Orientador: Sônia Helena de Oliveira Raymundo Piteri / Banca: Arnaldo Franco Júnior / Banca: Maria Heloísa Martins Dias / Banca: Paola Poma / Banca: Sylvia Helena Telarolli de Almeida Leite / Resumo: A arte contemporânea apresenta-se como palco de experimentações e intensificação de estratégias de elaboração estética que promovem o questionamento e a problematização do fazer artístico. Dentre os inúmeros recursos que engendram esse desafio, destaca-se aqui a gaucherie, procedimento discutido pelo crítico Roland Barthes e que atua com um viés crítico e irônico, atribuindo ao objeto artístico um proposital aspecto de "rebaixamento", ou, como o prório nome sugere, um caráter de "desvio" por ser "canhoto", "torto", e, por extensão, aparentemente "desajustado", "mal feito". Nesse sentido, esta tese discute especificamente o funcionamento da gaucherie na literatura, buscando evidenciar que essa sensação de "desvio" ou "rebaixamento" é atingida a partir de um trabalho com a linguagem calcado na exploração da fala coloquial, do discurso do senso comum, de imagens que assimilam as categorias contra-sublimes, como o grotesco, o kitsch, o mau gosto e as manifestações do riso (comicidade, paródia, carnavalização), dentre outros recursos. Para tanto, são analisados textos dos autores brasileiros Dalton Trevisan e Hilda Hilst, e dos portugueses José Cardoso Pires e Adília Lopes. Tais obras revelam tratar-se de um procedimento marcado pela extrema consciência na inserção desses aspectos, o que culmina em um movimento autorreferencial, pois a obra expõe à discussão o seus próprios mecanismos de construção. Com isso, são gerados curiosos efeitos de ironia, visto que o texto convida o leitor a lançar um olhar crítico e sintonizado com o modo peculiar como essas produções leem a própria arte, relativizando as noções pré-concebidas acerca do fazer literário / Abstract: Comtenporary Art presents itself as a stage for experimentations and intensification of strategies of aesthetic elaboration that promote the questioning of artistic manifestation and make it problematic. Among the innumerable resources that engender this challenge, here we emphasize gaucherie, a procedure that is discussed by the critic Roland Barthes and acts as a critical and ironic bias, attributing to the artistic object an intentional aspect of "lowering", or, as the name itself suggests, a character of "deviation" because it is "left-handed", "crooked", and, by extension, apparently "maladjusted", "rough". Accordingly, this thesis specifically discusses how gaucherie works in literature, trying to make evident that this sensation of "deviation" or "lowering" is achieved as a result of a work with language based on the exploration of colloquial speech, the common sense discourse, images that assimilate the counter-sublime categories, such as the grotesque, kitsch, bad taste and the manifestations of laughter (comicality, parody, carnivalization), among other resources. In order to do so, texts written by the Brazilian authors Dalton Trevisan and Hilda Hilst and by the Portuguese authors José Cardoso Pires and Adília Lopes are analyzed. Such literary works reveal it is a process marked by the extreme awareness in the insertion of these aspects, which culminates in a self-referential movement, for the literary work introduces to discussion its own construction mechanisms. Thus, curious effects of irony are created, given that the text invites the reader to cast a critical eye to it, a critical look that is in tune with the peculiar way in which these productions read their own art, making relative the preconceived notions about literary manifestation / Doutor

