Made available in DSpace on 2014-06-12T18:33:32Z (GMT). No. of bitstreams: 2 arquivo7511_1.pdf: 1473680 bytes, checksum: 1fe48ea4f7660cb104d4171ebe79af8d (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2007 / Estar diante da escrita de Julio Cortázar é sobretudo arriscar-se a se perder nos labirintos armados por ele para prender o leitor. Esta leitura de sua obra produzida nas décadas de comprometimento com as causas sociopolítico-ideológicas da América Latina vem ressaltar o surgimento do homem novo como ser utópico, fragmentado, a princípio, pela escrita, em seguida pela constatação de fatos trágicos e, por fim, perdido por entre os labirintos existenciais, lugar de onde o autor reconhece o homem na sua plenitude de busca como elemento fundamental para modificar o panorama de uma realidade pré-sentida à distância. O que podemos vislumbrar desta produção comprometida é que, nela, paradoxalmente o ser humano está fadado, seja ele autor, narrador, personagem ou leitor, ao jogo da amarelinha: sai atirando a pedra sempre no lugar certo, mas nunca chega ao céu. Entretanto, podemos assegurar que esse homem novo, produto da Revolução Cubana e das ditaduras, cumpriu bem o seu papel como personagem de sua própria literatura. Desta forma, circulando como autor-narrador-personagem, conseguiu empreender uma osmose, uma articulação convincente entre o fantástico e a realidade, entre o poético e o político

The purpose of this study is to analyze the techniques through which Julio CortSzar presents and explores the literary concepts of temporal, spatial and identity displacement. The author's radical departure from the more traditionally structured view of these notions is certainly one of the most perplexing and controversial aspects of his literary style.

Despite the wide range of publications about Julio Cortázar, there is no study that specifically addresses the question: what does Cortázar mean by 'el hombre nuevo'? Based on a careful reading of two of his novels, Rayuela / Hopscotch and Libro de Manuel / A Manual for Manuel, my thesis defines 'el hombre nuevo' as Cortázar's attempt to establish a dialogue with the reader in order to invent together a new understanding of the human being. 'El hombre nuevo' involves an extended ontological search which is continued outside of the text, and the relationship author-reader goes beyond a dyadic model into the construction of a new community of new men and new women.

Resumo: Esta dissertação objetiva investigar o desenvolvimento conceitual da arte da performance na obra do escritor argentino Julio Cortázar. Para isso, realizamos um recorte de sua obra selecionando romance, conto, poemas e inclusive dois tangos. Para proceder às análises, valemo-nos das reflexões de autores que abordam a performance e escritura. Em um primeiro momento, apresentamos um breve mapeamento histórico e de características da arte performática. Alinhavado a isso estudamos os conceitos de escritura e jogo. Finalizamos com as análises que levam em consideração os graus de performance propostos por Paul Zumthor (2005). Portanto, propomos o performático como chave para realizar as leituras das obras de Cortázar, que junto com a sua escritura atingirá o leitor em distintos planos, no do pensamento e do corporal, já que um texto para ser considerado performático exige a presença do corpo em ação, para recuperar uma forma textual com a utilização da voz ou com os dois em parceria.

