Orientador: Miriam Viviana Gárate / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T04:00:22Z (GMT). No. of bitstreams: 1 Sa_AnaPauladosSantosde_M.pdf: 1122014 bytes, checksum: 8d874f787ef0161000f5fd4ddc2e51f8 (MD5) Previous issue date: 2015 / Resumo: Esta Dissertação tem por objetivo analisar o perfil e o papel do personagem-escritor em dois romances do escritor chileno Roberto Bolaño (Estrella Distante, de 1996, e Los Detectives Salvajes, de 1998) e em dois do espanhol Enrique Vila-Matas (El mal de Montano, de 2002, e Doctor Pasavento, de 2005). Busca-se explorar os contornos da figura do escritor que marca essas narrativas, com base em uma leitura atenta tanto aos eventuais traços autobiográficos emprestados pelos autores a seus personagens-escritores quanto ao tom ensaístico e ao retrato do campo literário esboçado a partir desse veemente destaque dado ao ofício de escritor. O objetivo principal desta Dissertação é observar quais são as posturas literárias desses personagens, o que eles pensam e/ou têm a declarar sobre a literatura, e de que modo eles encaram e exercem a atividade de escrita e de leitura. Vale mencionar, por fim, que se dá também atenção ao longo deste trabalho à atual e recorrente associação das poéticas de Bolaño e de Vila-Matas à denominada «autoficção», tendo em vista que classificar um texto como autoficcional significa atribuir, muitas vezes, um papel de destaque à função e ao lugar ocupado pelo personagem-escritor no que tange à presença da autobiografia do autor dentro da ficção / Abstract: This thesis aims to analyze the role played by the figure of the author in two novels of the Chilean writer Roberto Bolaño (Estrella Distante, 1996, and Los Detectives Salvajes, 1998) and in two books of the Spanish author Enrique Vila-Matas (El mal de Montano, 2002, and Doctor Pasavento, 2005). It attempts to observe the importance of the profile of this type of character as regards the traces of autobiography and the essayistic tone which mark the stories of these two writers. In order to do that, it discusses the possible relation between their Poetics and «autofiction» (a device directly linked to the role played by the characters who represent the figure of the author), and what the contours of the critical portrait of the literary field developed within their fictions are. The main objective is to observe the literary postures of these characters, in other words, how they deal with the writing activity and with the activity of reading as well, and what they think and say about literature / Mestrado / Teoria e Critica Literaria / Mestra em Teoria e História Literária

The South African author C Louis Leipoldt is known as an Afrikaans poet and as one of the ‘Driemanskap’ with Celliers and Totius. Together with Eugene Marais, they wrote the first serious Afrikaans literary poetry in the early decades of the Twentieth Century. The ‘Driemanskap’, grouped together for its clear national(ist) thrust, is well-known as part of the Tweede Afrikaanse Taalbeweging not only for celebrating the universal effects of nature but also for extolling the virtues of forgiveness after the South African War. Apart from his extensive canon of Afrikaans literature and a sizable discourse in the culinary field, not much is known about The Valley, Leipoldt’s so-called ‘English’ novels written in the late 1920s and early 1930s in English, a language he was equally at home in. The titles of these novels making up The Valley trilogy are Gallows Gecko, Stormwrack and The Mask. Despite several efforts to have the novels published with leading publishing houses in both Britain and the United States of America, both during and after his lifetime, the three ‘English’ novels of C Louis Leipoldt remained unpublished for 69 years. It was in 2001 that for the first time they appeared unedited in a compendium volume. Prior to 2001, two of the novels were published −in 1980, the year of the centenary of Leipoldt’s birth, an abridged edition of Stormwrack appeared, edited by Stephen Gray and published by David Philip, Cape Town. It was re-published by Human&Rousseau in 2000. An abridged edition of Gallows Gecko appeared in 2001, under the title Chameleon on the Gallows which the editor Stephen Gray explains he changed for stylistic reasons. Leipoldt uses the form of historical fiction in his trilogy as a way of conveying historical meaning by relating the chronicle (1820 – 1930) of the place he calls the Valley, recognizable as Clanwilliam. Initially, the Valley is at peace and is sketched in its idyllic state. After the Jameson Raid of 1895, the prospects of the South African War become a reality for the inhabitants of the Cederberg as they are torn apart by their emotions, feelings and loyalties. The course of events drastically changes when war finally comes to the District. Discontinuity and change is a strong theme in the novels. Eventually the inhabitants ofthe Valley find that the former, respectful relations, based on tradition and tolerance, have given way to sectarian interests. This changes the social fibre of the once idyllic environment. The Valley is a lamentation of lost opportunities for a culturally unified South Africa. Its voice is one of moderateness and is inclusive for all South Africans, addressing race relations