Trataremos neste trabalho da poética surgida a partir da produção literária e do sarau da COOPERIFA (Cooperação Cultural da Periferia). Por meio das análises dos poemas advindos desse movimento cultural, verificaremos a contribuição dessa produção à Literatura Brasileira e ao cenário cultural que favorece o surgimento de escritores oriundos dos espaços historicamente marginalizados pelos contextos culturais e sociais hegemônicos brasileiros. / We will treat this work of poetry that emerged from the literary production and soiree of Cooperifa ( Cultural Cooperation outskirts ). Through the analysis of poems arising from this cultural movement , we find the contribution of this production to Brazilian literature and cultural scenario that favors the emergence of writers coming from areas historically marginalized by cultural and social contexts Brazilian hegemonic.

Orientador: Cleide Antonia Rapucci / Banca: Thomas Bonnici / Banca: Antonio Roberto Esteves / Resumo: O principal assunto desta dissertação é a técnica narrativa cut-up, desenvolvida e empregada pela primeira vez no gênero romance em 1959, pelo escritor norte-americano William Burroughs, em sua obra-prima Naked Lunch. O processo da técnica consiste na sobreposição e justaposição de fragmentos textuais de diferentes teores. Esse processo é similar a alguns artifícios usados pelas Vanguardas, principalmente a "escrita automática" dos surrealistas. A intenção fundamental é conceder novos e inusitados significados às palavras e sentenças e, ao mesmo tempo, envolver o leitor num esforço cognitivo. Além disso, o escritor aponta a linguagem enquanto suporte ideológico, e assim revoga o sistema aristotélico presente nela. Os capítulos de abertura contêm uma exposição ampla a respeito da Beat Generation, um importante grupo literário surgido no período pós-guerra nos Estados Unidos. Os membros ligados à Geração militaram numa outra noção referente à vida intelectual e artística, e criaram obras guiadas nesse sentido. William Burroughs foi o mentor intelectual deles. A Beat Generation está incluída numa tradição literária norte-americana que começa com Thoreau e Whitman, uma tradição de enfrentamento social e estético. / Abstract: The main subject of this research is the narrative technique called "cut-up", developed and employed in the novel genre by American writer William Burroughs, for the first time in 1959, in his masterpiece Naked Lunch. The process of the technique consists in the superposition and juxtaposition of textual fragments with different purports. This process is similar to some artifices used by Vanguards, mainly the "automatic writing" by surrealists. The principal intention is to concede new and unusual meanings to the words and sentences, and, at the same time, to involve the reader in a cognitive effort. Besides, the writer notes the language while ideological bearer, and thus revokes the aristotelian system present in it. The opening chapters contain an ample exposition about the "Beat Generation", an important literary group that arose at post-war period in the United States of America. The members linked to the Generation were engaged in another notion concerning artistical and intellectual life, and they created works guided in this sense. William Burroughs was their intellectual mentor. The Beat Generation is included in a literary tradition, in the U.S.A., that starts with Thoreau and Whitman, a tradition of social and esthetical struggle. / Mestre

