Orientador: Antonio Roberto Esteves / Banca: Cleide Antonia Rapucci / Banca: Ana Maria Domingues de Oliveira / Banca: Paulo sérgio Nolasco dos Santos / Banca: Alai Garcia Diniz. / Resumo: O presente trabalho faz uma leitura de dez contos de Josefina Plá(1909-1999), escritora pouco conhecida no contexto latino-americano, especialmente no que diz respeito à prosa. As narrativas focalizam a mulher das classes pobres no universo feminino paraguaio e, nesse sentido, o estudo em questão abrange as relações entre a literatura e a vida social paraguaias, levando em consideração várias tendências teóricas literárias, culturais, especialmente no que concerne ao estudo das representações das relações entre o gênero feminino e os vários segmentos socioculturais do entorno local. Como referencial teórico nos valeremos dos estudos de Oscar Tacca(1983), Jonathan Culler(1999), das abordagens feministas de Michelle Perrot(2005), Elaine Showalter(1994), Ruth Silviano Brandão(1995, 2006) e Susana Moreira de Lima(2007), dos estudos culturais com Angel Rama(1982) e Cornejo Polar (2000) e da crítica sobre Josefina Plá e a literatura paraguaia com Ángeles Mateo del Pino(1994), Francisco Pérez-Maricevich(2009), Hugo Rodriguez-Alcalá (2000) e Miguel Ángel Fernández(2004). Com base nessas abordagens e diante de um contexto formado por confrontos culturais e por uma identidade configurada pelo hibridismo e por valores históricos, políticos, estéticos, religiosos e sociais em constante transformação, demonstramos que os contos de Plá apresentam como denominador comum as mulheres pobres vivendo papéis diversos e importantes na formação do processo identitário cultural paraguaio, principalmente as mulheres guaranis e mestiças. Observamos ainda a representação de uma mulher diferente daquela abordada com exclusividade pela historiografia local como heroína ou musa, uma vez que a mulher paraguaia, assim como as mulheres representadas pela escola romântica, sempre... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The present work is a reading of ten story by Josefina Plá(1909-1999), writer little-known in the Latin American context, especially regarding to the prose. The narratives focus on women from the poorer classes in the female Paraguayan universe and, accordingly, the study in question concerns to the relationship between literature and social life in Paraguay, taking into account various theoretical literary, cultural trends, especially in relation to the study of representations of the relations between female and various socio-cultural segments of the local environment. How we use of theoretical the studies by Oscar Tacca (1983), Jonathan Culler(1999), feminist approaches Michelle Perrot(2005), Elaine Showalter(19994), Ruth Brandão(1995, 2006) and Susana Moreira Lima(2007), cultural studies with Angel Rama(1984) and Cornejo Polar (2000) and criticism about Josefina Plá and Paraguayan literature with Mateo Ángeles del Pino(1994), Francisco Pérez-Maricevich(2009), Hugo Rodríguez-Alcalá(2000) and Miguel Ángel Fernández(2004). Based on these approaches, and in the presense of a context formed by cultural confrontations and identities shaped by hybridity and by historical, political, aesthetic, religious and social values in constant transformation, we have shown that Plá's stories have as a common denominator poor women playing diverse and important roles in the shaping of cultural paraguayan identity process, mainly the guarani women and mixed-race. We also observed the representation of a different woman from that that was dealt with exclusively by the local historiography as heroin or muse, as the Paraguayan woman, and the women represented by the Romantic school, were always masked and idealized by the image... (Complete abstract click electronic access below) / Doutor

