Orientador: Suzi Frankl Sperber / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-23T07:04:49Z (GMT). No. of bitstreams: 1 Tollendal_EduardoJose_D.pdf: 6392565 bytes, checksum: 69335e0f1768921daba62f6d68928cac (MD5) Previous issue date: 1997 / Resumo: No campo dos estudos comparados, este é um trabalho de análise e interpretação dos romances Jubiabá, Mar morto, Terras do sem fim, de Jorge Amado, e Écue- Yamba-Ó e La consagración de la primavera, de Alejo Carpentier. São romances que se aproximam por conciliarem o enfoque da situação do negro no espaço do subdesenvolvimento - tema herdado do regionalismo naturalista com a denúncia do capitalismo e da sociedade de classes. Representariam, portanto, uma linhagem "engajada" da tradição regionalista, que se desenvolve na literatura da América latina, em sintonia com o fenômeno de politização da vida e da cultura desta sociedade a partir dos anos 30, sob a influência da teoria marxista. Às motivações da consciência diante das questões sociais, que justificam o desenvolvimento deste tipo de romance, acrescente-se o impulso legitimador promovido pelo "prestígio" do realismo socialista. A descrição destes romances - numa perspectiva sócio-antropológica, em que tem destaque o delineamento das relações afetivas como sintoma da dominação de classe -- permitiu a identificação de procedimentos que caracterizam as variações desta tendência na obra de cada autor. Neste sentido, procuramos verificar o problema, presente em toda literatura política, da adequação entre a autonomia da forma e as determinações da ideologia. As soluções encontradas por Amado e Carpentier irão dizer da excelência de suas narrativas, enquanto arte revolucionária, segundo os princípios da estética marxista / Abstract: In the field of comparative studies this inquiry aims at analyzing and interpreting the novels Jubiabá, Mar Morto, Terras do sem fim, written by Jorge Amado and Écue-Yamba-Ó and La consagración de la primavera by Alejo Carpentier. The relationship among these novels exists in that there is an attempt to reconcile and focus on the status of blacks in underdeveloped contexts - a theme inherited from regional naturalist movements - which denounces capitalism and the class society. The novels, therefore, are within the naturalist regional literary tradition of commitment to a cause, which developed in Latin American Literature. In addition, they are a reflection of the political consciousness developed during the thirties influenced by the Marxist perspective. A conscious reaction to social problems, and a desire to legitimate the existing social conditions, added to the prestige of socialist realism, justifies the development of this type of novel. Through a description of these novels and from a socio-anthropological perspective in which an outline of affective relationships symptomatic of class domination are highlighted, it was possible to identify the procedures that characterize the various manifestations of this tendency in the work of each author. In this manner, the problems of political literature and the ways in which autonomy of form were adapted to the requirements of ideology are identified. The solutions to these problems found by Amado and Carpentier point out the distictive quality of their narrative as revolutionary art based on Marxist aesthetic theory / Doutorado / Teoria Literaria / Doutor em Letras

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-03-15T13:34:57Z No. of bitstreams: 1 Fernanda Maffei Moreira.pdf: 2767921 bytes, checksum: 0c1029bf0a5be02be50ee795605e1979 (MD5) / Made available in DSpace on 2017-03-15T13:34:57Z (GMT). No. of bitstreams: 1 Fernanda Maffei Moreira.pdf: 2767921 bytes, checksum: 0c1029bf0a5be02be50ee795605e1979 (MD5) Previous issue date: 2017-02-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Nelson Rodrigues is the maximum representative figure of Brazilian modern theater. Although his most remarkable and famous productions were in the theater area, the playwriter had contributed significantly for the literature with other genres such as novels, tales, chronicles, sentimental consultant and newspaper serials. This research has its focus on the study of his newspaper serials works , examining the relation of the newspaper serials with the journal support. For this, two newspaper serials have been selected for analysis: Minha vida, from 1946, written