Esta pesquisa propõe ler La ciudad ausente (1992) do escritor argentino Ricardo Piglia (1940) como uma obra que, a partir de uma máquina de narrar como metáfora de escritor, constrói e executa uma poética em consonância com a forma de encarar a literatura e o ato de escrita de seu autor. A primeira parte do trabalho está dedicada a três temas que serão levados em conta durante todo o texto: os nódulos brancos como elementos geradores de línguas e narrativas, o Estado como instância que também narra e a perda como origem da máquina e de histórias. A poética da máquina é tratada na segunda parte, na qual me detenho em sua formação como narradora. Partindo da proposta de um de seus inventores, identifico e divido sua programação / poética em três fases: tradução, criação por núcleos narrativos e captação do que ocorre na sociedade. Dialogando diretamente com a tradição literária argentina, proponho que a primeira fase tem como modelo o escritor Jorge Luis Borges e, seguindo as pistas de outros textos de Piglia, que a máquina insere-se em uma tradição argentina de escritores que tem a tradução como procedimento de escrita. Ainda no interior desta etapa analiso o Stephen Stevensen, tradução da máquina para o William Wilson de Edgar Allan Poe e o porquê de sua escolha. Nos capítulos dedicados à segunda fase de sua poética, verifico como a máquina desmembra o núcleo narrativo de origem do romance, o da perda, em quatro diferentes histórias: El gaucho invisible, Una mujer, Primer amor e La nena e como sua atuação resgata um papel antes atribuído aos antigos narradores. Em seguida, parto para a análise de espaços de representações dentro no romance, em especial o museu-biblioteca. Do museu à cidade, a leitura prossegue em direção à terceira fase da programação da máquina, na qual são analisadas as narrativas La grabación, Los nudos blancos e La isla, construídas a partir do que a máquina captou na sociedade e que refletiria a leitura que Piglia faz do narrador benjaminiano e da obra de escritores como Franz Kafka, Roberto Arlt e Rodolfo Walsh. Na última parte demonstro como todo o texto de La ciudad ausente pode ser lido também como uma produção da máquina de relatos e como essa ficção dentro da ficção dialoga com a visão de Macedonio Fernández e de Piglia de como devem ser encaradas as relações entre ficção, verdade e real empírico. A hipótese que norteia esta pesquisa baseia-se em ver em La ciudad ausente a reconstrução de um universo de escrita coerente com o restante da obra de Ricardo Piglia e com as leituras que ele faz de uma determinada tradição literária argentina formada especialmente por Jorge Luis Borges, Roberto Arlt e Macedonio Fernández e da obra de autores exteriores a ela, tais como Edgar Allan Poe, Antón Tchecov, Bertold Brecht, Franz Kafka e James Joyce. / This research proposes reading La ciudad ausente (1992) by Argentinean writer Ricardo Piglia (1940) as a literary work that, beginning with a narrating machine as a metaphor of writer, constructs and implements a poetic in line with the authors way of facing literature and the act of writing. The first part of the work is dedicated to three issues to be taken into account during the whole text: the white nodes as the generators of languages and narratives, the State as instance that also narrates and the loss as the origin of the machine and stories. The machines poetic is treated in the second part, in which I focus its formation as a narrator. On the basis of the proposal of one of its inventors, I identify and split its programming / poetic in three stages: translation, the creation by narrative nuclei and apperception of what occurs in society. Dialoguing directly with the Argentinean literary tradition, I propose that the first stage has as a model the writer Jorge Luis Borges and, following the lines of other texts of Piglia, that the machinery is inserted in an Argentinean tradition of writers which has the translation as written procedure. Even within this stage I analyze the \"Stephen Stevensen\", translation of the machine for the Edgar Allan Poes \"William Wilson\" and why this choice. In chapters dedicated to the second phase of his poetic, I see how the machine dismembers the initial nucleus of the novels narrative , the loss, in four different histories: \"El gaucho invisible\", \"Una mujer\", \"Primer amor\" and \"La nena\" and as its playacting recovers a role before attributed to the ancient storytellers. Then, I start the analysis of Spaces of Representation inside the novel, especially the museum-library. From the museum to the city, the reading continues towards the third stage of machines programming, moment that are analyzed the narratives \"La grabación\", \"Los nudos blancos\" and \"La isla\", built up from what the machine has grasped in society and that would reflect the reading Piglia makes of the benjaminian narrator and the work of writers such as Franz Kafka, Roberto Arlt and Rudolf Walsh. In the last part demonstrate how the whole text de La ciudad ausente may be read also as a production of the machine of reports and how this fiction within the fiction dialogues with the vision of Macedonio Fernandez and Piglia of how should be faced the relations between fiction, truth and empirical real. The hypothesis that guides this search is based in observing in La ciudad ausente the reconstruction of an universe of writing that is coherent with other pieces of Ricardo Piglias work and with the reading he has of a determined Argentinean literary tradition formed especially by Jorge Luis Borges, Roberto Arlt and Macedonia Fernandez and the oeuvre of authors outside it, such as Edgar Allan Poe, Anton Tchecov, Bertold Brecht, Franz Kafka and James Joyce.

