Fernando Pessoa, em uma de suas muitas definições sobre a questão da heteronímia, diz que seus heterônimos são “personagens fictícias sem drama”. São personagens que fazem poemas. Em O Ano da Morte de Ricardo Reis, Saramago se apropria do mais clássico dos heterônimos e insere este personagem em uma narrativa. Ficção da ficção, enquanto o poeta envia Ricardo Reis para o Brasil, o romancista leva-o de volta a Portugal. O médico que escreve poesias vive suas últimas aventuras em Lisboa, no ano de 1936. O objetivo deste trabalho é analisar a relação entre os dois Ricardos, ver o que os aproxima e o que os distancia. Abordamos a questão do processo heteronímico sob o ponto de vista do “drama em gente”. Apresentamos os dois personagens, o de Pessoa e o de Saramago, e levantamos algumas questões presentes no romance, como a intertextualidade, o dialogismo e a poesia.

This thesis applies Søren Kierkegaard's understanding of irony as outlined in his master's thesis, The Concept of Irony, to the literary works of Fernando Pessoa. Recently Kierkegaardian scholarship has opened possibilities for non-traditional interpretation of Kierkegaard's dissertation and pseudonymous "aesthetic" texts by reading them in the ironic tone in which they were written. This paper offers a similar re-reading of the poetic and prose works Pessoa attributes to his heteronyms. Kierkegaard's presentation of Socrates as irony serves as a model for how Pessoa sustains the heteronymic project by balancing the use of rhetorical irony within the works of the heteronyms with simultaneous use of "Socratic" irony relating to both the heteronyms and their literary contributions. Pessoa "controls" irony by bringing his heteronyms into his historical reality whereby he posits subjectivities for them. The necessary element of eros as it is identified with Socrates and thereby with irony is defined negatively as the desire for that which one is lacking and is sustained by the distance inherent in desire. Irony-eros as desire is present in the works of each of Pessoa's poetic heteronyms, gains for them corporeality, and characterizes the relationship the reader has with those works. Pessoa, like Socrates, is unable to extend controlled irony to his personal life and remains in the negativity of desire. Bernardo Soares and O Livro do Desassossego challenge traditional notions of reality since Soares feels with equal intensity the reality of his actuality and that of his imagination. Kierkegaard holds that the imagination provides the thinker with various possibilities or ideals. The thinker must then actualize the ideal. Kierkegaard's pseudonyms offer possible life-views as do Pessoa's heteronyms. The distance of irony is essential, for in reflecting on the life-views, the reader must not be able to see the author in that reflection. Unlike Kierkegaard, Pessoa successfully distanced himself from his heteronyms by multiplying and deferring his identity. Adept in Socratic midwifery Pessoa establishes the subjectivity of other "Pessoas" through whom he offers his readers possibilities. Pessoa's ironic existence proves the self is indefinable and unassimilable to any System.

Cette étude de la narration hétérodiégétique contemporaine se penche avant tout sur une figure narrative particulière : le narrateur-constructeur. Ce dernier révèle certaines caractéristiques qui ressemblent aux stratégies du narrateur omniscient mais sans lui correspondre complètement. Surprésent dans son discours, usant d’ironie envers ses personnages ainsi qu’envers le narrataire, le narrateur-constructeur propose un rapport nouveau aux règles de la vraisemblance et révèle par là une manière particulière de faire valoir son autorité narrative. Afin d’éclairer cette figure, l’étude intègre des concepts issus de l’analyse des discours ; l’ethos sert ainsi à structurer la représentation discursive du narrateur-constructeur et à l’amener au plus près d’une conception interactionnelle de la narration. Dans le but d’asseoir cette étude sur des bases concrètes, les œuvres de Jean Echenoz (Un an et Je m’en vais) et de José Saramago (L’année de la mort de Ricardo Reis) servent à montrer la structure discursive de ces narrations.

Made available in DSpace on 2016-04-28T19:59:14Z (GMT). No. of bitstreams: 1 Fabio Alessandro Somenci.pdf: 479433 bytes, checksum: 0b8a547c86dc3f04a242505e47c8876d (MD5) Previous issue date: 2008-11-26 / Secretaria da Educação do Estado de São Paulo / This dissertation has as initial aim to develop a study about the loving poetry of Fernando Pessoa himself, of the heteronimous Alberto Caeiro, Ricardo Reis and Álvaro de Campos, as well as to evidence the place occupied by the love theme in his work, despite of being little studied by the majority of researches of pessoa s poetic aventure. Initiating with the exposition of the significant aspects of the poetic production of the author himself and of the heteronimous, and passing, posteriously, to the presentation of a synthetic reflection of the theories about love (Eros) and the eroticism, developed by Plato and Georges Bataille, respectivily; the present study culminates with the analysis of representative poems for the comprehension of the theme. Having as a central hub the work with the language accomplished by Fernando Pessoa, this research aims to demonstrate the importance of the loving theme in his poetry, as well as its indissociability with the entirety of the work or heteronimic context that it belongs to. Considering the fact that the love is a strenght that joins the individuals by corporeal means leading them to the reproduction of bodies or animicus, leading them to the reproduction of ideas, but being, in both cases, an experience that leads to the improvement of the being, this study attempts to verify its form of presentation in the poetry of Pessoa and its relation with other poetic themes. Based on the analysis of the work through the perspective of the love theme, this research also desires to demonstrate how the eroticism is strictly connected with the poetry, through its corporeality, meanings and sensations that evokes, by means of sound, ceremony, representation or imagination. Besides, there is an intimate relation of the poetry with the words and of the eroticism with the bodies; the first interrupts the simple communication and the second, the reproduction / Esta dissertação tem como proposta inicial desenvolver um estudo sobre a poesia amorosa de Fernando Pessoa ele-mesmo, dos heterônimos Alberto Caeiro, Ricardo Reis e Álvaro de Campos, bem como evidenciar o lugar ocupado pelo tema do amor em sua obra, apesar de pouco estudado pela grande maioria dos estudiosos da aventura poética pessoana. Iniciando com a exposição de traços marcantes da produção poética do autor ele-mesmo e dos heterônimos, passa, posteriormente, a dedicar-se à apresentação de uma reflexão sintética das teorias sobre o amor (Eros) e o erotismo, desenvolvidas por Platão e Georges Bataille, respectivamente; o presente estudo culmina com a análise de poemas representativos para a compreensão do tema. Tendo como eixo central o trabalho realizado com a linguagem por Fernando Pessoa, esta pesquisa visa demonstrar a relevância do tema amoroso em sua poesia, bem como sua indissociabilidade com o conjunto da obra ou contexto heteronímico a que pertence. Considerando-se o fato de o amor ser uma força que une os indivíduos pela via corporal - levando-os à reprodução dos corpos ou anímica, levando-os à reprodução de idéias, mas sendo, em ambos os casos, uma experiência que leva ao aperfeiçoamento do ser, procura-se verificar sua forma de apresentação na poesia pessoana e sua relação com outros temas poéticos. A partir da análise da obra sob o ângulo do tema do Amor, o presente trabalho visa também, demonstrar como o erotismo está estreitamente ligado à poesia, através de sua corporalidade, dos sentidos e das sensações que evoca, seja por meio do som, cerimônia, representação ou imaginação. Além disso, existe uma íntima relação da poesia com as palavras e do erotismo com os corpos; a primeira interrompe a mera comunicação e a segunda, a reprodução