Esta tese tem como objeto a formação histórica da obra de João Guimarães Rosa. Com foco nas narrativas de seu livro de estreia, Sagarana, de 1946, o texto trabalha com a seguinte hipótese: no livro, para além da experimentação de técnicas literárias que marcam a obra de Rosa como um todo, há nele a preocupação com um objeto histórico que é o sertão. A tese passa pela caracterização deste objeto, formado, a nosso ver, a partir das tensões políticas da Primeira República. O acompanhamento do objeto em Rosa também pressupõe uma inserção do autor na tradição da literatura brasileira pós-1930, em que a autonomia do objeto-sertão passa ao proscênio da representação. Chega-se assim à segunda hipótese do texto: esta autonomia e a importância do sertão para a literatura de 1930 a 1964 ligam-se às próprias dinâmicas que impulsionaram o país à industrialização. As novas necessidades emergidas do capitalismo industrial em gestação põem em primeiro plano o destino das populações pobres no sertão, das quais dependem sem reservas. A terceira hipótese trabalhada na tese é, portanto, a de que o tratamento sério do objeto-sertão em Rosa oferece um desafio às teorias formativas: tanto a forma rosiana como as teorias sociais que se preocuparam com a formação do país teriam se alimentado do mesmo empuxo integrativo sob a indústria; mas o objeto-sertão funcionaria como outro à utopia que atribuiu a essas dinâmicas a capacidade de construir uma cidadania efetiva no país. A tese demonstra como a atenção de Rosa a este objeto muito específico as revoluções da matéria social do sertão tem como consequência, em sua apreensão formal, o atravessamento da utopia formativa, revelando o ponto de impossibilidade de uma construção burguesa. / This dissertation focuses on the historical formation of the work of João Guimarães Rosa. With the emphasis on his debut book, Sagarana, from 1946, this text works with the following hypothesis: beyond technical and literary experimentation, present throughout Rosas body of work, there is in Sagarana a commitment to a historical object, the sertão. This dissertation accompanies the characterization of the object, born from the social tensions of the Brazilian First Republic. By following this object in Rosas work, we assume his insertion in the post-1930s tradition, in which the autonomy of the object-sertão comes to the forefront of literary representation. We thus arrive at our second hypothesis: this autonomy and its importance to literature from 1930 to 1964 find an explanation in the very dynamics that propelled the country towards industrialization. The new needs that arose with the emerging process of industrialization highlight the fate of poor populations of the sertão, on which they depend without reservations. The third hypothesis presenting itself in this work is therefore that the serious commitment to the object-sertão offers a challenge to the formation theories brought about the same period: the rosian form, as much as the social theories concerned with the formation of the country, would have benefited themselves from the same momentum granted by the integrative efforts of the industry. But the object-sertão would pose as an other to these theories utopian projections, which impregnated these dynamics with the hope that the industrial processes would bring about an effective sense of citizenship to the country. This dissertation demonstrates how Rosas attention to this very specific object the revolutions on the sertãos social matter -, when formalized, bursts through the formative utopia, thus revealing the point of impossibility of a bourgeois construction in Brazil.

A presente dissertação versa sobre a obra conhecida, na tradição italiana, por Il Milione, escrita em Gênova, em 1298, por Marco Polo e Rustichello da Pisa. Trata-se da famosa obra que compartilhou com o mundo os conhecimentos adquiridos pelo viajante veneziano em sua estada na corte de Kublai Khan, Grande Khan do Império Tártaro. No primeiro capítulo desse estudo são tratadas algumas questões estruturais da obra, tais como o narrador, a dupla autoria tema assumido como fundamental para os estudos da obra polo-rusticheliana apenas no século XX e a questão do gênero. Já no segundo capítulo, são exploradas as ligações da obra com o maravilhoso literário proposto por Tzvetan Todorov e com o maravilhoso medieval proposto por Jacques Le Goff. / The present essay proposes a reflection on the work known in the italian tradition as Il Milione, which was written in Genoa, in 1298, by Marco Polo and Rustichello da Pisa. The famous work shared with the world the knowledge acquired by the venetian explorer during his stay in the Kublai Khan\'s court, the Great Khan of the Tatar Empire. In the first chapter of this research, some structural elements of the work are analyzed, such as the narrator, the co-authoring (this theme was considered essential for the study of the polo-rustichelian work only in the 20th century) and the genre question. In the second chapter, the liaisons between the work, the Literary Wonderful proposed by Tzvetan Todorov and the Medieval Wonderful proposed by Jacques Le Goff are explored.