In my study I analyse Reijo Mäki’s four books Pimeyden tango (1997), Pahan suudelma (1998), Keltainen leski (1999) and Black Jack (2003).  I’m interested whether Mäki as a writer belongs to traditional Finnish prose which started from Aleksis Kivi than genre of crime literature. After Kai Laitinen humour, nature and democracy are typical to Finnish literature tradition.  Mäki’s milieu descriptions are closer to the Finnish literary tradition. Through nature the characters mirror their emotions, feelings and events. The environment is not only seen, but it is also smelled, touched and heard. Through the marks of the nature characters give right as well as misleading clues. It is particularly characteristic to the Finnish literary tradition to describe division of life, social status and the freedom and lack of it through weather, which is not typical to the crime literature.  Also Mäki’s characters are democratic and everyday and strongly individualistic and anti-social despite of person’s social standing.  Laitinen’s point of view is that in the Finnish literary tradition equality is only between men. In Mäki’s fiction women characters are narrow and they are only seen how they look. Mäki represents the modern criminal literature in which are characteristics of puzzle, hard-boiled and police novels. Unlike hardboiled detective stories his books are full of verbal descriptions. In conclusion Mäki’s books clearly represent the Finnish literary tradition.

Pretende-se, neste estudo, discutir como os poetas palacianos do Quatrocentos português usaram a tradição e a inovaram com elementos de inventividade e criatividade, de modo a serem denominados precursores de futuras estéticas literárias. Tomar-se-á por paradigma o poeta e coudel-mor Fernão da Silveira. Uma das principais personagens da nobreza portuguesa, Silveira destaca-se por extensa produção poética, bem como pelo rigor com que exerceu sua função política. Uma vez que a crítica vem apontando o Cancioneiro Geral de Garcia de Resende como repositório de futuros movimentos literários, o objetivo é examinar, através de Fernão da Silveira, os meios de que se serviram os poetas do fim do medievo português no cultivo de formas e temas caros às escolas renascentista e barroca e, mais tarde, à arte literária concretista e experimentalista. / This study intends to discuss how the Portuguese Court poets of the XVth. century made use of tradition and innovated it with elements such as inventiviness and creativeness in order to be considered as forerunners of future literary aesthetics. For this purpose, the poet and master of the royal stud farm Fernão da Silveira has been taken as a paradigm. One of the most influential persons of the Portuguese nobility, Silveira distinguishes himself for his wide poetic production and for the rigour he performed his political role. Since criticism considers Garcia de Resende\'s Cancioneiro Geral a repository of future literary moviments, the purpose is to examine, through Fernão da Silveira\'s poetic production, the means that could have led the poets of the end of the Portuguese medieval era to cultivate forms and themes dear to the Renaissance and Barroque aesthetics and, later, to the concrete and experimentalist literary arts.

Pretende-se, neste estudo, discutir como os poetas palacianos do Quatrocentos português usaram a tradição e a inovaram com elementos de inventividade e criatividade, de modo a serem denominados precursores de futuras estéticas literárias. Tomar-se-á por paradigma o poeta e coudel-mor Fernão da Silveira. Uma das principais personagens da nobreza portuguesa, Silveira destaca-se por extensa produção poética, bem como pelo rigor com que exerceu sua função política. Uma vez que a crítica vem apontando o Cancioneiro Geral de Garcia de Resende como repositório de futuros movimentos literários, o objetivo é examinar, através de Fernão da Silveira, os meios de que se serviram os poetas do fim do medievo português no cultivo de formas e temas caros às escolas renascentista e barroca e, mais tarde, à arte literária concretista e experimentalista. / This study intends to discuss how the Portuguese Court poets of the XVth. century made use of tradition and innovated it with elements such as inventiviness and creativeness in order to be considered as forerunners of future literary aesthetics. For this purpose, the poet and master of the royal stud farm Fernão da Silveira has been taken as a paradigm. One of the most influential persons of the Portuguese nobility, Silveira distinguishes himself for his wide poetic production and for the rigour he performed his political role. Since criticism considers Garcia de Resende\'s Cancioneiro Geral a repository of future literary moviments, the purpose is to examine, through Fernão da Silveira\'s poetic production, the means that could have led the poets of the end of the Portuguese medieval era to cultivate forms and themes dear to the Renaissance and Barroque aesthetics and, later, to the concrete and experimentalist literary arts.

