Esta tese busca refletir sobre a configuração fragmentária da produção do escritor Franz Kafka (1883-1924). Procura-se mostrar como a partir do final de 1916 ocorre na produção kafkiana uma inflexão formal decorrente de uma mudança no modo do escritor conceber o caráter danificado de sua escrita. / This thesis reflects upon the fragmentary configuration of Franz Kafka´s production. It aims to show how, from the end of 1916, occurs an formal inflection in the Kafkaesque production due to a change in the way the writer conceives the \"damaged\" character of his writing.

Lorsque l´architecture se déterritorialise de son milieu d´origine pour être conçue et éprouvée « en » littérature, son statut ontologique dominant et traditionnel se voit inévitablement altéré. Cette altération procède de la nature représentative de son art d´accueil, qui, comme le dit Etienne Souriau, présente un dédoublement formel en une forme primaire, celle du représentant (le langage littéraire); et une forme secondaire, celle du représenté (en l’occurrence ici l’architecture). Ceci fait que l´écrivain se voit inévitablement confronté à des conditions de conception de l´architecture différentes de celles de l´architecte. Nous proposons dans cette recherche une méthode d´observation analytique de ce que nous appelons les quatre plans de conception de l´architecture déterritorialisée dans le texte littéraire, et que nous appliquerons à deux récits: Le Dépeupleur de Samuel Beckett et Le Terrier de Franz Kafka. Les deux premiers détaillent la manière dont l´architecture se trouve organisée dans la diégèse de l’œuvre littéraire, ce sont: 1) le plan de conception de l’Objet architectural et (2) le plan de conception de l´Expérience que les personnages en font. Les deux autres détaillent la manière dont l´architecture se trouve modulée, amplifiée, déformée voire orientée par le langage artistique; ce sont: 3) le plan de conception de la Narration de l´Objet et de l´Expérience, ainsi que 4) le plan de conception de leur Textualisation. De l´articulation singulier par l´écrivain de ces quatre plans de conception découlera pour le lecteur une expérience esthétique et cognitive inédite de l´architecture que nous tentons d’évaluer dans ce travail. / When architecture deterritorializes itself from its domain of origin to be conceived and experienced “in” literature, its dominant and traditional ontological status is unavoidably altered. The cause of this alteration has to do with the representative nature of its host art, which, according to Etienne Souriau, presents a formal split into a primary form, the one representing (the literary language); and a secondary form, that of the represented (in this case the architecture). This situation causes the writer to be inevitably confronted by different conditions of conception of architecture than those taken into account by the architect. In this research we propose a method of analytical observation based on four levels of conception of the deterritorialized architectures within the literary text. We are going to apply this method to two short stories: Le Dépeupleur by Samuel Beckett, and Le Terrier (Der Bau) by Franz Kafka. The first two levels of conception detail the way architecture is organized within the diegesis of the literary work, and they are: 1) the level of conception of the architectural Object, and 2) the level of conception of the Experience the characters make of it. The two other levels detail the way architecture is modulated, amplified, deformed and oriented by the artistic language, and they are: 3) the level of conception of the Narration of the Object and the Experience, and 4) the level of conception of their Textualization. The very singular assembly of these four levels conceived by the writer will lead the reader to have an unprecedented aesthetic and cognitive experience of architecture that we attempt to evaluate in this research.

In Franz Kafka's The Judgement many things remain unsaid. Most of all it is the unpredictable behaviour of the father figure which is difficult to understand. That has caused a large number of interpretations and the critical reception continues. At the beginning of the story, the fictional father appears weak and ill, evoking memories of disease. Therefore, the following essay explores whether the behaviour of the father figure corresponds to the symptoms of dementia. For this purpose, the diagnostic criteria for neurocognitive disorders according to the Diagnostic and Statistical Manual of Mental Disorders were compared to the text. The analysis shows that many passages in the text reflect symptoms of dementia. However, it also shows that other interpretations are possible, which is not surprising given the indeterminacy of Kafka's work. As has already been established in earlier investigations, the fictional father stands as a symbol for authority. Assuming the father has dementia means that this authority is incurably ill. Therefore, the fictional father would symbolize an almighty institution in decline whose authority cannot be questioned by the individual. This way of interpretation emphasizes the unjust distribution of power. The acting figures represent unequal relations of any kind, in which the inferior has to obey the obviously ill but overpowering authority.

