Publicado no ano de 1923, o romance A consciência de Zeno é importante por instaurar uma narrativa que traz em seu cerne a modernidade que rompe e transgride os cânones do modelo literário. O homem retratado por ela será marcado por frustrações, rodeado pelo vazio, atormentado pela angústia de viver. Assim nos é apresentado o narrador Zeno Cosini, cujo caráter é colocado em dúvida, já no prefácio, por seu suposto psicanalista e editor do texto. Enigmático e ambíguo, o senhor Cosini recorrerá, ao longo da enunciação de suas memórias, ao uso de várias máscaras para velar sua(s) identidade(s). Procurando o tempo todo ocultar-se, disfarçar-se, Zeno deixa em seu leitor um grande ponto de interrogação quanto à sua identidade e também o desafio de tentar responder Quem é Zeno, afinal?. Assim, o objeto desta dissertação é investigar a(s) possível(eis) identidade(s) do narrador Zeno Cosini. Seguindo os meandros mais profundos de seu discurso, o presente trabalho procura desvelar, desmascarar o senhor Cosini que, por trás de suas máscaras, de seu discurso irônico e ambíguo, esconde uma identidade tão fragmentada e múltipla quanto a do homem de sua época. Não pretendemos estabelecer um único rótulo a este narrador, mesmo porque isso seria impossível. Nosso principal objetivo é rastrear seus passos, ouvir suas vozes dissonantes para, então, chegarmos a uma sentença acerca de sua constituição identitária, erigida através da narrativa. / Published in 1923, the novel La coscienza di Zeno (Confessions of Zeno/Zeno\'s conscience) is important for building a narrative which brings in its core the modernity which disrupts and transgresses literary model´s rules. The man described in it will be branded by frustrations, surrounded by nothingness, tormented by life´s anguish. In that context the narrator Zeno Cosini is introduced, whose character is dubious since the preface by his supposedly text editor and psychoanalyst. Puzzling and ambiguous, mister Cosini calls upon the use of many masks to cover his identity throughout his memories. By trying to hide and cover himself all the time, Zeno leaves to his reader an intriguing question about his identity, as well as the challenge of trying to answer Who is Zeno, anyway?. Therefore, this paper aims at investigating Zeno Cosini\'s possible identities. Following the deepest ways of his speech, the following paper seeks unveiling, uncovering Cosini that behind his masks, his ironic and ambiguous discourse hides such a fragmented and multiple identity as mankind of his age. It is not intended to label this writer even because it would be impossible. Our main goal is to trace his steps, hear his dissonant voices in order to reach a conclusion over his personality traits and identity structured through the narrative.

Ugo Foscolo (1778-1827), poeta neoclássico italiano, é considerado uma figura de relevo na Literatura Italiana e universal. Apesar disso, é muito pouco conhecido dos leitores de língua portuguesa. Foi precursor da prosa moderna italiana com um romance epistolar de caráter pré-romântico, Ultime lettere di Jacopo Ortis, nunca traduzido para o português. O intuito desta dissertação é apresentar o autor ao público brasileiro, por meio desse romance. O trabalho conta com uma análise da obra, acompanhada de uma seleção de cartas traduzidas, comentadas e anotadas, levando em conta os aspectos históricos, literários, estilísticos e temáticos. No capítulo 1, tratamos da vida e obra do autor; em seguida, das Ultime lettere: seu conteúdo e crítica; no capítulo 2, das características do romance epistolar, do seu aspecto formal, dos temas que aparecem no romance, das obras e autores que o influenciaram, e que nele são mencionados; no capítulo 3, do trabalho e das idéias de Foscolo a respeito de tradução; dos critérios adotados nesta dissertação para a escolha e tradução das cartas que se encontram no final do volume. O critério para a tradução das cartas levou em conta idéias sugeridas pelo próprio Foscolo e discutidas no capítulo 3; recorreu-se também a várias edições da obra em italiano, a traduções para o inglês e espanhol, a dicionários especializados e à leitura de autores brasileiros e portugueses contemporâneos de Foscolo, com o objetivo de se produzir um texto que refletisse a linguagem da época. A tradução vem acompanhada de notas que visam esclarecer ao leitor alusões históricas e literárias e problemas textuais do romance / Ugo Foscolo (1778-1827), Italian classical poet, is considered to be an important name in both Italian and universal literature. Nevertheless he is almost unknown to the readers in Portuguese language. He was the precursor of modern Italian prose due to his epistolary novel Ultime lettere di Jacopo Ortis (Last Letters of Jacopo Ortis), a