as a theme as well as decrying sectionalism. In the light of this, it is argued that Leipoldt is revealed as a political liberal and cultural pluralist. This can be heard through the voices of the characters in The Valley and seen by the way Leipoldt meant the events in his fiction to serve as an allegory for the way he saw South Africa emerging at the time. He was writing against the Nationalists, particularly against the narrative of Gustav S Preller, who spent his working life constructing a volksgeskiedenis that resulted in a significant public history that dominated Afrikaner historical thinking from circa 1905 to 1938. In this sense, it is argued, The Valley is an alternative history to the dominating Preller historiography, and because it is in the form of narrative/historical fiction, it can also be seen as an alternative form of history, to be read against certain theoretical texts, without in any way detracting from the voices of criticism against deconstructivist history. / Thesis (DPhil)--University of Pretoria, 2012. / Historical and Heritage Studies / unrestricted

Esta investigación tiene como objetivo explicar la relación de los motions graphics como elemento metaficcional en la construcción de la narrativa de los videojuegos en primera persona: Prey y Observer. Es así que se planteó como supuesto de investigación que los motion graphics aportan en la inmersión del jugador y en la narrativa de los videojuegos Prey y Observer. La metodología usada en la investigación es un estudio de tipo cualitativo descriptivo de los videojuegos: Prey y Observer. En total se analizaron 40 elementos gráficos usando una ficha de análisis visual y contenido. Además, se realizaron encuestas a ocho jugadores y una entrevista al experto Jorge Assen. Los resultados obtenidos evidencian que los motion graphics como elemento metaficcional cumplen la función de contextualizar, informar y conducir al jugador a través de la historia, de esta forma teniendo participación en el desarrollo de la narrativa. También, se evidencia que la metaficción y el estilo visual que se usan en los motion graphics influyen en la inmersión del jugador. Finalmente, se pudo determinar que los motion graphics como elemento metaficcional complementan en el desarrollo de la narrativa contextualizando, informando y conduciendo al jugador a través de pequeños aportes narrativos con valor en la historia del juego. / This research aims to explain the relationship of motions graphics as a metafictional element in the construction of the narrative of video games in the first person: Prey and Observer. Thus, it was proposed as a research assumption that motion graphics contribute to the immersion of the player and the narrative of the Prey and Observer video games. The methodology used in the research is a qualitative descriptive study of video games: Prey and Observer. In total, 40 graphic elements were analyzed using a visual and content analysis sheet. In addition, surveys were conducted with 8 players and an interview with the expert Jorge Assen. The results obtained show that motion graphics as a metafictional element fulfill the function of contextualizing, informing and leading the player through the story, thus having participation in the development of the narrative. Also, it is evident that the metafiction and visual style used in motion graphics influence the immersion of the player. Finally, it was determined that motion graphics as a metafictional element complement the development of the narrative by contextualizing, informing and leading the player through small narrative contributions with value in the history of the game. / Trabajo de investigación

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In this analysis of Terry Pratchett’s Wyrd Sisters, I argue that performance of the witch is the most important part of witchcraft on Discworld, and, indeed, what drives the story. To underpin this position, I understand Wyrd Sisters as a work of metafiction and parody, examine witch tropes and stories on Discworld and draw parallels to the weird sisters of Shakespeare's Macbeth. Using Pratchett's own theory of narrative causality and Judith Butler's theory of performativity, I show that there is no witch essence on Discworld, but that the witches' performances are imitations of imitations. I also show how the witches' performances of themselves and theatre performance interact and amplify each other, as theatre is a key theme in the novel. / I den här analysen av Terry Pratchetts Häxkonster argumenterar jag för att de roller häxorna ikläder sig är den viktigaste aspekten av deras magi på Skivvärlden, och att iscensättandet av häxan i sig är vad som driver berättelsen framåt. Som bevis för min tes läser jag Häxkonster som metafiktion och parodi, går igenom stereotyper av häxor på Skivvärlden och drar paralleller till de tre häxorna från Shakespeares Macbeth. Jag använder Pratchetts egen teori om narrativ kausalitet och Judith Butlers teori om performativitet för att visa att ”häxan” inte har någon essens på Skivvärlden; häxornas iklädande av roller är istället imitationer av andra imitationer. Jag visar också hur teateruppträdande och häxornas iscensättande av sig själva samspelar och förstärker varandra, då romanen har ett starkt teatertema.