L’œuvre fictionnelle et critique de Maurice Blanchot entretient des rapports intenses avec la philosophie et la littérature allemande. Alors que la relation de Blanchot à la philosophie allemande a été largement étudiée, la thèse suivante porte sur son rapport à « l’espace littéraire »allemand – beaucoup moins analysé – et en particulier sur le « genre » fragmentaire qui fonde toute l’œuvre blanchotienne. Après un bref retour sur cette notion polysémique et complexe, on découvre dans les différents chapitres les empreintes profondes laissées par Franz Kafka et Paul Celan dans l’œuvre de Blanchot autour de cette « expérience du fragmentaire » vécue par les trois auteurs selon des modalités différentes.La première partie expose les liens qui unissent les trois auteurs afin d’explorer dans la deuxième partie les caractéristiques communes aux trois écritures fragmentaires. L’exil, la rupture imposée par la Shoah, la lecture comme processus de fragmentation, le rapport entre inconscient et écriture fragmentaire, l’esthétique du blanc et du vide, qui habite ces écritures, sont quelques uns des axes principaux de cette étude. Un des apports de cette recherche est la redéfinition du fragmentaire comme « style » à part entière. De plus, l’ensemble du travail est enrichi d’annexes regroupant notamment des manuscrits de Blanchot qui permettront au lecteur de saisir cette expérience à l’œuvre. / Both fictionnal and critical works of Maurice Blanchot have intense relations with the germanliterature and philosophy. But, whereas Maurice Blanchot’s relation to the german philosophy hasbeen widely studied, the following thesis cares about the german « literary space » – far lessanalysed – and more particularly about the fragmentary « genre » that structures the whole of Blanchot’s work. After briefly going back on this complex and polysemous notion, we discoverthrough the different chapters the deep imprints that both Franz Kafka and Paul Celan left onBlanchot’s work around this « fragmentary experience », which the three authors each livedaccording to different modalities.The first part of the work shows the links uniting the various authors so as to explore in the secondpart the common features to the three fragmentary writings. Among the various axis of this studyare the notion of exile, the breaking imposed by the Shoah, the experience of reading as a processof fragmentation, the relation between unconsciounesss and fragmentary writing, the aesthetics ofwhite and emptiness present in the works. One of the contributions of this research is that itredefines the fragmentary genre as a full-fledged style. Further more, the whole of the work is enhanced by annexes bringing together in particular some of Blanchot’s manuscripts. These willhelp the reader understanding this experience in process.

The paper focuses on the possibilities and potential of connecting live performance with new media. Our attempt is to find alternative strategies for theatre/performance relations with media, in this case digital media, by means of placing the theatre/performance within contemporary art production, developing strategies of production, which is developing a culture of usage. “In this new form of culture, which one might call a culture of use or a culture of activity, the artwork functions as the temporary terminal of a network of interconnected elements, like a narrative that extends and reinterprets preceding narratives.” [Nicolas Bourriaud: Postproduction, New York 2002] The project we are going to introduce is based on collaborative research, in which artistic and scientific approaches overlap and fuse.

O presente trabalho adota, como base teórica, uma perspectiva desenvolvida a partir do exame de certas ideias presentes na obra ficcional de Enrique Vila-Matas apresentadas em seus romances Bartleby e companhia (a literatura do Não, pulsão negativa da literatura contemporânea, desistência e mutismo literários, renúncia à escrita) e O mal de Montano (doença literária, doente de literatura, literatose) e na ensaísta de Ricardo Piglia, em O último leitor (último leitor, o leitor viciado, que não consegue deixar de ler, leitor para o qual a leitura não é apenas uma prática, mas uma forma de vida; o leitor como personificação da literatura). A partir dessas noções, a presente Dissertação especula sobre as relações entre a escrita de Machado de Assis, o universo de Franz Kafka e a obra de Murilo Rubião. Adotou-se como metodologia a leitura comparativa desses autores, com destaque para os contos de Murilo Rubião, e de alguns dos escritores lidos pelos três ficcionistas / This work adopts as a theoretical basis, a perspective developed from the examination of certain ideas present in the fictional work of Enrique Vila-Matas - presented in his novels Bartleby & Co. ("the Non-writing", "negative pulse of contemporary literature", "withdrawal and literary mutism, "renunciation of writing") and Montanos Malady ("literary disease", "sick of literature", "literatose") - and in essayist of Ricardo Piglia, in "The last reader" ("last reader", "the addicted reader, who cannot stop reading", the reader for "reading is not just a practice, but a way of life", "the reader as the personification of literature"). From these ideas, this thesis speculates on the relationship between writing of Machado de Assis, the universe of Franz Kafka and the work of Murilo Rubião. It was adopted as a methodology comparative reading of these authors, highlighting the stories of Murilo Rubião, and some of the writers read by the three novelists

