Alessandro Baricco, escritor italiano contemporâneo, acredita na força da narrativa como forma de resistência aos apelos de uma sociedade que já não consegue trocar experiências, nem ver o essencial, já que vítima de uma espécie de embotamento da palavra e dos sentidos, o que, no limite, está intimamente relacionado ao atual crescente processo de desumanização. Neste estudo procuraremos verificar com que procedimentos o autor investe na reinvenção do narrador, em particular nas obras Novecento e Castelli di rabbia, a fim de revitalizar a arte de narrar. / Alessandro Baricco, a contemporary italian writer, believes in the narratives strenght as a resistences form against the claims of a society which is not able to change experiences neither see the essential, because became victim of a words and sensess lacking. This kind of situation could be deeply related with this growing inhuman process. In this research we are going to analyze the Bariccos procedures, mainly in Novecento and in Castelli di rabbia, with his purpose to rescue the narrative of the art.

Alessandro Baricco, escritor italiano contemporâneo, acredita na força da narrativa como forma de resistência aos apelos de uma sociedade que já não consegue trocar experiências, nem ver o essencial, já que vítima de uma espécie de embotamento da palavra e dos sentidos, o que, no limite, está intimamente relacionado ao atual crescente processo de desumanização. Neste estudo procuraremos verificar com que procedimentos o autor investe na reinvenção do narrador, em particular nas obras Novecento e Castelli di rabbia, a fim de revitalizar a arte de narrar. / Alessandro Baricco, a contemporary italian writer, believes in the narratives strenght as a resistences form against the claims of a society which is not able to change experiences neither see the essential, because became victim of a words and sensess lacking. This kind of situation could be deeply related with this growing inhuman process. In this research we are going to analyze the Bariccos procedures, mainly in Novecento and in Castelli di rabbia, with his purpose to rescue the narrative of the art.

Dans l'oeuvre contemporaine d'Alessandro Baricco, des références de toutes sortes attirent l'attention de ceux et celles qui s'intéressent aux récits et romans de l'écrivain italien. De cette esthétique néo-baroque, c'est la rencontre avec d'autres formes d'art qui nous a ici interpelée. Autant sur le plan formel que thématique, les références à la musique, à la peinture et au cinéma, entre autres, offrent de remarquables exemples d'intermédialité. Cette diversité de disciplines convoquées dans le texte de Châteaux de la colère (1995), Soie (1997), Océan mer (1998), City (2001) et Novecento : pianiste (1997), constitue l'originalité forte de l'oeuvre de Baricco. Ces formes artistiques produisent une ambiance qui plonge le lecteur dans le domaine de l'art et accorde à l'auteur la possibilité de déployer avec une grande maîtrise de moyens et d'effets son style unique. Les renvois intermédiatiques relevant principalement des personnages soutiennent les propos de Baricco au sujet de l'art : ils permettent d'établir l'importance qu'accorde ce dernier au métalangage artistique et à la création sous toutes ses formes. Par là, il devient possible de mieux comprendre sa propre oeuvre littéraire qui valorise, au détriment de la prétention réaliste, une fantaisie ludique qui relève du spectaculaire. Le premier chapitre présente les procédés formels au service de la musicalité dans l'écriture de Baricco et les personnages de musiciens - ou en lien avec la musique - qui évoquent cette forme artistique privilégiée. Dans le deuxième chapitre, il est question des moyens techniques qui permettent aux textes de Baricco de rappeler l'art pictural ainsi que des personnages qui, par le truchement de la peinture, tiennent un discours sur la création artistique. Dans le troisième et dernier chapitre, nous nous intéressons à la structure romanesque qui, par diverses stratégies formelles, imite le scénario. Les personnages qui renvoient à l'art dramatique sont aussi abordés, de façon à tenir compte de la vision artistique qu'ils mettent en place. Enfin, la conclusion nous permet, à la lumière des informations recueillies, de relever les effets entrainés i.e. [entraînés] par ces jeux intermédiatiques. Celle-ci est aussi pour nous l'occasion de dégager, en son caractère unitaire, la vision artistique à l'oeuvre chez Baricco.

