À travers l’expérience de Verlaine, cette thèse s’interroge sur la critique littéraire d’un écrivain. Les raisons d’être et les particularités formelles d’une production quotidienne d’un poète accédant graduellement à la notoriété sont étudiées en partant d’un panorama des définitions du phénomène (introduction). La triple analyse biographique, esthétique et discursive expose le lien étroit entre le contexte de production de la critique, les constructions théoriques qu’elle véhicule et les formes discursives qu’elle prend. La position marginale de Verlaine dans le champ littéraire prédétermine sa méfiance envers les mécanismes del’institutionnalisation, autant qu’envers les théories qui la justifient. D’où la faible conceptualisation théorique et le maniement contradictoire et décourageant des notions existantes. Les particularités de l’autoreprésentation (provocation, ethos faible) découlent également de sa position dans le champ littéraire et accompagnent l’abandon des théories prescriptives au profit d’une tolérance accrue. L’accent se déplace du domaine conceptuel vers le domaine discursif où se cultivent l’affectivité, l’expressivité, l’ironie qui rapprochent la critique de la création poétique, sans toutefois l’apparenter à la poésie en prose. Cette critique garde le caractère pragmatique d’élément de communication littéraire, son efficacité renforcée par certains traits de l’idiolecte (jeux de sonorités, métaphores, segmentation des phrases), dégagés de leur valeur poétique dans le nouveau contexte. / Verlaine’s experience allows to question the phenomenon of writer criticism. The rationale and the formal qualities of the daily critical output of a poet acceding to celebrity are studied after an overview of the phenomenon’s definitions (introduction). The triple biographical, esthetic and discourse analysis reveals the tight bond between critical production context, theories used and form given to critical texts. Verlaine’s marginal position in the literary field predetermines his distrust of institutionalization mechanisms and oftheories justifying them resulting in low conceptualization as well as in contradictory and discouraging handling of existing notions. The particularities of self-representation (provocation, weak ethos) equally result from his position in the literary field and go along with abandoning prescriptive theories in the name of tolerance. The emphasis moves from the conceptual sphere to the discourse accentuating affectivity, expressivity and irony which bring it closer to poetical creativity but not so as to become prose poetry. This criticism does not loose its pragmatic turn inherent to literary communication, its efficiency being reinforcedby certain features of idiolect (play upon sounds, metaphors, segmentation of phrases), freed of their poetical value in the new context.

No description available.

[pt] A tese Levantes no campo literário focaliza processos literários contemporâneos avessos à identificação classificatória consensual, em função da heterogeneidade de seus conteúdos, configurações escriturais e circuitos comunicativos. Neste contexto são explorados cruzamentos interartísticos e intermidiáticos numa perspectiva transdisciplinar, em busca de ferramentas teóricocríticas que permitem dar relevo ao potencial criativo de um corpus literário em constante movimento e crescente expansão. O acento sobre formas de saber imaginativo abre espaço para novas articulações com o passado, marcadas pela oscilação entre memória, esquecimento e sobrevivência. Legíveis e visíveis em montagens e remontagens heterocrônicas, elas privilegiam composições constelares flexíveis de seus restos e rastros atuantes no presente, em detrimento de estruturas narrativas sequenciais lineares. É neste âmbito que se situam as inquietações estéticas, éticas e políticas das reflexões propostas abrindo espaço, entre outros, para indagações motivadas pela apropriação do conceito de levantes (soulèvements) problematizado e difundido pelo filósofo e historiador da arte Georges DidiHuberman. A partir