Submitted by Neusa Fagundes (neusa.fagundes@unioeste.br) on 2018-03-05T14:18:24Z No. of bitstreams: 2 Beatrice_ Uber2017.pdf: 1949291 bytes, checksum: 9f06d2b725ba63ad0255e68904be348c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-03-05T14:18:24Z (GMT). No. of bitstreams: 2 Beatrice_ Uber2017.pdf: 1949291 bytes, checksum: 9f06d2b725ba63ad0255e68904be348c (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-12-08 / Since the beginning of the records about Americas’ colonization, the woman had been considered inferior and submissive to men by the European phallocentric and Jewish-Christian point of view present in the historiographic discourse that determined the official version of this past. However, she was essential to assure the colonists’ stay in the land to be pioneered. Many of the settlers had the feminine presence as an anchor to strengthen their stay in the “New World”. After the wedding ceremony, the woman was responsible for taking care of the house, being a good wife and an excellent mother, according to the ideology imposed by Church, which corroborated the patriarchal vision of the colonizing metropolis prevailing that time. Starting from this historical situation, the present research proposes reflexions and analyses about the insertion theme of the white European woman in the “New World”. Our purpose is to present, throughout an analysis of the books Desmundo (1996), by Ana Miranda, and Bride of New France (2013), by Suzanne Desrochers, how each one builds a symbolic representation of this process of displacement, strangeness and adaptation to a new reality of the white European woman in the beginning of the Brazilian colonization period, in the sixteenth century, and of the Canadian, in the seventeenth century, respectively, under the auspices of the historical novel. We also aim to analyze if the leading characters, Oribela de Mendo Curvo and Laure Beauséjour, keep their received instruction by the institutions that housed them or if their conceptions change when they start living in the “New World”, and to verify the confrontation of these literary visions with the official discourse. Based on this, we aim to show how the voices of the “orphans of the queen”, from Portugal, and the “king’s daughters”, from France, reflected in the literary discourse, can differ from the historiographic discourse and reveal new perspectives from this past. The research we did was supported by Comparative Literature. Authors like Afonso Costa (1946), Rodolfo Garcia (1946), Jim Sharpe (1992), Gilmei Francisco Fleck (2007, 2011, 2014, 2017), Aimie K. Runyan (2010), and Marcia A. Zug (2016) are used as theoretical support for the historical contextualization of the facts reread by fiction, and to establish the specific modalities of the historical novel in which the corpus is inserted. As a result of this investigational procedure, this research sheds light on the historical vision about the white European woman insertion in our continent. When highlighting the woman’s participation in this historical process, we observed the hybrid narratives of history and fiction update the theme and present a critical rereading of the events in relation to the happenings of the past perpetrated by the writing of historiography. / Desde o princípio dos registros sobre a colonização das Américas, a mulher foi considerada inferior e submissa ao homem pela visão judaico-cristã e eurofalocêntrica presente no discurso historiográfico que consignou a versão oficial desse passado. Entretanto, ela foi agente fundamental para assegurar a permanência dos colonizadores no território a ser desbravado. Muitos dos “conquistadores” tiveram a presença feminina como âncora para fortalecer sua permanência no “Novo Mundo”. Após o casamento, à mulher cabia cuidar do lar, ser boa esposa e ótima mãe, segundo a ideologia imposta pela Igreja, a qual corroborava a visão patriarcal das metrópoles colonizadoras reinantes na época. A partir dessa conjuntura histórica, a presente pesquisa propõe reflexões e análises acerca do tema da inserção da mulher europeia no “Novo Mundo”. Nosso objetivo é apresentar, por meio da análise das obras Desmundo (1996), de Ana Miranda, e Bride of New France (2013), de Suzanne Desrochers, como cada obra constrói uma representação simbólica desse processo de deslocamento, estranhamento e adaptação a uma nova realidade da mulher branca europeia no início da colonização