Made available in DSpace on 2017-07-10T18:55:42Z (GMT). No. of bitstreams: 1 Douglas Machado.pdf: 1128189 bytes, checksum: 2749c41ecd8769a7b9ae1e25a54f99f1 (MD5) Previous issue date: 2014-02-15 / The present research aims to produce a comparative reading of Columbia (1892), written by John Musick, Los perros del Paraíso (1989), by the Argentinean Abel Posse and A Caravela dos insensatos: uma viagem pela renascença (2006), by the Brazilian Paulo Novaes to expose the characterization of Christopher Columbus' figure in American Literature as a hero on the discovery of America, as well as its deconstruction and its subsequent reconfiguration. The novels in which this comparison was carried out are part of the fictional hybrid genre called historical novel. The first one, written in North America, is a traditional historical novel and it reveals Columbus as a mythical hero of the New World. The second one, written inside the Spanish American context, is a new Latin American historical novel that presents processes of deconstruction of the existing historical speech and gives visibility to the Latin American people so that they are able to make a new reading on their own past. However, the third one, written more recently in our country, brings back the traditional historical novel model and reconfigures Christopher Columbus' traditional heroic-mythical image. Therefore, this novel ignores the voice of the Latin American people and all the critical and deconstructionist production of the Spanish American Literature done along the 20th century, which was based upon deconstructionist resources like parody, carnivalization, intertextuality, anachronies, irony, multiperspectivism and much more. These writings are constantly questioning power relations, control of truth and also deconstruct speeches that had been shaping Latin American s identity. Thus, our research aims to explain the relationship between American and the old European metropolis: colonization, decolonization and maintenance of certain aspects from the colonizatory dependence of America. These processes are reinforced by literary creations; whether they are critical as the new historical novel or traditional, still appealing to the permanence of colonizatory processes that occur by rescuing ethnocentric models of historical and literary references. To do so, we will use a bibliography which enables us to follow the course of the historical novel genre from its European origins until it became the high critical hybrid genre that currently is written in Latin America / A presente pesquisa apresenta uma leitura comparada entre Columbia (1892), do estadunidenese John Musick; Los perros del paraíso (1989), do argentino Abel Posse e A Caravela dos Insensatos: uma viagem pela renascença (2006), do brasileiro Paulo Novaes para evidenciar a caracterização da figura de Cristóvão Colombo na literatura americana sob as configurações do herói do descobrimento, a desconstrução dessa imagem heroico/mítica e a sua posterior reconfiguração. As obras nas quais essa comparação se efetiva são integrantes do gênero ficcional híbrido denominado romance histórico. A primeira delas, escrita em solo norte-americano, situa-se na modalidade do romance histórico tradicional, que revela a figura de Colombo como um herói mítico do Novo Mundo . A segunda, escrita no contexto hispano-americano, é exemplar da modalidade do novo romance histórico latino-americano que apresenta processos de desconstrução do discurso histórico vigente ao dar voz ao sujeito da América Latina para que este seja capaz de efetuar outras leituras sobre o próprio passado. Já a terceira, escrita mais recentemente em nosso país, resgata as tendências da modalidade do romance histórico tradicional e reconfigura a imagem heroico/mítica de Cristóvão Colombo. Com isso essa produção romanesca mais atual ignora a voz do sujeito crítico latino-americano e toda a produção crítica e desconstrucionista hispano-americana do século XX, a qual produziu uma literatura com o emprego de recursos escriturais bastante desconstrucionistas como a paródia, a carnavalização, as intertextualidades, as anacronias, a ironia, o multiperspectivismos e outras mais. Essas escritas constantemente questionam as relações de poder, o controle da verdade e desconstroem enunciados que moldaram a construção identitária dos sujeitos latino-americanos. As análises feitas objetivam, portanto, explicitar a tríplice relação entre a América e as metrópoles europeias: a colonização, a descolonização e a manutenção de certos aspectos da dependência colonizadora da América. Tais processos são reforçados pelas criações literárias, sejam elas as críticas do novo romance histórico ou as tradicionais que ainda apelam à permanência dos processos colonizadores que ocorrem com o resgate dos modelos etnocêntricos de referenciais históricos e literários. Para tanto, utilizaremos um referencial teórico-metodológico que nos oportunize acompanhar a trajetória do gênero romance histórico desde suas origens europeias primeiras até a constituição das modalidades que transformaram essa escrita híbrida em uma das formas mais relevantes da produção literária latino-americana

