O presente trabalho visa explorar a forma do romance na periferia do capitalismo no século XX e XXI, tendo como paradigmas dois de seus mais destacados escritores, Alejo Carpentier e Mia Couto. Para tanto, analisa-se aqui as obras Los Pasos Perdidos (Carpentier) e O Outro Pé da Sereia (Couto) à luz da teoria do realismo de György Lukács. O que se deseja demonstrar é: visto que o romance é a epopéia do mundo burguês, autores como Carpentier se valeram do período de desenvolvimentismo industrial no continente latino-americano inserido no crescimento mundial do capitalismo pós-Segunda Guerra (1945-1975) para lançar o conflito entre a afirmação definitiva da modernidade e seu universo pré-moderno: a isto muitos deram o nome de realismo maravilhoso. Por sua vez, em Moçambique, o histórico colonial e a independência tardia na época da crise estrutural do capital (a partir de 1975) determinaram uma frágil afirmação dos padrões sociais burgueses. Tal condição tem conseqüências na produção romanesca de autores como Mia Couto. Entre elas: o maravilhoso aparece como princípio formal, elidindo tensões necessárias ao romance e restringindo assim o alcance de sua ficção. / The present work aims to explore the form of the novel in capitalisms periphery in the XX and XXI centuries, using as paradigms two of its most illustrious writers, Alejo Carpentier and Mia Couto. To do so, Los Pasos Perdidos (Carpentier) and O Outro Pé da Sereia (Couto) are studied from the perspective of György Lukácss realism theory. The intent is to demonstrate the following: since the novel is the bourgeois worlds epopee, authors such as Carpentier made use of the industrial development period in Latin America in the context of post-Second World War capitalisms growth in the world (1945-1975) to draw the conflict between modernitys definitive affirmation and its pre-modern universe: which many have named magical realism. In turn, in Mozambique, the colonial past and the late independence by the time of capitalisms structural crisis (starting in 1975) have defined a fragile affirmation of bourgeois social patterns. Such situation has consequences in the novel production of authors such as Mia Couto. Amongst which: the magical element appears as formal principle, suppressing necessary tensions to the novel, thus restricting its fictional reach.

Essa tese ilumina as relações entre tradição, ensaio e história na obra de Alejo Carpentier, entre 1928 e 1980, com o intuito de compreender seu caminho para o antigo. O estudo recoloca a discussão sobre a proposta estética de escritores e movimentos de vanguarda europeus e latino-americanos. Minha principal consideração é de que a visão negativa de Carpentier acerca das vanguardas foi produto de uma estratégia de sagração de seu nome como intelectual e da separação de sua obra dos bens culturais da modernidade, como o rádio. Duas faces de uma mesma moeda colocou no esquecimento uma obra fundamentalmente vinculada à legitimidade moderna, especialmente por uma experiência do tempo vinculada ao presente e a constituição de uma rede intelectual latino-americana da qual Carpentier era partícipe. Por meio da análise de sua obra e do contexto europeu e latino-americano, este estudo realça que o conceito de formação é apropriado pelo autor para valorizar uma trajetória intelectual coesa que rejeitou os padrões de percepção e representação legados pelo surrealismo. Ao mesmo tempo, as múltiplas formas de leitura da tradição clássica inclusive utilizando os mitos de Sísifo e Adão valorizam o lugar autêntico de sua escrita, porém não deixam de ressaltar a presença da artificialidade do surrealismo. / The issue of this thesis is the relation amid tradition, political culture and history in the work of Alejo Carpentier (1928-1980) to understand his way to ancient. This proposal reassesses the dialogue between the aesthetic avant-garde European writers and Latin American manifestations. My main assertation is that Carpentiers negative appraisals by the avant-garde were the product of Rite of his name as intellectual and the distance of his work on the belongings of modernity, like a radio. Two faces on the same coin have been left behind a work linked to the modernity mainly connected to the present and the constitution of an intellectual latin-american web. By the annalisys of the work and the European and latin-american context, this work underlines that the concept of formation emphatizes an intellectual path that was opposed to the patterns of perception and representation legacy by the surrealism. Meanwhile, the different forms of lecture of classical tradition with the myths of Sisifo and Adam who praised the authentic writing on its own, although it maintains the artificiality of surrealism.