brasileira, no século XVI, e na canadense, no século XVII, respectivamente, sob a égide do romance histórico. Propomo-nos, também, a analisar se as personagens protagonistas, Oribela do Mendo Curvo e Laure Beauséjour, mantém a instrução recebida pelas instituições que as abrigavam ou se suas concepções se transformam quando passam a viver no “Novo Mundo”; bem como verificar os enfrentamentos dessas visões literárias com o discurso oficial. Nesse intento, buscamos mostrar como as vozes das “órfãs da rainha”, de Portugal, e as “filhas do rei”, da França, refletidas no discurso literário, podem divergir do discurso historiográfico e revelar novas perspectivas desse passado. A pesquisa que realizamos amparou-se na Literatura Comparada. Autores como Afonso Costa (1946), Rodolfo Garcia (1946), Jim Sharpe (1992), Gilmei Francisco Fleck (2007, 2011, 2014, 2017), Aimie K. Runyan (2010), e Marcia A. Zug (2016) são utilizados como aporte teórico para a contextualização histórica dos fatos relidos pela ficção e para estabelecer as especificidades da modalidade do romance histórico na qual as obras do corpus se inserem. Como resultado deste processo de investigação, esta pesquisa lança luz sobre a visão da história a respeito da inserção da mulher branca europeia em nosso continente. Ao colocar em evidência a participação da mulher nesse processo histórico, observamos que as narrativas híbridas de história e ficção reatualizam o tema e apresentam uma releitura crítica dos eventos em relação aos acontecimentos do passado perpetrados pela escrita da historiografia.

Made available in DSpace on 2017-07-10T18:55:55Z (GMT). No. of bitstreams: 1 Rodrigo_ Smaha.pdf: 2405444 bytes, checksum: ad2d42c8f1bc791be757498717913f5a (MD5) Previous issue date: 2015-03-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Several images enshrined in American History written by Europeans that not always corroborated with the reality of the time and much less with the contemporaneity were also immortalized into the romantic literature. However, the literary art sought, in many of its expressions, bring to society other images of natives not only those stereotyped ones presented in historical documents produced by the conquerors, such as those reported in the Journal of Columbus (1492) and in Caminha s Letter (1500). Within a vast number of historical novels that address the issue of characterization of the native, we decided to examine the following works: The Last of the Mohicans (1826), by James Fenimore Cooper, Xicoténcatl (1826), written anonymously and O Guarani (1857), by José de Alencar. This corpus includes settings of Amerindians from the realities of Northern Anglo-Saxon, the Spanish-American universe and also Brazil and all of them are designed within the period of American Romanticism. These works depict the figure the native and thus indicate a desire to build up American identities. Thus, we asked ourselves about what are the literary devices employed in their settings; how these settings conducted in different geocultural spaces of the continent move toward or away from each other; among others, in order to understand how romantic writers portrayed the natives during the formation of a national identity, confirming, or not, the integration of this group as part of the society. To support this work, we will use concepts of Alexis Márquez Rodríguez (1991), García Gual (2002), Mata Indurain (1995), Fernández Prieto (2003), Aínsa (1991, 2003, 2008), Trouche (2006), Fleck (2005, 2007, 2008, 2013), Lukács (1977), Milton (1992), Leenhardt (1998), Hutcheon (1991) Bernd (1998), among others that may be helpful. We hope thus enable literary scholars, specifically those who are dedicated to the reading of historical novel, by analyzing the works, a significant characterization of the natives in the romantic era, as well as strengthen the studies on the historical novel area and on comparative studies / Várias imagens consagradas na história das Américas escrita pelos europeus que nem sempre corroboravam com a realidade da época e muito menos com a da contemporaneidade , foram, também, imortalizadas pela literatura romântica. Contudo, a arte literária buscou, em várias de suas expressões, trazer à sociedade outras imagens dos nativos que não apenas aquelas estereotipadas nos documentos históricos produzidos pelos conquistadores, como aquelas relatadas no Diário de Colombo (1492) e n A Carta