Made available in DSpace on 2016-04-28T19:58:55Z (GMT). No. of bitstreams: 1 Aline Scavazini de Matos Galvao.pdf: 799182 bytes, checksum: b0ae9b94c388ef327ca21328dc62de0f (MD5) Previous issue date: 2014-11-26 / The aim of this research is to analyze how the form of the novel works the wandering theme in the novels of José Saramago and Milan Kundera, comparing them to the axis of the characters to answer the following questions: how the exile lived by characters (un)consacrates the image of wanderers? How this can give a new signification to the idea of identity, understood as a product of relation to the country they came from? Some hypothesis raised: the separation of homeland gives to the outcasts a critical and sensitive consciousness about the relationship between people and their land. The novel, as form of the transcendent homelessness, captures the wanderer with a new image and updates his critical view. The essayistic form, in both novels, contributes to the thematic discussion, being a compositional element of the works. As theoretical axis, we stand out the ideas of Lukács, Adorno and Walter Benjamin, as well critical texts of José Saramago and Milan Kundera as fundament to the creation of poetics of the novel. Regarding the wandering theme, we choose the studies of Michel Maffesoli and Édouard Glissant. The comparative method gave us a more in-depth debate about the wandering theme and how the novel forms echoes the contemporary dilemma regarding notions of identity and globalization. / O objetivo desta dissertação é analisar como a forma romanesca opera a temática da errância nas obras de José Saramago e Milan Kundera, comparando-as a partir do eixo das personagens, a fim de responder às seguintes questões: de que modo o desterro, vivenciado pelas personagens, (des)sacraliza a imagem do errante? Como isso pode ressignificar a concepção de identidade, entendida como produto da relação com a terra onde nasceram? Algumas hipóteses foram levantadas: o afastamento da terra natal leva os desterrados a uma consciência crítica e sensível sobre a relação entre o indivíduo e a terra; o romance, como forma do desterro transcendental, apreende o errante em nova imagem e atualiza sua identidade crítica; a questão ensaística, em ambos os romances, contribui para a discussão da temática, ao se apresentar como elemento de composição nas obras. Como eixo teórico sobre o gênero romanesco, destacamos as propostas de Lukács, Adorno e Walter Benjamin, além de utilizarmos textos críticos de José Saramago e Milan Kundera como base para a elaboração de uma poética do romance. Sobre a temática da errância, destacamos os estudos de Michel Maffesoli e Édouard Glissant. A escolha do método comparativo resultou em um aprofundamento da reflexão sobre a temática da errância e sobre a maneira como a forma romanesca reflete os dilemas da contemporaneidade em relação aos conceitos de identidade nacional e globalização

Submitted by admin tede (tede@pucgoias.edu.br) on 2017-10-10T14:30:25Z No. of bitstreams: 1 EVANDRO ROSA DE ARAUJO.pdf: 576411 bytes, checksum: edd9e1f33489babdc95a6264aab5377b (MD5) / Made available in DSpace on 2017-10-10T14:30:25Z (GMT). No. of bitstreams: 1 EVANDRO ROSA DE ARAUJO.pdf: 576411 bytes, checksum: edd9e1f33489babdc95a6264aab5377b (MD5) Previous issue date: 2011-08-01 / This thesis, a study of the evolution of the novel, reflects on the changes that literary narrative underwent over time, until it reached more evolved forms of writing. In traditional narrative the theme, space, time and characters were externally developed and the plot was linear. The models were pre-established, inspired by Walter Scott's narratives and by various historical novels which had been developing in Europe. But the different changes in the behavior of the post-Industrial Revolutionary urban man influenced the manner of writing novels. So, in order to show a little of the process of change in the way narratives were written, this study uses José de Alencar’s O Guarani and James F. Cooper’s The Last of the Mohicans, both historical narratives which provide a little of the early demonstrations of the genre, in an artistic setting with idealized characters and linearity of events, where the narrator is omniscient. James Joyce’s Ulysses was also used to show some aspects of the evolution of novelistic narrative, in which the artist developed a story which completely abandons the moulds pre-defined by the early idealized, romantic phase. Written in the interwar period, Ulysses focuses on the strains and uncertainties of modern life. In the pages of his book, Joyce presents the daily life of the citizens of contemporary Dublin, breaks with linearity and uses innovative techniques to show that time is far more complex than one could imagine. Theorists of the novel, such as Rosenthal (1974), Rosenfeld (1969), Humphrey (1976), D'Onofrio (1982), served as a basis for this study. / Esta dissertação desenvolve