O presente trabalho adota, como base teórica, uma perspectiva desenvolvida a partir do exame de certas ideias presentes na obra ficcional de Enrique Vila-Matas apresentadas em seus romances Bartleby e companhia (a literatura do Não, pulsão negativa da literatura contemporânea, desistência e mutismo literários, renúncia à escrita) e O mal de Montano (doença literária, doente de literatura, literatose) e na ensaísta de Ricardo Piglia, em O último leitor (último leitor, o leitor viciado, que não consegue deixar de ler, leitor para o qual a leitura não é apenas uma prática, mas uma forma de vida; o leitor como personificação da literatura). A partir dessas noções, a presente Dissertação especula sobre as relações entre a escrita de Machado de Assis, o universo de Franz Kafka e a obra de Murilo Rubião. Adotou-se como metodologia a leitura comparativa desses autores, com destaque para os contos de Murilo Rubião, e de alguns dos escritores lidos pelos três ficcionistas / This work adopts as a theoretical basis, a perspective developed from the examination of certain ideas present in the fictional work of Enrique Vila-Matas - presented in his novels Bartleby & Co. ("the Non-writing", "negative pulse of contemporary literature", "withdrawal and literary mutism, "renunciation of writing") and Montanos Malady ("literary disease", "sick of literature", "literatose") - and in essayist of Ricardo Piglia, in "The last reader" ("last reader", "the addicted reader, who cannot stop reading", the reader for "reading is not just a practice, but a way of life", "the reader as the personification of literature"). From these ideas, this thesis speculates on the relationship between writing of Machado de Assis, the universe of Franz Kafka and the work of Murilo Rubião. It was adopted as a methodology comparative reading of these authors, highlighting the stories of Murilo Rubião, and some of the writers read by the three novelists

The streets with its inhabitants, life forms emerge in an unpredictable daily although the regulation seeks uniformity and predictability for the experience. Walking on the plots of the city, searching for life forms that resist the logic wich prevent the proliferation of difference, a writing on subjectivity production in the city outlined. The writing was done through the experience of streets and discussions revolving around it, from the ethnography of urban space recorded in field diaries. The meetings were produced in the streets with residents, bystanders, people who make the street work camp. Contact with the metropolis, their relationships and multiplicity, revealed a moving field and led the look on possibilities of life that are carried in the gaps in a way there capitalistic into thinking such lives that resist as life-creating itself as works of Art. Franz Kafka appears there as the intercessor of a full metamorphoses of writing that seeks to narrate the tales lived in as Maria Feliciana, An Acrobatic Girl, The Bridge and The Soup People. From the experiences in the metropolis it was observed that more than conserving, life wants to expand, generating more life, impose themselves a new direction. Writing sought new ways of thinking about the present, creating escape routes for problems that arise in daily life. The path is open, discussions here are made of paths that seek to lead the eye on the present. / Nas ruas com seus habitantes, formas de vida emergem num cotidiano imprevisível ainda que a normatização busque a uniformização e a previsibilidade para a experiência. Foi andando sobre as tramas da cidade, buscando formas de vida que resistem às lógicas que impedem a proliferação da diferença, que uma escrita sobre produção de subjetividade na cidade se delineou. A escrita se fez em meio à vivência das ruas e das discussões que giram em torno dela, a partir da etnografia do espaço urbano registrada em diários de campo. Os encontros foram produzidos nas ruas com habitantes, passantes, pessoas que fazem da rua campo de trabalho. O contato com a urbe, suas relações e multiplicidade, revelaram um campo movente e conduziu o olhar sobre possibilidades de vida que se efetuam nas brechas de um modo de existir capitalístico, fazendo pensar tais vidas que resistem como vidas criadoras de si, como obras de arte. Franz Kafka aparece aí como o intercessor de uma escrita cheia de metamorfoses que busca narrar o vivido em contos como: Maria Feliciana, Uma Menina Acrobata, A Ponte e O Povo da Sopa. A partir das experiências na urbe foi possível observar que, mais que se conservar, a vida quer se expandir, gerar mais vida, impor a si uma nova direção. A escrita buscou novas formas de pensar o presente, criando linhas de fuga para problemas que emergem no cotidiano. O caminho está aberto, as discussões aqui são feitas de trajetórias que buscam conduzir o olhar sobre o presente.

