mathematical Hymns, making his contribution to mathematics profound and inspiring.

Marco Lucchesi’s friend, Ubiratan D’Ambrosio (1932-2021) emphasizes that the poems lead mathematicians to reflect on their work, by approaching central themes such as irrationals and complex, transfinite and fractal numbers, offering the reader a poetic reflection on mathematics (LUCCHESI, 2015, p. 11).

The intriguing collection of poems, in which the poet reveres mathematics with fractal verses in a beautiful, smooth and at the same time apotheotic way, awakens in the reader the desire to learn and, no less, the frustration for not knowing mathematical conceptually. Yes, Marco Lucchesi is a conceptual, elegant, subtle poet. Reading Marco Lucchesi demands from the reader deep study, research, interest, disposition. Each poem unfolds, Because Marco Lucchesi is a poet who is in his full literary maturity, who enchants us, through a style that dialogues with the past, the present and the future, also with art, philosophy and sciences, values, righteousness and the culture of peace.

Let’s look at some examples of the shining elegance in Lucchesian literature:

Flower Beds

A match burst, momentary

the threads of a night without stars

In the blue sky of Samos

fly odd.

And the pairs hover

in the waters of the Ilissos

The garden

the whole of the flower beds

And the dark and limitless forest

How to tame the cunning of infinity?

Flower beds (Canteiros) shows us the Pythagorean dualism in Archimedes’ interpretations, the conception according to which the numbers are composed of the sum of pairs and odd, other things also contain opposite determinations, such as those of limited and unlimited. At the same time, the author refers us to Greece, quoting the Greek island of Samos, in the the east of the Aegean Sea and birthplace of the philosopher Epicurus, as well as the River Ilissos, which flows through Athens and is deviated to the sea, making the reader to make relations with the course of the river, the infinite running water, because it does not occupy the same place. A river is never the same river.

Klein R

A glass of water

I die of thirst

My lips touch invisible edges

From a confuse bottle without wine

Wine Cellar which denys itself to the surface

The intersection

it’s just a burning recess

Missing edges *new liturgy*

Klein’s bottle is an example of unorientable surface. Informally, it is a surface where the right, left, above, below, inside, and outside views cannot be consistently defined. In this poem, the author dialogues with Möbius ribbon, a single-surface two-dimensional object. In mathematical terms, it is defined as a non-orientable surface, which means that a line perpendicular to the plane does not have the same direction at all points on the surface.

Transfinite

The twittering of the early bird and the

analogous singing of the sets (almost

corsair soulless numbers)

A singing of deep mineral roots

that the Kabbalah angels make 

clearer

c l r r

and serene

s r n

There is no doubt that infinity is one of the most exciting concepts in Western thought. By its own nature, this notion dialogues or finds space in philosophy and religion. In Transfinito, the poet demonstrates that the transfinite number is a rigorous way used by mathematics to count a number of elements of infinite sets discovered by George Cantor. Lucchesi dialogues with the angels of the Kabbalah, since, according to Fux (2010), Kabbalah (reception) is an esoteric tradition of Judaism, in which all the letters of the alphabet have a numerical value (118) and their combination can create and destroy.

Reading Hadamard

Prime numbers are lost {venerating numbers}

when in the groove at dawn

under Orpheus’ sparkling lyre

they start dancing more bravely and dispersed

the imaginary

{cloud grove thought}

is the mathematics crystalline shortcut

In Reading Hadamard, the poet refers to the psychology of mathematical invention over the domain of the mathematical imagination, referring to the Frenchman Jacques Hadamard, Poincaré’s successor at the Academy of Sciences. Hadamard is known for provingthe Prime Number Theorem s, conjectured in the 18th century but not proved until 1896.

Solving this important problem was not the only notable contribution of Hadamard, who used to say that, awakened by a noise, he found the solution he had been looking for for a long time, in a totally different direction from the one he had followed until that very moment. We relate Hadamard’s unintentional discovery to the Lyre of Orpheus.

Lostly in love, Orpheus and Eurydice decided to get married, but shortly before the wedding, Eurydice was bitten by a snake, while trying to run away from an admirer, Aristaeus, which resulted in her death. Dazed, Orpheus decided to go down to the world of the dead and ask Hades, the god of the dead, and Persephone, his wife, to bring his beloved Euridice back on life. Hades and Persephone, touched by the story and enraptured by the music of the lyre, decided to return Euridice to her lover under one condition: that Orpheus couldn’t look at her until they reached the upper world.