by the pseudonym of Suzana Flag, published on the magazine A Cigarra, and A mulher que amou demais, from 1949, written by the pseudonym of Myrna, published on the carioca newspaper Diário da Noite e Última Hora. The choice of these two newspaper serials is the fact that they are two productions of Nelson Rodrigues with two feminine pseudonyms. The theoretical foundation includes studies about the literary production of Nelson Rodrigues as the ones of R. Castro (1992), Rodrigues (1986), Rodrigues (2012), and both theoretical and critical essays about the newspaper serial, based on the works of Meyer (1996) and from Serra (1997). Among the authors that deal with the relation between journalism and literature, we found Costa (2005), Bulhões (2006), Brito (2007) and Pena (2013). Were also consulted interviews and texts released on specialized websites. As for the methodology, the analysis of the two pseudonyms of Nelson Rodrigues, Suzana Flag and Myrna, is accomplished starting of consideration on elements of the newspaper serial genre as thriller, cliffhanger, incident, climax and outcome, as well as the way how newspaper serials were constructed and the repercussion/acceptance of the public.The comparative analyses between the two newspaper serials searches to correlate similar or different characteristics such as narrative, plot, time, space, characters and themes. Adding to these aspects, we investigate how the relation with the journal support had influenced the building of the newspaper serials / Nelson Rodrigues é o representante máximo do teatro moderno brasileiro. Embora sua produção mais marcante e conhecida tenha sido no campo teatral, o dramaturgo contribuiu de forma significativa para a literatura com outros gêneros como romances, contos, crônicas, consultório sentimental e folhetim. A presente pesquisa tem por foco o estudo de sua obra folhetinesca, examinando a relação de seus folhetins com o suporte jornal. Para tal, foram selecionados para análise dois folhetins: Minha vida, de 1946, escrita sob o pseudônimo de Suzana Flag, publicada na revista A Cigarra, e A mulher que amou demais, de 1949, escrita sob o pseudônimo de Myrna, publicada nos jornais cariocas Diário da Noite e Última Hora. A escolha desses dois folhetins deve-se ao fato de que são duas produções de Nelson Rodrigues com pseudônimos femininos diferentes. A fundamentação teórica inclui estudos sobre a produção literária de Nelson Rodrigues como os de R. Castro (1992), Rodrigues (1986), Rodrigues (2012), e ensaios teóricos e críticos sobre o folhetim, com base nas obras de Meyer (1996) e de Serra (1997). Dentre os autores que tratam das relações entre jornalismo e literatura, encontram-se Costa (2005), Bulhões (2006), Brito (2007) e Pena (2013). Foram também consultados entrevistas e textos divulgados em sites especializados. Quanto à metodologia, a análise dos dois pseudônimos de Nelson Rodrigues, Suzana Flag e Myrna, é realizada a partir de considerações sobre elementos do gênero folhetim como suspense, gancho, peripécia, clímax e desfecho, bem como sobre a forma como foram construídos os folhetins e a repercussão/aceitação do público. A análise comparativa entre os dois folhetins busca correlacionar características semelhantes ou distintas como narrativa, enredo, tempo, espaço, personagens e temas. Somando a esses aspectos, investiga-se como a relação com o suporte jornal influenciou na construção dos folhetins

O objetivo do presente trabalho é realizar uma leitura crítica pelo viés materialista dialético do romance Jubiabá (1935), de Jorge Amado, obra abarcada no projeto de romance proletário empreendido pelo autor na década de 1930. Este trabalho propõe-se a analisar elementos que contribuam para a compreensão da estrutura interna dessa obra, bem como para a compreensão de sua posição no conjunto das ambições literárias e políticas de Amado no período. Interessa-me investigar as relações entre a forma literária de Jubiabá e os processos sociais referidos na obra, sobretudo no que diz respeito aos ideais da esquerda em relação às alterações históricas da organização do trabalho no Brasil, procurando observar por quais caminhos esse dado material é mimetizado na estrutura interna do romance. Acerca dessa estrutura interna, enredo, configuração do protagonista e perfil do narrador serão os elementos privilegiados pela análise, tanto individualmente quanto