[pt] Trata-se de uma análise das narrativas curtas do escritor argentino Julio Cortázar (1914-1984), como alternativas à criação literária diante de determinados impasses colocados pelo mundo moderno. Pressupondo a dificuldade de delimitação da experiência em inícios e fins - ou seja, da representação dos propósitos finais das ações humanas -, num primeiro momento os contos de Cortázar surgem como totalidades cerradas que proporcionam o alcance de uma meta no território do jogo. O que se dá em um gesto contundente e preciso: um nocaute, uma estocada, um assassinato. Tais configurações, porém, são incapazes de satisfazer plenamente o desejo de unidade que alimentam; e assim são enfocados, numa segunda etapa, relatos que reconhecem a impossibilidade de cessação da vontade, manifestando uma cisão interna do discurso, mas ainda assim seguem em busca da criação de formas como espaço do diálogo e tentativa de um contato. Inscritos sobre as superfícies móveis do mundo moderno, estes contos trabalhariam cuidadosamente a matéria informe da linguagem para que, em gestos sutis, às vezes hesitantes - um olhar, um toque, um traço - manifeste-se a procura de um encontro e uma fugaz iminência de sentido. / [en] The objective of this work is to analyse the short stories by the Argentine writer Julio Cortázar (1914-1984), as alternatives to literary creation in front of certains impasses placed by the modern world. Pressuposing the dificulty in delimitating experience in begginings and ends - that is, the representation of human action`s final purposes -, in a first moment Cortázar`s narratives appear as enclosured totalitys which provide the reach of a goal, in the territory of play, with a contusing, precise gesture: a knock-out, a thrust, a murder. These configurations, however, are incapable to satisfact the desire of unity they nourish; and so, in a second moment, the dissertation focuses stories which recognize the impossibility of ceasing desire, and then keep the the search of form as a dialogical space and attempt of contact. Inscribed on modernity`s unstable surfaces, these short stories work carefully the matter of language, so as to, in subtile, sometimes hesitating gestures - a look, a touch, a trace - they manifest the will of a gathering and an imminence of sense.

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En 1957, Julio Cortázar rédigea une lettre à Roger Caillois encore inédite à ce jour. Il y fait l’analyse critique de L’incertitude qui vient des rêves, essai de Caillois publié en 1956. L’objet de cette thèse est de contextualiser la rédaction de cette lettre ainsi que la théorie onirique qui y est exposée par Cortázar. Adoptant une méthodologie génétique et intertextuelle, on propose une première analyse de ce document, qui peut être défini comme une « lettre-essai », afin de lui accorder la place qui doit être la sienne au sein de l’œuvre cortazarienne. On démontre ensuite que cette lettre peut être lue comme la synthèse d’une théorie et d’une pratique des rêves clés dans les premiers textes cortazariens, notamment à travers le personnage alter ego et récurrent de Gabriel Medrano, et qu’elle est l’avant-texte d’un rêve de ce personnage dans Los premios. La mise au jour de points de convergence et de passages parallèles entre la « lettre-essai » et ces premiers textes révèle que le complexe onirique cortazarien s’associe à un complexe de l’Autre, à travers les images de la main tendue et du double nocturne. Enfin, le désaccord qui oppose Cortázar à Caillois sur la question des rêves est replacé au sein d’une relation personnelle et professionnelle complexe et dans le contexte d’une opposition intellectuelle plus large autour des concepts de raison, de fantastique et de langage. On se demandera ainsi dans quelle mesure l’œuvre de Cortázar a pu se construire à l’épreuve du dissentiment qui l’opposa à Caillois sur ces différents sujets. / In 1957, Julio Cortázar wrote to Roger Caillois a letter still unpublished to date. He conducts a critical review of L’incertitude qui vient des rêves, an essay by Caillois published in 1956. The subject of this thesis is to contextualise the writing of this letter as well as the oneiric theory which is exposed by Cortázar in this letter. An initial analysis of this document, which can be defined as a “letter-essay”, is proposed by adopting a genetic and intertextual methodology, in order to give this letter its rightful place in Cortázar’s works. It is then demonstrated that this letter can be read as the synthesis of a theory and a practice of the key dreams in the first cortazarian texts, particularly through Gabriel Medrano's alter ego and recurrent character, and that it constitutes the “avant-texte” of a dream of this character in Los premios. The coming to light of areas of convergence and parallel passage between the “letter-essay” and these first texts reveals that the cortazarian oneiric complex echoes a complex of the Other through the figures of the helping hand and of the nocturnal alter. Finally, the disagreement between Cortázar and Caillois over the issue of dreams is placed within the context of a personal, professional and complex relationship, and of a larger intellectual opposition about the concepts of reason, fantastic and language. It will then be pondered to which extent Cortázar’s works was built in the test of the dissent between him and Caillois over these different issues.

