Orientador: Miriam Viviana Garate / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-22T21:55:35Z (GMT). No. of bitstreams: 1 Grotto_Livia_D.pdf: 6689770 bytes, checksum: 731fffd3a8d39693d505e29d308aa587 (MD5) Previous issue date: 2013 / Resumo: Este trabalho de doutorado sobre os livros História universal da infâmia de Jorge Luis Borges e Doña Juana la Loca, Superhistoria de Ramon Gomez de la Serna divide-se em duas partes. A primeira, "Borges e Ramon nas revistas literarias espanholas e argentinas, 1919- 1949", contextualiza a relacao desses dois escritores, sobretudo atraves dos periodicos com os quais colaboraram de 1919 a 1949. A segunda parte compreende tres capitulos, destinados a comparar os livros História universal e Doña Juana. O primeiro deles, "Os percursos da voz, um escritor inexperiente e um super-escritor", parte dos prologos desses livros para abordar a construcao da voz dos narradores, observando as suas implicacoes na imagem dos autores implicitos. "Palavras e disparates, sobre as criaturas infames e super-historicas", segundo capitulo, considera os autores implicitos na sua relacao com os personagens de ficcao. O terceiro capitulo, "A epistemologia de Historia universal e a Superhistoria, ciencia literaria", busca aprofundar os sentidos de "Historia universal" e de "Super-historia" que aparecem nos titulos dos livros, a partir de um corte sincronico que esboca as discussoes criticas e epistemologicas que envolveram o campo da Historia no inicio do seculo XX. O ultimo texto deste trabalho intitula-se "Emblemas do cristal em Borges e Ramon". A maneira de um epilogo, retraca o projeto inicial deste estudo, baseado na conferencia-ensaio de Italo Calvino, "Exatidao" (Seis propostas para o próximo milênio) / Abstract: This doctoral thesis on Jorge Luis Borges' A Universal History of Infamy and Ramon Gomez de la Serna's Doña Juana la Loca, Superhistoria is divided into two parts. The first one entitled "Borges and Ramon in the literary Spanish and Argentine magazines, 1919-1949" discusses in its proper context the relationship between these two authors, especially through the periodical magazines where both collaborated from 1919 to 1949. The second part includes three chapters that compare the books A Universal History and Doña Juana. The first one, "The distances of the voice, an inexpert writer and a superwriter ", departs from the prologues of both books in order to approach the construction of the narrator's voice, observing their implications in the image of implicit authors. "Words and follies, on the infamous and super historical creatures" considers both implicit writers in their relation with fictional characters. The third chapter entitled "The epistemology of Universal History and the Superhistory, literary science" aims to deepen the sense of "Universal History" and "Superhistory" present in the titles of the books, from a synchronous cut that outlines critical and epistemological discussions that involved the field of History in the beginning of the 20th century. Finally, the epilogue of this work, "Emblems of the crystal in Borges and Ramon", returns to the initial goal of this thesis, based on Italo Calvino's conference called "Exactitude" (Six Memos for the Next Millennium) / Doutorado / Literatura Geral e Comparada / Doutora em Teoria e História Literária

Submitted by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-03-27T18:10:48Z No. of bitstreams: 1 Tese - Marleide versão final.pdf: 1973754 bytes, checksum: 42b7d9d0b9b9cfbc162e27707889b8be (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-03-27T18:11:19Z (GMT) No. of bitstreams: 1 Tese - Marleide versão final.pdf: 1973754 bytes, checksum: 42b7d9d0b9b9cfbc162e27707889b8be (MD5) / Made available in DSpace on 2017-03-27T18:11:19Z (GMT). No. of bitstreams: 1 Tese - Marleide versão final.pdf: 1973754 bytes, checksum: 42b7d9d0b9b9cfbc162e27707889b8be (MD5) / Análise da dinâmica cinematográfica presente na escrita de Manuel Gusmão – poeta e ensaísta literário português –, e de seu trabalho com a sonoridade, com os movimentos, com o jogo de luzes e sombras a co-mover a materialidade verbo-visual dos poemas. Nesse sentido, desenvolvem-se reflexões acerca de uma teorização da imagem e de uma ética do olhar oriundas dos próprios procedimentos imagéticos que se