nas relações entre si. O ponto de chegada deste trabalho encontra-se na interpretação voltada para a dinâmica que se estabelece entre a obra e a tradição formativa social brasileira em suas especificidades enquanto nação periférica ao processo capitalista mundial, em suas aproximações simbólicas e materiais, literárias e extraliterárias, em relação ao centro do mundo civilizado ocidental. / This work aims to perform a critical reading of Jorge Amado’s novel Jubiabá (1935), a work which is part of the project of the proletarian novel undertaken, by the author in the 1930s. We seek an analytical description of the elements that may contribute to the understanding of the internal structure of the work, as well as its position in Amado's literary and political ambitions in them. Thus, we are interested in investigating the relationship between the literary form of Jubiabá and the social processes which the work refers to, especially with regard to the left-wing ideas in relation to the historical changes in the organization of labor in Brazil, seeking to understand how the aesthetic aspect of the novel clarifies the author’s position. With the aesthetic aspect in mind, we paid particular attention to the construction of the plot, the composition of the leading character, and the narrator’s profile in relation to the whole of the work's structure, as well as in relation to one another. This paper concludes with an interpretation of the dynamics established between the work and the Brazilian social formative tradition in its specificities as a nation on the periphery of world capitalism, in its symbolic, material, literary, and extra-literary proximities to the center of the civilized Western world.

Esta tese apresenta e analisa excertos da minha tradução não publicada de The Solid Mandala, de Patrick White, em português brasileiro, considerando seus aspectos sóciohistóricos e culturais em três níveis: como tradutor, como revisor da tradução e como crítico literário. A teoria dos polissistemas de Itamar Even-Zohar é adotada para justificar a importância de (re)introduzir Patrick White como representante da Literatura Australiana em nosso sistema literário brasileiro por meio da tradução. Como suporte às capacidades necessárias para realizar a tarefa, o modelo de competências de Amparo Hurtado Albir é apresentado. Quanto aos aspectos culturais, a teoria dos itens específico-culturais de Javier Franco Aixelá é empregada. As traduções publicadas em francês, italiano e espanhol são contrastadas com a minha a fim de identificar inconsistências e/ou soluções, bem como chamar a atenção para desafios que não foram contemplados. A versão em português brasileiro é proposta por meio de excertos selecionados, com os três níveis estando em funcionamento durante o processo de revisão da tradução. Ao buscar fazer a obra de Patrick White ser redescoberta não somente no Brasil, mas também na América Latina e em outros países de língua portuguesa, por meio da tradução, esta tese oferece uma contribuição inédita aos Estudos de Tradução. / This dissertation presents and analyzes excerpts from my unpublished translation of Patrick White’s The Solid Mandala into Brazilian Portuguese considering its socio-historical and cultural aspects at three levels of reading: as a translator, as a revisor/proofreader of the translation and as a literary critic. Itamar Even-Zohar’s Polysystems Theory is adopted to justify the importance of (re)introducing Patrick White as a representative of Australian Literature into our Brazilian system via translation. Supporting the abilities necessary to perform the task, Amparo Hurtado Albir’s model of competences is presented. In regards to cultural aspects, Javier Franco Aixelá’s culture-specific items theory is used. The translations into French, German, Italian and Spanish are contrasted to mine, so as to identify inconsistencies and/or solutions and call attention to challenges which were not addressed. The version in Brazilian Portuguese is conveyed in this dissertation via selected excerpts, with the three levels being at work during the proofreading process of the translation. By attempting to make Patrick White’s oeuvre be rediscovered not only in Brazil, but also in South America and in other Portuguese-speaking countries, through translation, this dissertation presents an innovative contribution to Translation Studies.