Cette étude a pour ambition d'analyser les descriptions littéraires de La Havane dans la diachronie. Il s'agit d'appréhender la ville comme une entité narrative à part entière, dans les nouvelles et les romans cubains du XIXème siècle à nos jours. Occupant une place privilégiée dans la littérature nationale, la capitale cubaine s'est chargée de représentations et de fonctions multiples qui ont évolué au fil des décennies, variant selon les points de vue esthétiques ou les partis pris descriptifs. Notre projet consiste à mettre en évidence les différentes manières d'appréhender l'espace urbain dans notre corpus mais aussi d'établir des ponts entre les époques pour ainsi faire dialoguer les œuvres entre elles. En étudiant les caractéristiques de La Havane littérarisée, nous prétendons assembler les différentes pièces d'un puzzle encore en construction afin de dresser le portrait kaléidoscopique d'une ville devenue espace littéraire. Envisagée comme un cadre référentiel renvoyant à une réalité géographique et socio-historique précise, la cité mise en fiction est aussi un espace symbolique fortement connoté. En tant qu'objet d'écriture, elle est également un espace poétique qui, en se détachant complètement de son référent réel, fait naître de multiples imaginaires urbains. / The object of this study is to present a diachronic analysis of the descriptions of Havana in Cuban literature. We have defined the city's status as a narrative object among Cuban novels and short stories from the 19th century to the present day. Central to the national literature, the Cuban capital city had gradually been endowed with multiple functions and representations, which vary depending on the aesthetic viewpoints or descriptive stances adopted by different authors. Our project consists not only in analysing the ever-changing physiognomy of this particular urban landscape within the scope of our corpus, but also in drawing bridges between different eras in order to outline the dialectic dynamics which exist between these stories. By paying close attention to the characteristics of literary Havana, we have begun assembling the pieces of a puzzle that is still in the making, thus reflecting the kaleidoscopic image of a city which has become a literary landscape. Used as the frame of reference for a precise geographical and socio-historical reality, the Havana of Cuban fictions also bears a strong and complex symbolic quality. As the object of these writings, it is also a poetic space which, by detaching itself from its actual referent, creates a multiplicity of imaginary urban landscapes.

A presente investigação tem por objeto de estudo o romance El hombre que amaba a los perros (2009), de autoria do cubano Leonardo Padura. Em uma análise formal de tal obra, a pesquisa debruça-se sobre a posição de seus narradores, sobre a construção de seus personagens e sobre a estruturação de seu enredo, compreendendo seu funcionamento literário enquanto sintoma cultural da sociedade de consumo contemporânea. Assim, discute-se o pastiche da literatura policial noir engendrado pelo autor, bem como suas maneiras não realistas de figurar a história, situando o livro em meio ao panorama estético e ideológico da pós-modernidade. Com isso, busca-se esclarecer a relação dialética que se estabelece entre a forma narrativa do romance e o atual processo de transição histórica vivenciado por Cuba o qual conduz a ilha à integração ao sistema mundial do capitalismo tardio. / The current research aims to study the novel The man who loved the dogs (2009), by Cuban writer Leonardo Padura. In a formal approach to such work, the research focuses on the position of its narrators, on the construction of its characters and on the structure of its plot, understanding its literary functioning as a cultural symptom of contemporary consume society. Thus, the pastiche of noir crime fiction engendered by the author is put into discussion, as well as its non-realistic ways to figure history, in order to place the book amid the aesthetic and ideological panorama of postmodernity. Therefore, it intends to clarify the dialectical relationship established between the narrative form of the novel and the current historical transition process experienced by Cuba - which leads the island to integrate itself to late capitalism world system.