Made available in DSpace on 2017-07-10T18:56:02Z (GMT). No. of bitstreams: 1 Odete_tasca.pdf: 1034676 bytes, checksum: 3f0a97aa63b7eba17e118ca90565f20b (MD5) Previous issue date: 2016-03-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / ABSTRACT: This article presents an analysis of the trilogy The Mill on the Po (1957), by Riccardo Bacchelli, a piece of work that portrays the complex story of a family of millers, which is seen in three successive generations. The novels include events of a whole century of history: from the period of Napoleon s defeat in Russia (1812) until the First World War (1918), and it depicts the banditry and the first social conflicts that occurred in the context of the struggle for Resurgence and Unification of Italy. In the perspective of the comparative studies and based upon reflections of writers such as Coutinho and Carvalhal (1994), Georg Lukacs (2011), Celia Fernández Prieto (2003), among others, a confrontation between the three novels that form the Bacchellian trilogy is established to compare the discourse of fiction with the discourse of History. This is done to acknowledge how the History of Italy dialogues with the fiction presented in the novel. It is also the objective of this research,through the use of some specific fragments of the novel, to analyze the poetic literary discourse in the rereading of the story, making sure the way the first one fictionalizes the official story and toshow how the popular masses begin to realize that they are the engine history. About the history of Italy s constitution, the novel also portrays the search for a national identity in this context. We notice, therefore, how Bacchelli s writing poeticizes the History through the use of a polysemic and metaphorical language, emphasizing also the question of religious discourse, making the reader notice, beyond the historical episode, a religious vision in the narrative, originated from popular traditions and legends. After some analysis of the characters relationship through life adversities, it is possible to comprehend that the human beings in Bacchelli s vision are temporal and historical beings. They are subjects of the flow of History and its irresistible force, but at the same time, through the matter that the History offers them, they have to build up their lives and confront their eternal destiny, for what they are also responsible. There is, consequently, a representation of human life in Bacchelli s writing between the material events of the human existence and the direction that is set beyond History / RESUMO: Este trabalho apresenta uma leitura da trilogia Il mulino del Po (1957), de Riccardo Bacchelli, obra que retrata a complexa história de uma família de moleiros, vista em três gerações sucessivas, abrangendo um século de história: o período que vai desde a derrota de Napoleão na Rússia (1812) até a Primeira Guerra Mundial (1918). Retrata o banditismo e os primeiros conflitos sociais que se deram no contexto da luta pelo Ressurgimento e Unificação da Itália. Na perspectiva dos estudos comparados, a partir das reflexões de Coutinho e Carvalhal (1994), Georg Lukács (2011), Celia Fernández Prieto (2003), entre outros, estabelecese um confronto entre os três romances que compõem a trilogia bacchelliana, a fim de comparar o discurso da ficção com o discurso da história, para verificar como a história da Itália dialoga com a ficção no romance. É objetivo também dessa pesquisa, a partir de fragmentos do romance, analisar a poeticidade do discurso literário na releitura da história, verificando de que modo aquele ficcionaliza a história oficial e mostra como as massas populares começam a se dar conta de que elas são o motor da história. Ao tratar da história da constituição da Itália, a obra também retrata a busca por uma identidade nacional neste contexto. Percebese, portanto, que Bacchelli trata os eventos históricos a partir de uma linguagem polissêmica e metafórica, dando ênfase também à questão do discurso religioso, fazendo com que o leitor perceba, além do episódio histórico, uma visão religiosa na narrativa, originada de tradições e lendas populares. Após algumas análises sobre a relação das personagens com as adversidades da vida, percebese que os seres humanos, na visão de Bacchelli, como seres temporais e históricos, estão sujeitos ao fluxo da história e à sua força irresistível, mas ao mesmo tempo, por meio da matéria que a história lhes oferece, eles têm que construir suas vidas e confrontarse com seus destinos eternos, dos quais também são responsáveis. Temse, portanto, uma representação da vida humana entre os acontecimentos materiais da existência e o sentido que se coloca para além da história.

