Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-12-04T20:32:17Z No. of bitstreams: 1 RaphaelDeSouzaCruz_DISSERT.pdf: 1141417 bytes, checksum: 3d8a3a4dfcd59d704bb9a27ab7fe6e34 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-12-06T21:12:01Z (GMT) No. of bitstreams: 1 RaphaelDeSouzaCruz_DISSERT.pdf: 1141417 bytes, checksum: 3d8a3a4dfcd59d704bb9a27ab7fe6e34 (MD5) / Made available in DSpace on 2017-12-06T21:12:01Z (GMT). No. of bitstreams: 1 RaphaelDeSouzaCruz_DISSERT.pdf: 1141417 bytes, checksum: 3d8a3a4dfcd59d704bb9a27ab7fe6e34 (MD5) Previous issue date: 2017-10-20 / A disserta??o possui como tema a literatura de Jos? Saramago e sua interface com conceitos cl?ssicos e contempor?neos da sociologia. Tomando como corpus principal o livro A Caverna, tem por objetivo analisar a rela??o entre a literatura de Jos? Saramago e a sociedade contempor?nea e, de modo geral, a rela??o entre sociologia e literatura como narrativas complementares sobre o universo social. A quest?o central que se imp?e ? sobre a possibilidade de articular, atrav?s da obra de Saramago, sociologia e literatura como formas de express?o dos mesmos dilemas que marcam a experi?ncia humana de estar-no-mundo. Inicialmente, desenvolvo coment?rios sobre a rela??o entre sociologia e literatura e apresento elementos que permitem apontar a proximidade da obra de Saramago com a sociologia. Elaboro em seguida a ideia da modernidade como express?o ut?pica, tanto na literatura quanto na sociologia, e do Centro tematizado em A Caverna como modalidade de utopia degenerada da sociedade de consumo. Retorno ao livro para encontrar no romance elementos que permitam escapar a uma ?tica da resigna??o e formular seu potencial ut?pico, tendo como ponto de partida a remodelagem da no??o de utopia como interdi??o do presente, efetuada por Ernst Bloch. Do ponto de vista metodol?gico, trata-se de uma pesquisa bibliogr?fica, atrav?s da qual procurei identificar, na obra de Saramago, passagens que subsidiem a hip?tese de que sua literatura, em particular a obra A Caverna, pode ser tomada como uma forma de significa??o e leitura da realidade que se aproxima daquela realizada pela sociologia. Do ponto de vista da problematiza??o te?rica, o texto pode ser lido com um longo di?logo entre Jos? Saramago e Zygmunt Bauman; este ?ltimo como principal interlocutor, com eventual aux?lio de outros autores, todos localizados no espa?o de comunica??o entre interpreta??o social e constru??o liter?ria, como Wolf Lepenies, Franz Kafka, Beatriz Sarlo, Albert Camus, Ernst Bloch, Fi?dor Dostoi?vski, Peter Sloterdijk e Emil Cioran. / The dissertation has as its theme the literature of Jos? Saramago and its interface with classical and contemporary concepts of sociology. Taking as main corpus the book A Caverna, the objective is to analyze the relationship between the literature of Jos? Saramago and contemporary society and, in general, the relation between sociology and literature as complementary narratives about the social universe. The central question that is posed is the possibility of articulate, through Saramago's work, sociology and literature as forms of expression of the same dilemmas that mark the human experience of being-in-the-world. Initially, I develop comments about the relationship between sociology and literature and present elements that allow us to point out the proximity of Saramago's work to sociology. Henceforth, I elaborate the idea of modernity as a utopian expression, both in literature and in sociology, and of the Centro thematized in A Caverna as a modality of degenerate utopia of the consumer society. I return to the book to find in the novel elements that allow to escape from an ethics of resignation and to formulate its utopian potential, having as a starting point the remodeling of the notion of utopia as an interdiction of the present, elaborated by Ernst Bloch. From the methodological point of view, this is a bibliographical research, through which I tried to identify, in Saramago's work, passages that subsidize the hypothesis that its literature, in particular the work A Caverna, can be taken as a form of signification and reading of reality that is close to that realized by sociology. From the point of view of theoretical problematization, the text can be read as a long dialogue between Jos? Saramago and Zygmunt Bauman; the latter as the main interlocutor, with eventual help from other authors, all located in the space of communication between social interpretation and literary construction, such as Wolf Lepenies, Franz Kafka, Beatriz Sarlo, Albert Camus, Ernst Bloch, Fyodor Dostoevsky, Peter Sloterdijk and Emil Cioran.