A presente investigação tem por objeto de estudo o romance El hombre que amaba a los perros (2009), de autoria do cubano Leonardo Padura. Em uma análise formal de tal obra, a pesquisa debruça-se sobre a posição de seus narradores, sobre a construção de seus personagens e sobre a estruturação de seu enredo, compreendendo seu funcionamento literário enquanto sintoma cultural da sociedade de consumo contemporânea. Assim, discute-se o pastiche da literatura policial noir engendrado pelo autor, bem como suas maneiras não realistas de figurar a história, situando o livro em meio ao panorama estético e ideológico da pós-modernidade. Com isso, busca-se esclarecer a relação dialética que se estabelece entre a forma narrativa do romance e o atual processo de transição histórica vivenciado por Cuba o qual conduz a ilha à integração ao sistema mundial do capitalismo tardio. / The current research aims to study the novel The man who loved the dogs (2009), by Cuban writer Leonardo Padura. In a formal approach to such work, the research focuses on the position of its narrators, on the construction of its characters and on the structure of its plot, understanding its literary functioning as a cultural symptom of contemporary consume society. Thus, the pastiche of noir crime fiction engendered by the author is put into discussion, as well as its non-realistic ways to figure history, in order to place the book amid the aesthetic and ideological panorama of postmodernity. Therefore, it intends to clarify the dialectical relationship established between the narrative form of the novel and the current historical transition process experienced by Cuba - which leads the island to integrate itself to late capitalism world system.

(in English): The Master thesis depicts a concept of interpersonal relationships in a novel Cecilia Valdés by the Cuban writer Cirilo Villaverde. It describes author's life and circumstances which accompanied the origin of the novel. The thesis introduces a plot of the novel, analyses the main characters and their role in the novel. It deals with a theme of the novel as a genre in general and informs about Indian and Costumbrism novel as well. It follows historic events in Cuba at the time when the novel was issued. Knowledge of the historic events is necessary for comprehension of the novel in its broader sense. The thesis examines Cecilia Valdés from the point of a concept of interpersonal relationships, deals with relationships among black people, mulattoes and white people. It analyses a relationship between the main characters which is greatly influenced by different racial origin. The topic of slavery is introduced in connection with a plot of the novel. The Master thesis compares a novel Cecila Valdés with other significant Hispano- American novels which carry similar aspects, namely with Cumandá o un drama entre salvajes by Juan León Mera and Aves sin nido by Clorinda Matto de Turner. The thesis mainly focuses on interpersonal and partner relationships in these novels which are influenced...

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This dissertation examines the bildungsroman genre in Cuba, Puerto Rico, and the Dominican Republic. A close examination of the development of this genre demonstrates that it has ideological implications that link the young protagonists’ development with that of the nation. The authors on whom I focus—Ángela Hernández, Rita Indiana Hernández, René Marqués, Pedro Juan Soto, Magali García Ramis, Severo Sarduy, and Jesús Díaz—do not merely imitate the European model but revise, adapt, and often subvert it thematically and, in some cases, aesthetically. I argue that these bildungsromane differ, for the most part, from the European prototype due to their openly political themes, such as the establishment of the Estado Libre Asociado in Puerto Rico, the 1959 Revolution in Cuba, and, in the case of the Dominican Republic, Trujillo’s dictatorship. I claim that Dominican bildungsromane do not propose national projects or models but rather question the purported homogeneity of identity of the country as a normalized political body. On the other hand, in Cuba and Puerto Rico the genre has been used to promote absolute discourses of nationality as well as political projects that must be questioned due to their discriminatory and sometimes racist and violent nature.

This dissertation examines the bildungsroman genre in Cuba, Puerto Rico, and the Dominican Republic. A close examination of the development of this genre demonstrates that it has ideological implications that link the young protagonists’ development with that of the nation. The authors on whom I focus—Ángela Hernández, Rita Indiana Hernández, René Marqués, Pedro Juan Soto, Magali García Ramis, Severo Sarduy, and Jesús Díaz—do not merely imitate the European model but revise, adapt, and often subvert it thematically and, in some cases, aesthetically. I argue that these bildungsromane differ, for the most part, from the European prototype due to their openly political themes, such as the establishment of the Estado Libre Asociado in Puerto Rico, the 1959 Revolution in Cuba, and, in the case of the Dominican Republic, Trujillo’s dictatorship. I claim that Dominican bildungsromane do not propose national projects or models but rather question the purported homogeneity of identity of the country as a normalized political body. On the other hand, in Cuba and Puerto Rico the genre has been used to promote absolute discourses of nationality as well as political projects that must be questioned due to their discriminatory and sometimes racist and violent nature.