L’image institutionnelle du Romantisme portugais, souvent calquée sur la vision nationaliste des chefs de file de ce mouvement et tournée vers les textes innovateurs, est une image tronquée, partiale et figée. Combinant l’analyse socio-littéraire de quatre œuvres de fiction, représentatives des principales lignes d’affrontement de l’époque en termes de valeurs esthétiques et idéologiques, avec l’analyse historique des traductions, cette étude fait émerger les différents pôles constitutifs du champ littéraire portugais entre 1840 et 1860 et démontre sa complexité polyphonique. On y décèle ainsi, au niveau de “la littérature civique” (symboliquement dominante), incarnée par A Virgem da Polónia, de J.J.R. Bastos, et Eurico, O Presbítero, d’Alexandre Herculano, un conflit entre modèles sociaux et littéraires conservateurs et progressistes. Quant à A Mão do Finado, d’Alfredo Possolo Hogan, elle permet d’éclairer l’émergence de l’”industrialisme littéraire”. Enfin, Maria! Não me mates, que sou tua mãe!, de Camilo Castelo Branco, représente la pérennité de la littérature de colportage et pour son auteur le début d’une carrière de “professionnel des lettres”. La partie finale est consacrée à l’examen de la littérature traduite (raisons du succès ou de l’absence de certains auteurs) et de la méthode de nationalisation que Castilho lui appliqua afin de perpétuer l’ordre institué. / Modeled on the vision of the nationalist movement’s leaders and oriented towards the literary innovative texts, the institutional image of the Portugese Romanticism is a distorted, partial and a static one. Combining the socio-literary analysis of four works of fiction, representative of the main lines of confrontation both for their aesthetic and ideological values, and the historical analysis of book translations, this study brings to the foreground the various constituent poles of the Portuguese literary field between 1840 and 1860 and shows its polyphonic complexity. A conflict between social models and literary conservatives and progressives is therefore depicted through the « civic literature » (symbolically dominant) and incarnated by A Virgem da Polónia, by J.J.R.Bastos, and Eurico, O Presbitero, by Alexandre Herculano. As for A Mão do Finado, by Alfredo Possolo Hogan, it sheds light on the emergence of the “literary industrialism”. Finally, Maria! Não me mates, que sou tua mãe!, by Camilo Castelo Branco, represents the sustainability of the chapbooks and for its author the beginning of a career of «professional of letters». The last section is devoted to the consideration of translated literature (reasons for success or absence of some authors) and the method of nationalization that Castilho applied to it in order to perpetuate the established order.

Le travail de recherche a été articulé autour de trois axes principaux : la lecture philologique et sémantique de l’œuvre de Ippolito Nievo étroitement associée à l’étude de la bibliographie critique ; lʼhypothèse raisonnée de l’existence fondamentale, dans la structure même de lʼœuvre, du principe humoristique et lʼétude systématique de sa problématisation théorique ; le repérage et lʼutilisation méthodique des instruments d’analyse les plus appropriés à une analyse de lʼœuvre articulée sur ces choix. Sʼagissant de la réflexion théorique sur la notion même dʼhumour, elle a démarré sur la base des trente premières années du XXe siècle avec les fameux travaux de Freud, de Bergson et de Pirandello. Par ailleurs, à travers les considérations de Francesco Orlando et de Tzvetan Todorov, l’approche freudienne a été reliée à la linguistique structurale et à la néo-rhétorique de Chaïm Perelman et de Lucie Olbrechts-Tyteca. Ainsi, l’analyse du premier chapitre des Confessioni a permis dʼétablir une fonction argumentative des phénomènes formels et fondamentaux reconductibles à la notion d’humour et de dégager avec netteté l’importance stratégique de cette partie fondamentale du roman à cause de la présence d’une sorte de koinè qui se manifeste ici presque sans solution de continuité, mais se retrouve cependant dans l’œuvre entière. / This research articulates three main axes: a philological and semantic reading of Ippolito Nievo’s work, which is strictly associated with the study of the critical bibliography; the reasoned hypothesis of the fundamental existence of the humourous principle in the novel’s own structure and the systematic study of its theoretical problematisation; and, the location and methodical use of the most appropriate analytical instruments for an analysis of the novel based on these choices. Theoretical thought about the very notion of humor began during the first thirty years of the 20th century with Freud, Bergson and Pirandello’s renowned studies. What’s more, Francesco Orlando and Tzvetan Todorov’s arguments linked the Freudian perspective to structural linguistics as well as to Chaïm Perelman and Lucie Olbrechts-Tyteca’s neo-rhetorics. Thus, the analysis of the first chapter of Confessioni establishes an argumentative function of the notion of humor’s formal and fundamental phenomena. It also clearly reveals the strategic relevance of this fundamental section of the novel through the presence of a sort of koinè that becomes evidently manifest during the first chapter, but it also appears throughout the entire work.