My doctoral dissertation examines the relationship between the sacred and literature, explores how the Bible has influenced the literary production of Antonia Pozzi, Cristina Campo, and Margherita Guidacci, and reveals that each author had a distinctive way of dealing with the Sacred Book. In the first chapter I retrace the studies on the topic of Bible and Literature, and I show how literary critics only recently have begun to work intensively on them (in the past the "historical school" founded by De Sanctis and followed by Croce devoted few studies to the subject of the sacred and even so, only to those periods where the influence of the Scriptures was clear and indeed obvious, such as the Middle Ages and the Counter-Reformation). In the same chapter I explain my reason for deciding to study Pozzi, Campo, and Guidacci. These three authors share analogous biographical experiences and episodes that deeply influenced their lives (the presence of an authoritarian father, family losses, and sad love experiences). Moreover, their studies (specifically, European writers and philosophers) were of the same nature. I demonstrate that, although contemporary Italian literature is heterogeneous and varied, these three women astonishingly shared the same background that explains their concentration on the sacred. In the following chapter I consider the writers individually, in order to examine the path that led them to a dialogue with the religious and the sacred. In Pozzi, the sacred is something that lies beyond human understanding and, for all her attempts to reach it, she always fails due to her incapacity to fully free helself from human passions. In Campo and in Guidacci on the other hand, the sacred search is always consistent and, notwithstanding some missteps and second thoughts, they are able to basically fulfill their task. After the study of their ideas, in the last chapter I move to the poetical language used by these writers. It has been very interesting to see what is essentially the same vocabulary appearing again and again in our poets. As it is known, the biblical language is based on symbols that evoke a union between the contingent and the Absolute. Pozzi, Campo, and Guidacci were not only able to interpret the biblical symbology but they also used some of those terms in their poems; specifically I focused my attention on the recurrence of five words-symbols: assenza, deserto, nulla, fiore, luce (absence, desert, emptiness, flower, light). It is really significant that the writers in question use the same biblical symbols as poetical words: it is a vocabulary that ties together literary and religious experience. Their connection is also strengthened by the reference and the predilection for same specific books of the Bible, such as Job and The Lamentations of Jeremiah the Prophet for Pozzi, and the Gospels, Psalms, and The Song of Songs for Campo and Guidacci. In my analysis I show that already in the desert we can see the first signs of Pozzi's weakness: In this solitary place, where the soul must deal with herself to reach the emptying of earthly passions, Pozzi got lost and fell into the error of looking backwards, to the beloved she had left. On the other hand, Campo and Guidacci were able to reach the spiritual light, so their journey through biblical symbolism can be finally considered complete. In other words, Pozzi's path towards the Scripture is fulfilled piecemeal and never ends in it, while in Campo and Guidacci the Scripture becomes an integral part of their lives, so they are constantly enlightened by the Word of God, while Pozzi misses this Light and sinks into the darkness of death. Finally, considering the fact that they have been relatively isolated from the literary world until recently, I do not believe they were rejected by a misogynist society, but rather by the fact that those years were demanding an active social participation. The women treated here never made that choice, instead they dedicated themselves to the search for the sacred, an issue not "present" in the years in which they lived. So I think that it was this combination of poetic themes and lifestyle choices that excluded them. In conclusion my work, which could have considered many other poets, confirms the point of view from which I started: the theme of the sacred in the twentieth century literature does not seem to present itself as a school or current, but is characterized by its inevitable uniqueness so that each poetic experience is described for its extraordinary authenticity and uniqueness. If anything, we can talk about similarities and links between these poets based on common readings that provide the basis on which to develop their own religious experiences.