SOMMAIRE Cette recherche est basée sur l’étude de la pièce Adieu, Robinson, écrite par Julio Cortazar pour le théâtre radiophonique en 1977. Publiée en 1984, elle a été rééditée en 1995 –après le décès de son auteur– et diffusée, vers la fin des années 70, sur tous les continents. L’analyse de l’œuvre a été réalisée en tenant compte de deux orientations différentes mais complémentaires: l’une plus formelle ou technique et l’autre idéologique. Il y a, d’abord, l’étude du théâtre radiophonique comme discours qui utilise un langage spécifique –le langage radiophonique– et suppose un “théâtre écrit pour la radio”, et ce, à partir des œuvres de Rudolf Arnheim, Armand Balsebre et Etienne Fuzellier. Puis, il y a une mise en contexte de la pièce en faisant référence à la situation particulièrement mouvementée de l’Amérique latine, pendant les années 70, en mettant en rapport le sujet de la “décolonisation” avec celui de la libération. Avant d’aborder le sujet du théâtre radiophonique –ce qui inclut ses origines en Argentine, les premières pièces et les caractéristiques du format– et en prenant comme référence l’auteur Jésus Martin-Barbero, nous revoyons brièvement l’histoire du mélodrame, ce spectacle de forte valeur émotionnelle présent en Amérique latine, notamment, dans le théâtre radiophonique et le feuilleton télévisé. Suivant une revue des caractéristiques concernant le style d’écriture de Cortazar, nous analysons la pièce théâtrale d’un point de vue qui tient compte, principalement, des catégories d’espace et de temps, particulièrement importantes dans l’étude d’une œuvre radiophonique. Finalement, cette étude prétend démontrer que le but de Julio Cortazar, en écrivant Adieu, Robinson, n’était pas de proposer un passe-temps radiophonique, mais plutôt d’atteindre un public plus vaste via un puissant moyen de communication en lui offrant une fable anticolonialiste. Mots-clés : Cortazar, Robinson Crusoé, décolonisation, sémiologie du théâtre radiophonique. / This research work is based on the study of the play Adiós, Robinson (Goodbye, Robinson), a radio script written by Julio Cortázar in 1977, published in 1984, reedited in 1995 -after the death of the author-, and broadcast in every continent in the late 1970s. The analysis of this piece was carried out taking into consideration two different but complementary perspectives: one more formal or technical and the other ideological. Thus, on the one hand, radio drama is examined as a type of discourse that uses a specific language -radiophonic language-, and constitutes “a theatrical presentation written for radio", based on the works of Rudolf Arnheim, Armand Balsebre and Etienne Fuzellier. On the other hand, the text contextualized by referring to the troubled situation in Latin America in the 1970s, and relating the topic of "decolonization" to that of liberation. Before addressing the subject of radio drama -including its origins in Argentina, the first pieces for radio, and the characteristics of its format- and taking the author Jesús Martín-Barbero as a source of reference, a brief history of melodrama is presented. This genre, characterized by strong emotional content, is very much present in Latin America, particularly in radio drama and soap operas. After describing Cortázar’s writing style, the script is analyzed from a viewpoint that focuses mainly on the categories of space and time, which are especially of interest when studying a piece of radio drama. Finally, this study pretends to demonstrate that Julio Cortázar did not write Adiós, Robinson as a mere piece of radio entertainment. On the contrary, the author, aware of the power exercised by this type of media, uses it to reach a wider audience and present it with an anti-colonial fable.

[pt] Trata-se de uma análise das narrativas curtas do escritor argentino Julio Cortázar (1914-1984), como alternativas à criação literária diante de determinados impasses colocados pelo mundo moderno. Pressupondo a dificuldade de delimitação da experiência em inícios e fins - ou seja, da representação dos propósitos finais das ações humanas -, num primeiro momento os contos de Cortázar surgem como totalidades cerradas que proporcionam o alcance de uma meta no território do jogo. O que se dá em um gesto contundente e preciso: um nocaute, uma estocada, um assassinato. Tais configurações, porém, são incapazes de satisfazer plenamente o desejo de unidade que alimentam; e assim são enfocados, numa segunda etapa, relatos que reconhecem a impossibilidade de cessação da vontade, manifestando uma cisão interna do discurso, mas ainda assim seguem em busca da criação de formas como espaço do diálogo e tentativa de um contato. Inscritos sobre as superfícies móveis do mundo moderno, estes contos trabalhariam cuidadosamente a matéria informe da linguagem para que, em gestos sutis, às vezes hesitantes - um olhar, um toque, um traço - manifeste-se a procura de um encontro e uma fugaz iminência de sentido. / [en] The objective of this work is to analyse the short stories by the Argentine writer Julio Cortázar (1914-1984), as alternatives to literary creation in front of certains impasses placed by the modern world. Pressuposing the dificulty in delimitating experience in begginings and ends - that is, the representation of human action`s final purposes -, in a first moment Cortázar`s narratives appear as enclosured totalitys which provide the reach of a goal, in the territory of play, with a contusing, precise gesture: a knock-out, a thrust, a murder. These configurations, however, are incapable to satisfact the desire of unity they nourish; and so, in a second moment, the dissertation focuses stories which recognize the impossibility of ceasing desire, and then keep the the search of form as a dialogical space and attempt of contact. Inscribed on modernity`s unstable surfaces, these short stories work carefully the matter of language, so as to, in subtile, sometimes hesitating gestures - a look, a touch, a trace - they manifest the will of a gathering and an imminence of sense.