Submitted by Pedro Henrique Pereira Graziano null (pedro.graziano@hotmail.com) on 2017-03-08T04:39:21Z No. of bitstreams: 1 Dissertação Pedro Graziano.pdf: 751650 bytes, checksum: 6ec1d3cfb61331b87041f5caa6585d92 (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2017-03-13T13:42:49Z (GMT) No. of bitstreams: 1 graziano_php_me_sjrp.pdf: 751650 bytes, checksum: 6ec1d3cfb61331b87041f5caa6585d92 (MD5) / Made available in DSpace on 2017-03-13T13:42:49Z (GMT). No. of bitstreams: 1 graziano_php_me_sjrp.pdf: 751650 bytes, checksum: 6ec1d3cfb61331b87041f5caa6585d92 (MD5) Previous issue date: 2017-02-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O objetivo desta pesquisa será de esclarecer como os modos literários Fantástico, Maravilhoso e Estranho, como os define Ceserani (2006), são importantes para a composição e valorização da figura do narrador na sociedade contemporânea, em Castelli di rabbia, de Alessandro Baricco (1991). Acredita-se que o narrador presente na obra corpus seja aquele sobre o qual fala Walter Benjamin (1996), que seria uma figura decadente e quase extinta devido ao advento da modernidade e ao declínio da experiência coletiva. O autor da obra corpus, de origem italiana, constrói uma narrativa em que há diversas narrações menores que compõem o corpo de seu romance, e cada uma destas pequenas narrações acontecerá dentro de um universo insólito, no qual se alternarão os modos literários anteriormente citados. Para o estudo dos modos literários, serão utilizados autores como Furtado (1980), Ceserani (2006), Bessière (1974), e também algumas considerações de Todorov (1975), estudioso pioneiro nesta área. Cada uma das pequenas histórias contadas tem em comum o fato de que dizem respeito a um objetivo de vida de um personagem em um universo imaginário, no qual as regras que regem o mundo natural se encontram abolidas. Todos os objetivos são aparentemente impossíveis e irrealizáveis, e, no entanto, os personagens insistem em busca-los. Neste estudo deseja-se mostrar como a ânsia de realização destes objetivos e o fato dos personagens nunca se desencorajarem dialoga diretamente com as ideias de Walter Benjamin e suas considerações sobre o narrador e a modernidade, na medida em que cada personagem narra sua história como faziam os antigos narradores que antecediam a modernidade, período no qual, segundo Benjamin, a arte de narrar está em vias de extinção. Objetiva-se explicitar como Alessandro Baricco emprega os modos literários Fantástico, Maravilhoso e Estranho a serviço da valorização do narrador, criando alegorias a partir do universo imaginário, no qual os personagens narram e compartilham experiências como faz o narrador definido por Benjamin. As alegorias construídas objetivam criar uma associação do ato de narrar com o ato de resistência à morte da narração e do texto literário como obra de arte, visto que a partir da modernidade burguesa, a literatura de modo geral passa a ser vendida como bem de consumo, de modo que perde seu caráter de instrumento através do qual / The goal of this research is to clarify how the literary modes Fantastic, Wonderful and Strange, as defined by Ceserani (2006), are important for the composition and valorization of the figure of the narrator in contemporary society in Alessandro Baricco‘s Castelli di rabbia (1991). It‘s believed that the narrator in this work is the one took into consideration by Walter Benjamin (1996), which would be an almost extinct decadent figure due to the arrival of the modernity and the decline of collective experience. The Italian author of this work builds a narrative in which there are several smaller narratives that compose the novel. Each one of these smaller narratives happens inside of a fantastic universe, in which the above-quoted literary modes take place alternately. To study these literary modes, authors such as Furtado (1980), Ceserani (2006), Bessière (1974), and also some considerations of Todorov (1975), pioneering author in this field of study, will be taken into consideration. Each one of the smaller stories narrated have in common the fact that they approach a life goal of some character inside of an imaginary universe, in which the rules of our natural world no longer exist. All these goals are apparently impossible and unreachable, and, however, the characters insist on pursuing them. The goal of this research is to demonstrate how the yen of accomplishment of these goals and the fact that the characters never lose their faith build a strong dialogue with Walter Benjamin‘s conceptions about the narrator and modernity, given that each character narrates his story as well as the ancient ones that preceded this period, in which, according to Benjamin, the art of narrating is about to disappear. The objective of this study is to make explicit how Alessandro Baricco employs the literary modes Fantastic, Wonderful and Weird to revalorize the narrator, creating allegories based on an imaginary universe. In this universe, the characters narrate and share experiences, as well as the narrator defined by Walter Benjamin does. The allegories built have the goal of creating an association between the act of narrating and the act of resisting to the death of narrative and of literature as art, given that after the arrival of bourgeois modernity, literature in general starts to be sold as merchandise. Therefore, literature loses its advisable character, being an object through which it is possible to share experiences. This causes the loss of ancient literary values.

