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A proposta desta dissertação é analisar em contos do livro Sessanta Racconti (1958) a relação entre a poética do autor e a estética surrealista. Através do exame de elementos surrealistas específicos (acaso objetivo, humor negro, sonho, maravilhoso e fantástico) utilizados por Buzzati na construção dos 16 contos selecionados, buscou-se identificar indícios de similaridade, transposição ou releitura de modo a aprofundar o conceito de surrealismo buzzatiano, diverso das demais manifestações surrealistas, mas ao mesmo tempo em diálogo com a estética vinculada a André Breton e seguidores. Desta forma, pretende-se colaborar para o preenchimento de lacunas ainda existentes nos estudos sobre o autor, auxiliando na construção de possíveis novas abordagens para análise e tradução da obra de Buzzati. / The aim of the present dissertation was to study the tales in the book Sessanta Racconti (1958) to analyze the relation between author\'s style within the surrealist aesthetics. We tried to identify similarities, transposition or review, through the study of specific surrealistic elements (objective hazard, black humour, dream, marvelous and fantastic) that was used by Buzzati to create his 16 selected tales. Thus we intend to show a idea of the Buzzati´s surrealism, different of another surrealist manifestations, but at the same time in dialogue with the aesthetic model related to André Breton and his followers. Finally we intend to improve the author\'s researches, with suggestions for the development of new approaches to analysis and translations of Buzzati\'s works.

Esta dissertação propõe uma leitura crítica do romance Los detectives salvajes, publicado em 1998 pelo chileno Roberto Bolaño. Minha leitura investiga como o romance problematiza a tríade verdade - sentido - experiência através de um jogo com a opacidade que elide a sua linguagem (segundo alguns críticos) transparente. Para tanto, divido o trabalho em três momentos. No primeiro, analiso o cruzamento de vozes que o romance põe em cena, tomando-o como uma forma de dramatização da verdade. A partir do conceito de voz, que pauta essas reflexões, estabeleço também uma ponte para pensar a tensão com a poesia que o livro coloca, em uma abordagem que visa ultrapassar a mera exposição da tematização da vida desmesurada dos poetas. No segundo momento, indago a promessa de sentido que a narrativa faz: para além do uso do mistério e do enigma como motores da leitura, que é impulsionada pela iminência de uma revelação que não se produz, exploro suas consequências como procedimentos específicos de construção do sentido. No terceiro momento, pondero como, apesar de ser um relato associado ao fracasso ideológico de uma geração, Los detectives salvajes parece conservar ou criar um lugar para a esperança e para o acontecimento de experiências verdadeiramente autênticas, sob a forma de sobrevivências ou de intervalos. Tomando, portanto, as ideias de voz, sentido, verdade, centro, experiência, sujeito e enigma como caminhos, vias, o trabalho interroga as lições que o romance de Bolaño lega à literatura por vir. / This dissertation offers a critical reading of the novel Los detectives salvajes, published in 1998 by Chilean author Roberto Bolaño. After having established the book\'s fragmentary structure as a starting ground, my reading proceeds to an analysis of the crossing of voices staged in the novel, taking it into account as a means of dramatization or questioning of the truth. Since this division of utterances is both fundamental and constitutive in Los detectives salvajes, being connected to issues of language and displacement, from it arise important ethical implications. These reflections were based on the concept of voice, from which it was also possible to establish a bridge for thinking of the tensions with poetry enacted by the novel, in an approach that sought to surpass the mere exposition of the thematization of poets\' unruly lives. Aside from this, the research also questions the promise of meaning developed by the narrative: beyond the use of mystery and enigmatic elements as stimuli for reading, that promote the idea of an imminent revelation never to be accomplished, I explore its consequences as specific procedures in the construction of meaning. I also hypothesize on how even though Los detectives selvajes is an account of ideological failure for a generation, it seems to create or maintain a place for hope and for authentic experience in the forms of survivals or intervals. There are specific occurrences in this research in which I establish comparisons with the canonical projects of Jorge Luis Borges and Julio Cortázar, in a sense, to measure the inclusion of Bolaño\'s novel in a Hispano-American history of literature.