In Portugal, as in other countries, a common characteristic of many of the novels published in the past twenty years is the recourse to a repertoire of literary devices that recall those of the historical novel.                 On the basis of critical studies published in the 1990’s, and in particular Fernández Prieto’s Poética de la Novela Histórica, this thesis undertakes a study of the Portuguese historical novel with the aim of defining, to the extent possible, the limits of this literary genre, and to examine in detail some of its intrinsic—and pertinent—semantic and pragmatic traits: the setting of a fictional narrative in the past, the introduction of historical persons and events and, not the least, the transtextual relationship between the fictional and the historiographic text.        Special attention is given to some of the more innovative forms of the contemporary historical novel, to highlight how by emphasising certain generic traits —that refer to the reader’s acquired knowledge— the author can compensate for the absence of others. Despite the inherent ”heterodoxy”, this device justifies grouping these novels under the general heading of the historical novel. The thesis explores the analogies between some of these innovative narrative strategies of the contemporary historical novel with transtextual practices characteristic of literature predating the 19th Century and by which a certain ”historical knowledge” is requisite for decoding the text. The thesis also establishes a set of generic traits that the historical novel shares with epic poetry. In light of these analogies, the thesis proposes a reading of Os Lusíadas as a historical poem. With this the author hopes to provide a contribution to a theory of historical fiction, understood as a genre encompassing, in addition to the novel, all forms of fictionalisation that rely on the historical discourse. © Mauro Cavaliere                                           ISBN  91-7265-442-2

Negli ultimi anni l’autore americano John Edward Williams (1922-1994) è stato riscoperto grazie all’incredibile successo del suo terzo romanzo, "Stoner" (1965), ripubblicato negli Stati Uniti nel 2006 e apparso in Europa tra il 2009 e il 2013. Per molto tempo Williams era stato uno scrittore poco considerato dal pubblico e dalla critica perché la sua prosa misurata ed elegante era in controtendenza rispetto alle forme dominanti nella letteratura americana della seconda metà del Novecento. Oggi egli è apprezzato soprattutto come maestro di stile, ma l’analisi dei suoi tre romanzi principali ("Butcher’s Crossing", "Stoner", "Augustus") rivela anche altri aspetti originali della sua opera. Innanzitutto, Williams sfida le rappresentazioni egemoniche dell’eroismo americano: i suoi protagonisti sono, infatti, caratterizzati dalla capacità di sopportazione, dalla pazienza e dal senso di responsabilità verso il loro lavoro. Inoltre, egli si distanzia dalle narrazioni trionfalistiche della storia statunitense: tracciando la parabola discente dell’impero americano dalla fine dell’Ottocento fino al secondo dopoguerra, i suoi romanzi mostrano come una nazione fondata sulla conquista, la distruzione e le disuguaglianze sociali sia destinata all’autodistruzione. Nel primo capitolo di questa tesi viene tratteggiata la carriera di Williams come romanziere, accademico, critico e poeta, esaminando le sue posizioni letterarie nel contesto culturale degli anni Sessanta e Settanta. I tre capitolo successivi sono invece dedicati a "Butcher’s Crossing" (1960), "Stoner" e "Augustus" (1972), analizzati in relazione ai loro sottogeneri (western, "academic novel" e romanzo storico) e ad alcuni temi che emergono nell’opera di Williams (la relazione tra l’uomo e la natura, l’eredità puritana, la raffigurazione dei personaggi femminili). / In recent years, the American author John Edward Williams (1922–1994) has been rediscovered, thanks to the incredible success of his third novel, "Stoner" (1965), which was republished in the United States in 2006 and appeared in Europe between 2009 and 2013. For a long time, Williams had been neglected as a writer because his restrained and elegant prose was antithetical to the dominant forms of late-twentieth-century American literature. Today