Esta tese busca fazer um levantamento das principais linhas de força na constituição das Poéticas que norteiam a trajetória do escritor italiano contemporâneo Alessandro Baricco, não só como ficcionista, mas também como ensaísta e intelectual, atilado com seu tempo. Constatamos que, a partir do corpus dos romances e ensaios que aqui escolhemos analisar, o autor privilegia a instabilidade do narrar e do ver, refletida, nitidamente, nos diversos diálogos intertextuais que leva a efeito. Daí por que a intertextualidade, enquanto um de seus procedimentos ficcionais tal como concebida e transfigurada pelo autor esteja intimamente relacionada a uma concepção de mundo que elege o afastamento das certezas, o elogio da oralidade e da narrativa (fontes inesgotáveis de vida), a multiplicidade de pontos de vista, a exaltação de tipos à margem dos sistemas, o heroísmo da derrota, a apologia da queda e da renúncia. No intuito de demonstrar como isso se opera, nosso estudo se orienta, basicamente, a partir dos seguintes tópicos: a) a gênese da intertextualidade em Baricco; b) as relações intertextuais propriamente ditas e eventuais aproximações de leitura entre algumas de suas obras e as de outros autores com os quais dialoga (tais como Herman Melville, Joseph Conrad, Rainer Maria Rilke, José Saramago e Paul Auster); c) as tendências pósmodernas sobre as quais ele se debruça, sobretudo, em sua atuação ensaística. / This thesis proposes a survey of the main forces determining the constitution of the Poetics that guide the trajectory of the contemporary Italian writer Alessandro Baricco, as a novelist, an essayist and a sagacious intellectual in our century. We note that, from the corpus of novels and essays chosen to analyze here, the author emphasizes the instability of narrating and perceiving, reflected clearly in the various intertextual dialogues that he creates. Therefore the intertextuality, as one of his fictional procedures conceived and transfigured by the author, is closely linked to a conception of the world that promotes the removal of certainties, the praise of orality and narrative (inexhaustible sources of life) the multiplicity of points of view, the exaltation of the marginalized characters, the heroism of defeat, the emphasis of the fall and the resignation. In order to demonstrate how it works, our study guides are basically from the following topics: a) the genesis of intertextuality in Baricco b) the intertextual relations and possible approaches between some of his works as well as dialogues with other authors (such as Herman Melville, Joseph Conrad, Rainer Maria Rilke, José Saramago and Paul Auster), c) the post-modern tendency, emphasized mainly on his essays.

Esta tese busca fazer um levantamento das principais linhas de força na constituição das Poéticas que norteiam a trajetória do escritor italiano contemporâneo Alessandro Baricco, não só como ficcionista, mas também como ensaísta e intelectual, atilado com seu tempo. Constatamos que, a partir do corpus dos romances e ensaios que aqui escolhemos analisar, o autor privilegia a instabilidade do narrar e do ver, refletida, nitidamente, nos diversos diálogos intertextuais que leva a efeito. Daí por que a intertextualidade, enquanto um de seus procedimentos ficcionais tal como concebida e transfigurada pelo autor esteja intimamente relacionada a uma concepção de mundo que elege o afastamento das certezas, o elogio da oralidade e da narrativa (fontes inesgotáveis de vida), a multiplicidade de pontos de vista, a exaltação de tipos à margem dos sistemas, o heroísmo da derrota, a apologia da queda e da renúncia. No intuito de demonstrar como isso se opera, nosso estudo se orienta, basicamente, a partir dos seguintes tópicos: a) a gênese da intertextualidade em Baricco; b) as relações intertextuais propriamente ditas e eventuais aproximações de leitura entre algumas de suas obras e as de outros autores com os quais dialoga (tais como Herman Melville, Joseph Conrad, Rainer Maria Rilke, José Saramago e Paul Auster); c) as tendências pósmodernas sobre as quais ele se debruça, sobretudo, em sua atuação ensaística. / This thesis proposes a survey of the main forces determining the constitution of the Poetics that guide the trajectory of the contemporary Italian writer Alessandro Baricco, as a novelist, an essayist and a sagacious intellectual in our century. We note that, from the corpus of novels and essays chosen to analyze here, the author emphasizes the instability of narrating and perceiving, reflected clearly in the various intertextual dialogues that he creates. Therefore the intertextuality, as one of his fictional procedures conceived and transfigured by the author, is closely linked to a conception of the world that promotes the removal of certainties, the praise of orality and narrative (inexhaustible sources of life) the multiplicity of points of view, the exaltation of the marginalized characters, the heroism of defeat, the emphasis of the fall and the resignation. In order to demonstrate how it works, our study guides are basically from the following topics: a) the genesis of intertextuality in Baricco b) the intertextual relations and possible approaches between some of his works as well as dialogues with other authors (such as Herman Melville, Joseph Conrad, Rainer Maria Rilke, José Saramago and Paul Auster), c) the post-modern tendency, emphasized mainly on his essays.