um estudo sobre a evolução do romance, refletindo sobre as mudanças que se processaram na narrativa literária ao longo do tempo, até chegar a formas mais evoluídas de escrita. Nas narrativas tradicionais, a temática, o espaço, as personagens e o tempo eram desenvolvidos de forma exterior, e o enredo primava pela linearidade. Os modelos eram pré-estabelecidos, inspirados nas narrativas de Walter Scott e nos muitos romances de tendência histórica que vinham sendo desenvolvidos na Europa. Mas as diversas mudanças ocorridas no comportamento do homem citadino pós-Revolução Industrial influenciaram também a maneira de produzir romances. Desse modo, para mostrar um pouco dessa mudança na maneira de se construir narrativas, processada ao longo do tempo, foram utilizadas nesta dissertação as obras O Guarani, de José de Alencar, e O Último dos Moicanos, de James F. Cooper, que são narrativas históricas que trazem um pouco das primeiras manifestações desse gênero, em um cenário plástico, com personagens idealizadas e uma preocupação com a linearidade dos acontecimentos, e cujo narrador é onisciente. Foi usado também na pesquisa o livro Ulisses, de James Joyce, para mostrar alguns aspectos da evolução da narrativa romanesca, em que o artista conseguiu desenvolver uma história que foge completamente aos moldes pré-definidos pela primeira fase romântico-idealista. Produzida no período entreguerras, o livro Ulisses focaliza, em muitos momentos da narrativa, as mazelas e incertezas da vida moderna. Joyce representa nas páginas do seu livro o cotidiano do cidadão da Dublin contemporânea, rompe com a linearidade e utiliza técnicas inovadoras para mostrar que o tempo é muito mais complexo do que se imagina. Serviram de lastro para este estudo as reflexões dos teóricos do romance Rosenthal (1974), Rosenfeld (1969), Humphrey (1976), D’Onofrio (1982) entre outros.

O objetivo deste trabalho é investigar o tema dos duplos em O homem duplicado, de José Saramago. Publicada no Brasil em 2002, a obra discute a questão a identidade no mundo globalizado, a partir da história do encontro entre Tertuliano Máximo Afonso, professor de história, e seu sósia, António Claro, um ator coadjuvante. Por meio da análise de trechos do romance, busca-se verificar como o autor retoma o tema do duplo para abordar a cisão da identidade do homem contemporâneo. Para realizar este estudo, a presente dissertação se apóia nos teóricos que trataram o tema do duplo, como Carl F. Keppler e Nicole Bravo, e da identidade, caso de Stuart Hall. Outro referencial é o trabalho de Marshall Berman sobre a dialética da modernização. Sigmund Freud também traz importantes contribuições do ponto de vista da psique humana. Com tais abordagens, o propósito é compreender melhor os mecanismos ficcionais que sustentam a crítica realizada por Saramago, buscando entender o jogo entre realidade exterior e interior no ambiente ficcional e social. Por este motivo, o trabalho está dividido em cinco partes. Na introdução, é apresentada a proposta da dissertação e a fundamentação teórica. O primeiro capítulo volta-se à análise do duplo homogêneo no romance. Em seguida, vem a investigação sobre o duplo heterogêneo. Os outros dois tratam da cisão da identidade contemporânea. Um enfoca a construção do conflito principal da obra, enquanto o segundo prioriza o estudo das ambiguidades ao longo do enredo, para evidenciar a estrutura da obra como característica da pós-modernidade. / This dissertation researches the duplicity in The Double, by José Saramago. This book was published in Brazil in 2002 and focuses on the globalized world identity, based on the story of the meeting between Tertuliano Máximo Afonso, a History teacher, and his look-alike, António Claro, a supporting actor. Analyzing parts of the novel, the way this duplicity theme is observed to approach the division of the contemporary man\'s identity. This dissertation is based on theoreticians who focus on duplicity, such as Carl F. Keppler and Nicole Bravo, and identity, Stuart Hall. The work of Marshall Berman on \"modernization dialectics is another reference. Sigmund Freud also provides important contributions from the point of view of the human psyche. Using such approach, it was possible to better understand fiction mechanisms supporting criticism by Saramago, trying to understand the game between the inner and outer reality in fiction and society. That is why this paper is divided in five parts. The first part presents the purpose of this dissertation and theoretical foundation. The second part focuses on the analysis of the homogeneous duplicity in this novel. Then, an investigation about the heterogeneous duplicity. The other two parts focuses on contemporary identity division. One focuses on the construction of the main conflict in this novel, and the other focuses on the study of ambiguities along the story, in order to make evident the structure of the novel as post modernity feature.

