Orientador: Miriam Viviana Gárate / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-16T03:34:57Z (GMT). No. of bitstreams: 1 Bosqueiro_JosianeMaria_M.pdf: 1082792 bytes, checksum: 6583d29035760e09951720e0a0cefa48 (MD5) Previous issue date: 2010 / Resumo: Neste trabalho procuramos divulgar parte da produção da poeta argentina Alejandra Pizarnik (1936-1972), ainda pouco conhecida no Brasil, tomando a fase inicial de sua obra, pouco explorada pela crítica. Preparamos a tradução, precedida de uma apresentação, dos livros La última inocencia e Las aventuras perdidas, os mais significativos deste período. Tais obras formam uma etapa de aprendizagem, opinião compartilhada inclusive pela própria poeta, que posteriormente desconsiderou seu primeiro livro, La tierra más ajena (1955), o qual não abordamos aqui. Segundo Ángelez Vázquez, as três obras "fácilmente podrían formar uma trilogía por su temática - es la época en la que se relaciona con revistas vanguardistas y com grupos universitarios reformistas". La última inocencia, publicado em 1956, possui 17 poemascurtos e Las aventuras perdidas, publicado dois anos depois, é constituído por 22 poemas e é dedicado ao poeta Rubén Vela. Comentamos a ligação desses versos com as estéticas vigentes na capital portenha nos anos 50 (a poesia neorromântica, a poesia surrealista e a poesia órfica), onde Alejandra já era uma poeta lida e apreciada, e algumas recorrências desta poética, tais como o desdobramento do sujeito e a peculiar caracterização espaço-temporal; traços que já apontam para sua obra mais consagrada, a qual abarca os livros Árbol de Diana, publicado em 1962 e Los trabajos y las noches (1965, pelo qual recebeu os prêmios Fondo Nacional de lãs Artes e Primer Premio de la Municipalidad de Buenos Aires) e, posteriormente, Extracción de la piedra de locura (1968), El infierno musical e La condesa sangrienta, ambos em 1971, com incursões pela prosa / Abstract: We aimed to publicize part of the argentinian poet Alejandra Pizarnik's work (1936-1972), barely known in Brazil, especially its early moments, not so explored by the critics so far. We have prepared a translation, preceded by a presentation, of the works La última inocencia and Las aventuras perdidas, the most meaningful of the period. These books are part of a learning period, opinion agreed even by the poet herself, who later disconsidered her first work, La tierra más ajena (1955), which we don't broach here. According to Ángelez Vázquez, the three works "fácilmente podrían formar una trilogía por su temática - es la época en la que se relaciona con revistas vanguardistas y con grupos universitarios reformistas". La última inocencia, published in 1956, has 17 short poems and Las aventuras perdidas, published two years later, consists of 22 poems and it is dedicated to the poet Rubén Vela. We have commented the links of these verses with the current aesthetics in the argentinian capital in the 1950's (Neo Romantic poetry, Surrealistic poetry and Orphic poetry) where Alejandra was already a read and appreciated poet, and some recurrences of this poetry, like the development of the subject and the particular caracterization of time-space, traits that already point out to her most acclaimed work Árbol de Diana, published in 1962, and Los trabajos y las noches (1965, which received the Fondo Nacional de las Artes Award and Primer Premio de la Municipalidad de Buenos Aires Award) and latter Extracción de la piedra de locura (1968), El infierno musical e La condesa sangrienta, both in 1971, with forays into prose / Mestrado / Literatura Geral e Comparada / Mestre em Teoria e História Literária

A dissertação presente procura compreender o modo como se dá a construção das imagens da cidade de Buenos Aires em dois romances do escritor argentino Julio Cortázar. Partindo da hipótese de que tal imagem sofre modificações importantes com o autoexílio do autor em Paris, realizado no ano de 1951, ele busca realizar uma análise comparativa entre o romance El examen, escrito em 1950, quando ainda residia na Argentina, e Rayuela, publicado em 1963, ou seja, depois de mais de dez anos vivendo longe de seu país. A fim de empreender uma interpretação detalhada dos textos escolhidos, o trabalho se divide em dois grandes capítulos, um para cada romance em