Leaving the world of the dead, and suspicious of the deal made with Hades, Orpheus decided to look back and check if Eurydice was following him. By disobeying Hades and Persephone’s orders, his beloved Euridice was taken back to the world of the dead, with no prospect of returning. Orpheus wandered around for days without eating or drinking. He decided never to love any woman again, which led to the fury of the Maenads (Bacchae) who tried to get his love.

With no answer from Orpheus, they decide to kill him. Through his death, he finally manages to find his beloved one, who, like Hadamard, solves his problem unintentionally.

Minotaur

The elliptic curve and the rational points

The living loneliness in which it finds itself

And only by skirmishes it feeds itself

In Minotaur, the main reference is a mystical creature that belongs to Greek mythology, represented by the figure of a man with the head of a bull and who lived trapped in a labyrinth on the island of Crete, in Greece. If Theseus’ fight with the Minotaur is not a frequent theme in literature, neither is the labyrinth. However, the labyrinth is always found in the myth of Theseus and the Minotaur or it is associated with this myth. Here, however, the poet makes the connection with the labyrinth of conjecture, known until recently as the conjecture of path coloring, a problem that is solved using synchronized instructions. We can reach or locate an object or destination from any other point within a network (which may be a representation of city streets or a labyrinth). The synchronized instructions can be related to Ariadne’s thread that helped Theseus to find his way out of the Minotaur’s labyrinth.

Mathematical Hymns (Hinos Matemáticos) is a work full of surprises. The poems selected here are a small sample of Marco Lucchesi’s brilliance in the face of the proposal to demystify that literature and mathematics are enemies. Mathematics in verse appears here to break down barriers, often found in math classes. The work favors a meeting of cultures, a fact which is present in human relationships, and it tries to seek the historical-philosophical contextualization for the answers that human beings need so much.

Contextualizing mathematics is essential for solving problems, applying it or acquiring knowledge about it. Mastering it, as well as other sciences, offers greater possibilities for explanations, understandings and resolution of current and future problems. Seeking a new educational paradigm, in order to modify the obsolete relationship in the teaching and learning process is fundamental for the critical evolution of new generations, and the author favors the deconstruction of the worn-out pedagogical model and encourages the reader / educator to transcend to an innovative, intelligent and critical teaching practice, even if this was not his or her initial intention.

D’Ambrosio (2005) alerts us to an education as a strategy to stimulate individual and collective development, generated by cultural groups, and with the purpose of maintaining themselves as a group and advancing in the satisfaction of survival and transcendence needs, corroborating with Lucchesi’s mathematical poetry, which humanizes science and brings it closer to personal, ethical, cultural and political interests in all his extensive production, through history, philosophy and scientific knowledge.

There is a huge lack of interest in reading in the mathematics subject, as if the signs of this subject did not need to be expressed through a problem-situation, written as a text, especially a literary text, being of paramount importance to be alert so that the text does not is a pretext in the work that uses mathematics and literature, and that there is real interdisciplinarity and that the aubjects dialogue amongue themselves. After all, learning is a complex exercise, but it does not mean that it has to be difficult or painful.

To end this brief explanation of Marco Lucchesi’s mathematical poetry, I urge readers to think about books they haven’t read yet and the ones the may never read, which are piled up in a corner of the bookcase, or hidden behind doors we barely open. Some can tell stories that take place in a day, maybe months, amazing stories, real stories or myths. One day or another, these books may reach our hands; maybe on the day of the bookshelf cleaning, we can take them in hand and be familiar with them without even having opened them. I challenge you to read them. A book is an object that is there to be read and literature makes us discover writing, the book, the life in an enchanting way. A verse does not end because the page is over, as Eco and Carrière (2010) tell us, but because it obeys an internal rule. It is sublime rhetoric. Reading is a vaccine against the ignorance that surrounds us all. which is often arrogant, dominant, outrageous. The book, by itself, does not heal us. But, the antidote is in the content and Marco Lucchesi’s works are the antidote that delicately comes out of the syringe’s plunger and enters the body and mind of those who read them for a historical, philosophical, humanitarian, religious, cultural, literary, musical, scientific. and intellectual construction. Lucchesi is a complete author. And that’s enough.

---

1 Pedagogue (Centro Universitário Fundação Santo André) and Postgraduate in Psychopedagogy (Uni-A), Technological Mediations in Educational Environments (CUFSA) and Management for School Success (Universidade Anhembi-Morumbi). Educational Management and Practice Program (PROGEPE) Master's Degree student at Universidade Nove de Julho – SP.

References

BAPTISTA, Ana Maria Haddad (org.). Marco Lucchesi: Estética do Interdisciplinar. São Paulo: Patuá, 2020.

