Em um contexto literário contemporâneo atravessado pela escrita de si, este trabalho buscou estudar a obra Um romance russo, de Emmanuel Carrère, à luz das propostas da autobiografia e da autoficção, esta última uma expressão que convoca diferentes definições e justificativas. Para isso debruçou-se sobre a construção do narrador-protagonista, que declara ter como objetivo contar a história de seu avô para romper o silêncio em torno dela, imposto por sua mãe, e, assim, enterrar o fantasma desse homem que continuaria assombrando seus descendentes com sua personalidade amarga. Observamos que o narrador, identificado ao autor, faz uso da metonímia em diferentes instâncias da obra: alinhava narrativas menores que remetem ao mesmo tema, apresenta personagens femininas que remetem à figura materna e o próprio protagonista se constrói em espelhamento com o personagem do avô. Tal recurso, somado a duas narrativas que se entrelaçam, organizando o texto de Um romance russo, age como argumentação em favor de seu objetivo, justificando a necessidade de romper com a proibição da mãe e publicar este livro. Pela responsabilidade implicada na reabilitação da figura do avô, seguindo os moldes do que o crítico Dominique Viart propõe para o récit de filiation, e pela performatividade que objetiva, além das referências sem ambiguidade em seu texto, Carrère estabelece um pacto autobiográfico, como estudado por Philippe Lejeune, que é essencial para a leitura de Um romance russo. Acreditamos que, embora o gênero moderno da autobiografia não se aplique nem a esta, nem a obras anteriores do mesmo autor, um autobiográfico percorre todas elas, recusando as possibilidades de pacto romanesco com que joga a autoficção; ainda, identificam-se em sua produção elementos como o uso comentado da psicanálise, incursões ficcionais demarcadas no texto, estruturas fragmentárias e hibridismo de formas que situam Carrère no debate contemporâneo. / In a contemporary literary context shot through with the notion of writing oneself, this thesis seeks to study the work My Life as a Russian Novel, by Emmanuel Carrère, in light of the proposals put forth by both autobiography and autofiction, the latter evoking a variety of definitions and justifications. As such, the work examines the construction of the narrator/protagonist, who states that his aim is to tell the story of his grandfather in order to break the silence around it imposed by his mother and thus put to rest the ghost of a bitter man left haunting his descendants. We observe that the narrator, identified with the author, turns to metonymy at several points in the work: he lines up several minor narratives that speak to the same theme and presents female characters that evoke his mother, while the protagonist constructs himself as a mirror image of the character of his grandfather. This tack, alongside the two interlocking narratives that structure My Life as a Russian Novel, serves as ammunition towards his ultimate goal: justifying the need to break his mothers ban and publish this book. In terms of the responsibility implied in the rehabilitation of the figure of his grandfather in keeping with the structure that critic Dominique Viart proposes for the récit de filiation and in terms of the performativity he crafts, in addition to the unambiguous references in his text, Carrère establishes an autobiographical pact, as studied by Philippe Lejeune, which is essential for the reading of My Life as a Russian Novel. We believe that, although the autobiography as a modern genre does not apply to this or other works by the author, a thread of autobiography runs through all of them, rejecting the openings towards a novelesque pact that autofiction plays with; moreover, one may identify such elements in his oeuvre as the commented usage of psychoanalysis, fictional incursions clearly demarcated in the text, fragmentary structures, and a hybridity of form that situate Carrère within the contemporary debate on the topic.

Thesis advisor: Régine Jean-Charles / Practice whereby a host (the one who receives) open his/her door to a guest (the one who is either invited or simply received), hospitality is nowadays under fire as the migrant crisis unfolds the plight of countless strangers who, at the end of their perilous journey across the Mediterranean Sea, come and knock at the doors of Europe, in particular France—birthplace of the Rights of Man. Taking the stand of Louis de Jaucourt on the socio-political challenges of hospitality outlined in his 18th century French article, Hospitalité, as the point of departure of our study, we focus on how hospitality intersects with social criticism through the person of the stranger in the following corpus of literary texts, which spans from the 18th to the 20th century: 1. Lettres persanes (Montesquieu), Lettres philosophiques (Voltaire), and L’Ile des Esclaves (Marivaux); 2. L’Ingénu (Voltaire), Lettres d’une Péruvienne (Françoise de Graffigny), and Ourika (Claire de Duras) ; 3. La Noire de… (Sembène Ousmane), and Xavier, le drame d’un émigré Antillais (Tony Delsham). Here, we enter in dialogue with Julia Kristeva’s essay, Etrangers à nous-mêmes, namely the chapter she writes about philosophers of the Enlightenment: L’Etranger : alter ego du philosophe. She argues that, as a satirical modus operandi, these philosophers withdraw behind the figure of the stranger, who then becomes their “double”, their “mask” (196). We show that Kristeva’s argument is not only limited to the works of 18th century French philosophers, but also to those of their literary heirs, who ascribe rather to the “mask” of the stranger of color, and moreover the hospitality he/she receives in France, as a satirical tool to lay bare the flaws of their own society. / Thesis (PhD) — Boston College, 2019. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Romance Languages and Literatures.