he is considered a master of style, but an analysis of his three major novels ("Butcher’s Crossing", "Stoner", and "Augustus") reveals other original elements in his fiction. First, Williams challenges hegemonic representations of American heroism: his protagonists are characterized by endurance, patience, and a sense of responsibility to their jobs. Moreover, Williams distances himself from triumphalist narrations of American history: tracing the descending parable of the American empire from the end of the nineteenth century to the second half of the twentieth century, his novels show that a nation founded on violence, conquest, and social contradictions is bound to destroy itself. In the first chapter of this thesis, I trace Williams’s career as a novelist, academic, critic, and poet, examining his literary positions in the cultural context of the sixties and seventies. The study then proceeds by analyzing "Butcher’s Crossing" (1960), "Stoner", and "Augustus" (1972) in relation to their subgenres (Western, academic novel, and historical novel) and some themes that emerge in Williams’s writing (the relationship between man and nature, the American Puritan heritage, and the representation of female characters).

Peggy Froeses Aufsatz, „Risiko und Vertrauen im historischen Roman um 1850: am Beispiel von Louise Otto-Peters Nürnberg“, fokussiert in diachroner Perspektive und im interdisziplinären Rekurs auf soziologische Risiko-Theoreme von Niklas Luhmann die beiden Relationen Risiko und Vertrauen sowie Risiko und Gefahr. Im Zentrum stehen dabei die fiktionalen Differenzkonstruktionen männlichen und weiblichen Risikoverhaltens, welche die politisch exponierteste bürgerliche Emanzipationsschriftstellerin Louise Otto-Peters aus der historischen Position ihrer ebenso geschlechtersegregierten wie fortschritts-, rationalitäts- und risikoaffinen Gegenwart heraus für die historische Vergangenheit um 1500 entwirft. Die Analyse signifikanter vertrauensmarkierter Risikohandlungen und -reflexionen zeigt, dass der Text die neue, sich formierende Risikomentalität in unhistorisch projektiver und affirmatorischer Weise zum konstitutiven Charakterisierungsmerkmal aller seiner Figuren macht, genderstereotype Attribuierungen des zeitgenössischen Risiko-Diskurses dabei aber kritisch ausdifferenziert und korrigiert.

The paper analyses Hilary Mantel’s novel Bring Up the Bodies in terms of how it might correlate with the notion of Russian patriotism. The origin for the research lies in the official list of literature recommended for patriotic education in Russia that was compiled in late 2015 and is thus immediately connected with the surge of state-driven patriotism in the country following the 2014 annexation of Crimea. Bring Up the Bodies is among very few contemporary historical novels by non-Russian authors included in the list. The conducted analysis reveals certain features in the novel’s protagonist and his behaviour that might correspond with the understanding of patriotism and citizenship in Russians. Moreover, the paper argues that legal pragmatism practiced by the protagonist, as well as the very style of historical representation in the novel, that re-evaluates the historical figure of Cromwell and undermines subjectivity of the historical past, may be seen as legitimising contemporary politics in Russia by way of establishing a “tradition.”

В диссертации рассмотрена динамика образа героя и времени в русских исторических романах XIX века. На изображение героя и времени влияет историческая концепция автора. Историческое повествование включается в контекст вечных тем и проблем. Это сближает исторический роман с философским. Такая тенденция нашла воплощение в историко-философской дилогии Вс. С. Соловьева «Волхвы» и «Великий Розенкрейцер». / The dissertation examines the dynamics of the image of the hero and time in Russian historical novels of the 19th century. The historical concept of the author influences the image of the hero and time. Historical narrative is included in the context of eternal themes and problems. This brings the historical novel closer to the philosophical one. This trend was embodied in the historical and philosophical dilogy of Vs. S. Solovyov «Sorcerers» and «The Great Rosicrucian».

