The main objective of this thesis is to define narrative scheme and elements of the fantastic in the novel Blank Gaze (Nenhum Olhar, 2000) by a Portuguese writer, José Luís Peixoto. His works have been considered part of the mythic narrative current, which, according to a common definition, often draws attention to deformed values of today's society. For José Luís Peixoto, the fantastic, from a modern perspective, or neofantastic, an alternative means for expressing a need for belief in today's society. This fact becomes the main and timeless legacy of the work, and the reader does not be aware of details of religious rules. After the introduction the thesis focuses on outlining the literary and historical context of contemporary Portuguese prose. The second chapter also pays attention to the biography and bibliography of José Saramago, both politically and ideologically involved author. Similarly to Peixoto, in his works he touches the human essence and presents unconventional reflections about values of present society. The third chapter tries to introduce Peixoto as an autor of Blank Gaze. It also mentions him as the laureate of the 2011 José Saramago Prize - a reward which is awarded to Portuguese writers younger than thirty five. The fourth chapter discusses the beginning and development of...

Made available in DSpace on 2016-04-28T19:59:19Z (GMT). No. of bitstreams: 1 Juliana Santana Campos.pdf: 802506 bytes, checksum: 5027af9f7fa4e984a8ce9986a052ef28 (MD5) Previous issue date: 2009-10-28 / Secretaria da Educação do Estado de São Paulo / The main objective of this study is to present a reading of the narrative space in two contemporary Portuguese novels, one of them is Levantado do Chão by José Saramago (2005) and the other, Nenhum Olhar by José Luís Peixoto (2005). In both novels, the analyzed space is Alentejo, presented as a place that the limit between life and death is faint. The writers also use such space to reflect about specific questions of this area. In both plots, the store of the characters is develop by generations in which the pain cycle of pain and/or work need to be broken. Each action unleashed by a character, in a specific place, bringing on significant changes for the space of the plot as a whole. To develop the analyze of the space the theoretical criticism proposals belonging to Gaston Bachelard and Antonio Dimas were used, as well as those related to utopia and dystopia from Carlos Eduardo Ornelas Berriel, Lyman Tower Sargent, Tomas More, Ildney Cavalcanti, J. M. Sousa Nunes, and nihilism from Rossano Pecoraro. The conceptions related to utopia and dystopia, however, were used basically to analyze Levantado do Chão and reveled that the novel varies between the two genders. At the beginning, Saramago s book was based on the dystopic gender for, latter, change to utopic. The nihilism conception, in turn, was used to study the novel Nenhum Olhar, because this is based in the absolutely nothing, not presenting any possibility of future for the characters. Finally, both were compared and common points were reveled, such as the absence of God, the change of nature that follows the change of the plot and the constructions of a space named Alentejo made as criticism and imagination / O presente estudo tem como objetivo apresentar uma leitura do espaço narrativo em dois romances portugueses contemporâneos, um deles é Levantado do Chão de José Saramago (2005) e o outro, Nenhum Olhar de José Luís Peixoto (2005). Em ambos os romances, o espaço analisado é o Alentejo, retratado como um local em que o limite entre vida e morte é tênue. Os escritores também se valem de tal espaço para refletirem sobre questões especificas desta região. Nas duas tramas, a saga das personagens é acompanhada por gerações em que o ciclo de dor e/ou trabalho necessita ser quebrado. Cada ação desencadeada por uma personagem, em um local específico, acarreta mudanças significativas para o espaço da trama como um todo. Para que a análise do espaço pudesse ser desenvolvida, foram utilizadas as propostas teórico-críticas relativas ao espaço pertencentes a Gaston Bachelard e Antonio Dimas, bem como as relativas à utopia e à distopia de Carlos Eduardo Ornelas Berriel, Lyman Tower Sargent, Tomas More, Ildney Cavalcanti, J. M. Sousa Nunes, e ao niilismo de Rossano Pecoraro. As concepções de utopia e distopia, entretanto, foram aplicadas basicamente à análise de Levantado do Chão e revelaram que o romance oscila entre os dois gêneros. A princípio, a obra de Saramago se alicerça no gênero distópico para posteriormente pender para o utópico. A concepção de niilismo, por sua vez, foi empregada para o estudo da obra Nenhum Olhar, pois esta se alicerça no nada absoluto, não apresentando possibilidade nenhuma de futuro para as personagens. Por fim, ambas foram comparadas e mostraram pontos em comum como a ausência de Deus, a mudança da natureza que acompanha a mudança da trama, e a construção de um espaço chamado Alentejo forjado enquanto crítica e imaginário