Ce travail propose de lire un moment de l’histoire littéraire française à travers le prisme de l’animal, et plus particulièrement de ses représentations anthropomorphes. À partir de la littérature et de la pensée du xixe siècle, il s’agit de complexifier une définition restrictive de la notion d’anthropomorphisme en réfléchissant au statut de l’animal dans l’imaginaire romantique. L’anthropomorphisme est traditionnellement considéré comme une perception du monde naïve et spontanée et cette tendance à douer les choses et les êtres d’émotions, d’intentions ou de réactions supposées propres aux hommes repose sur un raisonnement analogique qui est à l’origine de genres littéraires aussi universels que la fable ou d’autres types d’apologues, qui héritent de ce préjugé de simplicité : l’anthropomorphisme serait ce mode de représentation non réaliste, divertissant voire comique, qui n’instruit qu’au prix d’une distorsion de la réalité. Au xixe siècle émerge une nouvelle conception de l’animal, en rupture avec celle de l’âge classique. L’histoire naturelle et la pensée romantique découvrent des parentés profondes entre l’homme et l’animal, qui donnent à l’anthropomorphisme un fondement épistémologique et philosophique, mais aussi affectif et politique, puisque l’idée d’une continuité entre les vivants est l’un des piliers de l’argumentation républicaine en faveur de la protection, puis du droit des animaux, depuis la période révolutionnaire. À partir d’un corpus littéraire, philosophique et scientifique, et d’une attention à l’histoire des animaux, de leur statut et de leurs traitements, ce travail voudrait dresser un panorama des paradigmes analogiques par lesquels les hommes ont pensé leurs liens aux animaux dans la première moitié du xixe siècle. Cette période apparaîtra ainsi comme un moment important de la reconfiguration du symbolisme animal, qui invente une forme d’allégorie réaliste, conciliant souci de l’animal et confiance en l’analogie. / This work attempts to read a moment of French literary history through the lens of animals, and more specifically anthropomorphic representations of them. From the 19th literature and thought, it will put forward a less restrictive definition of the notion of anthropomorphism by considering the status of animals in the romantic imaginary. Anthropomorphism is traditionally perceived as a naïve and spontaneous perception of the world. This tendency to endow things and beings with emotions, intentions or reactions supposedly inherent to humans is based on an analogical thinking that underlies literary genres as universal as fables or other kinds of apologues, that are also seen as simple, as if anthropomorphism was only this non-realistic, entertaining and even comical, mode of representation, that educates only thanks to a distortion of reality. During the 19th century, a new conception of animals emerges, breaking with the classical era. Natural history and romantic philosophy discover deep similarities between men and animals, that provide anthropomorphism with an epistemological and philosophical basis, but also affective and political ones, since the idea of a continuity between the being is one of the pillars of republican thinking on animal protection and animal rights since the Revolution. Looking at literary, philosophical and scientific texts, but also at the history of animals, at their status and treatments, this work would like to provide an overview of analogical paradigms through which men have conceived their relationships with animals over the first half of the 19th century. This period will therefore appear as an important moment of the reconfiguration of animal symbolism, inventing a type of realistic allegory, combining the concern for animals and a faith in analogical thinking.