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Food and Pleasure in Modern American Literature is a study of the dynamics of pleasure in literary scenes of food, eating, and hungering in American poetry and novels from the early 20th century to the present. From infamous poetic instances of plums and memorialized moveable feasts in the early twentieth century to present-day preoccupations with overdetermined foods and bodies, food scenes in literature help develop character, play out cultural or social dynamics, or dramatize appetite and desire. In many instances, pleasure (or its absence) is what gives such scenes weight and dimension. I apply tools and concepts from both structuralism and phenomenology to explore the tensions between seemingly opposing ideas introduced in food-focused texts, which have been selected from a broad range of genres and eras. Chapters 2 through 6 focus specifically on poetry, which offers the opportunity to explore specific structuralist and phenomenological concepts within the space of a few lines, for closer attention. Chapters 7 through 10 examine fiction and non-fiction prose at lengths which permit many more layers of conflict and desire in regard to food and pleasure. The culminating chapters examine contemporary food writing and recent novels that shed light on the food issues of the present day. / English

Este trabalho dedica-se à leitura comparada de três obras contemporâneas que versam sobre o tema do exílio: as argentinas La casa y el viento (1984), de Héctor Tizón, e En estado de memoria (1990), de Tununa Mercado; e a brasileira Rabo de foguete. Os anos de exílio (1998), de Ferreira Gullar. Nosso objetivo é delimitar a configuração de uma voz narrativa que conta uma experiência de exílio que, para tanto, move-se entre estratégias de autorepresentação vinculadas à autobiografia e, ainda, à ficção. Para levar a cabo nosso estudo, partimos de um breve panorama histórico das últimas ditaduras da Argentina e do Brasil que nos ajuda na aproximação ao tema do exílio explorado nas três obras, isto é, o exílio como uma experiência ligada aos processos políticos desses países que, na sua dimensão subjetiva, significa perdas, fissuras, identidades em crise. Logo, procuramos demonstrar que, nas três obras, a negatividade dessa experiência compromete a possibilidade de narrar os eventos de modo linear e estável, afetando, por um lado, a construção dos textos como relatos autobiográficos nos moldes canônicos, e, por outro, a construção fictícia dos acontecimentos, uma vez que a experiência está diretamente relacionada com a vida de Héctor Tizón, Tununa Mercado e Ferreira Gullar. Interessa-nos o percurso que realizam os narradores para contar sua história, marcado por uma zona de instabilidade da enunciação que se propaga por todas as categorias dos relatos (tempo, espaço e personagens) e questiona a definição de gênero. / This work dedicates the comparative reading of three contemporary works which turn on the subject of the exile: the Argentine La casa y el viento (1984), of Héctor Tizón, and En estado de memoria (1990), of Tununa Mercado; and the Brazilian Rabo de foguete. Os anos de exílio (1998), of Ferreira Gullar. Our objective is to delimit the configuration of a narrative voice that counts an exile experience which, for in such a way, moves itself between entailed strategies of auto-representation related to the autobiography and, still, to the fiction. To take handle our study, we make initially of a brief historical panorama of the last dictatorships of Argentina and Brazil that help us approaching to the subject of the exile explored in the three workmanships, that is, the exile as an experience to the politicians processes of these countries that, in its subjective dimension, mean losses, fictions, identities in crisis. Soon, we try to demonstrate that, in the three workmanships, the negativities of this experience compromises the possibility to tell the events in linear and stable way, affecting, on the other hand, the construction of the texts as autobiographical stories in the canonic molds, and, for another one, the fictitious construction of the events, a time that the experience is directly related to the life of Héctor Tizón, Tununa Mercado and Ferreira Gullar. It interests us the passage that carries through the narrators to tell its history, marked for a zone of instability of the articulation that propagates for all the categories of the stories (time, space and personages) and questions the sort definition.