estabelecem no lirismo crítico do referido poeta, no âmbito da poesia portuguesa contemporânea. Com sua escrita em movimento, ele nos dá a ver seu cinepoiesis, em que se vale da lentidão, da frenagem rítmica e de uma memória afetiva, a fim de problematizar a visualidade excessiva e indiscernível, o imediatismo, a velocidade e a anestesia que, cada vez mais, caracterizam as experiências cotidianas na sociedade ocidental globalizada. Articulando o poder sensível e cognoscível da poesia, objetiva-se também ressaltar sua poética de afetos, lugar dialógico de encontros e desencontros, de uma constelação espaciotemporal de vozes a propor uma antropogênese e a reiterar a cinética constante das palavras, das imagens e do mundo. / This work aims at the analysis of the cinematographic dynamic of Manuel Gusmão‟s writing – Portuguese poet and literary essay writer – and his work with sonority, movements, the game of lights and shadows as a co-mmove of the verbal-visual materiality of the poems. In this sense, reflections are developed about the theorization of image and the ethics of the act of looking upcoming from the imagetic procedures themselves, which are established in the critic lyricism of the mentioned poet, in the scope of the Portuguese contemporary poetry. With his moving writing, he makes us see his cinepoiesis, achieved by means of slowness, the rhythmic restraint and affective memory, in order to problematize the excessive and indiscernible visuality, as well as the immediatism, the speed and the anaesthesia which, more and more characterize the daily experiences in the western globalized society. Articulating the sensitive and cognizable power of poetry, we also aim at highlighting his poetics of affections, dialogical place of crossroads, of a space-temporal constellation of voices proposing an anthropogenesis to reiterate the constant kinetic of words, images and the world.

Partindo-se das relações entre o Brasil e a França no século XIX e da grande importância de Castro Alves e Victor Hugo para a literatura daquele e deste país, respectivamente, o presente trabalho procurou investigar a natureza da presença hugoana em textos selecionados da obra alvesiana. Inicialmente, examinamos minuciosamente os poemas selecionados, com o fito de evidenciar o motivo pelo qual o poeta brasileiro teria se apropriado do referente hugoano. Num segundo momento, realizou-se, quando oportuno, um cotejo entre os poemas alvesianos e os hugoanos evocados com o objetivo de desnudar a função específica desses referentes em cada texto. O cerne da nossa investigação está na seguinte indagação: Teria Castro Alves se deixado influenciar pelo mago da poesia francesa, ou o vate brasileiro teria utilizado o texto hugoano a serviço do seu discurso? Partindo disso, buscamos analisar os processos de assimilação do poeta brasileiro, mirando revelar o sentido das apropriações realizadas. A análise baseou-se na teoria da intertextualidade, o que poderá enriquecer os estudos de literatura comparada, na medida em que contribui para a ampliação do leque de informações acerca do sentido que a presença hugoana conferiu à obra de Castro Alves. / Considering the relationship between Brazil and France of the nineteenth century, as well as, the great importance of Castro Alves and Victor Hugo to the literature of both countries, the present work aimed to investigate the presence of Victor Hugo in the poems by Castro Alves. Firstly, we have carefully analyzed the selected poems in order to identify the reason why the Brazilian poet had used a Victor Hugo reference. Secondly, we have developed a comparison between the poems from Castro Alves and Victor Hugo so as to clarify the specific function of these references in each text. The main object of investigation relied on the following question: Was Castro Alves influenced by the wizard of the French poetry or had he used Hugos text for his own convenience? In order to find an answer for that question, we have analyzed the processes of assimilation of the Brazilian poet, revealing the meaning of Alves style. The analysis was based on the intertextuality theory and was a great contribution to the studies in compared literature, in the sense that it has widen the range of information about the meaning of Victor Hugo in the work of Castro Alves.