de Caminha (1500). Em um vasto número de romances históricos que abordam a questão da representação do nativo, decidimos examinar as seguintes obras: The last of the Mohicans (1826), de James Fenimore Cooper, Xicoténcatl (1826), de autoria anônima, e O Guarani (1857), de José de Alencar. Esse corpus engloba configurações dos ameríndios nas realidades do norte anglo-saxônico, no universo hispano-americano e também no Brasil, todas elas concebidas dentro do período do Romantismo. Tais obras retratam a figura do nativo e apontam para um desejo de construção de identidades americanas. Frente a elas, indagamo-nos sobre quais são os recursos literários empregados em suas configurações; como estas configurações, realizadas em diferentes espaços geoculturais do continente, aproximam-se ou se distanciam; entre outros, a fim de entender como os escritores românticos retrataram os nativos no período da formação de uma identidade nacional, corroborando, ou não, para a integração desse grupo na sociedade. Para respaldar o trabalho, utilizaremos conceitos de Márquez Rodríguez (1991), García Gual (2002), Mata Induráin (1995), Fernández Prieto (2003), Aínsa (1991, 2003, 2008), Trouche (2006), Fleck (2005, 2007, 2008, 2013), Lukács (1977), Milton (1992), Leenhardt (1998), Hutcheon (1991), Bernd (1998), entre outros que se façam necessários. Esperamos, dessa forma, possibilitar aos estudiosos de literatura, mais especificamente àqueles que se dedicam à leitura do romance histórico, por meio da análise das obras, uma caracterização significativa dos nativos na época romântica, bem como fortalecer as pesquisas na área do romance histórico e dos estudos comparados

L’écrivain égyptien Yūsuf Zaydān s’inscrit dans la tradition - constituée à l’âge de la Nahḍa – de l’intellectuel “éducateur des consciences”. Depuis cette époque, face à un récit national contrôlé par le pouvoir politique ou religieux, la littérature arabe a souvent revisité l’histoire et l’actualité dans le but de rétablir - grâce à la liberté offerte par le discours fictionnel - la vérité occultée par le récit officiel. Dans ce processus de réécriture, Zaydān s’intéresse particulièrement à la relation entre religion, politique et violence. L’objectif de cette étude est d’explorer l’oeuvre littéraire de cet auteur, dans le but d’en dégager l’originalité. Celle-ci apparaît, d’une part, dans la capacité de Zaydān à mettre en valeur son double profil d’universitaire et de romancier, à travers une production très variée allant du roman à l’essai; d’autre part, dans les stratégies spécifiques qu’il emploie afin de s’adresser à son destinataire privilégié: le lecteur égyptien. Auteur controversé autant pour son oeuvre que pour sa personnalité, Zaydān n’en demeure pas moins un phénomène littéraire : illustration à la fois de l’éclatement du champ littéraire et d’une démocratisation exacerbée de la culture en Egypte, son cas permet de mieux comprendre la littérature arabe ultra contemporaine et ce qu’elle exprime sur les sociétés en recomposition - politique, économique et culturelle - desquelles elle émane. / The Egyptian writer Yūsuf Zaydān is part of the tradition – dating from the age of the Nahḍa – of intellectuals as "educators of consciousness". Since then, faced with a national narrative controlled by political or religious power, Arab literature has often revisited history and current affairs with the aim of restoring – through the freedom offered by fictional discourse – the truth overshadowed by official history. Through this rewriting process, Zaydān is particularly interested in discussing the relationship between religion, politics and violence. The objective of this thesis is to explore Zaydān’s literary work in order to identify its originality. This originality is manifested, first, through Zaydān's dual profile as both academic and novelist, engaged in varied production that ranges from novels to essays; second, in the specific strategies he employs in order to address his privileged audience: the Egyptian reader. A controversial author in both his work and his personality, Zaydān is above all a literary phenomenon. An example of the blossoming literary field and the exacerbated cultural democratisation in Egypt, his case allows us to better understand ultra-modern Arab literature and what it expresses about the (politically, economically, culturally) recomposed and changing society that have produced it.