The purpose of the present dissertation is to study the elaborations of the initiation myth in contemporary Italian author Alessandro Baricco. The theoretical and methodological framework consists mainly of Mircea Eliade’s phenomenological theory of initiation. It is argued that the categories of space and time are interdepent in religious thought and should thus be studied as a unit, through the notion of the chronotope. The dissertation therefore proposes to introduce the concept of the chronotope of initiation as an operative tool, the intersection of the theories of Eliade and Mikhail Bakhtin, for the literary subgenre of the initiation novel. A hermeneutical analysis of the novels Oceano mare, Emmaus and Mr Gwyn demonstrates that the initiation myth is present in all three novels. The symbolism of death and rebirth is coherently enacted as a movement via the categories cosmos-chaos-cosmos, for which the author uses the symbolism of the earth to define cosmos (regularity and structure) and water symbolism for the regenerating chaos (dissolution and renewal). The different chapters of analysis accentuate the interaction of space and time within the different phases of the initiation pattern: the profane, the threshold, the sacred, the centre (the place where the actual ritual is enacted) and the return, which are all defined as chronotopes. The analysis shows that although the chronotope of initiation – the concept intending the fusion of the temporal event of ritual at the spatial centre – assumes different forms throughout the corpus, its function remains unmodified, with its purpose being the creation of ontological change. In its inherent structure, the chronotope of initiation unites antithetical spatial and temporal characteristics. Spatially it unites infinite and dissolving chaotic space with the constitutive envelope or sacred vertical centre, and temporally it brings together the ultimative ontological change at a fixed, historical moment with the eternal, sacred, time opened by ritual, representing the coincidentia oppositorum of the sacred. The analysis also shows that the so-called “portraits of the ineffable”, present in all three novels, reflect the same qualities. As immanent works of art, they function as thresholds into the infinite. From a chronological perspective, the dissertation shows a modification of the initiation pattern in Baricco’s writing: from the classical form in Oceano mare, via a more realistic application in Emmaus, to the most elaborate, meta-literary adaption in Mr Gwyn. Nevertheless, the use of the pattern and its thematic coherence reveals that Baricco consciously elaborates on the pattern to suit the contemporary context.

Tato diplomová práce zmapuje románovou tvorbu současného italského spisovatele Alessandra Baricca. Úvodem bude představen autor v kontextu současné italské prózy. V další části práce nastíníme charakteristiku postmoderního románu, zejména pokud jde o tříštění či dekompozici prostoru, času, příběhu a s tím související žánrovou heterogennost textu. V centrální části práce rozebereme jednotlivá díla, přičemž se budeme soustředit jak na příběh, jeho hlavní motivy a témata, tak na jeho kompozici a strukturu. Ve čtvrté kapitole využijeme dílčích analýz jako východiska ke komparativnímu přístupu k textům a pokusíme se najít společné i odlišné konstrukční principy jejich výstavby a návratná témata či motivické konstanty Bariccových próz. Závěrem zhodnotíme přínos tvorby Alessandra Baricca pro současnou italskou prózu.

The Phd thesis titled Boundaries of the labyrinth and subtitled Literary space in the Italian postmodern novels strives for specification and closer definition of the genre of post-modern novel through the analysis of literary space. Formally, the thesis is divided into three parts. The first part aims to provide a theoretical introduction into the problems of three areas related to the given topic, namely the definition of postmodernity and postmodernism, the genre of the novel itself and last but not least the study of space in literature. The content of the second part is the actual literary and scientific analysis of the selected novels (Città invisibili and Se una notte d'inverno un viaggiatore by Italo Calvino, Notturno indiano by Antonio Tabucchi, Comici spaventati guerrieri by Stefano Benni and Oceano mare and City by Alessandro Baricco) which follows three basic and most frequent spacial topoi occurring in these novels, namely the topos of the city, the house-hotel and the road. The third and final section sums up the observed aspects and characteristics and strives to use them as a basis for determining a certain and generalizing spacial and temporal principle which would facilitate at least a partial characterization of the postmodern novel as an independent genre.