Ce travail s’inscrit dans une réflexion philosophique sur les transformations de la lecture littéraire dans l’environnement numérique. Nous questionnons les enjeux des nouvelles formes et techniques de textualité du point de vue de la subjectivité, telle qu’elle se construit et s’interprète à la lumière de la lecture. Cette réflexion s’appuie sur deux hypothèses. La première, énoncée par Proust dans « Le Temps retrouvé », pose que « chaque lecteur est, quand il lit, le propre lecteur de soi-même », faisant ainsi de la lecture une matrice de subjectivation privilégiée, un lieu où le soi tout à la fois advient et se discerne. La seconde a été formulée par la neurologue Maryanne Wolf : « nous sommes la manière dont nous lisons ». Outre l’histoire qui est nous contée, les pratiques et techniques empiriques de l’acte de lecture participent eux aussi à notre constitution ontologique. Aujourd’hui, ces composantes empiriques sont bouleversées par le numérique qui offre de nouveaux supports, formes textuelles et espaces de lecture. Notre ré-flexion se situe à la rencontre entre une série de transformations technologiques et les métamorphoses herméneutiques qui en résultent. Si le livre a longtemps été une médiation pour se lire soi-même et un modèle de compréhension du monde, que devient notre relation à autrui et à soi quand il cède place à des objets inédits ? Nous abordons la lecture littéraire numérique comme un prisme à travers lequel interroger le devenir de la subjectivité contemporaine. Cette recherche invite à méditer sur le renouvellement de l’imaginaire esthétique, de l’imaginaire social et de l’imaginaire existentiel qu’éveille la rencontre du texte à l’heure électronique. / This work offers a philosophical research about the transformations of literary reading under the digital environment. We question the issues of the new forms and techniques of textuality regarding subjectivity, such as it builds and interprets itself in light of reading. This research is based on two hypotheses. The first one, stated by Proust in “Le Temps Retrouvé”, is that “every reader, as he reads, is the very reader of himself”, equating reading to a privileged subjectivity matrix, a place where the self comes out and discerns itself. The second one was expressed by the neurologist Maryanne Wolf: “we are how we read”. Beside the story we are told, the empirical practices and techniques of the reading act also participate in our ontological constitution. Today, those empirical elements are disrupted by the digital that gives birth to new mediums, textual forms and reading spaces. Our work is at the encounter of a series of technological transformations and the hermeneutic metamorphoses they arouse. If the book has long been a mediation to read oneself and a model for understanding the world, then what becomes of our relationship to the others and to ourselves when the book gives way to novel objects? We approach digital literary reading as a prism through which questioning the becoming of contemporary subjectivity. This research invites us to meditate on the renewal of aesthetic imagination, social imagination and existential imagination aroused by the experience of the electronic text.

This dissertation examines the evolution of poetic theory in English and Scottish writing between c.1470 and 1530. By examining important but neglected works by Stephen Hawes, Gavin Douglas, and Alexander Barclay, as well as influential poetry by Robert Henryson and John Skelton, it demonstrates that the contours and preoccupations of rhetorical poetics in England and Scotland emerged long before the appearance of such seminal works as Philip Sidney’s Apologie for Poetrie (c.1580) and George Puttenham’s Arte of English Poesie (1589). The poets at the heart of this dissertation did not assert their authority by writing rhetorical treatises or formal defences, but by critiquing their predecessors, by insulting their peers, and by showing an occasional disregard for the ‘gruntynge hogges’ of their audience. Some of them, such as Robert Henryson, praised the ‘polit termes of sweit rhetore’, while others, such as Gavin Douglas, argued that poetry was a source of ‘hie knawlage’ and profound philosophical truths. But their opponents claimed that ‘the knowlege of poetes’ simply ‘vanissheth awey’ when compared to that of the Bible. On the eve of the English Reformation this struggle for authority intensified, with at least one English writer declaring that ‘God maketh hys habitacion | In poetes’. Unlike previous scholarship, which attributes such idealism to emerging humanist influences, this dissertation argues that the early defenders of poetry in England and Scotland were motivated not by the transcendent idealism they frequently espoused, but by less noble impulses, such as bitterness, disillusionment, and the struggle for court favour. These writers sought to redefine the relationship between literature and the rest of life, and in the process, they formulated new reasons for their own importance as moral authorities in an increasingly unstable world.