Este trabalho dedica-se à leitura comparada de três obras contemporâneas que versam sobre o tema do exílio: as argentinas La casa y el viento (1984), de Héctor Tizón, e En estado de memoria (1990), de Tununa Mercado; e a brasileira Rabo de foguete. Os anos de exílio (1998), de Ferreira Gullar. Nosso objetivo é delimitar a configuração de uma voz narrativa que conta uma experiência de exílio que, para tanto, move-se entre estratégias de autorepresentação vinculadas à autobiografia e, ainda, à ficção. Para levar a cabo nosso estudo, partimos de um breve panorama histórico das últimas ditaduras da Argentina e do Brasil que nos ajuda na aproximação ao tema do exílio explorado nas três obras, isto é, o exílio como uma experiência ligada aos processos políticos desses países que, na sua dimensão subjetiva, significa perdas, fissuras, identidades em crise. Logo, procuramos demonstrar que, nas três obras, a negatividade dessa experiência compromete a possibilidade de narrar os eventos de modo linear e estável, afetando, por um lado, a construção dos textos como relatos autobiográficos nos moldes canônicos, e, por outro, a construção fictícia dos acontecimentos, uma vez que a experiência está diretamente relacionada com a vida de Héctor Tizón, Tununa Mercado e Ferreira Gullar. Interessa-nos o percurso que realizam os narradores para contar sua história, marcado por uma zona de instabilidade da enunciação que se propaga por todas as categorias dos relatos (tempo, espaço e personagens) e questiona a definição de gênero. / This work dedicates the comparative reading of three contemporary works which turn on the subject of the exile: the Argentine La casa y el viento (1984), of Héctor Tizón, and En estado de memoria (1990), of Tununa Mercado; and the Brazilian Rabo de foguete. Os anos de exílio (1998), of Ferreira Gullar. Our objective is to delimit the configuration of a narrative voice that counts an exile experience which, for in such a way, moves itself between entailed strategies of auto-representation related to the autobiography and, still, to the fiction. To take handle our study, we make initially of a brief historical panorama of the last dictatorships of Argentina and Brazil that help us approaching to the subject of the exile explored in the three workmanships, that is, the exile as an experience to the politicians processes of these countries that, in its subjective dimension, mean losses, fictions, identities in crisis. Soon, we try to demonstrate that, in the three workmanships, the negativities of this experience compromises the possibility to tell the events in linear and stable way, affecting, on the other hand, the construction of the texts as autobiographical stories in the canonic molds, and, for another one, the fictitious construction of the events, a time that the experience is directly related to the life of Héctor Tizón, Tununa Mercado and Ferreira Gullar. It interests us the passage that carries through the narrators to tell its history, marked for a zone of instability of the articulation that propagates for all the categories of the stories (time, space and personages) and questions the sort definition.

This thesis explores the development of the Bildungsroman in Italian narrative between 1980 and 2011 and focuses, as a case study, on seven novels by three contemporary writers: Pier Vittorio Tondelli, Sandro Veronesi, and Giuseppe Culicchia. By contrasting the idea of an end of the literary genre with the First World War, as theorised by Franco Moretti in The Way of the World (an influential study on the European Bildungsroman published in 1987), this research will aim to demonstrate that contemporary Italian literature still engages with the genre. However, this analysis will show that a traditional coming of age process is no longer possible in contemporary society and will propose a different perspective from which to observe the transition from youth to adulthood – and its representation – in Italy. Acknowledging that the postponement of adulthood has become a common trope to describe this process, this thesis will argue that, instead of a coming of age process, the male young protagonist of the novels selected faces a ‘delaying of age process’, a conscious choice to postpone his entry into an unwelcoming adult world. The first two chapters of this work will establish the methodological background on which the textual analysis conducted in the following two chapters will be based. Chapter One will develop along two complementary lines: on the one hand, by basing my discussion on Moretti’s study, I will trace the origins of the Bildungsroman and identify the elements of continuity and diversity between the traditional examples of the genre in the late eighteenth and nineteenth centuries and its evolution in the twentieth century. On the other hand, I will study the changes undergone by youth over the centuries, especially focusing on the shaping of male identity in the first decades of the twentieth century. Chapter Two will provide the socio-historical framework of this research, drawing a picture of contemporary Italy (from the aftermath of the Second World War), which will discuss the central issues against which the ‘delaying of age process’ will be analysed: generation, family, gender roles, work environment and consumption. In Chapters Three and Four, I will read the narrative texts selected as representing that ‘delaying of age’ trend which I will identify as a specifically Italian way of coming of age in contemporary society. By focusing on the relationship between the male protagonists and the ‘other’, the textual analysis will show new ways of conceiving the process of becoming a man in contemporary Italy.