The 1798 Irish rebellion together with the preceding decade is justly regarded as a watershed event in the forming of Irish national identity. Therefore it is not surprising that it has inspired numerous, and often conflicting, interpretations in both historiography and literature. This study concentrates on both English- and Irish-language historical novels and plays written about the rebellion in the course of the twentieth century, especially after the year 1916. Attention is drawn to the interpretations of the event contained in these literary works, comparing them to the various views of 1798 as they have evolved in Irish historiography. As the rebellion, especially from the 1970s onward, has been increasingly seen in the light of the later conflict in Northern Ireland, this connection has an important place in the analysis. On the theoretical level, the thesis draws from the findings of Hayden White, who has famously questioned the border between historiographical and fictional treatments of historical events. At the same time, this relativism is complemented by selected features of the philosophy of Paul Ricoeur, who highlighted the inevitable ethical questions connected to representations of history. In accordance with the theoretical preliminaries, the study explores the relative value of...

L’historiographie romanesque allemande autour de 1850, à savoir l’écriture de l’histoire pour grand public, est étudiée ici à partir de trois romans historiques parus après la révolution de 1848, mais avant la nomination de Bismarck comme ministre-président de la Prusse en 1862. Ce sont des romans-fleuves écrits par l’épouse de Theodor Mundt, Clara Mundt alias Luise Mühlbach (1814-1873) : Königin Hortense (1856), Napoleon in Deutschland (1858/1859) et Kaiserin Josephine (1861). Cette romancière fit partie de la première génération de femmes-écrivains ayant pu vivre de leur plume et elle connut un grand succès de son vivant. Sa représentation des relations entre France et Allemagne s’inscrit entre historiographie populaire et modernité scientifique car la fictionnalisation de données historiques lui permit de se réapproprier la matière historique et de revaloriser des figures féminines. Par son utilisation de témoignages et de sources d’époque ainsi que par son réemploi des travaux d’historiens récents, L. Mühlbach procède au travail de réécriture de la grande histoire comme c’était aussi le cas dans de nombreux romans historiques de son temps. Elle transforme le genre romanesque en outil didactique ayant pour objectif la transmission du savoir historique et une éducation au patriotisme allemand s’adressant surtout à un lectorat féminin. Ses biographies sont mises au service de l’éducation des cœurs et proposent une forme d’encadrement voire de préparation à la vie conjugale, à la maternité, à la sociabilité, au civisme, et ce par le biais de personnages historiques romancés. Notre étude cherche également à dépasser l’idée d’une rupture dans l’œuvre de L. Mühlbach après 1848 et met l’accent sur la persistance de thèmes comme la question de l’émancipation féminine et religieuse qu’elle avait traités dans ses romans sociaux à l’époque du Vormärz. / The thesis deals with popular historiography and scientific modernity in Germany between 1850 and 1862 – namely after the revolution of 1848 and before Otto von Bismarck became Minister President of Prussia – through the study of three historical novels, Königin Hortense (1856), Napoleon in Deutschland (1858/1859) and Kaiserin Josephine (1861) by Theodor Mundt’s wife Clara Mundt (1814-1873) alias Luise Mühlbach. She was one of the most successful historical novelist of her time, and belongs to the first generation of professional female writers. The main focus of this study is on the literary discourse on the history of relationships between France and Germany. The purpose is to demonstrate how the transmission and the popularization of historical knowledge could be used for education to female patriotism and women citizenship. The study of the use of testimonies and documentary sources borrowed from recent historians shows how L. Mühlbach proceeded to appropriate historical material and to upgrade female figures of the past. Besides the dissertation deals with the analysis of the several historical, political, social and literary mechanisms which explain the success of Clara Mundt’s historical novels between 1850 and 1860. The study puts emphasis on the continuities between L. Mühlbach’s social novels of the Vormärz and the historical novels, like the social and religious issues and the topic of women’s emancipation, in order to question the idea of a split in her work before and after 1848.

The master thesis treats about the multi awarded roman Le dernier des nôtres. This roman is the second written by the French novelist and journalist Adélaïde de Clermont-Tonnerre. The purpose of this thesis is the translation of some chapters of this roman into Czech language. On the following pages, we will focus on analyzing and professionally comment our way of translating. We will study the different elements composing the translation and the cultural specificities we had to consider while translating. Not less important was the general approach of theoretical translation processes and methodology, but also the problematics that could be faced by a translator. Theoretical chapters give a better understanding of translation discipline.