da leitura questionadora da história da Ditadura Militar registrada pelo romance K., Relato de uma busca, de Bernardo Kucinski, e pelo filme Deslembro, de Flávia Castro, em comparação com o Massacre do Carandiru, exposta na instalação artística 111 e na performance 111 Vigília Canto Leitura, do multiartista Nuno Ramos, são investigados os modos como esses processos literários, entendidos como política de resistência ou gestos de levante, operam para o não esquecimento desses eventos e de suas vítimas, transformando a sua memória latente em experiência viva. Neste sentido, a tese Levantes no campo literário se entende como contribuição original e oportuna para a construção de repertórios teóricos em sintonia com as demandas de produções literárias contemporâneas. / [en] The thesis Uprisings in the Literary Field focuses on contemporary literary processes averse to consensual classifying identification, due to their heterogeneous contents, scriptural configurations and communicative circuits. In this context, interartistic and intermediatical crossings are presented in a transdisciplinary perspective, searching for theoretical and critical tools, that highlight the creative potential of a literary corpus in constant movement and increasing expansion. The accent on imaginative knowledge opens space for new articulations with the past, oscillating between memory, forgetfulness and survival. Readable and visible in heterochronic assemblies and reassemblies, they privilege flexible constellation compositions of their remains and traces still acting in the present, to the detriment of linear sequential narrative structures. The aesthetic, ethical and political concerns of these reflections are placed in this context opening space, among others, for inquiries motivated by the appropriation of the concept of uprisings (soulèvements) problematized and disseminated by the philosopher and art historian Georges DidiHuberman. Through the questioning readings of the history of Military Dictatorship registered by the novel K., relatos de uma busca, by Bernardo Kucinski, and by the movie Deslembro, by Flavia Castro, compared with the Carandiru s Massacre, exposed in the artistic installation 111 and in the performance 111 Vigília Canto Leitura, by the multi-artist Nuno Ramos, we investigate the ways in which those literary objects, understood as political resistance or uprising gestures, operate to not forget these events and their victims, turning their latent memory into living experience. In this sense, the thesis Uprisings in the Literary Field is an original and appropriate contribution to the building of theoretical repertoires in tune with the contemporary literary productions demands.

本論文考察晚清以降，面對廿世紀的新舊交替，殖民與西學衝擊，在中國南方、台灣與南洋的詩人群體的離散際遇。從他們寫於境外的漢詩創作，探究一個政治／文化遺民的精神處境及漢詩文類的越界與現代性脈絡。漢詩有著源遠流長的傳統，做為士人文化心靈的寄託與投射，漢詩因此成爲一代流亡知識分子銘刻歷史嬗變，見證家國離散的重要媒介。尤其經歷乙未、辛亥兩次政治鉅變，士紳百姓大規模遷徙，文化與文學的播遷軌跡因此日益繁複，漢詩由此構成理解與辯證現代性的種種可能的文學形式與生產空間。本論文處理的時間跨度，始於一八九五年的乙未割台事件，結束在日軍投降、二戰結束的一九四五年。前者從近代中國第一批遺民的誕生展開論述，後者以南來作家郁達夫的失蹤死亡，做為流寓詩學一個曖昧的結束或再生產。 士人在一八九五年以降面臨的時代鉅變，產生了悲憤憂患的國族書寫、現代的時間與地理感受，造就晚清曖昧的政治或文化遺民，並連同中原境內與境外的知識份子，捲入了一種離散現代性的體驗。他們透過文學試圖描述與定位自身的遷徙，卻必須面對時代的變化與衝擊，同時回望、召喚難以斷絕的傳統。這是一個區域漢文學交流與互動的歷史時刻，一個以漢詩為主導文類的文學現場。我們從離散敘事的論述框架，重新觀察了漢詩作為跟隨傳統文化一同陷落的舊文體，如何在地理遷徙的現代時空內，重新架構了詩人經歷的主體飄零、肉身苦難、絕域風土和文教播遷的種種經驗。 這些文人分別在不同區域之間流動，從中國到台灣，從台灣內渡中國，再從中國奔往南洋，三個區域的互涉，凸顯出清末民初的文化遺民型態各異，但又共同處身一個裂變下的帝國解體與現代體驗。無論他們生根中國、台灣，或流寓、移居南洋，文人遊走區域之間，表現出不同的文化想像與文學生產。 本論文選取的四組詩人個案，包括乙未割台時期內渡大陸，後往南洋推展儒教的丘逢甲、在殖民地台灣以遺民自居的王松和洪棄生，流亡南洋的康有為及移居者丘菽園，客死南洋的許南英和郁達夫。這些不同脈絡背景的詩人個案，都同時聚集在一個境外離散式的寫作氛圍。他們的歷史機遇由晚清跨度到民國，不同的主體與客觀經驗，展現了形塑流亡詩學和南方視域的可能。漢詩在海外的不絕如縷，尤其見證一代知識分子或花果飄零，或靈根自植的心路歷程。這些寫在境外的漢詩橫跨新舊文學的分野，在同一傳統／現代交替的歷史結構裡出沒，一再説明漢詩歷久而彌「新」的現代意義。其中內蘊的文類意識，提醒了我們進一步理解漢詩播遷所塑造的區域文學型態，同時藉由這些遺落在海外的詩人足跡，形成地域觀照的「文學現場」脈絡。 / The present study investigates Chinese diaspora in terms of a particular group of loyalist poets scattering in South China, Taiwan, and Nanyang in late Qing, including Qiu Fengjia, Wang Song, Hong Qisheng, Kang Youwei, Qiu Shuyuan, Xu Nanying and Yu Dafu and discusses transcendence and modernity of their Han poetry. This study deals with the time span from territorial cession of Taiwan in 1895 to Japanese surrender /the end of war in 1945. The discussion starts with the emergence of the first group of loyalists in late Qing in 1895 and closes with Yu Dafu’s missing in Sumatra in 1945. During this period of time, social upheaval due to the transition to a new era and the impact from colonization in Taiwan and westernization in China forced common people as well as intellectuals massively migrated and emigrated. For example, Qiu Fengjia exiled from Taiwan to China during the Japanese colonization and later went to Nanyang. Kang Youwei, Qiu Shuyuan, Xu Nangying and Yu Dafu exiled or moved to Nanyang and the later two even died there. Poets in Taiwan, like Wang Song and Hong Qisheng, considered themselves as emigrants from China. Being deserted and colonized, these poets threw themselves into loyalist writing, intending to construct identity in terms of space and time. Drawing upon such loyalists’ works of Han poetry, this study attempts to sketch out those poets’ mental state as political/ cultural loyalists and the way their Han poetry displayed transcendence and modernity. Having an established tradition as the genre to represent the spirits, morals and emotions of intellectuals, Han poetry was naturally chosen by intellectuals to use when they endeavored to depict historical changes and the collapse of a dynasty. Han poetry thus in turn manifested itself as an epitome of diaspora and the loyalists’ state of mind during that period of time. In addition, after Yiwei and Xinhai political upheavals, the emigration formed intriguing paths of disseminating culture and literature. In this context, Han poetry turned out to serve as an important literary form and space, by which we are able to interpret and discuss modernity.

La formation, à partir de 1966, d’un groupe de quatorze poètes autour de la revue El Caimán Barbudo affiliée au Parti Communiste de Cuba a fait émerger un nouvel ethos littéraire. Nous l’appelons « soupçon ludique » pour la méfiance facétieuse qu’il provoque chez le lecteur. Quels sont les traits définitoires, les implications et les incidences idéologiques et esthétiques de cet ethos ? En s’appuyant sur les 48 recueils produits par les membres du groupe entre 1966 et 2002, année de sa dispersion définitive, sur 29 entretiens ainsi que sur le dépouillement de dix fonds d’archives situés à Paris, Madrid et La Havane, cette thèse montre d’abord que la naissance de leur écriture répond à une série d’injonctions politiques et esthétiques paradoxales : être une « avant-garde officielle », rebelle mais pas trop critique, marxiste mais lyrique. Après le renvoi éclair du groupe par le Parti en 1968 puis la forte censure du Quinquennat Gris (1971-1976), l’esprit ludique déserte leurs poèmes politiques devenus solennels et sérieux pour se replier dans la sphère amoureuse et érotique. Dans ces poèmes d’apparence inoffensive, la mise en scène parodique des identités de genre constitue une cri- tique voilée des identités politiques produites par la Révolution. À partir de 1991, la dissidence de plusieurs membres du groupe, sa recomposition partielle autour de la revue Encuentro de la cultura cubana fondée à Madrid en 1996 avec le soutien du gouvernement espagnol invitent à évaluer à nouveaux frais leur écriture : les dissidents quittent le soupçon ludique pour une écriture de la dénonciation qui thématise toutefois le jeu comme le symbole de leurs illusions perdues. / From 1966 onwards, the formation of a group of fourteen poets around the Cuban Communist Party-affiliated journal El Caimàn Barbudo created a new literary ethos named “playful suspicion” because of the mischievous mistrust it provokes in the reader. What are the defining traits, implications and ideological and aesthetic occurrences of this ethos? This dissertation was based on the 48 collections produced by the group members between 1966 and 2002 (year of its final dissolution), on 29 interviews, and on the examination of 10 archival