questão. O primeiro tem El examen como objeto e procura identificar como ele constrói sua representação da capital argentina ao mesmo tempo em que instaura uma alegoria do regime peronista, contemporâneo à sua escrita. O segundo elege Rayuela enquanto texto escrito no exílio e tem como objetivo central determinar a maneira nostálgica e memorialista mediante a qual ele representa a Buenos Aires deixada pelo autor. Finalmente, o trabalho coteja ambos os textos a fim de definir em quais momentos eles se aproximam e em quais se afastam ao erigirem, cada um a seu modo, suas particulares imagens da capital argentina. / This dissertation aims to comprehend how the representations of Buenos Aires are constructed in two novels by the Argentinian writer Julio Cortázar. Assuming that there are important changes in such representation with the author\'s self-exile in Paris in the year of 1951, it attempts to conduct a comparative analysis between the novel El examen, written in 1950, when he was still living in Argentina, and Rayuela, published in 1963, that is, more than ten years after his definite departure from his country. In order to accomplish a detailed interpretation of the chosen texts, the dissertation is divided into two main chapters, one for each novel. The first has El examen as its object and it seeks to identify how the novel creates its representation of Buenos Aires while establishing an allegory of the Peronist government, contemporary to its writing. The second chapter elects Rayuela as a text written in exile and intends to determine how its representation of a left-behind Buenos Aires is characterized by a nostalgic and memorialistic approach. Lastly, it compares both novels in order to define the similarities and differences between their specific images of the Argentinian capital city.

A dissertação presente procura compreender o modo como se dá a construção das imagens da cidade de Buenos Aires em dois romances do escritor argentino Julio Cortázar. Partindo da hipótese de que tal imagem sofre modificações importantes com o autoexílio do autor em Paris, realizado no ano de 1951, ele busca realizar uma análise comparativa entre o romance El examen, escrito em 1950, quando ainda residia na Argentina, e Rayuela, publicado em 1963, ou seja, depois de mais de dez anos vivendo longe de seu país. A fim de empreender uma interpretação detalhada dos textos escolhidos, o trabalho se divide em dois grandes capítulos, um para cada romance em questão. O primeiro tem El examen como objeto e procura identificar como ele constrói sua representação da capital argentina ao mesmo tempo em que instaura uma alegoria do regime peronista, contemporâneo à sua escrita. O segundo elege Rayuela enquanto texto escrito no exílio e tem como objetivo central determinar a maneira nostálgica e memorialista mediante a qual ele representa a Buenos Aires deixada pelo autor. Finalmente, o trabalho coteja ambos os textos a fim de definir em quais momentos eles se aproximam e em quais se afastam ao erigirem, cada um a seu modo, suas particulares imagens da capital argentina. / This dissertation aims to comprehend how the representations of Buenos Aires are constructed in two novels by the Argentinian writer Julio Cortázar. Assuming that there are important changes in such representation with the author\'s self-exile in Paris in the year of 1951, it attempts to conduct a comparative analysis between the novel El examen, written in 1950, when he was still living in Argentina, and Rayuela, published in 1963, that is, more than ten years after his definite departure from his country. In order to accomplish a detailed interpretation of the chosen texts, the dissertation is divided into two main chapters, one for each novel. The first has El examen as its object and it seeks to identify how the novel creates its representation of Buenos Aires while establishing an allegory of the Peronist government, contemporary to its writing. The second chapter elects Rayuela as a text written in exile and intends to determine how its representation of a left-behind Buenos Aires is characterized by a nostalgic and memorialistic approach. Lastly, it compares both novels in order to define the similarities and differences between their specific images of the Argentinian capital city.