No description available.

Le concept de littérature nationale s’est développé de façon concomitante avec le concept d’État-nation en Europe à partir de la fin du XVIIIe siècle. L’État-nation est rendu possible en partie par la littérature qui agit, par un discours culturel, comme un vecteur déterminant permettant à une telle communauté de s’imaginer. L’institutionnalisation de la littérature sert alors d’outil aux pouvoirs et aux élites en place dans le double objectif d’asseoir leur dominance et de créer un sentiment d’identité nationale, non sans une certaine violence : une partie de la diversité culturelle évoluant à l’intérieur de la juridiction de l’État-nation est sacrifiée au profit de l’unité. Les premiers nationalismes modernes se développent en Europe dans un climat de rivalité : c’est en opposant sa propre culture à celle des États environnants que l’on cherche à définir son identité. L’objectif de notre thèse est d’étudier le rôle de l’écrivain contemporain dans la formation d’une littérature permettant à une communauté, cette fois mondiale, de s’imaginer. Nous analysons l’œuvre romanesque de J.-M.G. Le Clézio afin de dégager les stratégies mises en place qui permettent aux différents peuples du monde d’éprouver le sentiment d’appartenir à un groupe global dépassant les frontières de la nation tout en conservant la spécificité que chacun est en droit de revendiquer. Ainsi, le roman leclézien s’inscrit à plusieurs égards dans la tradition goethéenne de la Weltliteratur, qui se fait le pendant des littératures nationales : la littérature mondiale devient à son tour instrument devant promouvoir une identité et une unité, à la différence que ces dernières se vivent désormais dans la diversité assumée et dans un rapport lucide de relation plutôt que dans la rivalité. / The concept of national literature evolved in 18th century’s Europe at the same time as the concept of nation-states. As a matter of fact, nation-states were in part made possible by literature, which acts, because of the cultural discourse it conveys, as a key vector that enables communities to imagine themselves. The institutionalization of literature served as a powerful tool for the leaders and elites of each community. They used it to establish their dominance and create a sense of national identity. This institutionalization was often conducted with a certain violence, that is, by sacrificing—for the benefit of unity—part of the cultural diversity that was flourishing inside the nation-state’s borders. Moreover, modern nationalism was born in Europe in a climate of rivalry: it is by opposing one’s own culture to that of one’s neighbours that one sought to define one’s own identity. The objective of our thesis is to study the role of the contemporary writer in the creation of a literature whose objective is, this time, to allow the world’s global community to imagine itself. We analyze the novels of J.-M.G. Le Clézio to identify the strategies he uses to allow the world’s different nations to feel they belong to a global group while preserving the specificity they are entitled to claim. Le Clézio’s novels fit in several respects in the Goethian notion of Weltliteratur, that of a literature that’s a counterpart of national literatures. That world literature then becomes an instrument to promote a new identity and unity in a world where diversity is now valued and lucid relationships have replaced rivalry.

Dans ce mémoire, je compte étudier la lecture représentée dans l’œuvre de Michel Houellebecq. Mon travail sera divisé en deux parties. D’abord, je m’attacherai aux figures de lecteurs dans La possibilité d’une île et dans les autres romans de Houellebecq. Je verrai alors comment la lecture est incarnée dans les romans et quelles sont les fonctions des personnages-lecteurs. Par exemple, j’examinerai comment les personnages s’expriment sur la littérature dans La possibilité d’une île. Je compte pour ce faire utiliser les concepts de « liseur », de « lu » et de « lectant » proposés par Michel Picard dans La lecture comme jeu, mais dans le sens que leur donne Marcel Goulet dans ses travaux. La deuxième partie se centrera sur un « lecteur » particulièrement important : Houellebecq lui-même. Adoptant la définition de l’intertextualité donnée par Gérard Genette dans Palimpsestes, je me concentrerai uniquement sur les traces explicites d’autres textes dans La possibilité d’une île. Je me concentrerai d’abord sur les auteurs fréquemment cités, ceux dont Houellebecq se réclame ou dont il s’écarte. Je me questionnerai ensuite sur le rapport souvent négatif de Houellebecq avec la littérature du passé, pour essayer d’y voir une représentation de cette lecture critique à laquelle l’auteur tente de nous initier. Le travail sur l’intertextualité servira à identifier ce que Pierre Bayard nomme la « bibliothèque intérieure » de l’auteur et à questionner son rapport à celle-ci. / In this thesis, I will study the readings represented in the works of Michel Houellebecq. My work will be separated in two parts. Firstly, I will study the figures of the readers in La possibilité d’une île and in the other novels by Houellebecq. I will then see how the readings are represented in the novels and what are the functions of these character-readers. For example, I will observe how the characters talk about literature in La possibilité d’une île. I will use the concepts of “liseur”, “lu”, and “lectant” established by Michel Picard in La lecture comme jeu, but in the sense of Marcel Goulet’s works. The second part will be centered on another reader who is important: Houellebecq himself. To do so, I will use the theory of the intertextuality of Gérard Genette’s Palimpsestes, which means that I will focus on the explicit traces of other texts in La possibilité d’une île. I will first concentrate my study on the most quoted authors, those that Houellebecq admires or dislikes. Then, I will question myself about the fact that Houellebecq has most of the time a negative relationship with past authors and books – I will try to prove that my author wants the reader to adopt the same kind of criticism towards literature than him. This part will serve to identity what Pierre Bayard calls the author’s “bibliothèque intérieure” (inner library) and to understand his relationship towards it.