holdings in Paris, Madrid and Havana. This dissertation first shows that the birth of their writ- ing responded to a series of paradoxical political and aesthetic demands: to be an “official avant-garde”, to be rebellious but not overly critical, to be both Marxist and lyrical. After the sudden dismissal of the group by the Party in 1968, then the harsh censorship of the five Grey Years (1971-1976), their playful spirit deserts the political poems which become solemn and serious, and withdraws to the romantic and erotic sphere. The parodic staging of gender identities in these seemingly harmless poems constitutes a veiled criticism of the political identi- ties produced by the Revolution. Starting in 1991, the dissent of several members of the group dissent and its partial recomposition around the journal Encuentro de la cultura cubana founded in Madrid in 1996 with the support of the Spanish government invites a new evaluation of their writing. The dissidents abandon playful suspicion in favor of denunciative writing, which nevertheless thematically places playfulness as a symbol of their lost illusions. / En Cuba, a partir de 1966, se forma un grupo de catorce poetas en torno a la revista El Caimán Barbudo, afiliada al Partido Comunista nacional, generando un nuevo ethos literario que nosotros llamamos “sospecha lúdica”, por el recelo divertido que provoca en el lector. ¿Cuáles son los rasgos definotorios, las implicaciones y los impactos ideológicos y estéticos de este ethos? Para responder la tesis se basa en el estudio de los 48 poemarios escritos por los miembros del grupo entre 1966 y 2002, año de su desaparición, 29 entrevistas y 10 fondos de archivo sitos en Madrid, París y La Habana. El trabajo muestra en primer lugar que el naci- miento de esta escritura responde a una serie de requisitos políticos y estéticos paradójicos: ser una “vanguardia oficial”, rebelde pero no demasiado crítica, marxista pero lírica. En se- gundo lugar mostramos que, después del súbito desahucio del grupo por el Partido y la fuerte censura del Quinquenio gris (1971-1976), el espíritu lúdico deserta los poemas políticos, que se vuelven solemnes y serios, para replegarse en la esfera amorosa y erótica. En estos poemas aparentemente inofensivos, la paródica puesta en escena de identidades de género constituye une crítica velada de las identidades políticas producidas por la Revolución. A partir de 1991, la disidencia de varios miembros del grupo, su parcial recomposición en torno a la revista Encuentro de la cultura cubana, fundada en Madrid en 1996 con el apoyo del gobierno espa- ñol, son elementos que invitan a reevaluar esta escritura: los disidentes abandonan la sospecha lúdica por una escritura de la denuncia que, sin embargo, tematiza el juego como el símbolo de sus ilusiones perdidas.

Este trabalho examina os estudos literários que se seguem, publicados em meados de 1970: A perversão do trapezista: o romance em Cornélio Penna (1976), de Luiz Costa Lima; Verso Universo em Drummond (1975) de José Guilherme Merquior; Ao vencedor as batatas (1977), de Roberto Schwarz; Fundamentos da investigação literária (1974), de Eduardo Portella e Carlos Drummond de Andrade (1976) de Silviano Santiago. Nosso objetivo é investigar de que modo a produção do conhecimento sobre literatura e a produção do valor literário se deram nesses trabalhos, bem como indicar algumas transformações no campo literário naquele período. / This academic work examine the literary studies that follows, all published in the mid-1970s: A perversão do trapezista: o romance em Cornélio Penna (1976), by Luiz Costa Lima; Verso Universo em Drummond (1975), by José Guilherme Merquior; Ao vencedor as batatas (1977), by Roberto Schwarz; Fundamentos da investigação literária (1974), by Eduardo Portella e Carlos Drummond de Andrade (1976), by Silviano Santiago. Our purpose is to investigate how the production of knowledge about literature and the production of literay value is given in this work, as well as indicate somes changes in the literary field in that period.