The object of this thesis is to study the attempts made by writers and filmmakers in two very different socio-cultural contexts to depict and elucidate the experience of political violence, particularly torture, in the periods 1954-1962 and 1976-1983. I seek to apply the hypotheses of Anglo-American and French theorists with an interest in historical representation, as well as trauma, to both 'realist' and experimental accounts of the widespread oppression that occurred during the Algerian war of independence and later during the so-called 'Dirty War' in Argentina. The texts analysed in detail include novels and short stories by Kateb Yacine, Assia Djebar, Julio Cortázar and Luisa Valenzuela; the films I examine most closely are the Algerian-Italian 'docudrama' La Bataille d'Alger and the Argentine melodrama La historia oficial. However, the thesis also addresses other non-factual portrayals of brutality, such as the Nouvelle Vague's meditations on decolonization, and autobiographical writings, such as military memoirs and survivors' testimony, as a means of elaborating more fully on the issues at stake in the works cited above. It explores the difficulty - and the possibility - of giving voice to histories that simultaneously resist and demand articulation, and ultimately, of reconstituting the fragmented or 'disappeared' subject through narrative: of using fiction to summon the 'ghosts' of the past.

(in English): Julio Cortázar is considered as one of the greatest literary figures of Argentina and Latin America of the last century and to him is dedicated this master's thesis, focused on translation of his work into Czech language. First part of the thesis is theoretically based, dealing with biography, creation and style of the author and then moves to figures of his Czech translators, problems arising from translation and perception and development of translations of Cortázar's works in Czech environment. The second part is practically oriented, pursuing the analysis and comparison of translations of specific works - two translations of a story The Pursuer by translators Kamil Uhlíř and Jan Machej and two versions of translation of a novel Hopscotch by Vladimír Medek.

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This thesis examines key examples of materially experimental writing (B.S. Johnson’s The Unfortunates, Marc Saporta’s Composition No. 1, and Julio Cortázar’s Hopscotch), hypertext fiction (Geoff Ryman’s 253, in both the online and print versions), and video games (Catherine, L.A. Noire, The Elder Scrolls IV: Oblivion, and Phantasmagoria), and asks what new critical understanding of these ‘interactive’ texts, and their broader significance, can be developed by considering the examples as part of a textual continuum. Chapter one focuses on materially experimental writing as part of the textual continuum that is discussed throughout this thesis. It examines the form, function, and reception of key texts, and unpicks emerging issues surrounding truth and realism, the idea of the ostensibly ‘infinite’ text in relation to multicursality and potentiality, and the significance of the presence of authorial instructions that explain to readers how to interact with the texts. The discussions of chapter two centre on hypertext fiction, and examine the significance of new technologies to the acts of reading and writing. This chapter addresses hypertext fiction as part of the continuum on which materially experimental writing and video games are placed, and explores reciprocal concerns of reader agency, multicursality, and the idea of the ‘naturalness’ of hypertext as a method of reading and writing. Chapter three examines video games as part of the continuum, exploring the relationship between print textuality and digital textuality. This chapter draws together the discussions of reciprocity that are ongoing throughout the thesis, examines the significance of open world gaming environments to player agency, and unpicks the idea of empowerment in players and readers. This chapter concludes with a discussion of possible cultural reasons behind what I argue is the reader’s/player’s desire for a high level of perceived agency. The significance of this thesis, then, lies in how it establishes the existence of several reciprocal concerns in these texts including multicursality/potentiality, realism and the accurate representation of truth and, in particular, player and reader agency, which allow the texts to be placed on a textual continuum. This enables cross-media discussions of the reciprocal concerns raised in the texts, which ultimately reveals the ways in which our experiences with these interactive texts are deeply connected to our anxieties about agency in a cultural context in which individualism is encouraged, but our actual individual agency is highly limited.

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