A escritura frente a um passado violento e traumático é mais do que nunca orientada pelo que não se pode dizer, por aquilo que só apareceria inautenticamente, sejam estas marcas psíquicas ou físicas. No entanto, ela pode se fortalecer frente ao indizível e encontrar formas de apresentá-lo, transformando a relação da literatura com o real. Essa transformação sofre influência de outros campos do conhecimento na mesma medida em que os influencia. Este trabalho se propõe a analisar a obra La Douleur e a forma como Marguerite Duras enfrentou, por meio de sua escritura, o abismo produzido pelo evento da Segunda Guerra Mundial, contribuindo para sua transposição. O trabalho incide também, direta e indiretamente, sobre os processos de busca do direito à memória e à verdade, questionando como usualmente se dá a busca da verdade em processos de justiça de transição, e delineando as possibilidades de a literatura lidar com as feridas do passado, trazendo uma outra forma de se buscar a verdade e o sentido. / Writing in face of a violent and traumatic past is more than ever oriented by what cannot be said, by what would only appear inauthentically, whether mental or physical marks. Nevertheless, writing can be strengthened in face of the unspeakable and find ways to represent it, transforming the relationship between literature and the real. Such transformation influences other fields of knowledge to the same extent that it is influenced by them. This work intends to analyze the book La Douleur and the way by which Marguerite Duras faced, through writing, the abyss produced by Second World War, contributing to its transposition. This work also focuses on and influences, directly and indirectly, the search for the right to memory and truth, questioning how the search for the truth is usually held in transitional justice systems, and outlining the possibilities of literature dealing with the wounds of the past, bringing another way to search for truth and meaning.

My interdisciplinary dissertation, Écriture Artiste and the Idea of Painterly Writing in Nineteenth-Century France, studies the notion of écriture artiste as an ideologically charged aesthetic doctrine that provides a better understanding of the rapports between art and the socio-historical context of mid nineteenth-century France. Specifically, using a case study approach, I examined four encounters between writers and painters, including Gustave Flaubert, Gustave Moreau, the Goncourt brothers, Eugène Delacroix, Émile Zola, Édouard Manet, J.-K. Huysmans and Odilon Redon. I analyzed how these pairings, each illustrative of a different facet of écriture artiste, highlight extratextual realities of the time through aesthetic embellishments. Findings show that some of these artists refashion the existing hierarchy of academically legislated rules on style by purposefully obscuring legibility in order to valorize artistic productions as alternatives to, not copies of, nature. Moreover, they reshape cultural views by staging the coexistence of lyrical and positivist elements, thus encouraging an array of subjective interpretations. I conclude that écriture artiste provides a valid framework for analyzing a self-conscious type of art that uses symbolic power to shape public taste. In turn this provides alternatives to a monolithic model upheld by legitimate culture. The central contribution of my project is its analysis of écriture artiste as a concept that does not fit neatly specific categories of genre or literary movements. My work intervenes in extant debates on literature and the visual arts in the latter half of the nineteenth century by challenging the critical tradition that considers écriture artiste as a pedantic descriptive style. My dissertation broadens the scope of écriture artiste beyond the work of the Goncourt brothers. This expansion of the field also reveals that this type of art theory is developed with an acute consciousness about the power of art and the artist to reach a changing readership, prompted by the shifting ideological climate of the time.

Desde Horácio e sua célebre expressão Ut pictura poesis, diversos autores tentaram estabelecer um paralelo entre a literatura e a pintura ao longo dos séculos. Vários são os exemplos de obras literárias e pictóricas unidas por temas e inspirações em comum, que se desenvolveram em caminhos paralelos durante uma determinada época, numa determinada sociedade. Menos freqüentes, porém, são as ocorrências de elementos que configurem um verdadeiro diálogo, uma convergência ou uma interferência entre as artes visuais e a arte literária. Neste trabalho, pretendemos identificar uma influência do olhar impressionista na literatura francesa da segunda metade do século XIX. Para isso, analisaremos seqüências descritivas de obras de Gustave Flaubert e de Émile Zola. Através da análise da construção das pinturas impressionistas e da construção das seqüências descritivas na literatura, pretendemos demonstrar que esses dois sistemas de representação não estão unidos apenas por temas e inspirações em comum, como havia sido o caso até então, mas também pelas técnicas e metodologias utilizadas e pelas reações que essas mesmas técnicas provocaram e provocam até hoje no espectador e no leitor. / From the time of Horace and his famous phrase Ut pictura poesis, several authors have attempted to draw a parallel between literature and painting. There are many examples of literary and pictorial works linked by common topics and inspirations that have taken parallel paths across time and across societies. Less frequent, however, are the examples of a real dialogue, a convergence or interference between the visual and the literary arts. In this study, we aim at identifying an influence of the impressionist view in the French literature of the second half of the 19th century. For this purpose, we will examine descriptive sequences of the works of Gustave Flaubert and Émile Zola. By analysing the process through which Impressionist paintings were made and the descriptive sequences were written, we aim at demonstrating that these two systems of representation are not united only by common topics and inspirations, as had been the case to date, but also by common techniques and methodologies, in addition to being united by the reactions that these same techniques provoked and still provoke today in the spectator and the reader.