李林. / "2011年8月". / "2011 nian 8 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 231-241). / Abstract in Chinese and English. / Li Lin. / Chapter 第壹章 --- 緖論 / Chapter 第一節 --- 硏究範圍與論題旨趣 --- p.1 / Chapter 第二節 --- 相關硏究回顧述評 --- p.3 / Chapter 第三節 --- 重要史料舉隅 --- p.12 / Chapter 第四節 --- 章節結構簡介 --- p.14 / Chapter 第贰章 --- 從經史八股到政藝策論一一清末癸卯、甲辰科會試探究 / Chapter 引言 --- 販書的舉子 --- p.16 / Chapter 第一節 --- 策論與八股 --- p.17 / Chapter 第二節 --- 晚清改試策論及士子的因應 --- p.23 / Chapter 第三節 --- 癸卯、甲辰兩科會試（上）：考題與答卷分析 --- p.30 / Chapter 第四節 --- 癸卯、甲辰兩科會試（下）：考官與評覈標準 --- p.39 / Chapter 第五節 --- 癸卯、甲辰科覆試、殿試及朝考 --- p.44 / Chapter 第六節 --- 癸卯、甲辰兩榜進士：人數、籍貫、年齢及授職的統計分析 --- p.48 / Chapter 結語 --- 新酒舊瓶的困境 --- p.53 / Chapter 第叁章 --- 天子門生的再教育一一晚清進士館的開設及運作考述 / Chapter 引言 --- “老爺´ح式學生 --- p.57 / Chapter 第一節 --- 明清進士職前教育的背景與契機 --- p.58 / Chapter 第二節 --- 進士館的雛形：京師大學堂仕學院、仕學館´إ --- p.64 / Chapter 第三節 --- 進士館（上）：開設、生源及庶務管理 --- p.73 / Chapter 第四節 --- 進士館（中〉：課程、教學及師資分析 --- p.81 / Chapter 第五節 --- 進士館（下）：畢業考試及授職分析 --- p.9 2 / Chapter 第六節 --- 進士館（尾聲〉：停辦及改組 --- p.99 / Chapter 結語 --- 制度建構與現實運作之間 --- p.103 / Chapter 第肆章 --- 進士飘蓬渡海東一一東京法政大學留學進士學員群體鉤沉 / Chapter 引言 --- 負笈東瀛的精英 --- p.106 / Chapter 第一節 --- 西洋不如東洋：清末留日教育的興起 --- p.107 / Chapter 第二節 --- 法政大學清國留學生法政速成科的開辦 --- p.112 / Chapter 第三節 --- 法政速成科學生人數及進士學員群體考述 --- p.417 / Chapter 第四節 --- 法政速成科教學活動及師資陣容考察 --- p.125 / Chapter 第五節 --- 法政速成科考試及學科程度試探 --- p.134 / Chapter 第六節 --- 經費乃遊學之母：晚清進士留日經費問題考察 --- p.140 / Chapter 第七節 --- 課堂教學之外的隱性議題：革命、立憲與“束亞共榮´ح --- p.446 / Chapter 結語 --- “速´ح與“成´ح之間：晚清速成法政留學檢討 --- p.151 / Chapter 第伍章 --- 千年變局中的因應一一進士館學員歸國考選及其清末民初出 處問題试探 / Chapter 引言 --- 科目盛衰 --- p.154 / Chapter 第一節 --- 候補之後再候補:進士館留學學員歸國考試及授職分析 --- p.155 / Chapter 第二節 --- 危局中任職多元化：癸卯、甲辰進士晚清經歷考察 --- p.165 / Chapter 第三節 --- 民國果乃敵國乎一一癸卯甲辰進士辛亥後的出處問題 --- p.174 / Chapter 結語 --- 成為“自由流動資源´ح的傳統精英 --- p.180 / Chapter 第陸章 --- 結論：轉型社會中的傳統文化精英 --- p.182 / 附錄 / Chapter 附錄一 --- 癸卯、甲辰進士清末民初簡歷匯總表〔1903-1927〕 --- p.187 / Chapter 附錄二 --- 晚清進士留學題名錄 --- p.211 / Chapter 附錄三 --- 《進士館章程》 --- p.216 / Chapter 附錄四 --- 《進士館條規》 --- p.220 / Chapter 附錄五 --- 〈奏為特設法政速成科學教授遊學官紳以急先務而求實效折〉 --- p.226 / Chapter 附錄六 --- 《法政大學清國留學生法政速成科規則》（附設置趣意書） --- p.228 / 參考文獻 / 中文之部 --- p.231 / 日文之部 --- p.239 / 英文之部 --- p.241