Made available in DSpace on 2014-06-11T19:29:50Z (GMT). No. of bitstreams: 0 Previous issue date: 2004-03-11Bitstream added on 2014-06-13T20:20:14Z : No. of bitstreams: 1 paulinojunior_j_me_assis.pdf: 515440 bytes, checksum: 06e1d330c5483f056dc028fc22d894ac (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O principal assunto desta dissertação é a técnica narrativa cut-up, desenvolvida e empregada pela primeira vez no gênero romance em 1959, pelo escritor norte-americano William Burroughs, em sua obra-prima Naked Lunch. O processo da técnica consiste na sobreposição e justaposição de fragmentos textuais de diferentes teores. Esse processo é similar a alguns artifícios usados pelas Vanguardas, principalmente a “escrita automática” dos surrealistas. A intenção fundamental é conceder novos e inusitados significados às palavras e sentenças e, ao mesmo tempo, envolver o leitor num esforço cognitivo. Além disso, o escritor aponta a linguagem enquanto suporte ideológico, e assim revoga o sistema aristotélico presente nela. Os capítulos de abertura contêm uma exposição ampla a respeito da Beat Generation, um importante grupo literário surgido no período pós-guerra nos Estados Unidos. Os membros ligados à Geração militaram numa outra noção referente à vida intelectual e artística, e criaram obras guiadas nesse sentido. William Burroughs foi o mentor intelectual deles. A Beat Generation está incluída numa tradição literária norte-americana que começa com Thoreau e Whitman, uma tradição de enfrentamento social e estético. / The main subject of this research is the narrative technique called cut-up, developed and employed in the novel genre by American writer William Burroughs, for the first time in 1959, in his masterpiece Naked Lunch. The process of the technique consists in the superposition and juxtaposition of textual fragments with different purports. This process is similar to some artifices used by Vanguards, mainly the automatic writing by surrealists. The principal intention is to concede new and unusual meanings to the words and sentences, and, at the same time, to involve the reader in a cognitive effort. Besides, the writer notes the language while ideological bearer, and thus revokes the aristotelian system present in it. The opening chapters contain an ample exposition about the Beat Generation, an important literary group that arose at post-war period in the United States of America. The members linked to the Generation were engaged in another notion concerning artistical and intellectual life, and they created works guided in this sense. William Burroughs was their intellectual mentor. The Beat Generation is included in a literary tradition, in the U.S.A., that starts with Thoreau and Whitman, a tradition of social and esthetical struggle.

The aim of the work is to present Argentinian literary tradition as reflected in the Jorge Luis Borges' essays and collections of poems from his early creative period (twentieth and thirtieth of 20th century). The corpus of the analyzed works is created by three collections of poems - Passion for Buenos Aires, Moon across the Way, San Martin Copybook and three books of essays - Evaristo Carriego, The Size of My Hope and The language of the Argentines. At the beginning, the text is focused on Argentinian (respectively on Hispanoamerican) cultural context at the turn of the 19th and 20th centuries. Then, the text continues by analysis of six Borges' books mentioned above reflecting five most important Argentinian motives - pampa, gaucho, compadrito, Buenos Aires and its suburbs and dictator. The author notices different attitudes to Argentinian topic and concludes that Argentina symbolizes very important theme, which is influenced also by Borges' predecessors (e. g. Sarmiento, Hernández or Lugones). Key words: Jorge Luis Borges, Argentinian literary tradition, cultural identity, textual analyse, Buenos Aires, suburb, pampa, compadrito, dictator.