Pre-Romantic work never translated into Portuguese. The aim of this dissertation is to present, through this novel, the author to the Brazilian reader. It includes an analysis of the novel, followed by a selection of commented and annotated translated letters, considering their historical, literary, stylistics and thematic aspects. In the first chapter we discuss first the author´s life and work, and then Last Letters: its contents and the critics about it. In the second chapter we discuss the characteristic of the epistolary novel, its formal aspects, the themes inside the novel, the works and the authors that influenced it - and are mentioned in it. In the third chapter, we discuss Foscolo´s works and ideas on translation, the criterion adopted here to chose and translate the letters in the end of the volume. Our translation criterion is based on Foscolo´s ideas discussed in the third chapter. We also consulted several editions of the work in Italian, its English and Spanish translations and specialized dictionaries. We have read several Brazilian and Portuguese writers who lived in the same time as Foscolo with the aim of producing a text reflecting the language of Foscolo´s time. Following the translation there are notes explaining historical and literary allusions or textual difficulties of the novel

O poeta milanês Giuseppe Parini (1729-1799), embora ocupe um papel de destaque na história da literatura italiana no século XVIII, não é estudado no Brasil, inclusive dentro do ambiente acadêmico voltado aos estudos da italianística. Seu poema narrativo Il Giorno é considerado uma das mais importantes obras do Settecento italiano, apresentando uma dura crítica à nobreza do século XVIII por meio de uma sátira que busca se opor à poesia árcade sentimental em voga na época. O poema de Parini serviu de inspiração para grandes autores da literatura italiana estudados atualmente inclusive no Brasil, como Giacomo Leopardi, Alessandro Manzoni e Ugo Foscolo. Original, clássico e, ao mesmo tempo, atual, Il Giorno é uma obra que merece ser incluída nos estudos de literatura da academia brasileira e, portanto, necessita de uma versão comentada e anotada em língua portuguesa. Entendemos que sua ausência nos estudos dos italianistas brasileiros deva-se sobretudo à dificuldade de compreensão do poema, repleto de latinismos e figuras de linguagem e som, e julgamos que apresentar uma tradução comentada de ao menos uma parte Il Giorno é uma forma de incentivar o contato de professores, pesquisadores e estudantes com esse grande autor e, dessa forma, torná-lo conhecido em nosso meio acadêmico. Portanto, apresentamos uma tradução comentada de Il Mattino, primeira parte da obra. Trata-se de uma tradução estrangeirizante, que preserva os arcaísmos e rebuscamentos do poema italiano, fundamentais em sua constituição como obra satírica ao se contrapor ao assunto narrado na obra: o dia a dia superficial e irrelevante de um jovem membro da aristocracia italiana do século XVIII. / Although the Milanese poet Giuseppe Parini (1729-1799) plays a prominent role in the history of Italian literature of the eighteenth century, he is not studied in Brazil, not even within the academic community focused on Italian studies. His narrative poem Il Giorno is considered one of the most important works of the Italian Settecento: it presents a harsh criticism to the nobility of the eighteenth century by means of a satire that seeks to oppose itself to the sentimental Arctic poetry, very much in vogue at the time. Parinis poem was an inspiration for great Italian writers that are studied nowadays, in Brazil as well as abroad, such as Leopardi, Manzoni and Ugo Foscolo. Original, classic and modern at the same time, Il Giorno deserves to be included in the literature studies of the Brazilian academic community, and, therefore, needs an annotated version in Brazilian Portuguese. We understand that its absence in the field of Italian studies in Brazil is dewed mainly to the difficulty of its comprehension, full of Latinisms and stylistic literary devices, and we believe that an annotated translation of at least one part of Il Giorno is a way to encourage teachers, researchers and students to get in touch with this great writer and, thereby, make him known in our academic community. Therefore, we present an annotated translation of Il Mattino, the first part of Il Giorno. It is a foreignization translation, with all the archaisms and refinements of the Italian poem, considering that those archaisms and refinements, when countering the subject narrated in the work the superficial and irrelevant day-to-day of a young member of the Italian aristocracy of the eighteenth century , are fundamental to the formation of the poem as a satiric work.

