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[pt] A presente dissertação tem como objetivo investigar e estabelecer um elo entre três perspectivas teóricas a partir de Bartleby. A fórmula preferiria não abre caminho para muitas leituras: das mais revolucionárias até as mais niilistas. Em meio a tudo isso, verificou-se a necessidade de construir uma linha de investigação crítica altamente política. Para tanto, elencou-se três vertentes de investigação denominadas de fórmulas. A primeira das três é a fórmula da potência de Giorgio Agamben. A segunda é a fórmula da parresía de Michel Foucault. E a terceira é a fórmula do inexprimível de Gilles Deleuze. Partindo do presente para construir uma constelação de pensamento em torno de Bartleby, esta pesquisa visa ainda produzir ferramentas teóricas para pensar desafios estéticos, éticos e políticos do mundo contemporâneo. / [en] The present dissertation aims to investigate and establish a link between three theoretical perspectives from Bartleby. The formula I would rather not opens the way for many readings: from the most revolutionary to the most nihilistic. In the midst of all this, there was a need to build a highly political line of critical investigation. To this end, three lines of investigation called formulas were listed. The first of the three is Giorgio Agamben s Formula of Potency. The second is Michel Foucault s formula of parrhesia. And the third is Gilles Deleuze s formula of the inexpressible. Starting from the present to build a constellation of thought around Bartleby, this research also aims to produce theoretical tools to think about aesthetic, ethical and political challenges of the contemporary world.

This essay examines three of Herman Melville’s shorter fictions: Bartleby, Benito Cereno and Billy Budd. An analysis and comparison is made of the forces of power relations and resistance between the main characters in the three stories. Foucault’s theories of power are used as a basis for the analysis. Apparent power structures such as law and military hierarchy are analysed, but the focus is on more subtle relations based on language, knowledge, conformity with norms, silence, capitalism and position. It is argued that, apart from the apparent power structures, one needs to consider the more subtle power relations and acts of resistance for an understanding in the shifts of power positions. The study examines how the resisting oppressed party in each of the three works of fiction ends up dead, and that on a first reading resistance may seem futile. A further examination of the seemingly re-established conventional order, however, reveals shifts in power positions, shifts that indicate instability in the norms of society. It is argued that positions of power are to some extent reversed in the studied works of fiction, where the dominant party ends up suffering.

MADEIRO, Soraya Rodrigues. Os matizes entre o dito e o não-dito: mistério silencioso em Bartleby, Billy Budd e Benito Cereno, de Herman Melville. 2011. 97f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2011. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2015-03-31T11:48:39Z No. of bitstreams: 1 2011_dis_srmadeiro.PDF: 760693 bytes, checksum: 34a396838112e048094e7b96ad1ef7df (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2015-03-31T13:56:39Z (GMT) No. of bitstreams: 1 2011_dis_srmadeiro.PDF: 760693 bytes, checksum: 34a396838112e048094e7b96ad1ef7df (MD5) / Made available in DSpace on 2015-03-31T13:56:39Z (GMT). No. of bitstreams: 1 2011_dis_srmadeiro.PDF: 760693 bytes, checksum: 34a396838112e048094e7b96ad1ef7df (MD5) Previous issue date: 2011 / A escrita de Melville, mesmo com o passar do tempo e apesar de tantas análises de suas obras, ainda não deixou de inquietar leitores e estudiosos. Por essa razão, para preservar o que na obra literária faz dela sobrevivente, o objetivo de nosso estudo não é de forma alguma esgotar as visões que as obras permitem; pelo contrário, pretendemos contribuir para a abertura de mais possibilidades de questionamentos e de verdades acerca do dito e do não-dito intrínseco às obras do escritor estadunidense, no que concerne ao estudo de Bartleby, o escrivão, Benito Cereno e Billy Budd. Objetivamos em nossa dissertação investigar na escrita de Herman Melville os aspectos relacionados às personagens, as quais possuem destaque no título de cada obra, mas nunca são narradoras de sua história, de modo que são incapazes de ter domínio sobre ela. Nesse sentido, as personagens mais insinuam do que realmente dizem, estão no limite entre o dito e o não-dito. / L’écriture de Melville, même après tout le temps passé et avec diverses interprétations, alaissé inquiets les lecteurs et la critique. Pour cela, afin de préserver ce qui la permet survivre, nous n’avons pas comme but épuiser les visions possibles de l’oeuvre, bien au contraire, on prétend contribuer à l’overture des possibilités et des vérités à propos du dit e du non-dit présent chez l’oeuvre de l’écrivain américain, en ce que concerne les livres Bartleby, l’écrivain, Benito Cereno et Billy Budd. Dans notre étude, le but central est penser les trois écritures de Herman Melville à partir de leurs personnages-titres, mais qui ne sont pas les narrateurs de l’histoire, de façon à perdre le pouvoir de dominer le destin de l’écriture. De telle façon, les personnages donnent plutôt des indices que des paroles concrètes et sont entre le dit et le non-dit

FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico / LâÃcriture de Melville, mÃme aprÃs tout le temps passà et avec diverses interprÃtations, alaissà inquiets les lecteurs et la critique. Pour cela, afin de prÃserver ce qui la permet survivre, nous nâavons pas comme but Ãpuiser les visions possibles de lâoeuvre, bien au contraire, on prÃtend contribuer à lâoverture des possibilitÃs et des vÃritÃs à propos du dit e du non-dit prÃsent chez lâoeuvre de lâÃcrivain amÃricain, en ce que concerne les livres Bartleby, lâÃcrivain, Benito Cereno et Billy Budd. Dans notre Ãtude, le but central est penser les trois Ãcritures de Herman Melville à partir de leurs personnages-titres, mais qui ne sont pas les narrateurs de lâhistoire, de faÃon à perdre le pouvoir de dominer le destin de lâÃcriture. De telle faÃon, les personnages donnent plutÃt des indices que des paroles concrÃtes et sont entre le dit et le non-dit / A escrita de Melville, mesmo com o passar do tempo e apesar de tantas anÃlises de suas obras, ainda nÃo deixou de inquietar leitores e estudiosos. Por essa razÃo, para preservar o que na obra literÃria faz dela sobrevivente, o objetivo de nosso estudo nÃo à de forma alguma esgotar as visÃes que as obras permitem; pelo contrÃrio, pretendemos contribuir para a abertura de mais possibilidades de questionamentos e de verdades acerca do dito e do nÃo-dito intrÃnseco Ãs obras do escritor estadunidense, no que concerne ao estudo de Bartleby, o escrivÃo, Benito Cereno e Billy Budd. Objetivamos em nossa dissertaÃÃo investigar na escrita de Herman Melville os aspectos relacionados Ãs personagens, as quais possuem destaque no tÃtulo de cada obra, mas nunca sÃo narradoras de sua histÃria, de modo que sÃo incapazes de ter domÃnio sobre ela. Nesse sentido, as personagens mais insinuam do que realmente dizem, estÃo no limite entre o dito e o nÃo-dito.

This dissertation is based on the observation that Herman Melville's "Bartleby, the Scrivener" has become a popular reference in contemporary culture. Not only in the field of literary scholarship but also in the realm of art, political theory and philosophy, it is employed as an example of authentic resistance to power, a counter-intuitive politics that finds its strength in withdrawal, inaction, and inscrutability. The thesis examines the reasons and motives that drive literary scholars, artists and philosophers to read, interpret and use the story in such a way. It does so by analyzing the nature of and reoccurring patterns in Bartleby Industry, the enormous bulk of academic scholarship devoted to the story. It observes how the story is made use of outside of literary scholarship by disciplines, such as art and philosophy, that are not primarily concerned with the literary complexity of the story but use it to work on their own problems of politics and ethics. It pays special attention to its popularity among influential Postmarxist philosophers, namely Slavoj Žižek, Giorgio Agamben and Gilles Deleuze. As the presence of "Bartleby" in the realm of philosophy has to do with a particular function literature performs in that field, in these chapters "Bartleby" becomes more of a guiding thread in order to...