Nous proposons, dans la lignée des études culturelles et des études de genre, de mettre en corrélation genres littéraires et genre (gender) à partir de l’analyse de l’œuvre narrative d’Angélica Gorodischer (1928), une auteure argentine contemporaine. Le positionnement de cette auteure féministe dans le champ littéraire repose sur la déconstruction des modèles normatifs pour interroger la logique même de catégorisation, tant au niveau des genres littéraires que des représentations sociales hétéronormatives, et donc genrées. En effet, le canon littéraire, en interaction avec le champ social, se structure à partir de rapports de domination, rendus invisibles et ahistoriques par un processus de naturalisation, dont la logique taxinomique renforce l’aspect hiérarchisant. Nous analysons les champs social et littéraire dans lesquels évolue cette auteure qui se caractérise par la rupture et assume une position périphérique par rapport à de multiples centres dont elle interroge, par son écriture, la légitimité. Ensuite, nous observons plus précisément son rapport à la norme et aux genres littéraires en étudiant les modulations génériques qu’elle opère vis-à-vis d’un cadre générique précis, puis les processus inter- ou transgénériques que les textes de l’auteure mettent en œuvre pour déconstruire, dans une logique postmoderne, taxinomies et hiérarchies. Les écarts ainsi générés par rapport au canon, qui participent à des processus anamorphotiques, mettent en tension les genres et perturbent le lecteur par rapport à ses horizons d’attente, tout en renouvelant ledit canon. / We intend, as it is traditionally done in cultural and gender studies, to connect literary genres and gender by analyzing Angelica Gorodischer’s narrative work (1928), an Argentinian contemporary female writer.This feminist female writer undoes normative models in order to question the very logic of categorization, in literary genres as well as in heteronormative social representations. Indeed, the social field and the literary canon are defined by the naturalization of a domination scheme. Indeed, the literary canon, linked with the social field, is built from domination schenes, which become invisible and out of history thanks to a naturalization process. The categorization logic of this process thus strengthens the feeling of a hierarchical organization. We analyse the social and literary fields in which this female writer evolves. She represents a rupture and questions the legitimacy of multiple centres while keeping a peripheral position. Then, we study more precisely the way she considers norm and literary genres by analyzing the generic modulations she uses in her writing, starting from a specific generic background. We then focus on the inter or transgeneric process the feminist female writer’s texts implement to undo, in a post-modern logic, categories and hierarchies. By doing so, she deviates from the canon, creating anamorphosis process which bring out the limits of genres and disturb the reader’s expectations, renewing this canon.

Célèbre pour ses romans iconoclastes, Roberto Arlt (1900-1942) l’est également pour les chroniques qu’il publie régulièrement dans la presse argentine. Souvent cyniques, parfois désabusés mais jamais dépourvus d’humour, les textes de notre corpus – entre fiction, autofiction et tableaux de mœurs – offrent une singulière réinvention de la tradition littéraire et de la « langue des Argentins ». Autodidacte et fils d’immigrés européens non-hispanophones, Arlt est encore souvent présenté comme un écrivain ne sachant pas écrire. Et, quoique son œuvre soit désormais considérée comme l’un des piliers de la littérature nationale, la suspicion qui s’est longtemps imposée à l’égard de sa qualité linguistique et narrative a sans doute contribué à différer sa traduction française. De fait, cette dernière n’a été initiée – par le célèbre traductologue Antoine Berman en collaboration avec son épouse, Isabelle – que près de quarante ans après la mort de l’écrivain et demeure, aujourd’hui encore, inachevée. L’analyse que nous proposons s’appuie sur un corpus constitué de quatre ouvrages – trois romans et un recueil de chroniques – ainsi que de leur traduction française et s’organise autour de la notion d’événement. Au-delà des idées reçues et de la légende maudite (en partie fomentée par l’écrivain lui-même), la première partie de ce travail cherche à comprendre comment et avec quoi fonctionne « l’événement-Arlt ». La seconde partie tente de déterminer si les traductions françaises des œuvres de Arlt appartenant à notre corpus parviennent à traduire cet « événement ». Il ne s’agit point de confronter la traduction à la facticité des textes originaux mais bien d’évaluer sa capacité à faire fonctionner « l’événement-Arlt » dans une autre langue-culture. Il s’agit enfin de proposer, si besoin est, des alternatives visant à préserver, dans la traduction française, le fonctionnement dudit