São poucos os estudos sobre as personagens femininas dentro de La Comédie Humaine, e estes se tornam ainda mais restritos quando tratam daquelas que aparecem no romance Le père Goriot. Nesse sentido, este trabalho pretende analisar como são construídas e organizadas dentro da narrativa, tendo em vista que sua composição é realizada de acordo com uma estratégia, bem como sua organização no texto. Outrossim, as personagens femininas são de grande importância na narrativa balzaquiana, apesar de aparentemente ocuparem apenas o segundo plano, pois são elas que, na maioria das vezes, vão auxiliar as personagens masculinas em seus projetos de ascensão social, a ponto de Rastignac, por exemplo, só ter conseguido sucesso por intermédio de sua tia, Mme de Beauséant. Isso sem contar a dona da pensão, Mme Vauquer, que é a primeira a ser descrita durante a narrativa e tem importância capital no destino de outras figuras hospedadas em seu estabelecimento. Por outro lado, a técnica mais conhecida utilizada por Balzac e que foi por ele desenvolvida é o retorno de personagens. No entanto, há outras de grande importância, e uma delas é o fato de que, para conseguir criar a quantidade de personagens existente dentro de La Comédie Humaine, foi necessário recorrer a um recurso de economia, ou seja, apresentar várias delas com características semelhantes, podendo ser ligadas duas a duas. Procuramos desenvolver esse aspecto ao longo deste trabalho, juntamente com as questões que permeiam o papel das figuras femininas, assim como o arrivismo e a sua importância para as masculinas. / There are few studies about the female characters in La Comedie Humaine, and these are even more restricted when they treat about those which appear in the novel Le Pere Goriot. Thus, this paper intends to examine how they are constructed and arranged within the narrative, considering that their composition is performed according a kind of strategy, as well as your organization in the text. Furthermore, the female characters are very important in Balzac\'s narrative, although apparently only occupying the background, because they are who, in most of the cases, will help the male characters in their projects of social mobility, until the point of Rastignac, for example, has only achieved success with the help of his aunt, Mme de Beauseant. This without counting the owner, Mme Vauquer, who is the first character to be described in the narrative and who has a capital importance in the destiny of other figures that are hosted on her property. Moreover, the technique most known and used by Balzac and which was developed for him is the return of characters. However, there are other techniques also very important, and one of them is the fact that, to achieve to create the amount of characters existing in La Comedie Humaine, it was necessary to apply a resource of economy, or, in other words, to present lots of characters showing similar characteristics and connected two by two. We were seeking to develop this aspect throughout this work, together with the questions that underlie the role of the female characters, as well as the arrivisme, and this importance for the male.