SOMMAIRE Cette recherche est basée sur l’étude de la pièce Adieu, Robinson, écrite par Julio Cortazar pour le théâtre radiophonique en 1977. Publiée en 1984, elle a été rééditée en 1995 –après le décès de son auteur– et diffusée, vers la fin des années 70, sur tous les continents. L’analyse de l’œuvre a été réalisée en tenant compte de deux orientations différentes mais complémentaires: l’une plus formelle ou technique et l’autre idéologique. Il y a, d’abord, l’étude du théâtre radiophonique comme discours qui utilise un langage spécifique –le langage radiophonique– et suppose un “théâtre écrit pour la radio”, et ce, à partir des œuvres de Rudolf Arnheim, Armand Balsebre et Etienne Fuzellier. Puis, il y a une mise en contexte de la pièce en faisant référence à la situation particulièrement mouvementée de l’Amérique latine, pendant les années 70, en mettant en rapport le sujet de la “décolonisation” avec celui de la libération. Avant d’aborder le sujet du théâtre radiophonique –ce qui inclut ses origines en Argentine, les premières pièces et les caractéristiques du format– et en prenant comme référence l’auteur Jésus Martin-Barbero, nous revoyons brièvement l’histoire du mélodrame, ce spectacle de forte valeur émotionnelle présent en Amérique latine, notamment, dans le théâtre radiophonique et le feuilleton télévisé. Suivant une revue des caractéristiques concernant le style d’écriture de Cortazar, nous analysons la pièce théâtrale d’un point de vue qui tient compte, principalement, des catégories d’espace et de temps, particulièrement importantes dans l’étude d’une œuvre radiophonique. Finalement, cette étude prétend démontrer que le but de Julio Cortazar, en écrivant Adieu, Robinson, n’était pas de proposer un passe-temps radiophonique, mais plutôt d’atteindre un public plus vaste via un puissant moyen de communication en lui offrant une fable anticolonialiste. Mots-clés : Cortazar, Robinson Crusoé, décolonisation, sémiologie du théâtre radiophonique. / ABSTRACT This research work is based on the study of the play Adiós, Robinson (Goodbye, Robinson), a radio script written by Julio Cortázar in 1977, published in 1984, reedited in 1995 -after the death of the author-, and broadcast in every continent in the late 1970s. The analysis of this piece was carried out taking into consideration two different but complementary perspectives: one more formal or technical and the other ideological. Thus, on the one hand, radio drama is examined as a type of discourse that uses a specific language -radiophonic language-, and constitutes “a theatrical presentation written for radio", based on the works of Rudolf Arnheim, Armand Balsebre and Etienne Fuzellier. On the other hand, the text contextualized by referring to the troubled situation in Latin America in the 1970s, and relating the topic of "decolonization" to that of liberation. Before addressing the subject of radio drama -including its origins in Argentina, the first pieces for radio, and the characteristics of its format- and taking the author Jesús Martín-Barbero as a source of reference, a brief history of melodrama is presented. This genre, characterized by strong emotional content, is very much present in Latin America, particularly in radio drama and soap operas. After describing Cortázar’s writing style, the script is analyzed from a viewpoint that focuses mainly on the categories of space and time, which are especially of interest when studying a piece of radio drama. Finally, this study pretends to demonstrate that Julio Cortázar did not write Adiós, Robinson as a mere piece of radio entertainment. On the contrary, the author, aware of the power exercised by this type of media, uses it to reach a wider audience and present it with an anti-colonial fable. Keywords: Cortazar, Robinson Crusoe, decolonization, semiology of radio drama.