[pt] A invenção do fotolivro de literatura pode sugerir, enganosamente, que nosso principal interesse aqui é histórico-documental – uma tese sobre o surgimento desse fenômeno que é híbrido, expandido, intermidiático. Não é o caso. Há aqui, uma ambição teórica: prover um cenário para sua observação e, a partir daí, estabelecer um padrão disciplinado de atividade capaz de colocá-lo em perspectiva histórica . Como estão relacionados poesia (ou prosa) e fotografia em fotolivros de literatura? Nós exploramos a ideia de que sistemas (ou processos) verbais e fotográficos combinam-se numa forma de interação que não é apenas bidirecional, mas que envolve influências modulatórias que conectam palavra e imagem, para um leitor ou intérprete, situado historicamente. Como caracterizar, ou definir, este processo? Sobre esse tópico, ainda há pouca publicação, embora o tema comece, recentemente, a exibir muitos resultados. Na ausência de uma literatura crítica consolidada sobre fenômenos literários híbridos, ou expandidos, envolvendo fotografia, parece-nos uma boa ideia situar o fotolivro de literatura em áreas já existentes: Estudos de Intermidialidade e Semiótica. Dedicamos alguma atenção aos modelos, teorias e terminologias, disponíveis nestas áreas, para explicar o fenômeno observado - relação entre texto verbal (poesia ou prosa) e fotografia. Este é o núcleo desta pesquisa. A tese está dividida em três partes: (i) definição, caracterização e relevância do fenômeno fotolivro de literatura; (ii) terminologias e modelos utilizados para descrever as relações entre poesia, ou prosa, e fotografia; (iii) análise das complexas relações palavra-imagem em fotolivros de literatura produzidos no Brasil no século XX: Os Sertões (1902), com texto de Euclides da Cunha e fotografias de Flávio de Barros; A Pintura em Pânico (1943), com texto e fotomontagens de Jorge de Lima; Quarenta Clics em Curitiba (1976), com texto de Paulo Leminski e fotografias de Jack Pires; Sertões: Luz e Trevas (1982), com fotografias de Maureen Bisilliat e fragmentos de Os Sertões, de Euclides da Cunha. / [en] The invention of the literary photobooks may misleadingly suggest that our main interest here is historical-documentary, a thesis on the emergence of this phenomenon, which is hybrid, expanded, intermedial. It s not the case. Here, there is a theoretical ambition: to provide a setting for its observation and, from there, to establish a disciplined pattern of activity capable of placing it in a historical perspective . How are poetry (or prose) and photography related in literary photobooks? We explore the idea that verbal and photographic systems (or processes) combine into a form of interaction that is not only bidirectional, but involves modulatory influences that connect word and image, for a historically situated reader. How can we characterize, or define, this process? On this topic, there are few publications, although it has recently started to show quite robust results. In the absence of a consolidated critical literature on hybrid literary phenomena involving photography, it seems to us a good idea to situate the literary photobooks in existing areas: Intermedial Studies and Semiotics. We devote a close attention to the study of models, theories and terminologies, available in these areas, to explain the phenomenon observed – the relationship between verbal text (poetry and/or prose) and photography, in photobooks. This is the core of this work. This thesis is divided into three parts: (i) definition, characterization and relevance of the literary photobooks phenomenon; (ii) terminologies, theories and models – used to describe and analyze the relationships between poetry/prose and photography, in the observed phenomenon; (iii) analysis of word-image complex relationship in literary photobooks produced in Brazil in the 20th century. Among those selected are: Os Sertões (1902), text by Euclides da Cunha and photographs by Flávio de Barros; Pintura em Pânico (1943), text and photomontages by Jorge de Lima; Quarenta clics em Curitiba (1976), text by Paulo Leminski and photographs by Jack Pires; Sertões: Luz and Trevas (1982), photographs by Maureen Bisilliat and fragments of Os Sertões, by Euclides da Cunha.