Submitted by PPG Letras (letraspg@pucrs.br) on 2018-11-27T16:11:46Z No. of bitstreams: 1 Wertheimer Ana Maria TESE.pdf: 2097323 bytes, checksum: cad8fb9418167a5eb2fb432f32536371 (MD5) / Approved for entry into archive by Sheila Dias (sheila.dias@pucrs.br) on 2018-11-28T12:09:42Z (GMT) No. of bitstreams: 1 Wertheimer Ana Maria TESE.pdf: 2097323 bytes, checksum: cad8fb9418167a5eb2fb432f32536371 (MD5) / Made available in DSpace on 2018-11-28T12:16:15Z (GMT). No. of bitstreams: 1 Wertheimer Ana Maria TESE.pdf: 2097323 bytes, checksum: cad8fb9418167a5eb2fb432f32536371 (MD5) Previous issue date: 2018-09-28 / This thesis proposes a tripartite approach to dialogism for the analysis of three novels by Jos? Saramago (1922-2010), namely, A jangada de pedra, O Evangelho segundo Jesus Cristo and Ensaio sobre a cegueira, which were selected by the reason that they approach political, religious and social issues, respectively. Based on the theories of Mikhail Bakhtin (1895-1975), whose intellectual production lasted for about sixty years ? which may justify the use of the term dialogue in different contexts and with distinct concepts ?, this study is guided by three possible meanings within dialogism: the dialogue in the theory of language, the dialogue in the novel and the dialogue in the genre memory. Without ignoring the vast critical reviews of the Portuguese writer?s work, this thesis intends to answer a question: how are dialogic relationships established in Saramago's novels? Searching for an answer, a second, more complex question arises: is it possible that the dialogic relationships in the narrative structure of Saramago?s characters and narrator represent his process of literary creation? The hypothesis is that the artistic form of the writer represents, besides a tendency, a renewal of the genre itself. This study is, therefore, divided into three parts: the first is dedicated to the dialogue at the level of language, regarding the ideological sense of the linguistic sign and the different types of the reported speech; the second part approaches the dialogue in the novel, focusing on the plurilingual and polyphonic features of the discourse in the novel; and the third part, in the sphere of the memory of the genre, investigates aspects of carnival literature and chronotopic structures that constitute the narratives. It is added to this study the ideas of researchers such as Michael Holquist, Gary Saul Morson, Caryl Emerson and, from Brazil, Irene Machado, Beth Brait, Carlos Alberto Faraco, and Cristov?o Tezza, among others who seek to understand and systematize Bakhtin?s concepts. It is expected that a study that examines Saramago's writing can contribute both to a reflection on his creative process and also to a (re)reading of Bakhtin's dialogic principle in Literature. / Esta tese prop?e uma abordagem tripartida do dialogismo para a an?lise de tr?s romances de Jos? Saramago (1922?2010), quais sejam, A jangada de pedra, O Evangelho segundo Jesus Cristo e Ensaio sobre a cegueira, selecionados por tratarem, respectivamente, temas de cunho pol?tico, religioso e social. ? luz das teorias de Mikhail Bakhtin (1895?1975), cuja produ??o intelectual se prolongou por cerca de sessenta anos ? o que pode justificar o uso do termo di?logo em contextos e com conceitos distintos ?, este estudo ? orientado por tr?s poss?veis acep??es dentro da teoria do dialogismo: o di?logo na teoria da linguagem, o di?logo no romance e o di?logo na mem?ria dos g?neros. Sem fazer t?bula rasa da