O objetivo da presente dissertação é entender como ocorre a ficcionalização da memória da guerra colonial portuguesa nos romances Os Cus de Judas e A Costa dos Murmúrios e as estratégias usadas pelos autores para expressar essa memória em termos literários. Essas narrativas ao constatarem o colapso da antiga utopia colonialista do discurso nacional português, propõem uma revisão dos antigos valores nacionais e da retórica do regime salazarista, que afetou de forma profunda a vida dos autores. Em ambas as narrativas, a experiência da guerra é reconstruída através do testemunho e da reavaliação das reminiscências do passado das personagens, o que confere às obras um perfil confessional. Ao desmontar o tradicional relato histórico, relativizando verdades universalmente aceitas, a ficção visa preencher as lacunas do discurso histórico oficial, entendido como uma escritura dos vencedores. O confronto entre a memória individual resgatada pelas personagens e a memória legitimada da nação tem uma função redentora sobre o passado na medida em que interrompe a lógica dominante no momento presente. O estudo das referidas obras individualmente é concluído com uma análise sob o viés comparativo que visa estabelecer semelhanças e possíveis discrepâncias na forma de representação das memórias da guerra colonial / The aim of the present dissertation is to understand how fictionalization of the Portuguese colonial war memory occurs in the novels Os Cus de Judas e A costa dos Murmúrios and the strategies used by the authors to express this memory in literary terms.These narratives, atesting the collapse of the old colonialist utopia spread by the portuguese nations narrative, propose a re-evaluation of outdated national values as well as the rhetoric of Salazars regime, which affected profoundly these writers lives. In both narratives, the war experience is reconstructed through the characters testimonials and re-evaluation of their past reminiscences, what gives them a confessional profile. Dismounting the traditional historical narrative by the relativization of widely accepted truths, fiction intends to fill the gaps of the official historical record, seen as a discourse comiited with the dominant classes. The confrontation between the characters individual memory and the legitimized nation's memory, has a libertarian dimension about the past, as it interrupts the dominant logic of the present. The study of the refered novels individualy is concluded with a comparative analisys which stablish similarities and possible discrepancies between their representation of the colonial war memories

Submitted by Maike Costa (maiksebas@gmail.com) on 2016-08-12T12:54:06Z No. of bitstreams: 1 arquivo total.pdf: 2184501 bytes, checksum: 0d33b2b753ec45269f08b2f66afba1da (MD5) / Made available in DSpace on 2016-08-12T12:54:06Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 2184501 bytes, checksum: 0d33b2b753ec45269f08b2f66afba1da (MD5) Previous issue date: 2015-03-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Cette thèse se propose de mettre em routle une investigation critique du roman Avalovara(1973), d'Osman Lins, à partir de quelques rapports établis entre les manifestations de courant de conscience de ses personnages et la dialectique de la négativité esthétique, formulée sous les conceptions philosophiques de Theodor Adorno. Au cours de cette investigation, nous aborderons d’abord la manière dont se présente la disposition formelle de la technique du courant de conscience et ses achèvements critiques au long du XXe siècle. Nous fournirons aussi, dans la première partie de la recherche, un panorama de compréhension de la pensée esthétique d'Adorno, en mettant en relief ses discussions sur la Dialectique Négative (1966), le narrateur dans le roman contemporain et ses lectures des procédés artistiques de Samuel Beckett. Notre but est de retrouver une signification littéraire pour la déconstruction des structures romanesques manifestées à l'intérieur d'Avalovara, selon les conceptions de non identité et critique du sujet moderne, développées par Adorno. Dans la deuxième partie de la recherche, nous analyserons le roman d'Osman Lins, afin de comprendre comment son organisation structurelle, de caractère