Ce mémoire porte sur l’identification et l’analyse de la pratique intertextuelle dans cinq œuvres contemporaines de l’Oulipo: Les Gens de Légende (Olivier Salon), La Décomposition (Anne F Garréta), Vanghel (Jacques Jouet) Trois Pontes (Jacques Jouet) et Eléctrico W (Hervé Le Tellier). En partant d’un réexamen des différentes théories de l’intertextualité, les lectures microtextuelles présentées ici cherchent à mettre en évidence la complexité et l’ambigüité du concept de filiation littéraire dans le processus d’écriture oulipien - que celui-ci soit interne (références aux travaux des membres du mouvement) ou externe (la littérature classique). Sont également examinées en détail les notions de contrainte et de plagiat par anticipation, mais aussi la volonté propre à l’Oulipo de mettre le lecteur dans une position particulière dans l’histoire littéraire. / The purpose of this study is to identify and analyze intertextual practices in five contemporary works by Oulipo writers: Les Gens de Légende (Olivier Salon), La Décomposition (Anne F Garréta), Vanghel (Jacques Jouet) Trois Pontes (Jacques Jouet) and Eléctrico W (Hervé Le Tellier). Following a review of the various theories of intertextuality available, the microtextual readings presented here seek to shed a new light on the complexity and ambiguity of the concept of literary filiation in the Oulipian writing process - either internal (references to works by members of the movement proper) or external (classical literature). Are also discussed in some detail the concepts of “contrainte” (constraint) and “plagiat par anticipation” (plagiarism by anticipation), but also the specific Oulipian aspiration to place the reader into a position that appears to be unique in literary history.

There has been a considerable amount of research done on questions of authorship over the past century or so, and the interest in the subject is still going strong today. This essay takes as its point of departure two seminal poststructuralist essays on authorship—Roland Barthes’s “The Death of the Author,” and Michel Foucault’s “What is an Author?”—as these texts have had a significant impact on the discourse. It examines how scholars like Seán Burke and Jane Gallop have explained this anti-authorial tendency and extended the connection between authors and death, and how their findings relate to a performative conception of authorship. The study will take as its central critical approach the study of authorship as cultural performance as formulated by Ingo Berensmeyer, Gert Buelens, and Marysa Demoor, and Sonja Longolius. It will utilize this approach to analyze four contemporary American novels—James Frey’s A Million Little Pieces (2003), Paul Auster’s Travels in the Scriptorium (2006), Ron Currie Jr.’s Flimsy Little Plastic Miracles (2013), and J.J. Abrams and Doug Dorst’s S. (2013)—and the different ways in which these novels problematize notions of authorial self-invention. The focus of the analysis will be on the author-reader relationship, moments of recognition, and developments in writing technology. These issues have been selected for their connection to current conceptions of the creation of author personae, which can in turn be viewed as reflecting performance as it takes place in daily life and therefore give indications as to the cultural climate in which the novels were produced. Ultimately, the aim is to have illustrated how these novels present the reader with textually traced author personae that are highly aware of their own performances. In addition, it is suggested that authors are dependent on their readers to recognize these personae for them to become felicitously legitimized.