Esta tese busca refletir sobre a configuração fragmentária da produção do escritor Franz Kafka (1883-1924). Procura-se mostrar como a partir do final de 1916 ocorre na produção kafkiana uma inflexão formal decorrente de uma mudança no modo do escritor conceber o caráter danificado de sua escrita. / This thesis reflects upon the fragmentary configuration of Franz Kafka´s production. It aims to show how, from the end of 1916, occurs an formal inflection in the Kafkaesque production due to a change in the way the writer conceives the \"damaged\" character of his writing.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-10-06T17:47:08Z No. of bitstreams: 1 maurorochabaptista.pdf: 1613259 bytes, checksum: 89a94dfec1d0c704b2b60565402cd7ce (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-10-07T12:14:11Z (GMT) No. of bitstreams: 1 maurorochabaptista.pdf: 1613259 bytes, checksum: 89a94dfec1d0c704b2b60565402cd7ce (MD5) / Made available in DSpace on 2016-10-07T12:14:11Z (GMT). No. of bitstreams: 1 maurorochabaptista.pdf: 1613259 bytes, checksum: 89a94dfec1d0c704b2b60565402cd7ce (MD5) Previous issue date: 2009-07-31 / Este trabalho visa promover uma leitura de Franz Kafka que apresente em suas narrativas algumas possibilidades de religiosidade que podem ser reveladas em um texto não-religioso. Apontamos na literatura kafkiana três posturas que cumprem esta função: A religiosidade institucional que se estrutura em torno da lei. Ela mantém os seus associados em completa alienação, beneficiando-os com respostas vagas às suas dúvidas. Apesar de não responder, ela possibilita uma sensação de resposta dada. Uma sensação que a maioria dos personagens de Kafka opta por sentir. A esta religiosidade se contrapõe uma ação negativa que parte dos heróis. Eles despertam da alienação porque se sentem perseguidos pela mesma instituição que deveria lhes garantir a harmonia social. Uma vez despertos se propõe a lutar contra a lei conforme ela é apresentada pela religiosidade institucional. Todas as suas forças são dedicadas a esta negação. A terceira postura, a religiosidade do humor, se apresenta como crítica dos extremismos gerados pelas duas anteriores. Através da formatação de seus textos Kafka possibilita uma revisão da simples valorização da postura de seus heróis. Pelo humor a instituição é questionada em sua postura impositiva e a negação em sua arrogância, desta forma o humor se apresenta como uma religiosidade refinada de todo extremismo. / This work intends to promote a reading of Franz Kafka which presents in his narrative some possibilities of religiosity that can be reveled in a non-religious text. We point out in Kafka‟s work three postures which cover that function: the institutional religiosity that is structured around the law. It keeps its associates in a complete alienation, benefiting them with vague answers to their queries. Although it does not really answer, it gives them the feeling of an answer given. A feeling that most of Kafka‟s characters choose to have. A negative religiosity, which comes from the heroes, is opposed to the previous one. They wake up from the alienation because of the feeling of being pursued by the same institution that should guarantee them a social harmony. Once waken, they propose to fight against the law the way it is presented by the institutional religiosity. All their strength is dedicated to that negation. The third posture, the religiosity of humor, is presented as a criticism of the extremisms generated by the others. By a correct understanding of the format of Kafka‟s texts, we are able to revise the valorization of the posture of his heroes. Through humor the institution is questioned on its imposing posture as well as the negation on its arrogance. This way, humor is presented as a religiosity refined from any extremism.