En 1957, Julio Cortázar rédigea une lettre à Roger Caillois encore inédite à ce jour. Il y fait l’analyse critique de L’incertitude qui vient des rêves, essai de Caillois publié en 1956. L’objet de cette thèse est de contextualiser la rédaction de cette lettre ainsi que la théorie onirique qui y est exposée par Cortázar. Adoptant une méthodologie génétique et intertextuelle, on propose une première analyse de ce document, qui peut être défini comme une « lettre-essai », afin de lui accorder la place qui doit être la sienne au sein de l’œuvre cortazarienne. On démontre ensuite que cette lettre peut être lue comme la synthèse d’une théorie et d’une pratique des rêves clés dans les premiers textes cortazariens, notamment à travers le personnage alter ego et récurrent de Gabriel Medrano, et qu’elle est l’avant-texte d’un rêve de ce personnage dans Los premios. La mise au jour de points de convergence et de passages parallèles entre la « lettre-essai » et ces premiers textes révèle que le complexe onirique cortazarien s’associe à un complexe de l’Autre, à travers les images de la main tendue et du double nocturne. Enfin, le désaccord qui oppose Cortázar à Caillois sur la question des rêves est replacé au sein d’une relation personnelle et professionnelle complexe et dans le contexte d’une opposition intellectuelle plus large autour des concepts de raison, de fantastique et de langage. On se demandera ainsi dans quelle mesure l’œuvre de Cortázar a pu se construire à l’épreuve du dissentiment qui l’opposa à Caillois sur ces différents sujets. / In 1957, Julio Cortázar wrote to Roger Caillois a letter still unpublished to date. He conducts a critical review of L’incertitude qui vient des rêves, an essay by Caillois published in 1956. The subject of this thesis is to contextualise the writing of this letter as well as the oneiric theory which is exposed by Cortázar in this letter. An initial analysis of this document, which can be defined as a “letter-essay”, is proposed by adopting a genetic and intertextual methodology, in order to give this letter its rightful place in Cortázar’s works. It is then demonstrated that this letter can be read as the synthesis of a theory and a practice of the key dreams in the first cortazarian texts, particularly through Gabriel Medrano's alter ego and recurrent character, and that it constitutes the “avant-texte” of a dream of this character in Los premios. The coming to light of areas of convergence and parallel passage between the “letter-essay” and these first texts reveals that the cortazarian oneiric complex echoes a complex of the Other through the figures of the helping hand and of the nocturnal alter. Finally, the disagreement between Cortázar and Caillois over the issue of dreams is placed within the context of a personal, professional and complex relationship, and of a larger intellectual opposition about the concepts of reason, fantastic and language. It will then be pondered to which extent Cortázar’s works was built in the test of the dissent between him and Caillois over these different issues.

Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-14T18:29:09Z No. of bitstreams: 1 dissertacao Cristina Santoro.pdf: 1006303 bytes, checksum: e6a4c90d7818307687415d886f7961b4 (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-05-16T16:58:08Z (GMT) No. of bitstreams: 1 dissertacao Cristina Santoro.pdf: 1006303 bytes, checksum: e6a4c90d7818307687415d886f7961b4 (MD5) / Made available in DSpace on 2013-05-16T16:58:08Z (GMT). No. of bitstreams: 1 dissertacao Cristina Santoro.pdf: 1006303 bytes, checksum: e6a4c90d7818307687415d886f7961b4 (MD5) Previous issue date: 2007 / Em quase toda a obra de Julio Cortázar percebe-se uma particularidade: o duplo. Paris x Buenos Aires, o rio de La Plata x o rio Sena, as pontes, um lado e outro das margens dos rios e do oceano que separam lugares de vivência do autor e que se tornam as chamadas dos orillas. O duplo, em Cortázar, adota diversas manifestações – espelhos, reflexos, imagens, visões – e o tema do desdobramento deriva de vivências do autor. O duplo, figura central de nossas reflexões, temática presente nos estudos literários e nas abordagens psicanalíticas rankianas, freudianas e lacanianas, pode ser aplicado ao ato tradutório, na medida em que muitos esperam do texto traduzido a construção de uma imagem apenas especular, esquecendo o duplo que todo ser (texto) carrega na sua essência mais profunda: um duplo que precede. Outros, no entanto entendem a tradução como ponte entre línguas e linguagens: de um ser para um outro, de uma margem para a outra, de um texto de partida (o ‘original’) para o seu texto duplo, o texto traduzido. A analogia ‛ser-texto’ nos abrirá as portas para esse jogo da amarelinha onde a primeira pedra será jogada a partir do texto de partida, para vivenciar a angústia na passagem, mimese, identificação e repulsa diante do outro – o duplo – na tentativa de atingir o Céu: o texto de chegada. / Salvador

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