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Este trabalho tem como objetivo estudar a escrita autoficcional de Caio Fernando Abreu (1948-1996) segundo as concepções, respectivamente, dos teóricos franceses Serge Doubrovsky e Vincent Colonna, destacando-a e diferenciando-a de uma escrita pretensamente autobiográfica, segundo a concepção do também francês Philippe Lejeune. Se para Doubrovsky a escrita autoficcional é identificável pela condição do homonimato entre autor-narrador-personagem, para Colonna tal condição não se faz necessária para a identificação dessa escrita. Desse modo, no caso da autoficção segundo Colonna, para identificação da autoficção de Caio F., propõe-se o critério da sobreposição de textos com base nos paratextos genettianos. Procura-se, assim, estabelecer as bases diferenciais de uma escrita autoficcional que congrega em sua estrutura fatos reais e ficcionais elaborados pela linguagem, em contraposição a uma escrita dita autobiográfica baseada num pretenso pacto de verdade, entendendo ser a autoficção a forma de escrita amplamente praticada por Caio F. Para demonstração dessa escrita autoficcional, promove-se a análise e interpretação de textos significativos de Caio F., neles identificando as estruturas que os tornam autênticas autoficções. / This work aims to study the autofictional writings of Caio Fernando Abreu (1948-1996) according to the French scholars Serge Doubrovsky and Vincent Colonna, emphasizing and differentiating it from a supposedly autobiographic writing and also according to Philippe Lejeune. If, according to Doubrovsky, autofictional writing is recognizable by the requisite of homonimity author-narrator-character, to Colonna such requirement is not necessary. According to the latter, to identify Caio F.s autofiction, one must adopt the criteria of superposition of texts, based on Genets concept of paratext. Therefore, our goal is to establish the differential basis of an autofictional writing which creates in its structures of real and fictional facts elaborated by the language, as opposed to a writing considered autobiographic based on a intended pact of truth. Consequently, autofiction is the way of writing widely practiced by Caio F. In order to demonstrate this autofictional writing, we analyse and interprete Caios most important texts, identifying in them the structures that make them genuine autofictions.

Privilegia-se nesta dissertação a leitura e interpretação de Avalovara, romance de Osman Lins, sob a ótica de um tema universal da literatura o amor humano, seguindo-se as pistas deixadas pelo autor em entrevistas e analisando-se, de modo especial, sua configuração poética na narrativa. Tendo em vista o intenso conteúdo sexual do romance, estuda-se as várias dimensões do amor carnal, desde o uso político do corpo até seu aspecto mítico e cosmogônico. Para tanto, primeiro conceitua-se literatura erótica para depois contextualizar-se Avalovara na tradição ocidental no século XX. Em seguida, são apontadas suas fontes, que remontam à Bíblia e à tradição hindu do tantra. Unindo-as, Lins cria um amor concreto e carnal, capaz de levar os amantes a reencontrar a unidade original. Além disso, ao incorporar a geometria simbólica do tantra na estrutura do romance, Lins confere à literatura um poder mágico até então encontrado apenas em textos religiosos e místicos. De modo que esta dissertação, fundamentada também em teorias da narrativa e do romance e numa abordagem comparatista, tem sobretudo uma perspectiva crítica: mostrar a especificidade de Avalovara, dentro da tradição da literatura erótica e o seu papel no contexto da literatura brasileira, nos anos da ditadura militar. / This dissertation focuses on the reading and interpretation of Osman Lins novel Avalovara based on a universal literary theme human love -, following the clues left by the author in interviews and analyzing especially its poetic configuration in the narrative. Taking into consideration the intense sexual component of the novel, it studies the various aspects of carnal love, from the political use of the body to its cosmogony and its mythical aspect. In order to do so, it first defines erotic literature to then position Avalovara in the twentieth century occidental tradition. Afterwards, it indicates its sources, which go back to the Bible and the Hindu tradition of the tantra. In uniting them, Lins creates a carnal and concrete love, capable of taking the lovers back to the original unity. In incorporating the symbolic geometry of tantra in the novels structure, Lins gives literature a magical power until then only seen in religious and mystical texts. Moreover, this dissertation, also based in narrative and novel theories and in a comparative approach, has above all a critical perspective: to show Avalovaras uniqueness in the tradition of erotic literature and its role in Brazilian literature, during the military dictatorship.