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Ma thèse examine quatre romans de l`époque post-1960 qui s’appuient sur le genre de la littérature prolétarienne du début du vingtième siècle. Se basant sur les recherches récentes sur la littérature de la classe ouvrière, je propose que Pynchon, Doctorow, Ondaatje et Sweatman mettent en lumière les thèmes souvent négligés de cette classe tout en restant esthétiquement progressiste et pertinents. Afin d’explorer les aspects politiques et formels de ces romans, j’utilise la « midfiction », le concept d’Allen Wilde. Ce concept vise les textes qui utilisent les techniques postmodernes et qui acceptent la primauté de la surface, mais qui néanmoins essaient d’être référentiels et d’établir des vérités. Le premier chapitre de ma thèse propose que les romans prolétariens contemporains que j’ai choisis utilisent des stratégies narratives généralement associées avec le postmodernisme, telles que la métafiction, l’ironie et une voix narrative « incohérente », afin de contester l’autorité des discours dominants, notamment les histoires officielles qui ont tendance à minimiser l’importance des mouvements ouvriers. Le deuxième chapitre examine comment les romanciers utilisent des stratégies mimétiques afin de réaliser un facteur de crédibilité qui permet de lier les récits aux des réalités historiques concrètes. Me référant à mon argument du premier chapitre, j’explique que ces romanciers utilisent la référentialité et les voix narratives « peu fiables » et « incohérentes », afin de politiser à nouveau la lutte des classes de la fin du dix-neuvième et des premières décennies du vingtième siècles et de remettre en cause un sens strict de l’histoire empirique. Se basant sur les théories évolutionnistes de la sympathie, le troisième chapitre propose que les représentations des personnages de la classe dirigeante riche illustrent que les structures sociales de l’époque suscitent un sentiment de droit et un manque de sympathie chez les élites qui les font adopter une attitude quasi-coloniale vis-à-vis de la classe ouvrière. Le quatrième chapitre aborde la façon dont les romans en considération négocient les relations entre les classes sociales, la subjectivité et l’espace. Cette section analyse comment, d’un côté, la représentation de l’espace montre que le pouvoir se manifeste au bénéfice de la classe dirigeante, et de l’autre, comment cet espace est récupéré par les ouvriers radicaux et militants afin d’avancer leurs intérêts. Le cinquième chapitre explore comment les romans néo-prolétariens subvertissent ironiquement les tropes du genre prolétarien précédent, ce qui exprimerait l’ambivalence politique et le cynisme généralisé de la fin du vingtième siècle. / My dissertation project examines post-1960s novels that draw on the genre of proletarian fiction of the early twentieth century. Building upon current research focused on working-class literature, as well as pertinent literary theory, I argue that Pynchon, Doctorow, Ondaatje, and Sweatman bring to light often neglected working-class themes while remaining aesthetically progressive and relevant. In order to explore these novels in their political and formal aspects I employ Allen Wilde’s concept midfiction. This concept refers to texts that use postmodern techniques and accept the primacy of surface, but nonetheless try to be referential and establish truths. The first chapter of my dissertation argues that the contemporary proletarian novels that I have selected employ narrative strategies commonly associated with postmodernism, such as metafiction, irony, and an “incoherent” narrative voice, to challenge the authority of dominant discourses, including the official histories that tend to downplay labour movements. The second chapter examines how the novelists employ mimetic strategies in tandem with more experimental techniques in order to achieve a believability factor that helps to connect the narratives to concrete historical realities. Referring to my argument in chapter one, I explain that the novelists ultimately use these two modes, referentiality and “unreliable”, “incoherent” narrative voices, in order to both re-politicize the class struggle of the late nineteenth and early decades of the twentieth century as well as to undermine a strict sense of empirical history. The third chapter draws on evolutionist theories of sympathy to argue that the depictions of wealthy ruling class characters illustrate that social structures at the time fostered a sense of entitlement and lack of sympathy in the elites that caused them to adopt a colonial-like attitude towards the working class. The fourth chapter addresses how the novels under consideration mediate the relationships between social classes, subjectivity and space. This section analyses how, on the one hand, representations of space show how power is manifested to benefit the ruling class, and on the other hand, how space was co-opted by radicals and militant workers in order to further their interests. The fifth chapter explores how the neo-proletarian novels ironically subvert tropes from the earlier proletarian genre which, I argue, expresses the political ambivalence and cynicism of the late twentieth century.