vasta fortuna cr?tica do escritor portugu?s, esta tese pretende responder a uma quest?o: como as rela??es dial?gicas se constituem nos romances de Saramago? Na busca por uma resposta, surge uma segunda quest?o, mais complexa, ? ? poss?vel que as rela??es dial?gicas na tessitura do discurso das personagens e do narrador saramaguiano representem uma teoria do processo de cria??o liter?ria? A hip?tese norteadora ? a de que a forma art?stica do escritor, precisamente a prosa polif?nica, constitua, para al?m de uma tend?ncia, uma renova??o pr?pria do g?nero. Este trabalho, portanto, est? organizado em tr?s partes: a primeira dedica-se ao di?logo no n?vel da linguagem, no que tange ao sentido ideol?gico do signo lingu?stico e aos diferentes tipos de discurso citado; a segunda parte aborda o di?logo no romance, o que corresponde ? heterogl?ssia e ? polifonia no discurso romanesco; e a terceira parte, na esfera da mem?ria dos g?neros, investiga aspectos da literatura carnavalesca e das estruturas cronot?picas que constituem as narrativas. Acrescenta-se ? leitura das teorias bakhtinianas, considera??es de pesquisadores como, Michael Holquist, Gary Saul Morson, Caryl Emerson e, do Brasil, Irene Machado, Beth Brait, Carlos Alberto Faraco, Cristov?o Tezza, entre outros que buscam compreender e sistematizar as concep??es do te?rico russo. Estima-se que um trabalho que atente para a an?lise da escrita de Saramago possa contribuir tanto para um estudo de seu processo criativo quanto para uma (re)leitura do princ?pio dial?gico de Bakhtin nos dom?nios da Teoria da Literatura.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-10-11T20:26:15Z No. of bitstreams: 1 PedroFernandesDeOliveiraNeto_TESE.pdf: 2584466 bytes, checksum: 9e347c2e43df7f46c48bb2fb7b9db69d (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-10-13T20:53:57Z (GMT) No. of bitstreams: 1 PedroFernandesDeOliveiraNeto_TESE.pdf: 2584466 bytes, checksum: 9e347c2e43df7f46c48bb2fb7b9db69d (MD5) / Made available in DSpace on 2016-10-13T20:53:57Z (GMT). No. of bitstreams: 1 PedroFernandesDeOliveiraNeto_TESE.pdf: 2584466 bytes, checksum: 9e347c2e43df7f46c48bb2fb7b9db69d (MD5) Previous issue date: 2016-02-15 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES) / Entre as diversas quest?es sobre o sujeito e suas incid?ncias no texto liter?rio, este estudo prefere a de perscrutar acerca de como o tema ? figurado no romance; isto ?, como se constitui e se apresenta entre as aporias do romanesco, que rela??o mant?m com o externo ao texto (a hist?ria, a sociedade), no que interfere na constru??o da narrativa e na forma do romance, quais quest?es suscitam, s?o algumas proposi??es envolvidas numa leitura que compreende Todos os nomes, de Jos? Saramago e N?o entres t?o depressa nessa noite escura, de Ant?nio Lobo Antunes. Esses romances foram elegidos porque se relacionam, respectivamente, a duas das principais correntes da forma romanesca: um mais integrado ao vi?s objetivo e outro ? tradi??o subjetiva. Sem abolir especificidades, mas ciente que essa n?o ? uma rela??o dicot?mica por compreender que o hiato entre as duas formas se resume basicamente a uma maneira de percep??o diversa do romancista sobre a realidade, este estudo se alimenta das duas posi??es no intuito de lidar com especificidades igualmente diversas de figura??o do sujeito no romance. Assim, este estudo dividiu-se nos tr?s momentos ora designados: (1) revisar sobre como o romance tem constru?do uma concep??o de sujeito desde a ruptura mantida com a epopeia. Essa revis?o privilegia tr?s momentos da hist?ria do romance: a epopeia, a verve realista do s?culo XIX e o romance impulsionado pelas novas formas dos anos 1920. Esse exerc?cio ? intermediado pelas leituras de Krysinski (2007), Luc?ks (2009), Z?raffa (2010), Candido (2007), Rosenfeld (1996), Adorno (2003), Benjamin (2012) entre outros; (2) ler Todos os nomes e perscrutar o exerc?cio das personagens centrais do romance - o Sr. Jos?, a mulher desconhecida, o conservador, a senhora do r?s-do-ch?o direito e o espa?o da Conservat?ria por compreend?