A presente tese apresenta uma análise das relações entre três novelas de João Guimarães Rosa e o veículo que lhes serviu de suporte, a revista Senhor, publicada entre março de 1959 e março de 1964. O objetivo é propor uma interpretação de A simples e exata estória do burrinho do Comandante, Meu tio o Iauaretê e A estória do Homem do Pinguelo, que vieram a compor o póstumo Estas estórias, à luz de uma poética cultural, a que vigorou no período da construção e inauguração de Brasília. O discurso cultural que caracteriza a era de Juscelino Kubitschek pauta-se pelas ideias de desenvolvimento, modernização e integração. A revista Senhor é ícone dessa era, e reuniu em suas páginas o que era sinônimo de novidade, sem deixar de ser brasileira. Como ocorre com os textos publicados pela revista, a obra de Rosa compõe parte desse discurso cultural, na medida em que o projeto literário do autor tem o dialogismo, uma forma de integração, como pilar central. Os lugares tanto da revista quanto do autor no campo literário são considerados para se veja neles uma convergência, e para que se os considere como partes constituintes de um mesmo discurso. / This thesis presents an analysis of the relationship between three of João Guimarães Rosas stories and the communication vehicle that served them as support, the Senhor magazine, published from March, 1959 up to March 1964. The main objective is to propose an interpretation of A simples e exata estória do burrinho do Comandante Meu tio o Iauaretê and A estória do Homem do Pinguelo, stories which would compose the post-mortem Estas estórias, under the light of a poetics of culture, considering the years of construction and inauguration of Brasília. During the Juscelino Kubitschek era, the cultural discourse is based on the ideas of development, modernization and integration. Senhor is an icon of said era, and compiled within its pages what was synonym of news, while never setting aside its Brazilian nature and origin. Rosas work configures as part of that cultural discourse, as it occurred with the texts published by the magazine, for the authors literary project has the dialogism, a means of integration, as its central foundation. The positions of both artist and magazine in the literary field are considered so that a convergence is possible to be identified between them, and in order for them to be seen as pieces of an one, common discourse.

Made available in DSpace on 2016-04-29T13:32:31Z (GMT). No. of bitstreams: 1 Felipe Carvalho Correa de Mello.pdf: 1331311 bytes, checksum: 5747ca7f8fc4205e4f164a0ecd1c1581 (MD5) Previous issue date: 2010-02-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The presente research has as primay objective an interpretation about the literature of Jorge Luis Borges grounded in a teorical and metododological aproach concerned to Social Psychology. In this way, we propose the use of the concept of ideology developed by J. B Thomposn, and the concepts of literary field by Bourdieu and discursive poliphony by Mikhail Bakhtin. We propose an analisys and an interpretation of the Borges literature that iluminates its political dimension and not only aesthetic. We propose to describe the production, circulation and reception of his literature along the peronistas years (1946-1955), and in wich ways the literature had articuleted with the conflicts between the peronista State and the argentinian literary field during this years / A seguinte dissertação tem por objetivo geral realizar uma interpretação sobre a literatura de Jorge Luis Borges fundamentada em aportes teóricos e metodológicos concernentes à Psicologia Social. Neste caminho, propomos a utilização da conceituação de ideologia de J. B, concebida como o sentido a serviço do poder, e dos conceitos de campo literário de Pierre Bourdieu e de polifonia discursiva de Mikhail Bakhtin. Propomos nesta dissertação uma análise e interpretação da literatura de Jorge Luis Borges que ilumine sua faceta política e não somente estética. Propomos descrever as dimensões de produção, circulação e recepção de sua literatura durante os anos peronistas (1946-1955) e em que medida ela se articulou com as relações de poder entre o Estado peronista e o campo literário argentino durante esses anos