événement. Enfin, la troisième partie de ce travail, après une rapide présentation des principales théories de la traduction, évoque la difficile application de ces dernières au cas concret des textes de notre corpus. Puis elle propose une réflexion théorique autour de la traduction de « l’événement Arlt » en particulier et de la traduction en général. / Famous for his iconoclastic novels, Roberto Arlt (1900-1942) is also well known for the essays he regularly published in the Argentinian press. The texts that constitute this thesis’s corpus combine fiction, self-fiction and the depiction of everyday life. Moreover, their tone is sceptical, sometimes pessimistic, and often humorous. Altogether, this corpus of Arlt’s writings offers a singular reinvention of the Argentinian literary tradition and “language”. Arlt is still described as a writer who does not master proper writing, an argument often related to the fact that he was a self-taught man and the son of European immigrants who did not have Spanish as mother tongue. Even if his work is considered as one of the cornerstones of Argentinian literature, the enduring suspicion over the linguistic and narrative quality of his writings has undoubtedly contributed to the delay of the translation of his work into French. In fact, it was no sooner than forty years after Arlt had passed away, that Antoine Berman and his wife Isabelle undertook this endeavour. Even today, the translation of his work remains unfinished. The analysis we propose is based on a corpus of four of Arlt’s original texts and their translation into French: three novels and a collection of essays. Our argument is organised around the notion of “event”. Beyond misjudgements on his work and the dark legend built around him (which was sometimes promoted by the author himself), the first part of this thesis seeks to understand how and with what the “Arlt event” functions. The second part explores whether the French translations included in our corpus succeed in the translation of this “event”. This analysis will try to avoid a direct confrontation between the translation and the linearity of the original texts, but will rather proceed by evaluating its ability to make function the “Arlt event” in another language and culture. We will propose an alternative which preserves the functioning of this event when translating Arlt’s work into French. The third part of this thesis presents some of the most important theories of translation and shows the problems that emerge when applied to the texts included in our corpus. To conclude, we propose a theoretical reflection on the translation of the “Arlt event” and on translation more broadly.

O presente trabalho é um estudo da poética do escritor, jornalista e militante argentino Rodolfo Jorge Walsh. Tradutor, editor e autor de relatos policiais, soube fazer da atividade literária um ato de reflexão sobre a história do seu país e da própria ação militante. Os procedimentos de escrita utilizados dentro da sua obra procuravam a eficiência persuasiva, mas também a eficiência na representação dos problemas que estavam colocados para o escritor na sua ação política. São objeto de estudo deste trabalho: a passagem do policial de enigma para o hard-boiled e o posterior abandono do subgênero; a opção pela forma breve do conto e não do romance; o abandono da escrita estritamente literária que seria retomada só nos últimos meses da sua vida -processos que coincidiram com o desenvolvimento de investigações sobre crimes de Estado e seu ingresso na militância- e a retomada da autoria, pouco antes de morrer, para a produção de uma série de cartas pessoais no contexto da ditadura que se iniciou em 1976 e da polêmica do autor com a direção da organização Montoneros, na qual militava. / The present work is a study of Rodolfo Jorge Walsh\'s poetry. He was an author, a journalist and an activist. Also a translator, editor an author of police short stories. He knew how to transform the literary activity into an act of reflexion about the history of his country and the activist action itself. The writing procedures used inside his works searched not only for a persuasive efficiency, but also the efficiency in representing the problems faced by the author in his political action. They are object of study: the passage from police enigma to hard-boiled and the following desertion of the sub gender; the option for the brief form of the short story and not the novel; desertion of the writing strictly literary that would be taken up again in the last months of his life - processes that coincided with the development of State crime investigations and his participation in an activist life - and getting back the authorship, shortly before his death, into a production of personal letters in a dictatorship context that began in 1976 and the controversy of the author in relation to the direction of the Montoneros organization, for which he was an activist.