Baudelaire dedicou-se a Mon coeur mis à nu de 1859 a 1865. Tendo no horizonte as Confessions de Jean-Jacques Rousseau e o projeto nunca realizado My heart laid bare, de Edgar Allan Poe (de onde, aliás, o título Mon coeur mis à nu), Baudelaire tem consciência de que a realização do seu projeto não será fácil, expressando a dificuldade, e por vezes a própria sensação de impossibilidade, em muitas das suas cartas pessoais. Baudelaire morre em 1867, não concluindo o projeto. O que deixa são notas, planos de texto, parágrafos avulsos, trechos a serem incluídos em textos futuros, listas de assuntos a tratar. Poulet-Malassis, amigo e principal editor de Baudelaire, fica encarregado de ordenar e encadernar os manuscritos referentes a Mon coeur mis à nu. Já a primeira publicação integral ficará a cargo de Eugène Crépet, que escolhe chamar o texto, se é texto, de Journaux intimes, interpretando (erroneamente) um projeto literário, ou, em certo sentido, um texto literário em processo de escritura, como diário. No Brasil, dispomos de quatro (re)traduções: Meu coração desnudado (Nova Fronteira, 1981), de Aurélio Buarque de Holanda; Meu coração a nu (Nova Aguilar, 1995), de Fernando Guerreiro; Meu coração desnudado (Autêntica, 2009), de Tomaz Tadeu; e Diários íntimos (Caminho de Dentro, 2013), de Jonas Tenfen. Este trabalho tem como objetivo central a análise dessas (re)traduções. Pretende-se discutir ainda a noção de retradução nos estudos da tradução, percorrendo autores como Berman (1990), Gambier (1994; 2012), Ladmiral (2012) etc.; e revisar a crítica literária sobre Mon coeur mis à nu, buscando problematizar tanto a postura de enxergá-lo como diário íntimo quanto a tendência de encerrá-lo em uma poética do rascunho (DIDIER, 1973) relativamente estanque e estável. Compreendendo a retradução como um espaço ético (CARDOZO, 2007) de relações (tensas) entre modos de ler e dizer o texto, buscamos identificar as posturas tradutórias em jogo em cada (re)tradução brasileira, isto é, de que maneira entendem e dão a ver Mon coeur mis à nu no sistema literário brasileiro. Para isso, recorremos não somente às próprias (re)traduções, mas também ao material paratextual (RISTERUCCI-ROUDNICKY, 2008), lugares em que os tradutores apresentam mais explicitamente seus entendimentos não apenas do texto em tradução, mas do próprio ato tradutório. Identificando em Mon coeur mis à nu uma textualidade altamente movente, fundamentada em tensões insolúveis (projeto e obra; processo e texto), percebemos que as (re)traduções brasileiras atenuam, ou mesmo apagam, essas tensões, fazendo escolhas tradutórias e editoriais que homogeneízam o texto, suprimem suas variabilidades e virtualidades e inscrevem Mon coeur mis à nu na memória do diário íntimo, da escritura puramente confessional, cujo valor reside mais no pessoal do que nas suas tensões e contradições, latências e potencialidades. Apontamos, como desdobramento, a necessidade de uma (re)tradução brasileira que se baseie exatamente na dimensão processual e variável de Mon coeur mis à nu, não na busca de restituir um suposto processo cronológico, mas na tentativa de construir, via tradução, um espaço escritural (GALÍNDEZ-JORGE, 2009) em que o leitor possa ser confrontado exatamente com esse assombramento e com essa monstruosidade (GALÍNDEZ-JORGE, 2010) que estão (em latência) na base mesma de Mon coeur mis à nu. / Baudelaire dedicated himself to Mon coeur mis à nu from 1859 until 1865. With the horizons of Jean-Jacques Rousseaus Confessions and the always unconcluded Edgard Allan Poes project My heart laid bare (from where Mon coeur mis à nus title comes, by the way), Baudelaire is aware that the accomplishment of his own project will not be easy, and he expresses it, sometimes, by writing down the very sense of impossibility in many of his personal letters. Baudelaire dies in 1867, leaving his project unconcluded. What remains are notes, scraps, unattached paragraphs, sequences to be included in future texts, subject lists do be dealed with. Poulet-Malassis, Baudelaires friend and main editor, was in charge of giving order to and binding the manuscripts referring Mon coeur mis à nu. The first full edition, however, was treated by Eugène Crépet, that chooses to call the text, if so, Journaux intimes, interpreting (mistakenly) it as a literary project or, in a certain way, a literary text in progress of being written, like a journal. In Brazil, we are offered with four (re)translations: Meu coração desnudado (Nova Fronteira, 1981), by Aurélio Buarque de Holanda; Meu coração a nu (Nova Aguilar, 1995), by Fernando Guerreiro; Meu coração desnudado (Autêntica, 2009), by Tomaz Tadeu; and Diários íntimos (Caminho de Dentro, 2013), by Jonas Tenfen. The present work aims mainly to analyze these (re)translations. It is also intended to (a) discuss the notion of retranslation in translation studies, by means of authors such as Berman (1990), Gambier (1994; 2012), Ladmiral (2012) etc., and (b) to review the literary criticism on Mon