La thèse, par le concept opératoire d’extrémisme, propose l’étude du rapport entre engagement politique et expérimentalisme littéraire en Italie au cours des années soixante-dix, en explorant les liens entre l’aspiration révolutionnaire des mouvements socio-politiques d’extrême gauche et la recherche d’une relation renouvelée entre littérature et réalité. Le poète et romancier Nanni Balestrini [1935-], membre de la Néo-avant-garde des années soixante et militant de la gauche extra-parlementaire dans la décennie suivante, apparaît comme un auteur exemplaire de cette tension. Par l’analyse de sa production littéraire des années soixante-dix, un corpus riche qui n’a été que partiellement exploré jusqu’ici, il s’agit de démontrer la mise en œuvre d’un engagement dans et par le langage littéraire, l’élaboration d’une pratique subversive de l’écriture qui puisse revêtir en même temps une fonc! tion politique. En suivant un parcours chronologique rendant compte des évolutions inhérentes à cette problématique, l’on passe ainsi de la recherche d’une littérature « interne à la classe ouvrière » avec le roman Vogliamo tutto [1971], qui préfigure d’autres expériences de « littérature sauvage », à la mise en œuvre d’une fonction heuristique et de contre-information de la littérature avec Vivere a Milano [1976] et La violenza illustrata [1976]. L’analyse des Ballate della signorina Richmond [1977] rend compte des influences croisées de la poétique balestrinienne avec le dernier mouvement contestataire de la décennie, le Mouvement de 1977, qui place au coeur de sa réflexion et de sa pratique politique la subversion du langage ainsi que l’élaboration de nouvelles formes de communication / This work studies the relationship between political commitment and experimentalism in literature using the conceptual tool of extremism. It looks at how the revolutionary aspirations of the social political movements of the extreme left interconnected with the quest for a renewed liaison between literature and reality. A fitting example is the poet and novelist Nanni Balestrini [1935-] who was part of the new avant-garde movement during the 1960s and of the extreme left movements in the years that followed. His writings of that period hold a richness that has not yet been fully tapped. His use of language demonstrates his commitment to the practice of subversive writing as well as his political motivation. When the evolution of these works is followed, the emergence of an “interior working class” literature is observed. An example is the Vogliamo tutto [1971] novel, which foreshadows experiences from the “savage literature”. In addi! tion, works such as Vivere a Milano [1976] and La violenza illustrata [1976] exemplify heuristic and counter-information functions of the literature, while the analysis of Ballate della signorina Richmond shows how Balestrini’s poetics and those of the 1977 political movement significantly influenced each other. The subversion of the language and the production of new forms of communication appear thus to be at the core of political beliefs and reflections

O tema central e foco desta dissertação é o exílio e suas múltiplas leituras possíveis. Tendo como base a análise da obra do escritor italiano contemporâneo Claudio Magris, visamos propor uma leitura de seu romance Un altro mare à luz deste tema. Para enfocar o conjunto da temática do autor triestino, resolvemos introduzir a análise abrangente de sua obra. O percurso da pesquisa inclui uma leitura de Illazioni su uma sciabola, Il Conde, Le voci, Alla cieca: parte de sua produção literária, com o intuito de descobrir os temas prediletos pelo escritor de Trieste. Com a finalidade de introduzir o contexto que originou sua obra decidimos mostrar elementos que caracterizam Trieste, cidade onde Magris nasceu e onde nasceram autores relevantes no panorama italiano e europeu como Umberto Saba, Italo Svevo, Bobi Bazlen. Na mesma cidade nasceu e viveu Enrico Mreule, o