Esta pesquisa foi impulsionada pelos seguintes questionamentos: o que se passa quando uma narrativa nos arranca do lugar onde estávamos e contribui para a construção de outro espaço? Não um espaço imaginário, elaborado a partir de um pacto ficcional, mas um espaço real, tão real quanto possível? A primeira possibilidade de resposta recaiu sobre a ciência ficção, mas uma teoria da ciência ficção que deslocasse a perspectiva de gênero literário para o ato imanente de leitura. A partir desta questão, a tese se delineia com a problematização de alguns conceitos de ciência ficção, estranhamento cognitivo e estranho, para, em seguida, desenvolver o conceito de Devir Inaudito. Em um segundo momento, há a exposição de uma possibilidade de leitura, a partir dos processos propostos na primeira parte, para algumas obras produzidas em Angola e no Brasil, a saber: Teoria geral do esquecimento, de José Eduardo Agualusa; a animação O menino e o mundo, dirigida por Alê Abreu; O natimorto: um musical silencioso, de Lourenço Mutarelli e Uma duas, de Eliane Brum. / This research was driven by the following questions: What happens when a narrative uproots us from the place we were and contributes to the construction of a new space? Not an imaginary space, developed through a fictional pact, but a real space, as real as can be? The first possible answer lied upon science fiction, but a theory of science fiction which displaced the perspective of literary genre to the immanent act of reading. Based on this issue, this thesis is outlined with the problematization of some concepts of science fiction, cognitive estrangement and the uncanny to formulate the concept of Unheard-of Becoming. Later on, we present a possible reading, based on the processes proposed in the first part, of the following works produced in Angola and Brazil: Teoria geral do esquecimento, by José Eduardo Agualusa; the animation The boy and the world, directed by Alê Abreu; O natimorto: um musical silencioso, by Lourenço Mutarelli and Uma duas, by Eliane Brum.

Este trabalho procura levantar os passos da obra poética de Lúcio Cardoso (1912-1968), desde seu provável primeiro poema (Poema do ferro e do sangue, 1934) até a publicação de seu segundo livro (Novas poesias, 1944), enfocando alguns inéditos e fazendo observações sobre seu livro póstumo (Poemas inéditos, 1982), com vistas a apreender a evolução temática de sua poética. Também apresenta traços do diálogo de sua poesia com o romantismo da segunda geração, o simbolismo, o expressionismo, o surrealismo e o modernismo. O trabalho pretende demonstrar, ainda, o entrelaçamento da temática de sua poética com a vida do homem Lúcio Cardoso, a partir das anotações em seu Diário completo (1970). Este trabalho apresenta temas, constantes e tendências que revelam como aspectos da sua obra em verso também se manifestam em sua prosa. Ao final do trabalho, é apresentada uma ampla bibliografia de e sobre Lúcio Cardoso, revista e aumentada. / This essay shows the main important aspects of the poetical work of Lúcio Cardoso (1912-1968), from his assumed first poem (Poema do ferro e do sangue, 1934) till his second published book, (Novas poesias, 1944). It also discusses some unpublished texts and offers some comments about his posthumous book (Poemas inéditos, 1982). The main purpose is to understand the theme evolution in his poetry. It also shows traces of the dialogue between Cardoso’s poetry and Brazilian second generation Romanticism, Symbolism, Expressionism, Surrealism and Modernism. This essay also has the objective of discussing the connection between Cardoso’s themes and his biography, mostly considering the comments present in his Diário completo (1970). This essay shows themes, constants and trends that points out how some aspects of Cardoso’s poetry are also present in his prose. Finally, it also contains a reviewed and enlarged bibliography by and about the author.

Este trabalho de interpretação de \"O Recado do Morro\" trata da forma mesclada do conto com outras modalidades de narrativa, provindas da tradição oral, em consonância com o processo histórico-social que rege a realidade também misturada do sertão rosiano, múltiplo e labiríntico, fonte e origem do mito e da poesia. O estudo descreve e tenta apreender assim a mistura peculiar que define a singularidade do conto, intrinsecamente relacionada ao mundo misturado que tanto encanta quanto desconcerta. Na reconstrução da mistura como um todo orgânico, em que o conto parece renascer do interior da poesia do mais fundo do sertão brasileiro, se busca tornar inteligível um verdadeiro processo de esclarecimento, que culmina com o reconhecimento de sua própria identidade relacionado à terra natal à qual o herói retorna, de modo triunfal. / This interpretative work on \"O Recado do Morro\" discusses the mixture of this short story with other narratives modes, based on oral tradition, consistent with the socio-historical process orienting the also-mixed reality of Guimarães Rosa\'s backlands, plural and labyrinthine, where myth and poetry come from. This study reports and seeks to comprehend the peculiar mixture that defines the narrative\'s uniqueness which is intrinsically related to the hybrid style that amazes and disconcerts the reader. In reconstructing this mixture as an organic whole, where the short story seems to be reborn from the poetry of the deepest backlands of Brazil, this reading seeks to make intelligible a veritable process of the illumination, whose climax is the recognition of himself: a identity of the hero.