D’AMBROSIO, Ubiratan. Sociedade, Cultura, matemática e se ensino. Educação e Pesquisa, São Paulo, v. 31, p. 99-120, 2005. Available at: https://www.scielo.br/j/ep/a/TgJbqssD83ytTNyxnPGBTcw/?format=pdf&lang=pt Accessed on: Feb, 9th. 2022.

ECO, Umberto; CARRIÈRE, Jean-Claude. Não contem com o fim do livro. Rio de Janeiro: Record, 2010.

FUX, Jacques. A matemática de Georges Perec e Jorge Luis Borges: um estudo comparativo. 2010. 249 f. Thesis (Doctorate) – Curso de Estudos Literários, Faculdade de Letras, universidade Federal de Minas Gerais, Belo Horizonte, 2010.

ISAACSON, Walter. Os inovadores: uma biografia da revolução digital. São Paulo: Cia das Letras, 2014

LUCCHESI, Marco. Hinos Matemáticos. Rio de Janeiro: Dragão, 2015.

VALERIO, Chiara. Matemática é política. Belo Horizonte: Ayine, 2021.

L’image de la femme mûre dans le roman chéri de colette

Adriana Ieremciuc²

Résumé: Dans cet article, nous analyserons les facettes d’un personnage très important pour le destin du protagoniste, Léonie Vallon, abrégé Léa. Malgré l’intérêt que l’écrivaine accorde à ses personnages féminins, cette fois-ci, dans le roman Chéri, la place du protagoniste est occupée par un personnage masculin. En lui confiant ce rôle, Colette décrit en détail le déclin d’un personnage que l’on pourrait placer parmi les donjuans. Par conséquent, notre intérêt sera orienté vers la source de la déchéance et de l’involution du protagoniste, la femme mûre qui représente l’équilibre et le bien-être de Chéri. Nous caractériserons le personnage féminin, à l’appui du texte source, d’où nous extrairons des citations destinées à renforcer notre analyse.

Mots-clés: Colette, Chéri, femme, symbole, style, sémantique.

Chéri, paru en 1920, représente un roman qui fait partie de l’œuvre de maturité de l’écrivaine. Il passait pour l’un des meilleurs romans de son héritage littéraire. Il garde le succès même aujourd’hui, après cent ans de sa parution, et cela lui rend le caractère pérenne.

Ce roman est indubitablement le chef-d’œuvre de l’écrivaine à mille visages, le premier roman sur lequel Colette n’a aucun doute : « quand on me parle de Chéri et de sa fin […] je sais où se trouve le meilleur de mon travail d’écrivain » (DUCREY 2000, 38). Son roman a été apprécié par d’autres grands écrivains comme Proust: « C’est moi qui suis fier d’être décoré en même temps que l’auteur du génial Chéri » (DUFOUR 2000, 311), Gide: « J’ai dévoré Chéri d’une haleine. Du quel admirable sujet vous vous êtes emparée! Et avec quelle intelligence, quelle maîtrise, quelle compréhension des secrets les moins avoués de la chair! » (DUFOUR 2000, 311) ou même par Anna de Noailles qui dit: « À la quatrième lecture de ce livre inouï […] je repleurais sur les dernières pages et je puis dire que l’automne 1920 a été, sur un espace immense, saturé de Chéri. […] On l’avait lu, relu, mais on le relit » (DUFOUR 2000, 313).

Léa, le personnage féminin du roman, occupe du début une place secondaire par rapport à celle de Chéri. Elle est réduite métonymiquement par « ses deux bras nus » ou par « sa voix douce et basse » tandis que pour l’homme, le roman réserve une caractérisation consistante dès les premières lignes. Les bras sont un signe du pouvoir qui renvoie à l’influence de Léa sur Chéri. En plus, les bras qui dévoilent les deux mains paresseuses apportent un renseignement important concernant le style de vie de Léa. Elle est une demi-mondaine qui jouit d’une vie de luxe, sans soucis: « «J’ai vacances. J’irai prendre le café à deux heures et demie ‒ ou le thé à six heures ‒ ou une cigarette à huit heures moins quart…» » (COLETTE 1920, 8). En revanche, la voix, celle qui vient de l’intérieur, est douce, mais basse et cela peut renvoyer à l’idée qu’il s’agit d’une femme âgée, soumise au processus d’épaississement de la voix.