The year 2014 will mark the centennial of the outbreak of World War I in August 1914. This historic anniversary will likely provoke several discussions from all fields in the humanities concerning the Great War's significance on contemporary culture through history, visual art, and in the case of this essay: literature. In light of this event, any serious discussion among scholars should undeniably begin with how the war continues to be represented today through a thorough, contemporary analysis of its many key literary texts. This essay will examine, in this regard, how past and contemporary discourses in literary theory-primarily concerned with how an individual combatant subject attempts to construct and understand their own traumatic experiences through poetic and literary discourse-can continue to incite discussion on why literature of the Great War and its influential role in defining how it has come to be understood in our cultural memory remains relevant even today. Under the guiding influence of Paul Fussell's classic The Great War and Modern Memory, I will discuss how three important works-a poetry collection, a memoir, and a modern work of historical fiction-all contribute to how the war has become represented as a tragic rupture in history that reversed the idea of human progress and left an entire generation disillusioned in its aftermath, regardless of the historical veracity of this legacy. The texts I will be examining include: select poems of Wilfred Owen, Goodbye to All That by Robert Graves, and Regeneration by Pat Barker. In addition to this, I will conclude with an analysis of how a contemporary reading of these texts can contribute to a larger discussion of the crisis of historicity in our current post-modern cultural landscape.

This thesis sets out to investigate the development of the recent historical novel in Mexico by examining a corpus of five novels. Elena Garro’s 'Los recuerdos del porvenir' (1963) represents the final point of the novel of the Revolution and it is the link with the recent historical novel. Carlos Fuentes’ 'Terra Nostra' (1975) and Fernando del Paso’s 'Noticias del Imperio' (1978) belong to the group containing the postmodern historical novel. 'Terra Nostra' summarizes all the concerns of postmodernism and can be considered as a paradigm of this current of thought. 'Noticias del Imperio' seeks a reconciliation between history and literature in an attempt to get closer to the historical truth. Paco Ignacio Taibo II’s 'La lejanía del Tesoro' (1992) is a representative novel in the way it melds history with the mystery novel, developing the genre of the historical thriller. Lastly, Rosa Beltrán’s 'La corte de los ilusos' (1995), and in particular its treatment of history is pertinent to this thesis due to the fact that women have been traditionally silenced by official history. This novel gives them a voice. From its beginnings, the historical novel confronted the problem of being questioned for its lack of accuracy when dealing with the past. This skepticism sparked a long lasting debate that initially degraded the historical novel as secondary genre that could never contribute to historical knowledge. However, as a result of recent theories that seek to defend the poetic nature of history, a theory developed initially by Hayden White, the recent historical novel has sought to debunk historiography’s claim to be the only possible way to recount the past. This thesis advances the theory that the recent historical novel in Mexico is the result of a search for a genuine identity, as well as a quest to develop an alternative, yet truthful, interpretation of a past whose true nature has been distorted by decades of historical officialdom. This process is seen in a context of increasing democratisation and globalisation.

This thesis is the first extensive study devoted to the generic originality of Iurii Tynianov’s representation of Pushkin in his two historical novels, Pushkin (1935-1943) and the abandoned The Gannibals (1932). Chapter 1 contextualises Tynianov’s contribution to the current debates on the novel’s demise, ‘large’ form and the worthy protagonist. The conditions giving rise to contemporary interest in the genres of biography and the historical novel are delineated and the critical issues surrounding these are examined; Tynianov’s concern to secularise the rigid monolith of an all but sanctified ‘state-sponsored Pushkin’ and the difficulties of the task are also reviewed. Chapter 2 shifts the examination of Pushkin as a historical novel to its study within the generic framework of the Bildungs, Erziehungs and Künstlerromane with their particular problematics which allowed Tynianov to grapple with a cluster of moral, philosophical and educational issues, and to explore the formative influences on the protagonist’s identity as a poet. Chapter 3 explores the concept of history underlying Tynianov’s interpretation of the characters and events and the historiographical practices he employed in his analyses of the factors that shaped Pushkin’s own historical thinking. Chapter 4 investigates Tynianov’s scepticism about Abram Gannibal’s and A. Pushkin’s mythopoeia which reveals itself in Tynianov’s subversively ironical and playful use of myth in both novels. The Conclusion assesses Tynianov’s contribution to the 20th century fictional Pushkiniana and reflects on his innovative transgeneric historical novel which broke the normative restrictions of the genre, elevated it to the level of ‘serious’ literature and made it conducive to stylistic experimentation.