The Vietnam War has become an important symbol and signifier in contemporary American culture and politics. The word "Vietnam" contains many meanings and narratives, including both the real events of the American War in Vietnam and the fictional representations of that war. Because we live in a reality that is composed of both lived experience and simulacra, defined by Baudrillard as a hyperreality, fiction and simulation are capable of representing particular realities. Vietnam was shaped by simulacra of Vietnam itself as well as simulacra of previous American conflicts, especially World War II; however, the hyperreality of Vietnam differed largely from that of World War II. Francis Ford Coppola's Apocalypse Now and Tim O'Brien's The Things They Carried are highly fictionalized texts that accurately portray particular realities of Vietnam. These texts are capable of presenting truth about Vietnam through their use of specific metafictional techniques, which continually remind readers and viewers that the story being told is not reality but a story. By emphasizing the fictional elements of their narratives, Apocalypse Now and The Things They Carried point to the constructed nature of reality and empower readers to recognize the possibility of truth in different, even conflicting, narratives.

[pt] A pesquisa de doutorado apresentada a seguir pretende construir uma reflexão, em perspectiva comparada, sobre a metaficção em experimentos artísticos em curso no Brasil e em Portugal. Consideramos como obras metaficcionais aquelas que destacam e enfatizam a artificialidade de suas construções, desnudamse diante do leitor, provocando a ilusão da suposta espontaneidade da criação artística. Desejamos, por meio do corpus bibliográfico da pesquisa, auscultar a respiração contemporânea do recurso metaficcional que, consagrado durante o modernismo, frequenta ainda com assiduidade obras literárias e artísticas contemporâneas de diferentes nacionalidades. Em meio a abundância de discursos autorreferentes, selecionamos três vozes que apresentam de maneira singular e original a questão metaficcional. O corpus selecionado contempla o romance O inventário das coisas ausentes (2014), da escritora brasileira Carola Saavedra, a exposição pictórica In Situ: Carta de Intenções (2014), do artista plástico português Rui Macedo e uma seleção de crônicas do escritor português António Lobo Antunes (Livro de crónicas, 1998, Segundo livro de crónicas, 2002, Terceiro livro de crónicas, 2006, Quarto livro de crónicas, 2011, e Quinto livro de crónicas, 2013). A primeira seção, introdutória, aponta os objetivos e hipóteses de trabalho que frequentam e norteiam a produção da tese de doutorado e endereça brevemente a discussão teórica em torno da metaficção. Em termos de formato, a tese investigará três grandes eixos em cada produção artística selecionada: o primeiro aspecto será perceber de que modo os investimentos metaficcionais produzem a impressão de uma espontaneidade forjada; o segundo aspecto será uma reflexão sobre o pacto de leitura (de que forma as obras selecionadas abalam a relação estabelecida entre artista, obra e público); e o terceiro aspecto será analisar como o corpus escolhido propõe um movimento de retorno a(s) origem(ns). Tendo como fio condutor da escrita da tese os três eixos acima listados pretendemos investigar de que maneira as obras artísticas reagem a essas indagações. Exploramos a hipótese de que o exame comparado dos dispositivos metaficcionais singulares mobilizados nessas obras fornece elementos valiosos para pensar o estatuto contemporâneo da metaficção, de um modo geral e nos contextos particulares enfocados, o português e o brasileiro. / [en] The present doctoral research aims to contemplate, in compared perspective, metafiction on current artistic experiments in Brazil and Portugal. It is considered a metafictional work those which highlight and emphasize the artificiality of its own constructions, unmasking themselves to the reader and inciting the illusion of the supposed spontaneity of the artistic creation. By way of