fragmentaire, produit un mouvement de tension thématique où certains types de violence impliquant de la souffrance sont remplacés par une transgression érotique médiatrice d'une attitude d'autonomie et d'authenticité des protagonistes. Notre intention est de comprendre que l'emploi de la technique du courant de conscience, comme moyen de nous tenir au courant de ce qui se passe dans la pensée des personnages, nous permet de voir, d'une façon plus large, que, en insistant dialectiquement, en son intérieur, à exposer la négativité des concepts sur le monde dans lequel il s'expérimente, le sujet s'éloigne d'une objectivité positive et ontologique en faveur d'une hétérogénéité négative de la conscience de l'être dans le monde. / Lins, based on some relationships established among the manifestations of the stream of consciousness of their characters and the dialectics of the aesthetic negativity, elaborated through the philosophical concepts of Theodor Adorno. Throughout the thesis, we will discuss initially how the formal disposition of the stream of consciousness' technique and its critical development are given alongside the 20th century. In the first part of the research, we will also provide a framework for the understanding of the aesthetic thinking, focusing their discussions about the Negative Dialectics (1966), the narrator in the contemporary novel and his readings about Samuel Beckett's artistic procedures. The purpose is to find a literary meaning for the deconstruction of the novelistic structures that were manifested inside Avalovara through the concepts of non-identity and criticism of the modern individual developed by Adorno. In the second part of the research, we will analyse the novel by Osman Lins seeking to comprehend how its structural constitution with fragmentary aspect produces a movement of thematic tension in which certain types of violence that implicate into suffering are replaced by an erotic transgression that intermediates an atitude of autonomy and authenticy of the characters. Our intention is to understand that the use of the technique of the stream of conciousness, as a manner of being acquainted about what is going on in the characters’ mind, give us condition to perceive with a wider perspective that in the interior of the individual exists a dialectic insistence in exposing the negativity of the concepts about the world in which one experiences, evading from a positive and ontological objectivity in favor of a negative hetereogeneity of the conscience of being in the world. / Lins, a partir de algumas relações estabelecidas entre as manifestações do fluxo de consciência dos seus personagens e a dialética da negatividade estética, formulada nas concepções filosóficas de Theodor Adorno. Em seu decorrer, discutiremos inicialmente como se dá a disposição formal da técnica de fluxo de consciência e seus desdobramentos críticos ao longo do século XX. Também forneceremos, na primeira parte da pesquisa, um quadro de compreensão do pensamento estético de Adorno, focalizando suas discussões sobre a Dialética Negativa (1966), o narrador no romance contemporâneo e suas leituras sobre os procedimentos artísticos de Samuel Beckett. A finalidade é encontrar, nas concepções de não-identidade e crítica do sujeito moderno, desenvolvidas por Adorno, um significado literário para a desconstrução das estruturas romanesca que se manifestam no interior de Avalovara. Na segunda parte da pesquisa, analisaremos o romance de Osman Lins buscando entender como a sua organização estrutural, de caráter fragmentário, produz um movimento de tensão temática em que determinados tipos de violência que implicam em sofrimento são substituídos por uma transgressão erótica mediadora de uma atitude de autonomia e autenticidade dos protagonistas. Nossa intenção é entender que a utilização da técnica de fluxo de consciência, como maneira de nos inteirarmos do que se passa na mente dos personagens, nos dá condição de perceber de maneira mais ampla que no interior do sujeito existe uma insistência dialética em expor a negatividade dos conceitos sobre o mundo no qual se experimenta, fugindo de uma objetividade positiva e ontológica em favor de uma heterogeneidade negativa da consciência do ser no mundo.