This doctoral thesis examines the ways in which contemporary writers have adopted the critical dystopian mode in order to radically deconstruct the socio-political conditions that preclude equality, inclusion and collective political appearance in twenty-first century Britain. The thesis performs theoretically-informed close readings of contemporary novels from authors J.G. Ballard, Maggie Gee, Sarah Hall and Rupert Thomson in its analysis, and argues that the speculative visions of Kingdom Come (2006), The Flood (2004), The Carhullan Army (2007) and Divided Kingdom (2005) are engaged with a wave of contemporary dystopian writing in which the destructive and divisive forms of consensus that are to be found within Britain's contemporary socio-political moment are identified and challenged. The thesis proposes that, in their politically-engaged extrapolations, contemporary British writers are engaged with specifically dystopian expressions of dissensus. Reflecting key theoretical and political nuances found in Jacques Rancière's concept of 'dissensus', I argue that the novels illustrate dissensual interventions within the imagined political space of British societies in which inequalities, oppressions and exclusions are endemic - often proceeding to present modest, 'minor' utopian arguments for more equal, heterogeneous and democratic possibilities in the process. Contributing new, theoretically-inflected analysis of key speculative fictions from twenty-first century British writers, and locating their critiques within the literary, socio-political and theoretical contexts they are meaningfully engaged with, the thesis ultimately argues that in interrogating and reimagining the socio-political spaces of twenty-first century Britain, contemporary writers of dystopian fiction demonstrate literature working in its most dissensual, political and transformative mode.

This thesis takes issue with Fredric Jameson’s suggestion that contemporary science fiction is sending back “more reliable information [about current political and economic organisation] than an exhausted realism” and it develops an alternative Marxist defense of contemporary realist fiction. Can realism's techniques adequately represent the complexity of contemporary political organization? The thesis presents readings of key realist texts — by Pat Barker, Maurice Gee, Kerstin Hensel, James Kelman and David Peace — testing their potential to produce the knowledge of history, industrial politics and the metropolis traditionally central to literary realism’s concerns. (For complete abstract open document).

Este estudo investiga, a partir de um romance de João Gilberto Noll, aspectos que marcam grande parte da narrativa contemporânea brasileira. Privilegia o romance Berkeley em Bellagio, como uma narrativa que concentra questões cruciais de nosso tempo e da ficção contemporânea, tais como: crise das identidades; a fragmentação do sujeito; ficção e autobiografia; a construção da figura autoral; as relações entre trânsito espacial e descentramento da identidade; escrita performática e os usos do corpo / This study investigates, through a novel by João Gilberto Noll, aspects that mark great part of brazilian contemporary narrative. It analyses the novel Berkeley em Bellagio as a narrative that concentrates crucial questions of our time and of contemporary fiction, such as: crisis of identities; fragmentation of subject; fiction and autobiography, construction of authorial figure, relations between spatial transition and the decentering of identity; performative writing and the uses of body

Este estudo investiga, a partir de um romance de João Gilberto Noll, aspectos que marcam grande parte da narrativa contemporânea brasileira. Privilegia o romance Berkeley em Bellagio, como uma narrativa que concentra questões cruciais de nosso tempo e da ficção contemporânea, tais como: crise das identidades; a fragmentação do sujeito; ficção e autobiografia; a construção da figura autoral; as relações entre trânsito espacial e descentramento da identidade; escrita performática e os usos do corpo / This study investigates, through a novel by João Gilberto Noll, aspects that mark great part of brazilian contemporary narrative. It analyses the novel Berkeley em Bellagio as a narrative that concentrates crucial questions of our time and of contemporary fiction, such as: crisis of identities; fragmentation of subject; fiction and autobiography, construction of authorial figure, relations between spatial transition and the decentering of identity; performative writing and the uses of body

The thesis is divided into two parts. The first and crucial part offers a translation of the first two sections of the novel An Equal Music (1999) by Vikram Seth, a postcolonial author of Indian origin. His novel, or "musical romance", is commonly considered to be one of the best novels about music. The translation is followed by a study of the author's life and works, of his style and the reception of his novel and, finally, by an analysis of essential translation problems. The main focus is on speakability issues in various voices throughout the novel; the ambivalence of and difficulty in translating the title; on translation strategies regarding the poetic layers of the text and on the method of translating names and other facts. Given the specific subgenre of the book, the key subchapter analyses the translated musical excerpts from the novel. Keywords Vikram Seth, An Equal Music, contemporary fiction in English, translation, Czech language, style, translation analysis.