Ma thèse propose une analyse attentive de la ré-écriture de l'histoire articulée dans trois romans du collectif d'écrivains italiens publiant sous le pseudonyme Wu Ming: "Q", "54" et "Manituana". Partant du pamphlet publié par les Wu Ming en 2008 sur leur conception du roman historique et de l’écriture romanesque en général, the New Italian Epic (NIE), je propose deux angles d’approche pour mettre en évidence la relecture de l’histoire se dessinant dans les romans cités ci-dessus: la notion du regard oblique (qui est mentionnée dans le NIE); et le concept de multitude. La technique du regard oblique implique une réflexivité de la narration, une mise en abîme du processus narratif qui est effectuéé par le biais d’un point de vue insolite. Ce dernier peut provenir d'un animal, d’un objet animé, ou même d’un objet mystérieux comme le flux immatériel. Cette technique a déjà des précédents littéraires dans l’oeuvre d’écrivains tels que Italo Calvino ou Thomas Pynchon, mais dans la nouvelle forme qu’elle acquiert dans les textes des Wu Ming, elle permet l’articulation d’une relecture transversale de l’histoire. Cette relecture transversale émergeant dans les romans des Wu Ming est analysée dans la première partie de la thèse. La conceptualisation du regard oblique que je développe dans cette partie se base sur la théorie de l'anamorphose de Jacques Lacan, ainsi que sur le concept de la "troisième personne" proposé récemment par le philosophe Roberto Esposito. La seconde partie de la thèse aborde la problématique de la confrontation de l'écriture des Wu Ming à la situation socio-politique internationale contemporaine, soit comment leur ré-écriture de l'histoire s'insère dans la situation biopolitique globale. Dans les romans des Wu Ming on voit surgir une interprétation de cette situation globale qui dépasse les notions classiques de l'État et du citoyen. Le concept du biopolitique se prête à diverses interprétations: dans ses écrits des années 1970, Michel Foucault, qui est un des théoriciens majeurs du biopouvoir et de la biopolitique, ne parvient pas à proposer une interprétation unique et précise de ce dernier concept. Plusieurs philosophes italiens ont repris ce discours en le développant chacun à sa manière. Certains, comme Paolo Virno et, un peu plus tard Toni Negri, voient dans la notion de la Multitude une possibilité pour équilibrer le rapport pouvoir/personne et par conséquent pour développer de nouvelles possibilités révolutionnaires pour la déconstruction du biopouvoir. Les Wu Ming semblent suivre la voie positive de la multitude, qui selon leur conception correspond plus à une interprétation néo-marxiste de l’histoire. / My thesis presents an attentive analysis of the rewriting of history, articulated in three novels of the group of Italian authors publishing under the pseudonym Wu Ming: "Q", "54" and "Manituana". Starting from the pamphlet published by the Wu Ming in 2008, on their conception of the historical novel and the romantic writing in general, the New Italian Epic (NIE), I propose two ways to put in evidence the review of History that emerges from the novels mentioned above: the notion of the oblique gaze (mentioned in the NIE); and the concept of the multitude. The technique of the oblique gaze implies a reflexion on the narration, a "mise en abyme" of the narrative process which is made by the way of an unusual point of view. This technique already has some litterary precedents in the works of writers such as Italo Calvino or Thomas Pynchon,*but in the new form that it aquires in the texts of the Wu MIng, it allows the articulation of a transversal review of history. This transversal review emerging from the novels of the Wu Ming is analysed in the first part of the thesis. The conceptualization of the oblique gaze that I develop in this section is based on the theory of the Anamorphosis of Jacques Lacan, in addition to the concept of the "Third person" suggested recently by the philosopher Roberto