Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-04-17T21:15:21Z No. of bitstreams: 1 EvaldoGondimDosSantos_TESE.pdf: 1335244 bytes, checksum: 38f7572fa0034d67431bf29bbe1a05f6 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-04-18T19:22:40Z (GMT) No. of bitstreams: 1 EvaldoGondimDosSantos_TESE.pdf: 1335244 bytes, checksum: 38f7572fa0034d67431bf29bbe1a05f6 (MD5) / Made available in DSpace on 2017-04-18T19:22:40Z (GMT). No. of bitstreams: 1 EvaldoGondimDosSantos_TESE.pdf: 1335244 bytes, checksum: 38f7572fa0034d67431bf29bbe1a05f6 (MD5) Previous issue date: 2016-12-08 / Conselho Nacional de Desenvolvimento Cient?fico e Tecnol?gico (CNPq) / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES) / Nesta tese ? discutido e analisado como a metafic??o par?dica, a saber, o processo que torna a fic??o vis?vel pela repeti??o com diferen?a, potencializa a cria??o de uma narrativa policial diferente no romance O Xang? de Baker Street (1995), de J? Soares. A pesquisa ? estabelecida a partir de leituras que tratam, sobretudo, da metafic??o par?dica, da escrita autopoi?tica, do humor enquanto arte das superf?cies, bem como da fabula??o de mundos por vir, fazendo uso de conceitos da filosofia da diferen?a em Deleuze e Guattari e da cr?tica liter?ria, principalmente, em Linda Hutcheon, Blanchot e Foucault, tais como: m?quina autopoi?tica, humor, fabula??o, metafic??o, par?dia, espa?o liter?rio e obra. No plano de composi??o, o romance do humorista brasileiro torna a sua realidade ficcional vis?vel pelo parodiar de obras liter?rias e historiogr?ficas, sobretudo as narrativas policiais doylianas e as que retratam o Rio Janeiro no final do s?culo XIX. Nesse sentido, desenvolve-se, nesta obra, uma escrita que se mant?m em si mesma, desloca significa??es e flagra sua realidade ficcional. No heterocosmo soareano, a narrativa se apresenta como num espa?o de uma biblioteca. O apelo da obra se encontra na convoca??o de estere?tipos apresentados em livros sobre a capital do imp?rio dos tr?picos, no final do segundo reinado, bem como em narrativas policiais. A repeti??o com diferen?a de livros e obras p?e em questionamento imagens arraigadas, abrindo espa?o para o ?flagrante delito? da fabula??o de mundos, que se constituem na superf?cie da escrita e que n?o se reduzem a sedimenta??es. / This thesis discusses and analyzes as the parodic metafiction, namely, the process that makes fiction visible by repetition with difference, enhances the creation of a different detective narrative in the novel A Samba for Sherlock (1995), by J? Soares. The research is established by readings which take into account mainly the parodic metafiction, the autopoietic writing, the humor as the art of surfaces, as well as the fabulation of worlds to come, making use of concepts of the philosophy of difference in Deleuze and Guattari and literary criticism, especially in Linda Hutcheon, Blanchot and Foucault such as autopoietic machine, humor, fabulation, metafiction, parody, space of literature and work. In the plane of composition, the novel of the Brazilian humorist makes its fictional reality visible, parodying literary and historiographical works, mainly the Doylian detective narratives, and work related to the Rio de Janeiro of the late nineteenth century. In this sense, this work develops a writing that remains in itself, displaces significations and sees its fictional reality. In Soares?s heterocosm, the narrative brings together the space of a library. The appeal of the work is in the convening of stereotypes presented in books on the capital of the empire of the tropics at the end of the second reign, as well as on detective narratives. The repetition with difference of books and works call into question deep-rooted images, making room for fabulation ?in flagrante delicto? of worlds that constitute the writing surface and not reduce itself to sedimentation.