Ce travail tente d’établir, à partir de la pensée et de la vision que développe Edouard Glissant dans ses essais, une nouvelle approche, ou du moins une approche différente de la littérature comparée. Cette approche a pour fondement les concepts clés tels que le chaos-monde, le tout-monde, la créolisation et l’opacité. La relation surgit de ce que Glissant nomme le chaos-monde, cette rencontre, ce choc de cultures toujours à l’oeuvre dans notre monde. Cette confrontation, ce contact avec l’autre ne peut que produire de la relation. Nous vivons depuis toujours, et aujourd’hui bien plus que jamais, dans un espace pluriel caractérisé par la participation-confrontation, selon des modes variés, hétérogènes, voire conflictuels, de multiples cultures; quand bien même nous n’aurions jamais vu ces autres peuples, le fait d’avoir connaissance de leur existence contraint toujours déjà et nécessairement à l’instauration d’une relation. Cette relation, qui, chez Glissant, est avant tout à l’oeuvre dans le monde des hommes, comporte tous les éléments d’une approche comparatiste en littérature : mettre en relation des ouvrages différents mais néanmoins équivalents, analyser un ouvrage en gardant à l’esprit la multiplicité d’oeuvres existantes, comparer tout en respectant les différences propres à chaque oeuvre, telle est, semble-t-il, la tâche du comparatiste. Il s’agit, à partir du chaos-monde perçu comme confrontation de tous les ouvrages de notre corpus, de révéler une relation au sens glissantien du terme. Les termes de déclinaisons, inclinations et déclins nous engagent dans la description des trajets de lectures en montrant autant les capacités que les limites de cette approche. / Building on the theory developed by Edouard Glissant in his essays, this work attempts to draw up a different approach for the analysis of compared literature. This method is based on the key concepts developed by Glissant. All relationships are the offsprings of what Glissant calls the chaos-world, which is this encounter, this clash of cultures constantly at work in our world. This confrontation with the other cannot but give rise to relationship. Since time immemorial, we’ve been living and today we, more than ever, live in a plural setting, the defining characteristic of which is the cooperation and confrontation of multiple cultures on varied, heterogeneous and even conflictual modes; even if we have not seen these people who are so different and come into direct contact with their cultures as such, the very fact that we know of their existence always compels us to start some kind of relationship. In the works of Glissant, this relationship, which is at work in the world of human beings, comprises all the required elements for a comparative approach in the field of literature. Indeed, it would seem that the task of the comparatist consists in bringing together different but comparable works, in analyzing a piece of work while having in mind the multiplicity of works existing at the same time, and in comparing everything whilst respecting the differences exclusive to each work. Starting from the chaos-world perceived as a confrontation between all the works of our corpus, the whole point for us is to lay bare a relationship the way Glissant understands it. The concepts of declension, inclination and decline commit us to a description of reading journeys during which we show the scope as well as the limitations of this approach.

Made available in DSpace on 2014-12-17T15:07:05Z (GMT). No. of bitstreams: 1 JulianaBO.pdf: 374434 bytes, checksum: fea3b03580353cdb171a91a40b563959 (MD5) Previous issue date: 2006-12-14 / While looking to the body and finding it engraved by cultural, imaginary and power-related texts through a discourse embodied in itself, this research proposes a new vertiginous approach to it by analyzing the following works: Poesia completa II, more specifically, Educa??o sentimental, and Novas cartas portuguesas. Such transgressive and performatic works are from Maria Teresa Horta (1937-), Portuguese writer, who proposes a new education by a renewed language: a sentimental education spawned from the erotic element. Starting from the deconstruction of the view over the spoiled body and exposed in Novas cartas portuguesas, from the poetic texts in Educa??o sentimental, as well as in remaining ones in Poesia completa II, Horta disassembles and reassembles the body, giving a new meaning to the symbols that surround us and our experiences. Other than proposing to all, men and women, such new meaning of the behavior and current practices models, Horta s education allows, through a performance action, the construction of a stage for female identity, free from the phallic influence. A new identity, able to handle all holy and profane characteristics of women, discarding the chromatic lens of sin. Horta