Pour la troisième fois, le collier de quarante-neuf perles renvoie toujours à Léa parce que le nombre de perles représente l’âge de la femme. La perle représente « le symbole lunaire, lié à l’eau et à la femme […], le symbole essentiel de la féminité créatrice. […] Elle ressemble à l’homme sphérique de Platon, image de la perfection idéale des origines et des fins de l’homme. » (CHEVALIER GHEERBRANT 1982, 390). Chéri voit premièrement le collier de perles comme un jouet, mais, à la fin, quand il est déjà trop tard, il réussit à l’apprécier à sa vraie valeur.

La liberté apparente que Léa offre à Chéri a pour but de minimiser l’importance de leur relation: « «Eh, mon Dieu ! disait Léa, il n’y a pas de quoi. Qu’elles le prennent. Je ne l’attache pas.» » (COLETTE 1920, 10). En revanche, quand il s’agit des noces de Chéri, Léa voulait mettre en évidence que Chéri est incompatible avec une jeune fille: « «Marier Chéri… Ce n’est pas possible, ‒ ce n’est pas… humain… Donner une jeune fille à Chéri, ‒ pourquoi pas jeter une biche aux chiens?» » (COLETTE 1920, 10).

Concernant son aspect physique, l’accent est mis sur les signes du vieillissement qui ne tardent pas à apparaître: « le cou de Léa, épaissi, perdait sa blancheur et montrait, sous la peau, des muscles détendus. » (COLETTE 1920, 10). Alors, elle prend toujours soin de son image devant son jeune amant. Ainsi, elle « se poudra hâtivement le visage » quand entend la porte s’ouvrir parce qu’elle devine la présence de Chéri.

Femme chevronnée, Léa devient tout à fait une initiée au moment où « leurs bouches se touchèrent » (COLETTE 1920, 35) et elle rougit sans savoir que son émotion est visible. Au pôle opposé, Léa observe que Chéri paraît « refroidi en un moment et peut-être moqueur » (COLETTE 1920, 37) et ce sentiment a le rôle de prolepse parce qu’il annonce l’instabilité de l’homme et son plaisir de jouer avec la femme mûre. Dès le début de leur relation, Léa est la personne qui offre et Chéri est celui qui reçoit. La femme l’invite à la côte de Grâce et sur le modèle mère ‒ fils, Léa va lui offrir l’éducation et Chéri est celui qui va bénéficier de tout. Malheureusement, il va jouer seulement avec les sentiments d’une femme qui a été sincère à chaque moment.

Le rapport est rapidement établi: l’amoureuse (Léa) et le manipulateur (Chéri). Docile, amoureuse, Léa « se détourna, craignant soudain qu’il ne l’appelât, mais il l’appela quand même, et elle vint » (COLETTE 1920, 38). Elle se propose de ne s’impliquer pas dans la relation et de le quitter aussitôt que possible, mais « elle l’embrassa si bien qu’ils se délièrent ivres […] tremblant comme s’ils venaient de se battre » (COLETTE 1920, 38). Ainsi, l’amour pénètre l’âme de la femme qui n’est pas consciente: « «Qu’est-ce que j’ai donc que je ne dors pas?» » (COLETTE 1920, 40). Pour se donner un alibi, Léa voudrait paraître qu’elle s’occupe de l’éducation du jeune homme, elle voudrait « rendre Chéri à ses chères études» » (COLETTE 1920, 47), mais en réalité c’était une excuse « de l’avoir gardé si longtemps. » (COLETTE 1920, 47)

L’expérience de la femme, « «je les ai tous eus» » (COLETTE 1920, 47) ne l’aide pas dans la relation avec Chéri. Leur relation est totalement différente par rapport aux autres et l’homme tout au contraire aux autres partenaires de Léa, idée qui représente un paradoxe pour la femme. Elle a eu affaire aux hommes matures et complexes tandis que ce gosse lui cause des problèmes sentimentaux, même si elle ne veut pas reconnaître: « «Que j’avais de la peine parce que tu vas te marier? Non, écoute… tu es… tu es drôle…» » (COLETTE 1920, 52). Elle se sent offensée par le calme et l’indifférence de Chéri et pour cela elle demande le respect: « «‒ Appelle-moi Madame, ou Léa. Je ne suis ni ta femme de chambre, ni un copain de ton âge» » (COLETTE 1920, 53). Léa voulait le faire penser que la séparation n’a aucune importance pour elle: « «Mais j’aurais dû déjà mourir quatre ou cinq fois, à ce compte-là! Perdre un petit amant…» » (COLETTE 1920, 56) et qu’il n’a rien de particulier par rapport aux autres hommes avec lesquels elle a eu des relations. Il y a des moments quand elle se sent coupable pour le fait que Chéri est tellement superficiel: « «Au fond, je suis responsable. Je l’ai élevé à la coque, je l’ai gavé de tout.» » ainsi Léa se sent comme une mère qui a raté l’éducation de son enfant.