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Submitted by Irvana Coutinho (irvana@ufpa.br) on 2017-03-16T15:58:12Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_CinemaLiteraturaTransito.pdf: 8295484 bytes, checksum: a0096a6b5b06127b17e99e72b4ed4fff (MD5) / Approved for entry into archive by Irvana Coutinho (irvana@ufpa.br) on 2017-03-16T15:58:44Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_CinemaLiteraturaTransito.pdf: 8295484 bytes, checksum: a0096a6b5b06127b17e99e72b4ed4fff (MD5) / Made available in DSpace on 2017-03-16T15:58:45Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_CinemaLiteraturaTransito.pdf: 8295484 bytes, checksum: a0096a6b5b06127b17e99e72b4ed4fff (MD5) Previous issue date: 2013-06-28 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A literatura e o cinema, campos de produção sígnica distintos, cuja relação torna-se possível em virtude (entre tantas possibilidades) da visualidade impressa em ambas as modalidades textuais, permite ao texto literário a sua transformação em películas. Não é de hoje que o cinema se utiliza de outras artes ou outros signos para a construção, reconstrução, criação e recriação fílmica. Na contemporaneidade, esse processo a que se convencionou chamar de tradução intersemiótica ocorre de forma incomum: se antes o cinema se valia da literatura como hipotexto, desta vez, a literatura vale-se do cinema para sua criação narrativo-verbal. Nosso corpus de análise será os filmes “Bonitinha, mas ordinária”, dirigido por J.B. de Carvalho, Braz Chediak e Moacir Góes, baseados na peça teatral homônima do dramaturgo Nelson Rodrigues. / Literature and cinema, sign production, whose relation becomes possible because (among other many possibilities) of Visuality printed in both textual modes, allows the literary text transformation movies. Today is not that the film uses other gear or other signs for the construction, reconstruction, creation and filmic recreation. In contemporary times, this process is called of intersemiotic translation, is so unusual: If before the cinema if value of literature as hipotexto, this time, the literature is the cinema for its creation-verbal narrative. Our corpus analysis of the films will be "cute but ordinary", directed by JB de Carvalho, Braz Chediak and Moacir Goes, based on the play's namesake playwright Nelson Rodrigues.