s poetry emerges as a new proposal of literary labor / Esta pesquisa, ao passo que olha para o corpo e o enxerga tatuado pelos textos da cultura, do imagin?rio e do poder, atrav?s de um discurso que se inscreve nele, vem propor uma vertigem do olhar sobre o mesmo atrav?s da an?lise das obras: Poesia completa II, especificamente, Educa??o sentimental, e Novas cartas portuguesas. Tais obras transgressoras e perform?ticas s?o de Maria Teresa Horta (1937-), escritora portuguesa, a qual vem propor, ao n?vel de uma linguagem renovada, uma educa??o outra: uma educa??o sentimental, a qual nasce do elemento er?tico. Partindo da desconstru??o do olhar sobre o corpo marcado e denunciado atrav?s de Novas cartas portuguesas, e dos textos po?ticos da obra Educa??o sentimental, bem como dos demais que v?m compor a obra Poesia completa II, Horta desmonta e remonta o corpo, re-significando a m?scara signal?tica a qual nos envolve e envolve as nossas viv?ncias. Al?m de propor a todos, homens e mulheres, tal re-significa??o dos modelos de comportamentos e pr?ticas vigentes, a educa??o horteana vem possibilitar, atrav?s da performance, a constru??o de um espa?o para a identidade feminina, livre da clausura do poder f?lico. Uma nova identidade a qual possa envolver todas as caracter?sticas sagradas e profanas da mulher, descartando a lente crom?tica do pecado. A po?tica horteana surge ent?o, como uma nova proposta do fazer liter?rio

Made available in DSpace on 2014-12-17T15:07:06Z (GMT). No. of bitstreams: 1 FranciscoWLS.pdf: 803671 bytes, checksum: 2701e5d86197de2102216f19432b6661 (MD5) Previous issue date: 2008-10-30 / Considering articles written for Fernando Pessoa in 1912 about The new Portuguese poetry , where he already proclaimed the appearance of the Super-Cam?es, poet that would be able to revolutionize Portuguese literature e, concomitantly, to make resurging from rubble the Portuguese nation; we understand that, decades before the writing of Message, the poet was already armed with a Will of Power , expression of Friedrich Nietzsche that incorporate the idea of resurgence to the man like creator of news values. Fernando Pessoa believed to make his poetical word, the epic, restoring word of the ideas of Messianism and Fifth Empire as the pushing force of the new Portuguese largeness. However, we look for to investigate the conditions of Malaise that surround the universe of the poem and that restrict its capacity of action on the reality in its return, a time that the space destined in modernity to the poet and to his poetry hindered him of a devoted and positive action, We select therefore theorist like Sigmund Freud e Walter Benjamin / Considerando os artigos escritos por Fernando Pessoa em 1912 sobre A nova poesia portuguesa , em que ele j? proclamava o aparecimento do Super-Cam?es, poeta que seria capaz de revolucionar a literatura portuguesa e, concomitantemente, fazer ressurgir dos escombros a na??o portuguesa; entendemos que o poeta, d?cadas antes da escritura de Mensagem j? se revestia de uma Vontade de Pot?ncia , express?o nietzschiana que incorporava a id?ia de ressurgimento do homem como criador de novos valores. Pessoa acreditava fazer da sua palavra po?tica, uma nova palavra ?pica, restauradora das id?ias de Messianismo e Quinto Imp?rio como for?a impulsionadora de uma nova grandeza lusitana. No entanto, procuramos investigar as condi??es de Mal-Estar que circundam o universo do poema e que restringem a sua capacidade de a??o sobre a realidade em sua volta, uma vez que o espa?o destinado na modernidade ao poeta e ? sua poesia o impediam de uma a??o mais consagradora e positiva, elencamos, para isso, te?ricos como Sigmund Freud e Walter Benjamin Palavras-chave: Literatura, Literatura Portuguesa, Literatura Comparada, Poesia, Fernando

O mito de Orfeu assinalou a produção literária de autores clássicos, marcando presença também em obras modernas e contemporâneas. Na literatura brasileira, a obra Orfeu da Conceição, texto dramático de Vinícius de Moraes, buscou promover o diálogo entre a mitologia grega clássica e as raízes culturais brasileiras através da incorporação de elementos órficos. Publicada em 1956, com o subtítulo Tragédia Carioca, alcançou sucesso significativo no âmbito literário e cinematográfico. Destacou-se pelas adaptações e referências ao mito original no interior de sua trama, que transcorre nos morros do Rio de Janeiro entre as décadas de 1950 e 1960. Pasquale Aniel Jannini, pesquisador e acadêmico italiano, publicou em 1961 a tradução de Orfeu da Conceição em língua italiana, sob o título Orfeo Negro. Através do cotejo entre original e tradução, constituiu-se um corpus de termos e expressões que evidenciam marcas culturais entre os textos. Após essa etapa, estes dados foram submetidos à classificação e análise através do modelo Modalidades de