Léa n’est plus l’entretenue dans la relation avec Chéri, mais elle se nourrit de la vitalité du jeune homme: « Léa tenant dans ses bras son amant contenté […] la vie revenait » (COLETTE 1920, 48). Néanmoins, l’incompatibilité entre eux est si grand qu’elle le compare avec un « «chinois ou un nègre» » (COLETTE 1920, 48), en avouant à Anthime de Berthellemy qu’ils ne parlent pas la même langue, donc c’est évident qu’ils ne sont pas sur la même longueur d’onde. L’appellatif Nounoune, surnom donné à Léa par Chéri dès son enfance, relève la naïveté de la femme qui, malgré son âge, devient malléable pour ce jeune homme. Donc, de la courtisane qu’elle était autrefois, elle arrive à être une personne qu’un jeune homme peut la tromper. En ce qui concerne les relations où elle ne s’impliquait pas, elle était une femme ruse, mais, par rapport à l’homme qu’elle aime, elle se transforme en une femme dupe, même si les autres hommes sont plus expérimentés que Chéri qui prouve une immaturité hors du commun pour son âge.

Fière après leur séparation, parce qu’elle ne s’était pas humiliée devant l’homme, Léa ne peut plus cacher ses états quand il s’agit de Charlotte qui parle du bonheur de ses enfants. Sa souffrance est repérée par Charlotte. Ainsi, quand les invités de Charlottes parlent des plans de Léa qui veut maigrir, Charlotte lui dit: « «Le chagrin ne te suffit donc pas?» » (COLETTE 1920, 69). Sa réponse démontre encore une fois son désir de diminuer l’importance de Chéri devant les autres : « «Ah ! là là, mes enfants… donnez-m’en douze, de ces chagrins-là, que je perde un kilo!» » (COLETTE 1920, 69).

Léa ne peut pas réaliser ce que lui arrive « «Qu’est-ce que j’ai?» » (COLETTE 1920, 77) et refuse à penser que ses états sont dus à un homme. Alors, elle veut penser qu’il s’agit d’une cause médicale: « «C’est maladif […] on ne se met pas dans cet état-là pour une porte.» » (COLETTE 1920, 77). La prise de conscience que Chéri est derrière la souffrance: « «Chéri! […] Trente-sept. Donc, ce n’est pas physique. Je vois. C’est que je souffre.» » (COLETTE 1920, 78) la détermine à partir avec Rose dans un voyage pour laisser le passé derrière. Peu de temps après la découverte, le ridicule accompagné du déni évident apparaît : « «Je crois que j’étais folle, tout à l’heure. Je n’ai plus rien.» » (COLETTE 1920, 78).

Concernant les caractérisations faites par les autres personnages, Léa change d’apparence selon la personne qui la regarde. Pour Charlotte, la femme reste une rivale. Alors, la mère de Chéri n’a pas honte d’attirer l’attention sur l’âge de Léa, un sujet sensible pour la femme mûre: « «Dieu, que tu sens bon! Tu as remarqué que lorsqu’on arrive à avoir la peau moins tendue, le parfum y pénètre mieux?» » (COLETTE 1920, 148). Pour Ernest, le concierge de Léa, elle est une femme spontanée: « «Avec madame, il faut se méfier.» » (COLETTE 1920, 107.) Pour Edmée, Léa est la « «vieille femme» » (COLETTE 1920, 98). Chéri la voit protéiforme selon les circonstances. Elle représente pour lui la personne qui l’entretient, une seconde mère qui prend soin de lui et une amante. Ainsi, quand il est loin d’elle, Chéri pense : « «Quelle femme charmante, intelligente» (COLETTE 1920, 110), mais quand il revient, il découvre que leur séparation l’avait affectée, alors Chéri se rend compte de la grande différence d’âge qui les sépare: « «Avec toi, Nounoune, il y a des chances pour que j’aie douze ans pendant un demi-siècle.» » (COLETTE 1920, 177). Ce nombre, douze, n’est pas quelconque. Il apparaît plusieurs fois dans le roman: au moment où Léa dit à Charlotte qu’il faut douze souffrances comme celle provoquée par la séparation de Chéri pour qu’elle réussisse à sentir quelque chose et à maigrir ou quand, pour accentuer l’immaturité de l’homme, Léa