O objetivo deste é trabalho é refletir sobre os modos de leitura da prosa contemporânea, a partir do romance Budapeste, de Chico Buarque. Investigaram-se os fatores que permeiam as discussões sobre a publicação da obra, em 2003, ressaltando a crítica jornalística que, por ocasião do lançamento do livro, apontou, por inúmeras vezes, o valor literário do texto de Chico Buarque, assim como do artista, e as leituras que se deram na universidade, espaço de criação e de difusão de diversos estudos, dissertações de mestrado e teses de doutorado, produzidos, na última década, sobre o romance. Desta forma, propõe-se uma análise da repercussão do romance Budapeste no cenário literário contemporâneo, a partir das críticas jornalísticas e dos trabalhos acadêmicos produções que se voltaram à divulgação ou à investigação do romance. A presente dissertação não se baseia na análise da história da crítica literária, antes, tece uma apresentação da produção crítica no Brasil, destacando a sua importância, como forma de contextualizar as discussões apresentadas / The objective of this work is to reflect on ways of reading of contemporary prose, exemplified, in this dissertation, by the novel Budapest, by Chico Buarque, from the perspective of criticism and academia. The factors involved in the discussions about the publication of the work in 2003 were investigated, emphasizing journalistic criticism that, at the launch of the book, inumerously pointed out the literary value of the text of Chico Buarque, as well as the artist and publications that proliferated at universities, which are spaces of creation and dissemination of various studies, dissertations and doctoral theses produced in the last decade about the novel. Thus, an analysis of the impact of the novel Budapest in the contemporary literary scene is proposed, using journalistic criticism and scholarly work productions that have aimed at the disclosure or the investigation of the novel. This work is not based on the analysis of the history of literary criticism, but rather weaves a presentation of the critical production in Brazil, highlighting its importance as a way to contextualize the discussions presented

A cidade como conhecemos, desde seus primórdios na modernidade, caracterizada pela ocupação maciça de seu espaço por milhares de pessoas, nos propiciou novos tipos de interação social e o desenvolvimento de novas subjetividades e sensibilidades que permeiam o imaginário coletivo. É a partir do sentimento ambíguo causado pelo desenvolvimento desenfreado, das grandes descobertas nas áreas da ciência e da tecnologia, explosão demográfica e problemas sociais causados pelo processo de modernização que se dá o tom do imaginário da nova ambiência urbana, em particular da metrópole. A literatura brasileira, predominantemente urbana desde seus primórdios, é marcada por representar as características das cidades, sejam elas por meio da descrição dos espaços urbanos (ou em transição para o urbano), quanto por meio das relações sociais que emergem deste meio. Atualmente, o espaço urbano funciona na narrativa urbana contemporânea, para além de cenário, como um catalisador de eventos ao longo da narrativa. Diante deste contexto geral, o presente trabalho busca, por meio da coparticipação dos estudos urbanísticos e literários, verificar como se apresenta na literatura o imaginário urbano, ou seja, por meio da análise de obras literárias brasileiras contemporâneas, procura-se levantar a influência do discurso urbano no imaginário literário. Especificamente, o trabalho busca a imagem da cidade de São Paulo apresentada e representada nas obras O matador, de Patrícia Melo, O Invasor, de Marçal Aquino, o conto Angu de Sangue, de Marcelino Freire e O sol se põe em São Paulo, de Bernardo Carvalho. Desta maneira, a pesquisa procura encontrar nos textos selecionados traços que apontem características urbanas contemporâneas que se relacionem diretamente com a subjetividade dos indivíduos que praticam a cidade, para além de um mero pano de fundo para a narrativa. / The city as we know it, since its beginning in modern times, was characterized by its large-scale occupation by thousands of people, providing us with new kinds of social interactions and the development of knew subjectivities and sensibilities that permeate the collective social imaginary. It is by the ambiguous feelings caused by the uncontrolled development of the great discoveries in science and technology, population explosion and social problems caused by the process of modernization that give the shade of the new urban ambiance, particularly of the metropolis. The Brazilian literature, mainly urban since its beginning, is known by the representation of the city, by the description of the urban space (or in transition to the urban modernity) as well as the social interactions that emerge from this environment. It is, however, in contemporaneity that the city goes from scenario to a sort of catalyst for events in throughout the narrative. Before such context, the present work aims, with co-participation of the urban studies and literary studies, to verify how the urban imaginary is presented in literature. In other words, through the analysis of Brazilian contemporary books it will be checked the influence of urban discourse in literary imaginary. The work will, specifically, look for the image of São Paulo presented and represented in the following literary work: The Hitman, by Patrícia Melo; The Intruder, by Marçal Aquino, the short story Blood Cornmeal, by Marcelino Freire and The sun goes down in São Paulo, by Bernardo Carvalho. This way, the research tries to find textual evidences that point out urban characteristics in the city of São Paulo, and relate directly with the subjectivity of the individuals who experience the city more than merely a background.