A presente tese apresenta uma análise das relações entre três novelas de João Guimarães Rosa e o veículo que lhes serviu de suporte, a revista Senhor, publicada entre março de 1959 e março de 1964. O objetivo é propor uma interpretação de A simples e exata estória do burrinho do Comandante, Meu tio o Iauaretê e A estória do Homem do Pinguelo, que vieram a compor o póstumo Estas estórias, à luz de uma poética cultural, a que vigorou no período da construção e inauguração de Brasília. O discurso cultural que caracteriza a era de Juscelino Kubitschek pauta-se pelas ideias de desenvolvimento, modernização e integração. A revista Senhor é ícone dessa era, e reuniu em suas páginas o que era sinônimo de novidade, sem deixar de ser brasileira. Como ocorre com os textos publicados pela revista, a obra de Rosa compõe parte desse discurso cultural, na medida em que o projeto literário do autor tem o dialogismo, uma forma de integração, como pilar central. Os lugares tanto da revista quanto do autor no campo literário são considerados para se veja neles uma convergência, e para que se os considere como partes constituintes de um mesmo discurso. / This thesis presents an analysis of the relationship between three of João Guimarães Rosas stories and the communication vehicle that served them as support, the Senhor magazine, published from March, 1959 up to March 1964. The main objective is to propose an interpretation of A simples e exata estória do burrinho do Comandante Meu tio o Iauaretê and A estória do Homem do Pinguelo, stories which would compose the post-mortem Estas estórias, under the light of a poetics of culture, considering the years of construction and inauguration of Brasília. During the Juscelino Kubitschek era, the cultural discourse is based on the ideas of development, modernization and integration. Senhor is an icon of said era, and compiled within its pages what was synonym of news, while never setting aside its Brazilian nature and origin. Rosas work configures as part of that cultural discourse, as it occurred with the texts published by the magazine, for the authors literary project has the dialogism, a means of integration, as its central foundation. The positions of both artist and magazine in the literary field are considered so that a convergence is possible to be identified between them, and in order for them to be seen as pieces of an one, common discourse.

Cette thèse a pour but principal de renouveler l’étude de la question du rapport entre l’esthétique et l’idéologique dans l’oeuvre de Flannery O’Connor. Contrairement aux études antérieures menées sur cette question, elle sera abordée ici dans le cadre d’une théorie du discours littéraire, c’est-à-dire d’une théorie qui prend en compte les dimensions à la fois performatives et réflexives propres aux textes littéraires. Ce postulat théorique a des conséquences importantes pour l’étude du rapport entre les textes littéraires et les contextes sociaux, politiques, historiques et littéraires de leur mise en circulation et de leur réception. Il implique, notamment, que les ouvrages littéraires inscrivent et négocient dans leur texture même les conditions de leur mise en circulation et de leur réception, et ainsi, que la question de leur contexte doit être abordée en premier par l’étude de cette inscription et de cette négociation textuelles. Pour autant qu’elle tient pleinement compte de la logique médiate de cette inscription et de cette négociation—et notamment des effets médiateurs des figures du lecteur et de l’auteur, ainsi que du genre et du champ littéraire—l’approche pragmatique adoptée dans cette thèse permet non seulement de mener à bien cette étude, mais également de montrer sous un nouveau jour la complexité et la singularité de la signature littéraire de Flannery O’Connor. / The principal aim of this dissertation is to provide a fresh approach to the vexed question of the relationship between the aesthetic and the ideological in the work of Flannery O’Connor. Unlike existing studies of this question in the critical literature, the approach adopted in this dissertation is based on the premise that it can best be treated in the context of a theory of literary discourse, one, in particular, that takes full consideration of the reflexive and performative dimensions of literary works. This theoretical assumption has considerable consequences for the study of the relationship between literary texts and the social, political, historical and literary contexts of their reception and circulation. In particular, it suggests that literary texts inscribe and negotiate the social and historical conditions of their circulation and reception, and that the question of their context should be approached first and foremost through the study of this textual inscription and negotiation. Insofar as it takes full consideration of the mediatory logic that such textual negotiation entails—in particular the mediating presence and effect of the figures of the reader and the author, the genre of the work, and the literary field—literary pragmatics will be seen to provide an approach which not only enables this study, but also reveals in a new light both the complexity and the singularity of Flannery O’Connor’s literary signature.