protagonista de Un altro mare. A pesquisa aborda sucessivamente temas como a identidade e o multiculturalismo, que estão intimamente vinculados ao do exílio. Como conclusão, a pesquisa aborda um outro contexto: acenos acerca da obra de escritores mitteleuropeos como Franz Kafka, Joseph Roth, Joseph Von Eichendorff e Knut Hamsun. Horizonte indispensável para recepção da obra de Magris, escritor por sua vez mitteleuropeu. / The central theme and focus of this dissertation is the exile and his multiple possible readings. Having as base the analysis of the contemporary Italian writer\'s Claudio Magris work, we sought to propose a reading of his romance Un altro mare looking at this theme. To focus the group of themes of the triestino author, we decided to introduce a great analysis of his work. The journey of the research includes a reading of Illazioni su uma sciabola, Il Conde, Le voci, Alla cieca: part of his literary production, with the intention of discovering the favorite themes of the writer. With the purpose of introducing the context that originated his work we decided to show elements which characterize Trieste, city where Magris was born and where were born relevant authors in the Italian and european panorama like Umberto Saba, Italo Svevo, Bobi Bazlen. In the same city was born and lived for a long time Enrico Mreule, the protagonist of Un altro mare. The research approaches successively themes as the identity and the multiculturalism, which are intimately linked to the exile. As a conclusion, the research approaches another context: hints concerning the work of mitteleuropeans writers as Franz Kafka, Joseph Roth, Joseph Von Eichendorff and Knut Hamsun. Indispensable horizon for understanding the work of Magris, writer by his way mitteleuropean.

Este trabalho busca fornecer alguns dados básicos sobre as leituras da Vita de Cellini no Brasil do século XX. Depois de considerações introdutórias sobre o autor e sua obra, dá-se atenção à única tradução brasileira completa de sua autobiografia, seguindo-se breve menção de adaptações em livros e filmes. / This work tries to provide some basic data about XX century Brazilian readings of Cellini´s Vita. After introductory considerations about the author and his work, the only complete Brazilian translation of his autobiography is presented, while adaptations in books and films are also briefly mentioned.

A proposta desta dissertação é analisar em contos do livro Sessanta Racconti (1958) a relação entre a poética do autor e a estética surrealista. Através do exame de elementos surrealistas específicos (acaso objetivo, humor negro, sonho, maravilhoso e fantástico) utilizados por Buzzati na construção dos 16 contos selecionados, buscou-se identificar indícios de similaridade, transposição ou releitura de modo a aprofundar o conceito de surrealismo buzzatiano, diverso das demais manifestações surrealistas, mas ao mesmo tempo em diálogo com a estética vinculada a André Breton e seguidores. Desta forma, pretende-se colaborar para o preenchimento de lacunas ainda existentes nos estudos sobre o autor, auxiliando na construção de possíveis novas abordagens para análise e tradução da obra de Buzzati. / The aim of the present dissertation was to study the tales in the book Sessanta Racconti (1958) to analyze the relation between author\'s style within the surrealist aesthetics. We tried to identify similarities, transposition or review, through the study of specific surrealistic elements (objective hazard, black humour, dream, marvelous and fantastic) that was used by Buzzati to create his 16 selected tales. Thus we intend to show a idea of the Buzzati´s surrealism, different of another surrealist manifestations, but at the same time in dialogue with the aesthetic model related to André Breton and his followers. Finally we intend to improve the author\'s researches, with suggestions for the development of new approaches to analysis and translations of Buzzati\'s works.