-la coadjuvante nesse universo; (3) a partir desse mesmo exerc?cio, a leitura de N?o entres t?o depressa nessa noite escura perscruta as figuras de Lu?s Filipe, Margarida, Am?lia, Ana Maria e Maria Clara. Entre as interse??es alcan?adas na rela??o entre as duas obras est? a compreens?o de que o romance se exercita como artefato de conhecimento sobre sujeito e usa a personagem como figura??o sobre suas posi??es ocupadas na contemporaneidade; s?o obras que compreendem a imin?ncia do fim de uma civiliza??o pela forma avariada de coletividade e vida tornada repeti??o invari?vel. E exp?e ao menos duas formas de ruptura dessa condi??o catastr?fica: o sujeito ? a??o e deve sair para o mundo (Jos? Saramago); a desordem n?o apenas social ? individual e o sujeito ? espera enquanto remenda situa??es poss?veis de compreender o est?gio de degrada??o do homem (Ant?nio Lobo Antunes). S?o obras respons?veis por reafirmar o interesse do romance nas exist?ncias mais arredias e silenciosas por entenderem que nelas esconde-se uma capacidade de reanima??o da exist?ncia e ? tarefa do romancista revel?-la. / Among the several questions about the subject and its occurrences in the literary text, the present study intends to search how this theme is represented in the novel; that is, how it is built and represented in the aporias of the romanesque, the relationships it maintains with what is external to the text (history, society), in what it interferes in the narrative construction and in the form of the novel and which questions they arise, are some of the propositions involved in a reading of All the Names, by Jos? Saramago and N?o entres t?o depressa nessa noite escura, by Ant?nio Lobo Antunes. These novels have been chosen because they are related, respectively, to two of the main trends about the form of the novel: one more integrated to an objective view and a second one more integrated to a subjective tradition. Without abolishing the specificities, but aware that the relationship between the subjective and the objective is not a dichotomy because the gap between these two forms is basically the novelist?s distinct way of perception about reality, these two different positions are considered in order to deal with equally diverse specificities of the figuration of the subject in the novel. Thus, this thesis is divided in three following parts: (1) a review of how the novel has built a conception of subject since the rupture with the epic. This review privileges three different moments in the history of the novel: the epic, the realist verve of the 19th Century and the novel moved by the 1920s new forms. This exercise is helped by the readings of Krysinski (2007), Luc?ks (2009), Z?raffa (2010), Candido (2007), Rosenfeld (1996), Adorno (2003), Benjamin (2012) among others; (2) reading All the Names and peering into the main characters of the novel ? Senhor Jos?, the unknown woman, the registrar, the right ground floor lady and the space of the Central Registry that is taken as a support in this universe; (3) considering the aforementioned exercise, the reading of N?o entres t?o depressa nessa noite escura peers into the characters Lu?s Filipe, Margarida, Am?lia, Ana Maria e Maria Clara. Among the intersections between the two books, there is the understanding that the novel is an artifact of knowledge about the subject as a figuration of its positions occupied in the contemporary world; both books understand the imminent end of a civilization by the damaged collectivity and life becoming invariable repetition. At least two other different means of rupture with this catastrophic condition are exposed: the subject is action and has to face the world (Jos? Saramago); the non-exclusively social disarray is individual and the subject is the waiting while he mends the possible situations to understand human degradation (Ant?nio Lobo Antunes). Both books are responsible for reaffirming the interest of the novel in the most reluctant and silent existences, once they understand these existences hide an ability of reanimation whose revelation is a task of the novelist.