O presente trabalho é um estudo da poética do escritor, jornalista e militante argentino Rodolfo Jorge Walsh. Tradutor, editor e autor de relatos policiais, soube fazer da atividade literária um ato de reflexão sobre a história do seu país e da própria ação militante. Os procedimentos de escrita utilizados dentro da sua obra procuravam a eficiência persuasiva, mas também a eficiência na representação dos problemas que estavam colocados para o escritor na sua ação política. São objeto de estudo deste trabalho: a passagem do policial de enigma para o hard-boiled e o posterior abandono do subgênero; a opção pela forma breve do conto e não do romance; o abandono da escrita estritamente literária que seria retomada só nos últimos meses da sua vida -processos que coincidiram com o desenvolvimento de investigações sobre crimes de Estado e seu ingresso na militância- e a retomada da autoria, pouco antes de morrer, para a produção de uma série de cartas pessoais no contexto da ditadura que se iniciou em 1976 e da polêmica do autor com a direção da organização Montoneros, na qual militava. / The present work is a study of Rodolfo Jorge Walsh\'s poetry. He was an author, a journalist and an activist. Also a translator, editor an author of police short stories. He knew how to transform the literary activity into an act of reflexion about the history of his country and the activist action itself. The writing procedures used inside his works searched not only for a persuasive efficiency, but also the efficiency in representing the problems faced by the author in his political action. They are object of study: the passage from police enigma to hard-boiled and the following desertion of the sub gender; the option for the brief form of the short story and not the novel; desertion of the writing strictly literary that would be taken up again in the last months of his life - processes that coincided with the development of State crime investigations and his participation in an activist life - and getting back the authorship, shortly before his death, into a production of personal letters in a dictatorship context that began in 1976 and the controversy of the author in relation to the direction of the Montoneros organization, for which he was an activist.

Orientador: Miriam Viviana Garate / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-07T10:12:18Z (GMT). No. of bitstreams: 1 Grotto_Livia_M.pdf: 1256403 bytes, checksum: 02b3185dc3ec05c7bc5578e720eb1b40 (MD5) Previous issue date: 2006 / Resumo: O presente estudo sobre a obra de Ricardo Piglia parte de uma dupla concepção da estrutura formal do conto, delineada sobretudo no ensaio ¿Teses sobre o conto¿ (O Laboratório do escritor), para estendê-la como fundamento de toda a sua produção ficcional. Sob esse aspecto, são objeto de análise os contos ¿O preço do amor¿ (1975) e ¿O fluir da vida¿ (1988) - no Brasil, publicados em Prisão perpétua - e os romances Respiração artificial (1980), A Cidade ausente (1992) e Dinheiro queimado (1997) / Abstract: El presente estudio sobre la obra de Ricardo Piglia parte de una doble concepción de la estructura formal del cuento, delineada sobretodo en el ensayo ¿Tesis sobre el cuento¿ (Formas breves), para extenderla como fundamento de toda su producción ficcional. Bajo ese aspecto, son objeto de análisis los cuentos ¿El precio del amor¿ de Nombre falso (1975), ¿El fluir de la vida¿ de Prisión perpetua (1988), y las novelas Respiración artificial (1980), La ciudad ausente (1992) y Plata quemada (1997) / Mestrado / Literatura Geral e Comparada / Mestre em Teoria e História Literária

This Master's thesis is mainly focused on the poetics and poetic style and language of Argentinian author Alejandra Pizarnik. The main objective here is to show that they are not only present in her poetry but also in her extensive diaristic work. The primary source of this thesis is then the newest edition of her book Diarios, Lumen: 2003 - Diaries. The present work also approximates the diary as a literary genre with special focus on the female writer's diaries, and its many examples and parallels - the primary example being the comparison between Alejandra Pizarnik's and Sylvia Plath's diaries and their poetics based on several similarities. Key words: Alejandra Pizarnik, Argentinian literature, literary diary, journal intime, Argentinian poetry, female diaries