Made available in DSpace on 2017-07-10T18:56:26Z (GMT). No. of bitstreams: 1 Bernardo Gasparotto.pdf: 1252076 bytes, checksum: 30ee9e02841cc8298727a2453b383ec4 (MD5) Previous issue date: 2011-02-28 / Basing itself upon the assumptions of Compared Literature, the present research aims to demonstrate that the dialogical relations established between the Spanish and the Hispano-American literature, when referred to the productions that handle with the theme of the discovery of America, after the publication of Vigilia del Almirante (1992), by the Paraguayan writer Augusto Roa Bastos. Such work reveals itself as a sort of synthesis of the Hispano-American vision about the theme, working like a parting of the waters when it comes to the production of historical novels, being produced from it, in the context of the discovery poetics, only mediation contemporary historical novels. This happens also in Spain, that for the first time, within this context, presents a work that deals with a distinct perspective from the one traditionally adopted by Spanish authors, promoting the dialogue with the Hispano- American literature. This is the novel Carta del fin del mundo (1998), by Jose Manuel Fajardo, a narrative that presents a discourse that seeks to reveal a new aspect of the meeting between both worlds under the perspective of the colonized. Parting from both works mentioned as corpus, the objective is, first of all, to destacate the apologetic discourse present in the Spanish productions, to, afterwards, approach the Hispano-American production of the theme initiated in the 70's decade of the 20th century to show that the modality of the new historical novel, synthesized in the work of Roa Bastos (1992), ended up influencing the productions about the discovery in European lands, that began to question not only the figure of Christopher Columbus, but also the whole discovery enterprise, establishing the dialogue with the Hispano-American tradition. It will also be taken in consideration that the work by Fajardo (1998) does not characterize itself as an isolated manifestation of the Spanish literature, once one can also observed the publication of the trilogy La pérdida del paraíso (2002), by Jose Luis Muñoz that presents the same mediation tendencies, in the terms proposed by Fleck (2008). / Apoiando-se nos pressupostos da literatura comparada, a presente pesquisa busca demonstrar que relações dialógicas se estabeleceram entre a literatura espanhola e a hispano-americana, no que se refere às produções voltadas à temática do descobrimento da América, após a publicação de Vigilia del Almirante (1992), do escritor paraguaio Augusto Roa Bastos. Tal obra revela-se como uma espécie de síntese da visão hispano-americana sobre o tema, atuando como um divisor de águas em relação à produção de romances históricos, sendo que a partir dele produziram-se, no contexto da poética do descobrimento, quase somente romances históricos contemporâneos de mediação. Isso ocorre inclusive na Espanha, que pela primeira vez, dentro deste contexto, apresenta uma obra que trabalha com uma perspectiva distinta da tradicionalmente adotada pelos literatos espanhóis, promovendo o diálogo com a literatura hispano-americana. Trata-se do romance Carta del fin del mundo (1998), de Jose Manuel Fajardo, uma narrativa que apresenta um discurso que busca revelar uma nova faceta do encontro entre os dois mundos sob a perspectiva do colonizador. Partindo das duas obras mencionadas como corpus, objetiva-se, primeiramente, destacar o discurso apologético presente nas produções espanholas, para, em seguida, ao abordar a produção hispanoamericana da temática iniciada na década de 70, do século XX mostrar que a modalidade do novo romance histórico, sintetizada na obra de Roa Bastos (1992), acabou influenciando as produções sobre o descobrimento em terras europeias, que passaram a questionar não somente a figura de Cristóvão Colombo, mas de toda empresa descobridora, possibilitando o diálogo com a tradição hispano-americana. Leva-se em consideração, ainda, que a obra de Fajardo (1998) não se caracteriza como uma manifestação isolada na literatura espanhola, uma vez que se dispõe também da trilogia La pérdida del paraíso (2002), de Jose Luis Muñoz, que apresenta a mesma tendência de mediação, nos termos propostos por Fleck (2008).