My doctoral dissertation examines the relationship between the sacred and literature, explores how the Bible has influenced the literary production of Antonia Pozzi, Cristina Campo, and Margherita Guidacci, and reveals that each author had a distinctive way of dealing with the Sacred Book. In the first chapter I retrace the studies on the topic of Bible and Literature, and I show how literary critics only recently have begun to work intensively on them (in the past the "historical school" founded by De Sanctis and followed by Croce devoted few studies to the subject of the sacred and even so, only to those periods where the influence of the Scriptures was clear and indeed obvious, such as the Middle Ages and the Counter-Reformation). In the same chapter I explain my reason for deciding to study Pozzi, Campo, and Guidacci. These three authors share analogous biographical experiences and episodes that deeply influenced their lives (the presence of an authoritarian father, family losses, and sad love experiences). Moreover, their studies (specifically, European writers and philosophers) were of the same nature. I demonstrate that, although contemporary Italian literature is heterogeneous and varied, these three women astonishingly shared the same background that explains their concentration on the sacred. In the following chapter I consider the writers individually, in order to examine the path that led them to a dialogue with the religious and the sacred. In Pozzi, the sacred is something that lies beyond human understanding and, for all her attempts to reach it, she always fails due to her incapacity to fully free helself from human passions. In Campo and in Guidacci on the other hand, the sacred search is always consistent and, notwithstanding some missteps and second thoughts, they are able to basically fulfill their task. After the study of their ideas, in the last chapter I move to the poetical language used by these writers. It has been very interesting to see what is essentially the same vocabulary appearing again and again in our poets. As it is known, the biblical language is based on symbols that evoke a union between the contingent and the Absolute. Pozzi, Campo, and Guidacci were not only able to interpret the biblical symbology but they also used some of those terms in their poems; specifically I focused my attention on the recurrence of five words-symbols: assenza, deserto, nulla, fiore, luce (absence, desert, emptiness, flower, light). It is really significant that the writers in question use the same biblical symbols as poetical words: it is a vocabulary that ties together literary and religious experience. Their connection is also strengthened by the reference and the predilection for same specific books of the Bible, such as Job and The Lamentations of Jeremiah the Prophet for Pozzi, and the Gospels, Psalms, and The Song of Songs for Campo and Guidacci. In my analysis I show that already in the desert we can see the first signs of Pozzi's weakness: In this solitary place, where the soul must deal with herself to reach the emptying of earthly passions, Pozzi got lost and fell into the error of looking backwards, to the beloved she had left. On the other hand, Campo and Guidacci were able to reach the spiritual light, so their journey through biblical symbolism can be finally considered complete. In other words, Pozzi's path towards the Scripture is fulfilled piecemeal and never ends in it, while in Campo and Guidacci the Scripture becomes an integral part of their lives, so they are constantly enlightened by the Word of God, while Pozzi misses this Light and sinks into the darkness of death. Finally, considering the fact that they have been relatively isolated from the literary world until recently, I do not believe they were rejected by a misogynist society, but rather by the fact that those years were demanding an active social participation. The women treated here never made that choice, instead they dedicated themselves to the search for the sacred, an issue not "present" in the years in which they lived. So I think that it was this combination of poetic themes and lifestyle choices that excluded them. In conclusion my work, which could have considered many other poets, confirms the point of view from which I started: the theme of the sacred in the twentieth century literature does not seem to present itself as a school or current, but is characterized by its inevitable uniqueness so that each poetic experience is described for its extraordinary authenticity and uniqueness. If anything, we can talk about similarities and links between these poets based on common readings that provide the basis on which to develop their own religious experiences.