La nouvelle « Bartleby The Scrivener. A Story of Wall-Street » pose des questions de lecture et d’interprétation littéraire. Grâce à des approches ayant le discours pour objet ou moyen de connaissance (rhétorique, étymologie, psychanalyse, pragmatique) de même qu’aux écrits de Herman Melville, il s’agit de cerner ce que représente Bartleby, qualifié d’« unaccountable » (inexplicable). Ce mot organise l’étude. Entier ou décomposé en morphèmes, dans une première partie, il met en évidence des univers de sens où Bartleby se montre marginal et court-circuite les systèmes : l’univers du langage (« unaccountable » : inénarrable), celui de la loi (« count » : chef d’accusation) et celui des chiffres (« account, count » : compte, compter). Une seconde partie rattache les pistes de lecture implicites ainsi dégagées aux thématiques de l’« inexplicable », explicites dans le texte, permettant une interprétation touchant l’univers des lettres, leur pérennité et leur circulation par le biais de la lecture et de l’interprétation. / The short story “Bartleby The Scrivener. A Story of Wall Street” raises questions about reading and literary interpretation. Using approaches where language is the object or means of knowledge (rhetoric, etymology, psychoanalysis, pragmatics) along with writings from Herman Melville, we aim to consider what is represented by Bartleby, who is often described as unaccountable. This very word structures the study. The first part of the thesis examines this word, taken as a whole or broken down into morphemes, as conveying universes of meaning in which Bartleby appears as marginal, short-circuiting diverse systems: the universe of language (unaccountable), the universe of the law (count) and the universe of the numbers (account, count). The second part links the implicit threads of meaning thus revealed to the theme of the strange and unexplainable (unaccountable), explicit in the text, allowing for interpretations bearing on the world of literary texts, their conveyance and circulation through reading and interpretation.

La nouvelle « Bartleby The Scrivener. A Story of Wall-Street » pose des questions de lecture et d’interprétation littéraire. Grâce à des approches ayant le discours pour objet ou moyen de connaissance (rhétorique, étymologie, psychanalyse, pragmatique) de même qu’aux écrits de Herman Melville, il s’agit de cerner ce que représente Bartleby, qualifié d’« unaccountable » (inexplicable). Ce mot organise l’étude. Entier ou décomposé en morphèmes, dans une première partie, il met en évidence des univers de sens où Bartleby se montre marginal et court-circuite les systèmes : l’univers du langage (« unaccountable » : inénarrable), celui de la loi (« count » : chef d’accusation) et celui des chiffres (« account, count » : compte, compter). Une seconde partie rattache les pistes de lecture implicites ainsi dégagées aux thématiques de l’« inexplicable », explicites dans le texte, permettant une interprétation touchant l’univers des lettres, leur pérennité et leur circulation par le biais de la lecture et de l’interprétation. / The short story “Bartleby The Scrivener. A Story of Wall Street” raises questions about reading and literary interpretation. Using approaches where language is the object or means of knowledge (rhetoric, etymology, psychoanalysis, pragmatics) along with writings from Herman Melville, we aim to consider what is represented by Bartleby, who is often described as unaccountable. This very word structures the study. The first part of the thesis examines this word, taken as a whole or broken down into morphemes, as conveying universes of meaning in which Bartleby appears as marginal, short-circuiting diverse systems: the universe of language (unaccountable), the universe of the law (count) and the universe of the numbers (account, count). The second part links the implicit threads of meaning thus revealed to the theme of the strange and unexplainable (unaccountable), explicit in the text, allowing for interpretations bearing on the world of literary texts, their conveyance and circulation through reading and interpretation.