With new technology come new possibilities for the creation of artistic works. The invention of sound recording at end of the nineteenth century enabled musical performances to be “written” in the same manner as traditional, printed literature. The status of records as a form of writing and, moreover, as the material for further writing is demonstrated in the work of two hip hop artists, DJ Shadow and Cut Chemist, who assemble new, heteroglossic texts out of a wide array of sampled records. Two concerts, Product Placement (2004) and The Hard Sell (2008) – both of which have been memorialized on DVD – serve as fruitful examples of the potential for artistic production enabled by technology. Indeed, the genre of turntablism, which involves the live manipulation of vinyl records, requires the usage of technology in ways not intended by its original developers – a recurrent theme throughout the history of sound recording. By transforming the turntable from a passive playback device into an active compositional tool, turntablism collapses the distance between consumption and production and so turns the listener into a performer. Furthermore, the exclusive usage of 45 rpm records as the source texts for the two sets dramatizes theories of intertextuality while simultaneously tracing the constraints placed on such artistic piracy by the copyright regime. These texts entail more than just their cited musical content; they also involve visual components. These include not only the video imagery that accompanies and comments on the records being played, but also the physical performance of the DJs themselves and the spectacle of the attending crowds whose response to the music constitutes part of the text itself. Following a theoretical and historical background that will situate these works within the history of hip hop and literature in general, this study will explicate these two multimedia texts and reveal how they demonstrate a concern not only with the history of sound recording, but also such issues as the influence of technology on cultural production, the complication of authorship through intertextuality, and the relationship between culture and commerce. Above all, however, both the form and content of these two performances also serve to highlight the value of physical media as historical artifacts in the face of increasing challenges from incorporeal digital media.

French writer, editor, and literary critic Jean Paulhan (1884-1968) stands out as a remarkably ambiguous figure in the period following the Second World War, when interpretations of the war tended to create clear divisions between resisters and collaborators. Shortly after Paris was occupied by Germany in 1940, Jean Paulhan became one of the leading figures in the intellectual resistance to Nazi occupation. During the purges that followed the war, however, he was one of the principal protectors of writers deemed collaborationist and, therefore, treacherous by Resistance writers. This thesis examines the controversial position that Paulhan held regarding the post-war purges by describing the historical context to which he was reacting, and by engaging in a close and comparative reading of three of his key texts. His two texts which deal explicitly with the purge, <i>Of Chaff and Wheat</i> and <i>Letter to the Directors of the Resistance</i>, are read alongside his key work on language and literature,<i>Flowers of Tarbes or, Terror in Literature</i>. His commentary on the purge of writers was a nexus in which his literary and political concerns were conjoined. Uniting his literary and political writings to the context of the purge was an intricate argument against the process of purification. To Paulhan, the relationship that various modern literary movements had to literature and language was based, like the post-war purge, on an ideal of purity and renewal which required a dishonest and violent association with the past. Ultimately, this thesis argues that the seemingly uncomfortable contradictions revealed in the roles that Paulhan played during and after the Occupation actually formed the core of a consistent ethical position, one that responded to a real political situation of national trauma while remaining grounded in a wider understanding of the complex relationships between literature, language, national identity and political action.

French writer, editor, and literary critic Jean Paulhan (1884-1968) stands out as a remarkably ambiguous figure in the period following the Second World War, when interpretations of the war tended to create clear divisions between resisters and collaborators. Shortly after Paris was occupied by Germany in 1940, Jean Paulhan became one of the leading figures in the intellectual resistance to Nazi occupation. During the purges that followed the war, however, he was one of the principal protectors of writers deemed collaborationist and, therefore, treacherous by Resistance writers. This thesis examines the controversial position that Paulhan held regarding the post-war purges by describing the historical context to which he was reacting, and by engaging in a close and comparative reading of three of his key texts. His two texts which deal explicitly with the purge, <i>Of Chaff and Wheat</i> and <i>Letter to the Directors of the Resistance</i>, are read alongside his key work on language and literature,<i>Flowers of Tarbes or, Terror in Literature</i>. His commentary on the purge of writers was a nexus in which his literary and political concerns were conjoined. Uniting his literary and political writings to the context of the purge was an intricate argument against the process of purification. To Paulhan, the relationship that various modern literary movements had to literature and language was based, like the post-war purge, on an ideal of purity and renewal which required a dishonest and violent association with the past. Ultimately, this thesis argues that the seemingly uncomfortable contradictions revealed in the roles that Paulhan played during and after the Occupation actually formed the core of a consistent ethical position, one that responded to a real political situation of national trauma while remaining grounded in a wider understanding of the complex relationships between literature, language, national identity and political action.