Le roman contemporain apparait comme le lieu d’un double questionnement : le premier est lié à sa forme, tandis que le second renvoie à une longue interrogation sur un monde marqué par de grands bouleversements d’ordre anthropologique, politique, culturel ou sociologique. Chez Glissant et Le Clézio, ce questionnement prend l’allure d’une problématisation du monde et imprègne, d’un bout à l’autre, leur production romanesque. Ainsi, la présente thèse analyse les mécanismes et les enjeux de l’art romanesque à l’épreuve du mouvant. Elle évoque l’idée d’une déconstruction de la forme et la structure romanesques pour arriver à une nouvelle pensée du roman qui permet, en même temps, de penser la complexité du monde. Cette complexité se donne à lire dans le roman à travers l’idée de contrepoint qui permet le mélange de voix narratives, des personnages, des formes, des genres, ou encore des mondes. Parler d’une poétique du mouvant revient, dès lors, à penser la multidimensionnalité de l’être ainsi que les liens qui se tissent entre des individus présentés comme des producteurs et des produits des cultures. La pensée du mouvant prend ainsi une orientation politique du monde. Elle exalte, non pas la dénaturation de le l’individu, la perte de son identité ou encore sa dilution, mais sa propension à penser l’autre dans sa différence, comme un élément d’un tout complexe, avec finalement l’idée de « différence dans l’unité » et d’ « unité dans la différence » qui permet d’aller au-delà de la simple juxtaposition des cultures. Le mouvant devient, dès lors, l’autre nom du métissage, de la complexité et de l’interculturalité. / The usual contemporary novel appears as the place of a double questioning: the first is linked to its form, and the second drives to a long interrogation on a world marked by great anthropological, political, cultural and social upheavals. For Glissant and Le Clézio this interrogation takes the form of an everlasting questioning on the concept of the world and this can be seen along all theirs novels. Thereby, the present thesis investigates the mechanisms and the stakes of the art of the novel compared to the concept of "mouvant". This work treats about the deconstruction of the usual form and the structure of the novel driving to a new approach of the novel allowing, at the same time, to glimpse the complexity of the world. This complexity can be seen in the novel through the mechanisms of the counterpoint which allows the mixing of narrative voices, forms, characters, genres or even worlds. To speak about a poetics of " mouvant" it is necessary to consider the multidimensional aspect of the concept of the living being, as well as the links between individuals presented both as producers of cultures and as themselves a product of cultures. Thus, the concept of "mouvant" takes a political orientation of the world. This concept exalts, neither the denaturation of the individual nor the loss or the dilution of his identity, but the propensity to see the other one in his difference, as a part of a complex whole, and ultimately the idea of “Difference in unity” and “Unity in difference”, which allows us to go beyond the simple juxtaposition of cultures. Therefore, the concept of "mouvant" becomes the other name of the mixing, the complexity of the world and the interculturalism.

O objetivo da presente dissertação é entender como ocorre a ficcionalização da memória da guerra colonial portuguesa nos romances Os Cus de Judas e A Costa dos Murmúrios e as estratégias usadas pelos autores para expressar essa memória em termos literários. Essas narrativas ao constatarem o colapso da antiga utopia colonialista do discurso nacional português, propõem uma revisão dos antigos valores nacionais e da retórica do regime salazarista, que afetou de forma profunda a vida dos autores. Em ambas as narrativas, a experiência da guerra é reconstruída através do testemunho e da reavaliação das reminiscências do passado das personagens, o que confere às obras um perfil confessional. Ao desmontar o tradicional relato histórico, relativizando verdades universalmente aceitas, a ficção visa preencher as lacunas do discurso histórico oficial, entendido como uma escritura dos vencedores. O confronto entre a memória individual resgatada pelas personagens e a memória legitimada da nação tem uma função redentora sobre o passado na medida em que interrompe a lógica dominante no momento presente. O estudo das referidas obras individualmente é concluído com uma análise sob o viés comparativo que visa estabelecer semelhanças e possíveis discrepâncias na forma de representação das memórias da guerra colonial / The aim of the present dissertation is to understand how fictionalization of the Portuguese colonial war memory occurs in the novels Os Cus de Judas e A costa dos Murmúrios and the strategies used by the authors to express this memory in literary terms.These narratives, atesting the collapse of the old colonialist utopia spread by the portuguese nations narrative, propose a re-evaluation of outdated national values as well as the rhetoric of Salazars regime, which affected profoundly these writers lives. In both narratives, the war experience is reconstructed through the characters testimonials and re-evaluation of their past reminiscences, what gives them a confessional profile. Dismounting the traditional historical narrative by the relativization of widely accepted truths, fiction intends to fill the gaps of the official historical record, seen as a discourse comiited with the dominant classes. The confrontation between the characters individual memory and the legitimized nation's memory, has a libertarian dimension about the past, as it interrupts the dominant logic of the present. The study of the refered novels individualy is concluded with a comparative analisys which stablish similarities and possible discrepancies between their representation of the colonial war memories