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For Milan Kundera, the question of identity is one of the essential questions around which a novel is constructed. The novelist attempts to define the issue by exploring the existential themes that are tied to it. These themes are examined from different angles with the aid of what the author calls "motifs". Our study is centered on one of those motifs, that of the mirror, through which the author explores the "enigma of the ego". The typological analysis of this motif in Kundera's ten novels brings out in the characters two fundamental attitudes with regard to their identity. The first consists in clinging to it, which results in the character's disquiet, while the second consists in freeing oneself from it, which leads to a better understanding of reality as well as to a certain form of wisdom.

Dissertação (mestrado)—Universidade de Brasília,Instituto de Ciências Humanas, Programa de Pós-Graduação em Metafísica, 2017. / Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2017-12-18T16:46:50Z No. of bitstreams: 1 2017_HerissonCardosoFernandes.pdf: 1377077 bytes, checksum: 3f3cbb77cb4681eefa6aec40821d9d5d (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-02-21T13:59:26Z (GMT) No. of bitstreams: 1 2017_HerissonCardosoFernandes.pdf: 1377077 bytes, checksum: 3f3cbb77cb4681eefa6aec40821d9d5d (MD5) / Made available in DSpace on 2018-02-21T13:59:26Z (GMT). No. of bitstreams: 1 2017_HerissonCardosoFernandes.pdf: 1377077 bytes, checksum: 3f3cbb77cb4681eefa6aec40821d9d5d (MD5) Previous issue date: 2018-02-20 / O Romance, enquanto instância artística e literária, é fundado sobre um determinado e específico número de elementos? Se sim, é possível identificar quais seriam eles? Ou seja, pensando ontologicamente, há algum conjunto de fundamentos que fazem o romance ser o que é? Essas são indagações das quais partimos para analisar os textos ensaísticos do romancista tcheco Milan Kundera. Em seu livro A arte do romance, de 1983, Kundera discute – a partir das reflexões do filósofo Edmund Husserl acerca da modernidade – sobre o fazer romanesco, bem como a posição do romance neste momento da história. Tomando como pressuposto a abordagem proposta pelo grupo de pesquisa Epistemologia do Romance, pretendemos decompor o pensamento teórico de Kundera, no sentido de intentar encontrar aqueles que podem ser considerados os elementos ontológicos de sua própria criação romanesca, bem como discutir uma das proposições fundamentais do pensamento kunderiano: a de que o romance possui uma sabedoria que lhe é própria. A pesquisa será pautada fundamentalmente nas propostas exibidas por Kundera em A arte do romance, dialogando com outros textos ensaísticos do autor como Testamentos traídos (1993), A cortina (2005) e Um encontro (2009). / Is the Romance, as an artistic and literary instance, founded on a precise and specific number of elements? If so, what are they? Ontologically thinking, are there any set of fundamentals that make the romance what it is? These are the questions which we set out to analyze the essay texts of the Czech novelist Milan Kundera. In his book The Art of Novel, 1983, Kundera discusses – since reflections about modernity of the philosopher Edmund Husserl – about the romanesque doing, as well as the position of the novel at this moment in history. Taking as a presupposition the approach proposed by the research group Epistemology of Romance, we intend to decompose the theoretical thought of Kundera, in the sense of trying to find those that can be considered the ontological elements of his own romanesque creation, as well as to discuss one of the fundamental propositions of the kunderian thought: that the novel has its own wisdom. The research will be placed fundamentally on the proposals presented by Kundera in The Art of the Novel, dialoguing with other essayistic Kundera‟s texts as Testaments betrayed (1993), The curtain (2005) and Encounter (2009).

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2011. / Submitted by Luiza Moreira Camargo (luizaamc@gmail.com) on 2011-06-27T17:49:14Z No. of bitstreams: 1 2011_RosimaraAparecidaSilva.pdf: 557858 bytes, checksum: bbc3443f0696b973428077640fda069e (MD5) / Approved for entry into archive by Elna Araújo(elna@bce.unb.br) on 2011-06-27T23:22:48Z (GMT) No. of bitstreams: 1 2011_RosimaraAparecidaSilva.pdf: 557858 bytes, checksum: bbc3443f0696b973428077640fda069e (MD5) / Made available in DSpace on 2011-06-27T23:22:48Z (GMT). No. of bitstreams: 1 2011_RosimaraAparecidaSilva.pdf: 557858 bytes, checksum: bbc3443f0696b973428077640fda069e (MD5) / A dissertação Os signos da memória em Milan Kundera pretende pensar de que forma as imagens apreendidas pela memória, quando traduzidas pela linguagem, viram signos carregados de significados no processo de criação de Milan Kundera. Para tanto, nos aprofundamos na teoria do filósofo Henri Bergson, que apresenta a memória como instância que estabelece a relação entre corpo e espírito e encontra na intuição o caminho para se atingir a interioridade do ser. Nossa hipótese é a de que Milan Kundera se utiliza de suas memórias como base de criação e, tendo na linguagem um meio para revelar o mundo, não fica preso a uma linguagem conceitual fechada, mas se utiliza de uma linguagem que explora a extensão do significado das palavras. _________________________________________________________________________________ ABSTRACT / The thesis The signs of memory in Milan Kundera intends to think how the images grasped by the memory, when translated through the language, become signs filled with meanings in Kundera's process of creation. In order to that we delve into Henri Bergson's theory that the memory is an instance that establishes the relationship between the body and the spirit and finds in intuition the way to reach the inner side of the human being. Our hypothesis is that Milan Kundera uses his memories as a basis for creation and, having in language a means to unveil the world, he is not limited to a closed conceptual language, but instead he uses a language that explores the extension of the meaning of the words.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

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M.A. (French) / Milan Kundera is known for being almost obsessive in guarding his privacy, and in the manner in which he controls any translations of his writings. Despite such strictures, the works of this former exile from Czechoslovakia, who now resides in France and writes in French, have been translated and disseminated to a worldwide audience of readers. It is not only his fictional writings which have earned him kudos, but also his ventures into non-fiction, viz. literary criticism. Having April 1st as a birth date was to have a dramatic impact on Kundera, who later declared that this significant date, which is frequently associated with humorous pranks, pushed him to assume the role of philosophical fool in his writings. It is the different manifestations of games which come under scrutiny in this study, as represented in the seven short stories which make up the anthology Laughable Loves (Risibles Amours). Following an investigation of the differences between ancient and modern perception of what qualifies as ‘play’ or ‘games’, the games theories of reputed authors such as Johan Huizinga, Roger Caillois and Stuart Brown are used to form the theoretical basis of this part of the study. The research is further augmented by Eric Berne’s theory on the psychology underlying the games people play, as it manifests in interpersonal relationships. However, no study of games would be complete without investigating the dark side of play, when the game is corrupted through the actions of the players, referees or spectators, or when what starts as a battle of wills spirals into what could best be described as war games. In the pages of this anthology the reader is introduced to various characters who dare to think they can manipulate other people or events, but end up being played by those very people, or by circumstances beyond their control.