Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2009. / Submitted by Larissa Ferreira dos Angelos (ferreirangelos@gmail.com) on 2010-03-24T19:27:44Z No. of bitstreams: 1 2009_JeanClaudeLucienMiroir.pdf: 3815404 bytes, checksum: 8d27f38c3ad23640602fefb8c8655b99 (MD5) / Approved for entry into archive by Daniel Ribeiro(daniel@bce.unb.br) on 2010-04-06T14:46:31Z (GMT) No. of bitstreams: 1 2009_JeanClaudeLucienMiroir.pdf: 3815404 bytes, checksum: 8d27f38c3ad23640602fefb8c8655b99 (MD5) / Made available in DSpace on 2010-04-06T14:46:31Z (GMT). No. of bitstreams: 1 2009_JeanClaudeLucienMiroir.pdf: 3815404 bytes, checksum: 8d27f38c3ad23640602fefb8c8655b99 (MD5) Previous issue date: 2009-03 / A partir do início dos anos 80, Hélène Cixous apresentou vários seminários sobre a obra de Clarice Lispector. Alguns deles foram traduzidos para o inglês e publicados por Verena Conley, em Reading with Clarice Lispector (1990). A partir dessa coletânea, analisamos de que modo a obra de Clarice Lispector foi lida pela escritora francesa. Em um primeiro momento, delineamos uma Ars poetica da leitura cixousiana, baseada em três pilares: (i) a teoria da leitura estendida; (ii) a teoria da transtextualidade; e (iii) o dialogismo especular. Esse delineamento possibilitou a definição do conceito da leitura crítica em vis-àvis e a da noção de fragmento, ambos intrínsecos à Ars poetica cixousiana. Em seguida, analisamos, na prática, a leitura em vis-à-vis de Hélène Cixous de textos fontes clariceanos, dialogando com cada um dos três tipos de fragmentos circunscritos (intertextual interno, intertextual externo e intermedial). Por fim, a leitura leva à escritura, ou seja, a uma leituraescritura, portanto, estudamos os processos de ficcionalização de Clarice Lispector na ficção teórico-poética Une histoire idéale [Uma história ideal], parte integrante da obra de autoria de Hélène Cixous: Jours de lan [Dias do ano-bom]. Apresentamos, finalmente, uma tradução do francês para o português de "Uma história ideal". _______________________________________________________________________________________ ABSTRACT / From the beginning of the 1980´s, Helene Cixous presented several seminars on Clarice Lispector’s work . Some of them were translated to English and published by Verena Conley, in Reading with Clarice Lispector (1990). From this anthology, we analyze how Clarice Lispector’s work was read by the French writer. At first, we delineated an Ars poética of cixousian´s reading, based on three pillars: (i) the theory of “extended” reading; (ii) the theory of transtextuality and (iii) the specular dialogism. This delineation allowed the definition of the concept of critical reading in vis-à-vis as well as of fragment, both intrinsic to cixousian Ars poética . Then we analysed, in practice, Helene Cixous’ reading in vis-à-vis of Clarice´s source texts (claricean), relating to each of the three types of fragments circumscribed (internal intertextual, external intertextual and intermedial). Finally, reading leads to writing, that is, a reading-writing operation, therefore, we studied the processes of fictionalisation made by Clarice Lispector in the theorical-poetical fiction “Une histoire ideale” [An ideal story], part of Helene Cixous’ work : Jours de l´an [New Year's Days]. We present, finally, a translation from French to Portuguese of “An ideal story”.

I trace Jacques Derrida's notions of self and truth in Circumfession. This text paints a gruesome self-portrait depicting the inescapable violence of subjectivity. The self is born in blood. Derrida courageously confesses to being a casualty of this lovelessness. Similarly, exploring the depth of patriarchy's inscriptions requires facing the painful truth of my bleeding self. Investigating these wounds seems to reopen them, making me complicit in my own oppression. Drawing from the rich narrative of Ingeborg Bachmann's novel Malina, I allow feminists such as Helene Cixous, Luce Irigaray, Drucilla Cornell and bell hooks to engage Derrida's notions of the wounded and wounding self. Beginning in this bloody place, they attempt to write a way-out of the disempowering systems of subjectivity to which the female self seems confined. They write in order that love will bleed some light on the struggle for empowered female subjectivity, re-writing the self as a space of love rather than violence.