Este trabalho analisa os contos e textos autobiográficos de João Antônio (1937- 1996) nos quais as figuras paternas exercem papel decisivo para os protagonistas. A análise literária parte da identificação de elementos fundamentais do texto de ficção (tais como narrador, personagens e ação) e de como eles se articulam e interagem. As interpretações combinam elementos da crítica literária, da historiografia, de pesquisas bibliográfica e biográfica, apontando ainda para questões da sociologia e da psicanálise. O estudo parte das reflexões de Antonio Candido, crítico que formulou conceitos importantes para o autor em foco, para a crítica literária e para a linha de pesquisa que relaciona literatura e sociedade. As análises conduzem a questões sobre a trajetória dos personagens ficcionais, sobre o conceito de malandragem, sobre o conto na obra de João Antônio e sobre as relações entre biografia e literatura na vida do autor. / This thesis analyses João Antonios short stories and autobiographical narratives where father figures are crucial and intimately related to main characters. The critical work identifies essential elements of fiction (such as narrator, characters and plot) and the way they interact. Our research is based upon Antonio Candidos essays on João Antônio and on literature and society. The effort of interpretation combines literary criticism, history of literature, biographical approach and bibliographic research, also including psychoanalysis and sociological theoretical references. The interpretations lead to conclusions about the journey of the main characters, the concept of trickery (malandragem), the short story form in João Antonio and the relationship between life and work of this Brazilian writer.

Cette thèse s’attache à étudier la notion de dérive, à travers un corpus de récits français, hongrois et chinois écrits respectivement par Laurent Mauvignier, Imre Kertész et Lin Bai, et parus entre les années 1990 et 2014. Conçue par Guy Debord comme l’outil principal pour appréhender le relief psychogéographique de la ville, la dérive permet d’étudier, au sein des fictions contemporaines, l’importance de l’errance des personnages qui sont privés d’existence et donc de territoire : leur identité n’est plus fixée par un lieu, mais dissoute dans des lieux multiples ou des non-lieux. Nous nous attacherons donc à étudier en termes topographiques la brisure du lien entre le sujet et son territoire, comme premier symptôme d’une crise de l’identité. Cette perte du lieu invite ensuite à se pencher sur les manifestations de la disparition de soi, du malaise existentiel jusqu’aux formes de dissolution fantomatique du sujet. Enfin, la dérive pose la question éminente de la représentation car il s’agit de mettre des mots sur une identité flottante, qui a perdu le sens de l’existence comme de la parole : comment exprimer ce flottement, comment figurer la reconstruction du sujet contemporain ? Notre thèse s’appliquera à montrer en quoi la dérive constitue une véritable poétique, une vision aquatique du monde et de la littérature. / This thesis aims to study the concept of drift, through a corpus of French, Hungarian and Chinese texts written by Laurent Mauvignier, Imre Kertész and Lin Bai, and published between the 1990s and 2014. Described by Guy Debord as a key word to experience the psychogeographic dimension of the city, the drift enables to study, through contemporary fictions, the important wandering of characters because they are deprived of existence and thus of a territory : their identity is no more attached to a place, but dissolved in many places or what is called non-places. We will thus study a topography of the gap between the self and its territory, as a first signal of an identity crisis. Then, this loss of a location invites us to focus on all the symptoms of the disappearance of the self, from living distress to any kind of ghostly dissolution of the self. Finally, the concept of drift questions representation because the writers have to express a floating identity, which has lost the meaning of existence and the meaning of language : how express this movement, how figure out the reconstruction of a contemporary self? Our thesis will show how the drift is a real poetics, an aquatic vision of the world and of literature.

Cette thèse se propose d'étudier la présence et la fonction des insertions dialectales dans les oeuvres littéraires italiennes contemporaines. Se focalisant sur les genres narratifs (prose et nouvelle) où le phénomène du plurilinguisme est le plus marqué, l'étude se concentre sur quatre auteurs (Andrea Camilleri, Salvatore Niffoi, Laura Pariani et Andrej Longo) chez qui le mélange vernaculaire / italien est le plus représentatif. Après avoir évoqué la situation linguistique particulière de l'Italie, ce travail de recherche analyse cette langue mêlant deux systèmes linguistiques différents sous lřangle de la traduction pour pouvoir dresser un parallèle entre les situations italienne et française. C'est le problème de la restitution de la langue mêlée, laquelle renvoie à un ancrage culturel et géographique très fort, qui est au centre de cette étude. Elle interroge la possibilité d'une recréation du même effet de lecture dans une culture cible qui ne connaît pas la même situation de diglossie. Nous voulons toutefois montrer, par l'analyse des traductions existantes, que le recours à un parler régional hexagonal peut être à même de restituer l'effet de défamiliarisation provoqué à la lecture des textes sources. / This PhD thesis examines Italian contemporary literary works (novels and short stories) in which dialect is used as a linguistic variety in combination with the national Italian idiom. The analysis is conducted through the works of four Italian writers, in which multilingualism is particularly significant: Andrea Camilleri, Salvatore Niffoi, Laura Pariani and Andrej Longo. Taking into account the complex linguistic situation of Italy, the thesis focuses on the translation of these works characterized by the co-existence of two different linguistic systems. Through an examination of the colourful mixture of linguistic varieties and the function of dialect in these contemporary texts, the thesis aims to make a contribution to the field of Translation Studies and of History of modern and contemporary Italian Literature (examining in particular linguistic and stylistic aspects). It begs the question of the reproducibility of the linguistic mosaic created by these Italian authors in their French translations. Translation of dialect and linguistic varieties, intended as a non-standard language usage in contemporary Italian literature, represents a challenge for countries (in this case France) in which diglossia has disappeared. However, the author argues that the use of certain regional French dialects enables to recreate the defamiliarization effect of the original Italian texts.