Tradução, de Francis Henrik Aubert (1998). Esse modelo consiste em uma metodologia de pesquisa tradutológica derivada de conceitos elaborados por Vinay e Darbelnet acerca de procedimentos técnicos da tradução. Um dos principais diferenciais do modelo em questão liga-se à possibilidade de análise quantitativa e tipológica dos elementos destacados na tradução. A metodologia selecionada para a observação de Orfeu da Conceição e Orfeo Negro considera, ainda, a tradução como um ato de comunicação que ocorre entre indivíduos e entre grupos sociais, assumindo sua função frente a culturas, ideologias e diferentes pontos de vista. A proposta de estudo destes marcadores culturais levantados pretende analisar aproximações e afastamentos entre Orfeu da Conceição e Orfeo Negro, assim como refletir acerca de peculiaridades e traços interculturais expressos entre os textos. Aplicando-se metodologia de Aubert (1998) aos marcadores culturais identificados, verificou-se uma maior incidência da modalidade modulação, o que evidencia uma tradução predominantemente domesticadora, de acordo com os conceitos de Venuti (1999). Verificou-se também uma incidência significativa de erros dentre as modalidades mais recorrentes. Ainda que a tradução em questão seja considerada domesticadora, é relevante o fato de que contém inserções de elementos estrangeirizadores, também de acordo com a conceituação de Venuti (1999). Em nosso estudo, buscamos ainda observar se o ciclo da tradução se completaria em um eventual leitor brasileiro, conhecedor do idioma italiano, em termos de reconhecimento próprio e de sua cultura no texto traduzido. Para tal questionamento, obtivemos resposta positiva, somada ao fato de que a leitura do texto original, Orfeu da Conceição, pode ser enriquecida pela análise contrastiva e pelo contato com a tradução Orfeo Negro. / Orpheus myth has marked literary production of classic authors, and made its presence felt in modern and contemporary literary works as well. On Brazilian literature, Orfeu da Conceição, a dramatic work by Vinícius de Moraes, aimed to promote the dialog between classic greek mythology and Brazilian cultural roots by incorporating orphic elements. Published in 1956, with the subtitle Tragédia Carioca (Carioca Tragedy), it has achieved significant success at the literature and movies scopes. It has stood out by the adaptations and references to original the myth inside the story, which takes place at the shanty towns of Rio de Janeiro city between the decades of 1950 and 1960. Pasquale Aniel Jannini, an Italian researcher and academic, published in 1961 the translation of Orfeu da Conceição into Italian language, under the title Orfeo Negro. By comparing the original text to the translation, it has been composed a corpus of terms and expressions that highlight cultural markers between the texts. After that step, these data had been classified and analyzed by the theoretical model Translation Modalities, by Francis Henrik Aubert (1998). This model consists of a translation research methodology derived from the concepts made by Vinay and Darbelnet concerning technical procedures of translation. One of the main differentials of this model is the possibility of making a quantitative and typological analysis of the highlighted elements on translation. Besides, the methodology selected for the observation of Orfeu da Conceição and Orfeo Negro, understands translation as a communication act between individuals and between social groups as well, taking on its role when comes to cultures, ideologies and different points of view. The purpose of the study of these collected cultural markers attempts to analyze approximations and distances between Orfeu da Conceição e Orfeo Negro, as well as to reflect on particularities and intercultural traits expressed between the texts. By applying the methodology of Aubert (1998) to the identified cultural markers, we have verified a major occurrence of the modality modulation, which has evidenced a predominant domesticating translation, according to the concepts of Venuti (1999). We have also verified a significant occurrence of errors among the most common modalities. Although this translation is considered a domesticating translation, it is relevant the fact that it contains the insertion of foreignizing elements, also according to the conceptualization of Venuti (1999). In our study, we have also aimed to observe if the cycle of translation would complete itself by an eventual Brazilian reader who knows the Italian language, in terms of self-recognition and recognition of his or her own culture on the translated text. For such question, we have reached an affirmative answer, added to the fact that the reading of the original text, Orfeu da Conceição, can be enriched by the contrastive analysis and the contact with the translation Orfeo Negro.