Le projet littéraire d’Hernán Ronsino (Chivilcoy, Argentine, 1975) présente actuellement une charnière spatiale et temporelle qui, sans laisser de côté sa poétique sur la langue, s’apprête à retrouver un nouvel élan. Cet auteur a commencé à publier dans les années 2000, moment où des nouvelles maisons d’édition ont ouvert leurs portes aux jeunes écrivains, peu connus. Dans ce contexte de renouveau, les questionnements sur la langue littéraire se sont multipliés. Le travail de Ronsino propose depuis cette époque une réflexion sur la langue et sur la condition linguistique des êtres humains. Il intègre dans la diégèse cet état d’esprit expérimental vis-à-vis de la langue littéraire. Lorsque le champ littéraire questionnait sa langue, cet écrivain a bâti son projet à partir de la poétisation de ces réflexions. Son rapport à la langue est pour nous l’aspect le plus important de sa poétique.L’étude que nous proposons dans cette thèse cherche à déterminer les piliers de son projet, ainsi qu’à formuler, à travers ses mots lorsqu’il s’exprime dans des entretiens à propos de son écriture, des catégories qui permettent d’analyser son travail créatif. Cette perspective méthodologique constitue, à notre sens, un point de départ conséquent dans notre démarche de croisement du texte fictionnel et de la parole de l’écrivain. Pour développer ces propos, nous présentons une thèse à deux parties.Dans la première partie, divisée en trois chapitres, nous menons une étude intégrale de la stylistique de ses quatre premiers livres. Nous analysons la manière dont Ronsino travaille la temporalité d’un point de vue transtextuel, s’appuyant sur la figure de la répétition. Les liens établis avec d’autres textes deviennent une caisse de résonance construisant une image du régime d’historicité. À cet égard, la répétition sert à élaborer une organisation temporelle à l’intérieur de son projet, ainsi qu’à insérer dans son propre discours la formulation d’autres écrivains. Ronsino cherche surtout à faire de la phrase la face visible d’une « poétique de l’accent ». En effet, nous trouvons au sein de son projet le désir d’écrire l’oralité de son village natal.Dans la deuxième partie nous abordons deux notions dérivées de la poétique de l’accent: l’espace et le corps. La matérialité du livre est au centre d’un intérêt pour une écriture historiquement dense. Cette matérialité participe à la poétisation de l’espace réel et met en avant une approche de la littérature en tant qu’art graphique. Dans ces circonstances, le corps joue un rôle déterminant à l’heure de penser l’écriture dans la dimension gestuelle et corporelle. Il s’agit, après tout, d’une pratique qui engage pleinement le corps. Ainsi, la littérature peut entraîner une pensée du corps qui permet une approche biopoétique des textes. / Hernán Ronsino's literary project (Chivilcoy, Argentina, 1975) presents a spatial and temporal hinge that, without leaving aside its poetics on the language, is about to regain a new momentum. This author began publishing in the 2000s, when new publishing houses opened their doors to young lesser-known writers. In this context of renewal, questions about the literary language have multiplied. Since then, Ronsino's work has been a reflection on language and the linguistic condition of human beings. In his diegesis, he integrates this experimental state of mind vis-à-vis the literary language. When the literary field questioned his language, this writer built his project from the poetization of these reflections. His relation to language is for us the most important aspect of his poetics.The study that we propose in this thesis seeks to determine the pillars of his project, as well as to formulate, through his words when he expresses himself in interviews about his writing, categories that make it possible to analyze his creative work. This methodological perspective is, in our opinion, a starting point in our approach to cross the fictional text and the writer's words. To develop these words, we present a two-part thesis.In the first part, divided into three chapters, we conduct an integral study of the stylistics of his first four books. We analyze the way in which Ronsino works temporality from a transtextual point of view, based on the figure of repetition. Links established with other texts become a box of resonance building an image of the regime of historicity. In this respect, repetition serves to elaborate a temporal organization within one's project, as well as to insert in one's speech the formulation of other writers. Ronsino seeks, above all, to make the sentence the visible face of a "poetics of the accent". Indeed, in his project we find the desire to write the orality of his native village.In the second part, we address two notions derived from the poetics of the accent: space and the body. The materiality of the book is at the center of an interest in historically dense writing. This materiality contributes to the poetization of real space and puts forward an approach to literature as a graphic art. In these circumstances, the body plays a decisive role when it comes to thinking about writing in the gestural and corporal dimension. It is, after all, a practice that fully engages the body. Thus, literature can lead to a body thinking that allows a biopoetique approach to texts.