Quelle importance peut avoir aujourd’hui l’écriture en tant qu’événement ouvrant à une expérience de valeur existentielle pour le lecteur ? La fiction, auparavant une activité passive, doit aujourd’hui être activement complétée par le lecteur qui, de ce fait, transforme l’acte de la lecture en une expérience personnelle semblable à l’événement tel qu’il est défini par la phénoménologie. L’expérience de la souffrance a été prise comme point de départ afin d’établir dans ce travail le parcours épistémique qui permet à l’homme de se doter d’une individualité. On y discutera les interprétations possibles que suscitent les difficultés du rapport à soi, du rapport à l’autre et du rapport au néant de la mort dans la fiction contemporaine. Ces expériences partagent une caractéristique énonciative majeure d’un point de vue phénoménologique : elles ne peuvent pas être énoncées à la première personne du singulier au présent. Cela signifie que toutes les situations décrites par les écrivains dont le noyau narratif est l’une de ces trois expériences sont, systématiquement, des projections purement inventées.Sous le nom thématique de l’Animalité, l’Altérité et la Mort, chacune de ces problématiques sera abordée par le biais de deux textes narratifs publiés au plus tard en 1990, respectivement en provenance de deux aires spatiales distinctes : l’Amérique Latine et l’Europe. L’objectif est de souligner les enjeux éthiques, épistémiques et anthropologiques qui se dégagent de la manière dont la littérature rend accessibles ces trois expériences vécues en tant qu’événements par le lecteur qui fait siennes, existentiellement, les péripéties des personnages de fiction. / Which kind of significance can fiction have these days as an event leading to an experience of existential value for the reader? Fiction, once a passive activity, must be completed today by the reader who, therefore, transforms the act of reading into a personal experience similar to an event as it is defined by phenomenology. In this work, the experience of suffering has been taken as the starting point to establish the epistemic path which enables human beings to reach their own individuality. The possible interpretations issued of the difficulties of self-relation, the relation to others and the relation to the nothingness of death in contemporary fiction will also be discussed. These experiences share a major enunciative characteristic from a phenomenological point of view: they cannot be stated in the present in the first person singular. That means all situations described by the authors, whose narrative core is one of these three experiences, are systematically just imagined projections.Under the theme name of Animality, Otherness and Death, each of these problematics will be addressed through two narrative texts published at the latest in 1990, respectively from two distinct spatial areas: Latin America and Europe. The aim is to highlight the ethical, epistemological and anthropological issues that emerge from the way literature gives access to these three experiences lived as events by the reader, who existentially appropriates the adventures of fictional characters. / ¿Qué importancia puede tener en nuestros días la escritura en tanto que acontecimiento que dé pie a una experiencia de valor existencial para el lector? La ficción, antaño una actividad pasiva, hoy tiene que ser completada activamente por el lector que, de este modo, transforma el acto de la lectura en una experiencia personal semejante al acontecimiento tal como lo define la fenomenología.La experiencia del sufrimiento sirve como punto de partida para definir en este trabajo el recorrido epistémico que permite al hombre dotarse de una individualidad. En él se discutirán las posibles interpretaciones que suscitan las dificultades de la relación consigo mismo, con el otro y con la nada de la muerte en la ficción contemporánea. Estas experiencias comparten una característica enunciativa mayor desde un punto de vista fenomenológico: no pueden ser enunciadas a la primera persona de singular en presente. Esto significa que todas las situaciones descritas por los escritores cuyo núcleo narrativo es alguna de estas tres experiencias son, sistemáticamente, simples proyecciones inventadas.Bajo el nombre temático de Animalidad, Alteridad y Muerte, cada una de estas problemáticas será abordada mediante dos textos narrativos publicados a más tardar en 1990, provenientes respectivamente de dos áreas espaciales distintas: América Latina y Europa. El objetivo es subrayar las implicaciones éticas, epistémicas y antropológicas que se desprenden de la forma en que la literatura vuelve accesibles estas tres experiencias vividas como acontecimientos por el lector que hace suyas, existencialmente, las peri-pecias de los personajes de ficción.