coeur mis à nu, trying to question both the attitude of interpreting it as an intimate journal and the tendency to categorizing it definitely as a draft poetics (DIDIER, 1973), relatively impervious and stable. If retranslation is believed to be an ethical space (CARDOZO, 2007) of (tense) relations among ways of reading and saying the text, we seek to identify the translation attitudes at stake in each Brazilian (re)translation, that is, answering in which way they understand and reveal Mon coeur mis à nu at the Brazilian literary system. For this purpose, we employ not only (re)translations themselves, but also paratextual materials (RISTERUCCI-ROUDNICKY, 2008), places where translators present more explicitly their comprehension of the translation in progress, but also of the translational gesture itself. Identifying in Mon coeur mis à nu a highly moving textuality, based in unsolvable tensions (project and work; process and text), we do realize that Brazilian (re)translations mitigate, or even erase, these tensions, making translational and editorial choices that homogenize the text, suppress their variabilities and virtualities, and inscribe Mon coeur mis à nu in the memory of the intimate journals, of the purely confessional writings, whose value resides more in the personal aspect than in its tensions and contradictions, latencies and potentialities. As an unfolding of this analysis, we point out the need of a Brazilian (re)translation based exactly on the procedural and variable dimension of Mon coeur mis à nu, not in quest of restoring an allegedly chronological process, but as an attempt of building, through translation, a scriptural space (GALÍNDEZ-JORGE, 2009) in which the reader can be confronted precisely with this haunting and with this monstrosity (GALÍNDEZ-JORGE, 2010) that are (latently) in Mon coeur mis à nu basis itself.

No description available.

Este trabalho visa estabelecer uma relação entre literatura e psicanálise. Muito já se falou sobre o cruzamento entre essas duas práxis distintas, independentes e autônomas. Hoje, parece inevitável interligá-las, sobretudo, teoricamente. A idéia deste projeto nasce, inicialmente, do desejo de aproveitar uma relação pouco explorada entre dois autores franceses contemporâneos. Falecidos num intervalo de seis meses entre o final de 1981 e começo de 1982, Jacques Lacan e Georges Perec fizeram história na cena intelectual francesa do final do século XX. A fim de mostrar a amplitude dos estudos em torno da obra destes dois autores, cada um em seu território, é possível dizer que ambos se preocuparam, primordialmente, com a questão da letra, seja Lacan voltado para experiência analítica, seja Perec inteiramente imerso no campo literário. Situados na passagem do estruturalismo ao pós-estruturalismo francês, Lacan e Perec não se cruzaram diretamente. Gostaríamos de compreender as conseqüências de uma nova teoria do sujeito que se esboçava a partir da segunda metade do século XX, principalmente, a leitura que ambos fizeram de autores que freqüentaram e foram atravessados. Lacan deve ser visto como um analista. Perec tomado como um escritor. Porém, uma pesquisa de tal natureza pode se justificar pelos seguintes aspectos: 1. Ambos operam sobre o inconsciente. E daí decorre a enorme importância da obra e o ensino de Jacques Lacan. 2. Trata-se de difundir e disseminar um autor da maior envergadura, pouco conhecido e explorado no Brasil até hoje, que é o genial virtuose das letras e fenômeno literário internacional que é Georges Perec. / This dissertation aims to establish a relation between literature and psychoanalysis. A lot has been said about the crossing between those distinct praxis. Nowadays, it seams inevitable to interconnect at least theorically. The idea of this project arises initially from the wish to approach the relationship not explored until now from those two French contemporaneous authors. Deceased on interval of six months in the end of 1981 and the beginning of 1982, Jacques Lacan and Georges Perec made history in the intellectual French scene in the end of 20th century. To bring along the wideness of those researches, each one in your own territory, it´s possible to say that both are primordially with deep concern toward the subject of the letter. Lacan in the psychoanalytical experience and Perec submerse in the literary field. Lacan and Perec, placed from French structuralism and pos-structuralism, haven´t crossed directly. It would like to comprehend the consequences of the new theory of the subject that started from the second part of 20th century especially your studies across by other authors. Lacan must being seeing as an psychoanalyst. Perec as a writer. However a research of that nature must be justified by two aspects: 1. they operate of unconscious. This is the enormous importance of the work and teachings of Jacques Lacan. 2. It´s about to diffuse and disseminate a great author not known in Brazil until now, which is literary virtuous that is Georges Perec.