Orientador: Márcio Scheel / Banca: Arnaldo Franco Junior / Banca: Márcio Roberto do Prado / Resumo: Neste trabalho propusemos estudar a relação entre história e literatura na representação do salazarismo em Afirma Pereira, de Antonio Tabucchi. Para embasarmos a análise da obra, começamos por algumas reflexões sobre a origem do romance e suas características, partindo de estudos de Bakhtin e Lukács. Na sequência, aprofundamos alguns aspectos da relação entre literatura e história, que nortearam nosso olhar para a questão da representação ficcional proposta por Tabucchi, através da diferenciação entre a narrativa ficcional e a narrativa historiográfica. Essa relação abre a discussão para o romance histórico tanto o clássico, como o contemporâneo. Assim, analisamos alguns traços de ambas variações dessa forma romanesca, estabelecendo de que maneira o romance histórico clássico é atualizado segundo Jameson e Anderson. Em seguida, entramos numa abordagem histórica a respeito do salazarismo para entender de que forma Tabucchi representa tal regime e quais são os aspectos subvertidos em sua construção ficcional. Com base na teoria dos mitos ideológicos formadores do Estado Novo, do historiador português Fernando Rosas, nos aspectos da narrativa ficcional e do romance histórico, formamos o alicerce teórico e passamos para a análise da obra aqui estudada. Procuramos estabelecer de que forma o romance histórico tabucchiano questiona o salazarismo e o totalitarismo europeu e de quais dispositivos o autor parte para tal construção, como, por exemplo, a subversão dos mitos ideológicos por algumas personagens. Com efeito, como resultado da pesquisa podemos estabelecer que a obra é um romance histórico contemporâneo atualizando e transformando o conceito de romance histórico, e a representação ficcional do salazarismo é feita por meio do olhar questionador que inverte as bases principais do regime e as expõe com intuito de provocar a reflexão sobre tal período / Abstract: This study aimed to study the relationship between history and literature in the representation of Salazar in Antonio Tabucchi's Afirma Pereira. The analysis of the work started by some reflections on the origin of the novel and its features, from Bakhtin and Lukács studies. Following, deepen aspects of the relationship between literature and history, that guided our look at the issue of fictional representation proposed by Tabucchi, by differentiating between fictional narrative and historiographical narrative. This relationship raises issues for the classic historical novel, as the contemporary. So we analyzed some traits of both variations of this novel form, establishing how the historical novel is updated second Jameson and Anderson. Then we entered a historical approach about Salazar to understand how salazarismo is subverted by Tabucchi in his fictional construction. Based on the theory of mitos ideológicos do Estado Novo, of the portuguese historian Fernando Rosas, in the aspects of the novel and the historical novel, form the theoretical foundation for the analysis of the work studied here. We seek to establish how the tabucchian historical novel questions salazarism and european totalitarianism and the author of which devices for such construction, for example, the subversion of mitos ideológicos do Estado Novo by some characters. Indeed, as a result of research we can establish that the work is a contemporary historical novel updating and transforming the historical novel concept, and the fictional representation of Salazar is made through questioning look that reverses the salazarism main bases and exposes them like some way of reflection about that period / Mestre

This thesis analyzes the speaking and silencing of two female characters, Beatrice from Dante’s Vita Nuova and Purgatorio and Susan from J. M. Coetzee’s Foe. The texts are viewed through postcolonial and feminist lenses to show the problems with male characters speaking for female characters and the obstacles the female characters face when attempting to speak. Dante’s solution to this problem is to transform Beatrice from a silent and demure woman into a character who issues commands with a powerful voice. Coetzee’s solution is instead to refuse to provide a solution, since no one but Susan can speak for her. This thesis describes the different roles that Susan and Beatrice take on in order to gain authority and tell their true stories. The relationships of the male and female characters are explored, as well as their relationships to speaking, silence, revision, truth, and meaning.