La présente étude propose une topologie de la littérature contemporaine issue de l’immigration asiatique en Europe à travers les romans publiés pendant les vingt dernières années par des écrivains d’origine asiatique établis en France et au Royaume-Uni. Si les études sur la littérature de migration sont en plein essor en Europe, il y a encore quelques lacunes, comme un corpus bien établi des œuvres d’écrivains européens d’origine asiatique. La première partie de cette thèse présente les concepts clés des études de la littérature de l’immigration, telles les notions de migration et de cosmopolitisme, ainsi que les considérations nécessaires à la constitution d’un corpus des auteurs immigrés d’origine asiatique ; elle recense aussi les recherches en cours dans ce domaine. La seconde partie, composée de trois sections, explore d’abord les éléments qui conditionnent l’accès de ces auteurs au champ littéraire en France et en Grande-Bretagne, puis les caractéristiques de leur écriture en matière de style, de structure et de thème. La dernière section tente une typologie d’un corpus des romans en français et en anglais des écrivains immigrés d’origine asiatique, en offrant une vue d’ensemble de cette riche création littéraire en Europe. / This study proposes a topology of contemporary literature stemming from Asian immigration to Europe through fiction published in the last twenty years by writers of Asian origin based in France and the United Kingdom. Although studies in immigration literature are burgeoning in Europe, there are still gaps to be filled, such as a well-established corpus of works by European writers of Asian origin. The first part of this dissertation presents the key concepts in immigration literature studies, such as the notions of migration and cosmopolitanism, and the necessary considerations in the constitution of a corpus of immigrant writers of Asian origin, as well as an overview of current research in this field. The second part, comprised of three sections, firstly explores the elements that condition these authors’ access to the literary field in France and in Britain, and secondly, the characteristics of their writing in terms of style, structure and theme. The final section attempts a typology of the corpus of novels in French and English by immigrant writers of Asian origin, offering an overview of the richness of an integral part of European literary creation. / 본 논문은 프랑스와 영국에 기반한 아시아계 작가들이 최근 20년간 출간한 소설을 통하여 아시아인의 유럽 이민에서 비롯된 동시대 문학의 유형론을 제시하고 있다. 유럽에서 이민 문학 연구가 활발히 이루어지고 있지만, 아시아계 유럽 작가들의 작품에 대한 상세 코퍼스 정립과 같이 아직 채울 부분들이 존재한다. 본 논문의 제 1부는 이주, 국제성과 같은 이민 문학 연구의 주요 개념을 소개하고, 아시아계 이민 작가들의 코퍼스를 형성함에 있어 고려 사항을 비롯하여, 이 분야의 연구 현황을 개관한다. 모두 세 장으로 나눠진 제2부는 우선, 프랑스와 영국 문학계에 대한 이들 작가의 접근을 규정하는 요소들을 살피고, 문체, 구조와 주요 테마의 측면에서 이들 작가의 글쓰기의 특징을 밝힌다. 마지막 장은 아시아계 이민 작가들이 불어와 영어로 쓴 소설 작품으로 이루어진 코퍼스의 유형화를 시도하여, 유럽 문학 창작 활동의 풍요로운 한 분야를 보여주고자 한다.