the bibliographic corpus of the present research, it is aimed to auscultate the contemporary breath of the metafictional resource which, hallowed during modernism, is frequently present on recent literary and artistic works from different nationalities. Among a number of self-referential expressions, three voices were selected which present the metafictional issue in an unique and authentic manner. The selected corpus considers the novel O inventário das coisas ausentes (2014) by the Brazilian writer Carola Saavedra, the pictorial exhibition In Situ: Carta de Intenções (2014) by the Portuguese plastic artist Rui Macedo and a collection of chronicles by the Portuguese writer António Lobo Antunes (Livro de crónicas, 1998, Segundo livro de crónicas, 2002, Terceiro livro de crónicas, 2006, Quarto livro de crónicas, 2011 and Quinto livro de crónicas, 2013). The introductory first section indicates the work s objectives and assumptions that are exposed and which guide the doctoral thesis construction and briefly refers to the theoretical discussion regarding metafiction. In terms of the structure, the thesis examines three major aspects in each artistic production selected: the first one relates to the observation of the ways in which the metafictional approach produces an impression of a forged spontaneity; the second aspect is a contemplation regarding the reader s pact (in which ways the selected works affect the relation established between artist, work and public); and the third one is an analysis on how the chosen corpus proposes a return to the origin(s). Considering the three aspects outlined above as guidelines to the writing, it is intended to investigate how the artistic works react to this interrogations. An assumption is proposed concerning the fact that the compared examination of the singular metafictional features employed on these works provide valuable elements to think about the contemporary metafictional statute in general and also in the particular Portuguese and Brazilian contexts focused herein.

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Text in Afrikaans / Spieel, kamer van spieels, mise-en-abyme, representasie, ensovoorts, is almal begrippe wat met die nosie van selfrefleksiwiteit in verband gebring word. Hoewel selfrefleksiwiteit nie 'n nuwe verskynsel is nie, is die vraag waarom dit juis vandag so akuut in die literer-teoretiese diskoers neerslag vind. Dit geld veral teoretiese bydraes oor die Postmodernisme en/of Postmodemistiese tekste. Hieruit kan 'n mens aflei dat daar 'n direkte verband tussen selfrefleksiwiteit en die Postmodernisme bestaan. Hierdie studie is dan primer gemteresseerd in die wyses waarop die Postmodernistiese dramafteater die nosie van selfrefleksiwiteit in die enkoderingsproses in diens neem. Daarbenewens word ondersoek ingestel na die invloed wat die konsep van vervreemding in die twintigste-eeuse dramajteater op die verskillende beskouings van selfrefleksiwiteit gehad het. Die uiteindelike oogmerk is om aan te toon dat selfrefleksiwiteit in die Postmodernistiese dramafteater gevestigde aannames oor kuns as spieelbeeld van die werklikheid omverwerp. / Mirror, hall of mirrors, mise-en-abyme, representation, et cetera are all concepts associated with the notion of self-reflexivity. While self-reflexivity is not a new phenomenon, the question is why, in our time, it should be so acutely present in the discourse of literary theory - especially in theoretic contributions on Postmodernism and/or Postmodernist texts. One is lead to conclude that self-reflexivity and Postmodernism are directly linked. This study, then, focuses primarily on how Postmodernist drama/theatre employs the notion of self-reflexivity in the encoding process. It also explores the impact of the concept of alienation in twentieth century drama/theatre on the various views of self-reflexivity. The fmal objective is to show that self-reflexivity in Postmodernist drama/theatre challenges ftxed suppositions about art as a reflection of reality. / Afrikaans, Theory of Literature / M.A. (Theory of Literature)