Les littératures d’Afrique et des Caraïbes des années soixante-dix à quatre-vingt-dix comptent une série de romans ayant pour thème de prédilection la politique. Certains critiques y voient l’émergence d’un genre romanesque baptisée « nouveau roman ». D’autres en soulignent la confluence thématique dans des travaux se rapportant au roman dit « politique » ou « anti-utopiste ». Jusque-ici, il semble que la réception de cette forme d’écriture et son thème favori n’ont pas été mis en étroite corrélation avec le contexte historique particulier dans lequel ils s’inscrivent. Or, ce dernier est déterminant dans le cadre d’une meilleure connaissance de ces textes encore en quête de définition. En effet, les années soixante-dix à quatre-vingt-dix correspondent à la période des dictatures d’Afrique et des Caraïbes. Ce constat nous a amené à envisager une nouvelle réception de cette tendance romanesque sur un modèle universel : le « roman politique », pour ne retenir que ce concept. Pour l’expérimentation de cette hypothèse de recherche, dans le cadre d’une démarche comparatiste, le choix a été de confronter les « constantes » et les « variantes » de ces littératures à la lumière d’un corpus de six ouvrages. Ainsi, la représentation de la dictature a permis de découvrir un univers conflictuel clos institué par une pratique et une pensée politiques inédites. Le jeu des acteurs y est une tragédie dans un espace labyrinthique. Le tableau dévoile des individus désarmés et sous la domination d’un système à l’allure de monstre. L’image du « cercle de feu » illustre bien cette tragédie à grande échelle où toute tentative d’évasion rapproche l’homme de la mort. Un style d’écriture métonymique y entretient l’errance des personnages qui, sans cesse, butent contre les murs infranchissables de la dictature. Le discours littéraire n’y est pas qu’une plaidoirie en faveur de l’homme et de la liberté ; il y est également une dénonciation de la condition de l’écrivain et de l’asservissement de la littérature. / The literatures of Africa and the Caribs of the seventies in ninety count a series of novels having for theme of preference the politics. Certain critics see there the emergence of a romantic kind baptized "new novel ". Others underline the thematic confluence in works relating to the said novel "politics" or "anti-utopian". Up to now, it seems that the reception of this shape of writing did not put in narrow correlation its favourite theme with the particular historic context, which unites them. Now, this last one is determining within the framework of a better knowledge of these texts still in search of definition. Indeed, the seventies in ninety correspond to the period of the dictatorships of Africa and the Caribbean islands. This report brought to us to envisage a new reception of this romantic tendency on a universal model: the "political novel ", to retain only this concept. For the experiment of this hypothesis of search, within the framework of a comparative approach, the choice was to confront "constants" and "variants" of these literatures in the light of a corpus of six works. Therefore, the representation of the dictatorship allowed discovering a closed conflicting universe established by one new political practice and a thought. The set of the actors is there a tragedy in a space, which looks like a labyrinth. The board reveals moved individuals and dominated by a system to the speed of monster. The image of the "circle of fire" the illustrious property a large-scale tragedy where any escape attempt moves closer to the man of the death. A style of metonymical writing maintains the wandering of the characters there who, ceaselessly, stumble over the unbridgeable walls of the dictatorship. The literary speech is not there that a plea in favour of the man and of the freedom; it is there a termination of the condition of the writer and the subjection of the literature.

Made available in DSpace on 2016-04-28T19:59:14Z (GMT). No. of bitstreams: 1 Waltecy Alves dos Santos.pdf: 1242912 bytes, checksum: 264968caf613c59a1bc3e5eb4a233a18 (MD5) Previous issue date: 2009-03-20 / This paper associates Literary Studies to Cultural Studies with the intention of comparing literatures that show itself as historically constituted subjects. In this sense, The female voice in literature of African ascendency: hybridism of myths and rites in the novels Niketche of Paulina Chiziane and The Color Purple of Alice Walker is a study that suggest literary-cultural reflections on the constructions of identities in these works. The research focuses on the construction of the subject through his speech and establishing the relationship with remarkable images in search of otherness namely, the mirror, unfolded in the letter, and the bed in addition to pointing out the problem of myths and rites as matrices to a new voice defined by cultural hybridism and fixed in orality. Finally, this research tries to describe the similarities and differences with respect to oppression and exclusion of marginal voices in case of the female voice of African ascendency examining them in what they have of challenging and transgressive in front of eurocentrical, patriarchal and theological assumptions, as they are presented in these works / A presente dissertação associa os Estudos Literários aos Estudos Culturais com o objetivo de aproximar literaturas que apresentam sujeitos historicamente constituídos. Sendo assim, A voz feminina na literatura de ascendência africana: Hibridismo de mitos e ritos nos romances Niketche de Paulina Chiziane e A cor púrpura de Alice Walker é um estudo que aponta reflexões literário-culturais a respeito da construção das identidades presentes nestas obras. A pesquisa centra-se na construção do sujeito por meio do seu discurso e na relação que estabelecem com imagens marcantes na busca da alteridade a saber o espelho, desdobrado na carta, e a cama além de apontar a problemática dos mitos e ritos como matrizes para uma nova voz marcada pelo hibridismo cultural e alicerçada na oralidade. Enfim, a pesquisa ambiciona esboçar as semelhanças e diferenças no que tange a opressão e exclusão de vozes marginais no caso a voz feminina e de ascendência africana analisando-as naquilo em que elas têm de desafiador e transgressor perante os pressupostos eurocêntricos, patriarcais e teológicos, apresentados nestas obras