In March, 1990, I was hired to teach English in Japan at a small, private academy in Chitose, Hokkaido. The school was called the Academy of Clark's Spirit. My first day at work I was asked by my boss, Sato Masako: "So Mr. Walker, of course you know who Dr. Clark is?" I told Mr. Sato that I was sorry, but that I did not. "You said in your resume that you are a history student? We named this school after him. He's one of the most important people in Hokkaido's history," he said, looking disappointed. Mr. Sato explained that he wanted me to teach with the spirit of Clark in mind and bring to his classrooms what Clark brought to Hokkaido over a hundred years before. I nodded and asked to see my apartment. I began this study of William Smith Clark after my first stay in Hokkaido. It is the product of my interest in modern Japanese history, particularly Japan's relationship with the United States. The first leg of this project was started in Amherst, Massachusetts, where I met with Dr. John Maki. He directed me through the Clark collection at the University of Massachusetts at Amherst. I had several interviews with Maki during the week I was in Massachusetts and was given liberal access to the Clark collection under his influence. The second leg of my study was continued in Sapporo, Hokkaido. I met with Dr. Toshiyuki Akizuki at Hokkaido University and was shown through the Clark collection there. I lived in Hokkaido for about two years and have kept notes on the tribute paid to Clark and visible signs of his impact on the northern island. The focus of this study is to look at Clark's contribution to the development of Hokkaido by detailing his work in education, Christianity, and agriculture. By focusing on Clark's particular contribution to Hokkaido a larger historical trend, that is, the importation of foreign ideas in the history of Meiji Japan, is better understood. ~he results of this study conclude that Clark was an important figure in the history of Hokkaido's settlement, and to the development of nineteenth century Japan.,. ,Clark was also an important figure in the history of the relations between Japan and the United states., It is in lasting institutions like Hokkaido University and the Sapporo Independent Christian Church where Clark's impact is best illustrated. These institutions, particularly the university, were the nerve centers for Hokkaido's development, and Clark planted these seeds of enlightenment, under the direction of the Meiji government, in the fertile northern soil. I have gained a better understanding of Clark's stay in Hokkaido because of this project, but doubt that I could even now satisfy Mr. Sato's insistence that I teach with Clark's spirit. I do understand, however, why it was important to Mr. Sato that I try. Clark's phrase "Boys Be Ambitious" still embodies the spirit of many educators in Hokkaido and his success with Japanese students is one of the better examples of international exchange in any country. Clark is cherished by the people of Hokkaido as the spiritual pioneer of their island even though his stay

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hisp?nica menci?n Literatura / Las novelas de Droguett exhiben y tratan la violencia como un tema central derivado e inserto en la problem?tica social tratada por la literatura neorrealista, ya sea en sus alcances institucionales como individuales; por lo dem?s, intr?nsecamente relacionados. De esta manera, asistimos a la configuraci?n de una marginalidad, como espacio ambiguo en tensi?n con el espacio central- reservado a las instancias dominadoras- , que condicionar?a un car?cter de personaje (el asesino), cuya asunci?n de la violencia instalar?a un nivel er?tico en su personalidad que lo impulsar?a, en un doble movimiento, a rechazarla y a reproducirla. A su vez, la violencia misma se interpretar?a (vinculado, tambi?n, a la significaci?n del erotismo) desde dos niveles: uno literal, referido a la realidad directa del mundo narrado, donde la violencia ser?a expresi?n de un ansia de limitaci?n por la que el personaje se abstraer?a de su entorno, como una evasi?n frente a las condiciones de opresi?n colegidas del esquema social anterior, y por la que tambi?n se explicar?a el doble movimiento ambiguo que asume frente a ella. Y por otra parte, en un nivel simb?lico, la violencia actuar?a como un principio revitalizador por medio del sufrimiento, cuyo sentido encarnar?a en un saber tr?gico que expondr?a la fatalidad de los personajes, como un modo fundamental de comprender la vida y el arte con su realidad humana y social inmediata; una subjetividad que dialogar?a con el mito de la Pasi?n de Cristo, no solamente en sus alcances tr?gicos, es decir: en la inmanencia de la fatalidad, sino en la posibilidad de redenci?n, de cierta esperanza depositada en las potencialidades del arte y su relaci?n con el compromiso social, en la experiencia cr?tica en general. Estos dos niveles de la violencia ser?an explicados (como dos modos de configurar una unidad de significaci?n en las novelas) desde el concepto de religio en Agamben, el que a su vez remite a los t?rminos consagrar y profanar, los que implican los dos ?mbitos de la violencia antes se?alados: como evasi?n y como interpretaci?n simb?lica por medio de la figura tr?gica del asesino. En ese sentido: ?responder?a esta figura a una conformaci?n er?tica por la cual se explicar?an los dos niveles de violencia comentados, en donde el primero se resignificar?a en el segundo a trav?s de su nivel simb?lico que fundar?a un tipo de saber tr?gico, el que devendr?a en una actitud particular orientada a la comprensi?n de la realidad social?