Esposito. The second part of the thesis focuses on Wu Ming’s analysis and interpretation of the contemporary socio-political situation, namely how their re-writing of history is inserted in the global biopolitical situation. In the novels of the Wu Ming we observe the emergence of an interpretation of this global situation which subverts the classical notions of the State and the citizen. The concept of biopolitics lends itself to different interpretations: in his writings of the 1970's, Michel Foucault, who is one of the major theorists of biopower and biopolitics, does not succeed in suggesting a unique and precise interpretation of this concept. Many Italian philosophers have worked on this notion, each one of them developping it in her own way. Some, such as Paolo Virno and, some time later Toni Negri, see in the concept of the multitude a possibility to balance the rapport power/people and therefore to develop new revolutionary possibilities for the deconstruction of the biopower. The Wu MIng seem to follow the positive reading of the multitude, which according to their conception, corresponds more to a neo-marxist interpretation of History. / Nella mia tesi esamino l’emergenza di una riscrittura della Storia proposta dai tre romanzi: Q, 54 e Manituana, del collettivo di scrittori italiani che pubblicano sotto lo pseudonimo Wu Ming, i quali, attraverso una nuova proposta di romanzo storico e lo sguardo della Moltitudine, rimettono in questione la struttura del biopotere. Da un’attenta analisi dei testi sopracitati fuoriescono le peculiarità di un nuovo modo di concepire il romanzo storico in cui, fra le varie caratteristiche emerge quella dello “sguardo obliquo”, tecnica basata nell’esporre al lettore la narrazione facendola provenire da un punto di vista che non è quello che solitamente ci si attende, ma piuttosto un punto di vista insolito che può provenire da animali, oggetti animati, o addirittura da oggetti misteriosi come flussi immateriali. Questa tecnica ha già visto alcuni illustri precedenti letterari nelle sperimentazioni di scrittori quali Italo Calvino o Thomas Pynchon, ma nella nuova forma che fuoriesce dalla scrittura dei Wu Ming acquista la particolare capacità di leggere la storia in un contesto che si accosta in modo accentuato alle problematiche del contemporaneo. L’analisi di questa lettura trasversale, che copre la prima parte della tesi, è stata effettuata con l’aiuto di alcune teorie come quelle dell’Anamorfosi di Jacques Lacan, ma è attraverso il concetto della “terza persona”, riproposto recentemente da Roberto Esposito, che ho inquadrato lo sguardo obliquo come essenza estranea al rapporto dialogico io/tu. Nella seconda parte della tesi affronto la problematica dell’allineamento della scrittura dei Wu Ming alla situazione socio-politica internazionale contemporanea; detta in altre parole cerco di far emergere come la loro riscrittura della storia si inserisca nella situazione biopolitica globale. Nei romanzi dei Wu Ming, infatti, si scorge un’interpretazione del contemporaneo che sorpassa le categorie classiche di Stato e cittadino in favore di un’idea di egemonia universale esercitante un bio-potere globale. Il concetto di biopolitica si apre a varie interpretazioni. Già dalle prime iniziative negli anni Settanta Michel Foucault si era trovato in una situazione di ambigua difficoltà nel poter dare un’interpretazione unica e precisa dei concetti da lui stesso proposti. Vari filosofi italiani hanno ripreso questo discorso incompiuto sviluppandogli intorno una parte importante del proprio pensiero, ognuno però scegliendo una propria strada. Alcuni di loro come Paolo Virno e, successivamente, Toni Negri vedono nella categoria della “Moltitudine” una possibile via per equilibrare il rapporto Potere/persona e quindi ottenere nuove possibilità rivoluzionarie per poter decostruire il biopotere. I Wu Ming sembrano seguire la strada positivista della moltitudine, la quale si allinea alla loro natura marxiana.