Made available in DSpace on 2016-04-28T19:59:19Z (GMT). No. of bitstreams: 1 Reinaldo Oliveira de Melo.pdf: 305073 bytes, checksum: 10345c1e0fac35ea02d5ca8b336d4832 (MD5) Previous issue date: 2009-09-28 / Secretaria da Educação do Estado de São Paulo / This work aims at discussing conections between some short stories from the work Feliz Ano Novo, by Rubem Fonseca, published in 1975, and the literary tradition. The short stories that were selected are: O Campeonato, Nau Catrineta, Corações Solitários, Agruras de um Jovem Escritor and Intestino Grosso, which reveal themselves as key points to the discussion of the relevant aspects of Fonseca s work. To guide our reflexion, we ve selected the following problem-question: util what point do the short stories from Feliz Ano Novo, by Rubem Fonseca, meet the traditions at one moment, and a distance at the next? The hypothesis that oriented our discussion was the following: when the development of the short stories from Feliz Ano Novo creates a confrontation with the literary tradition, it stabilishes two ways of dialogue: one through metalanguage and the other through parody. To develop this proposal, we were based on theoretical-critical propositions from scholars, such as: Anthony Giddens, John B. Thompson, Marshall McLuhan, Linda Hutcheon, Michael Bakhtin, Vera L. Follain de Figueiredo. Among other conclusions, we ve learnt that the short stories from Rubem Fonseca that were analyzed reconstruct reality itself and consist on metalinguistic parodic expressions, as well as they turn back to the language reality / Este trabalho tem como objetivo discutir relações entre alguns contos da obra Feliz Ano Novo, de Rubem Fonseca, publicada em 1975, e a tradição literária. Os contos selecionados foram: O Campeonato, Nau Catrineta, Corações Solitários, Agruras de um Jovem Escritor e Intestino Grosso, que se apresentam como pontos-chaves para a discussão de aspectos relevantes da obra fonsequiana. Para guiar nossa reflexão, selecionamos a seguinte questão-problema: até que ponto contos de Feliz Ano Novo, de Rubem Fonseca, revelam ora um encontro com a tradição, ora um distanciamento? A hipótese que orientou a nossa discussão foi a seguinte: a composição dos contos de Feliz Ano Novo, ao criar um confronto com a tradição literária, estabelece duas vias de diálogo: um por meio da metalinguagem e outra por meio da paródia. Para desenvolver esta proposta, fundamentamo-nos em proposições teórico-críticas de estudiosos como por exemplo: Anthony Giddens, John B. Thompson, Marshall McLuhan, Linda Hutcheon, Mikhail Bakhtin, Vera L. Follain de Figueiredo. Entre outras conclusões, apreendemos que os contos analisados de Rubem Fonseca, além de voltarem-se para a realidade da linguagem, reconstroem também a própria realidade, constituindo-se em manifestos paródicos metalingüísticos

<p>This study is the first one devoted solely to the writings of the South African black novelist Miriam Tlali. It argues that her works constitute literary resistance not only to apartheid, noted by previous scholars, but also to South African patriarchies. Examining Tlali’s novels <i>Muriel at Metropolita</i>n (1975) and <i>Amandla!</i> (1980), and several short stories from <i>Mihloti</i> (1984) and <i>Footprints in the Quag</i> (1989), the study pits these texts against the black literary tradition dominated by men and also reads them within the social context of South African patriarchies, with its social restrictions on women and its taboos concerning sexualities. To distance herself from the patriarchal values inherent in the male literary tradition and to negotiate social and sexual restrictions on women, I argue, Tlali deploys narrative strategies like generic difference, generic dialogism, a double-voiced discourse, “whispering,” and “distancing.”</p><p>Drawing on the theories of Mikhail Bakhtin and Julia Kristeva, this study first explores “novelistic” traits in <i>Muriel</i> which function both to resist male literary conventions, like the epic mode of narrative, and to criticise their patriarchal ideology. Second, relying on Bakhtin, it analyses the generic dialogism and double-voicedness in <i>Amandla!</i>. Finally, making use of Kristeva’s semiotics and her theory of sacrifice, the study traces the development of a sacrificial discourse of gendered violence from <i>Amandla!</i> to some of Tlali’s short stories. Supported by Martha J. Reinecke’s explication of Kristeva, I show that Tlali’s texts insist that gendered violence upholds the sacrificial economies of both patriarchal apartheid and African patriarchy. The strategies of “whispering” and “distancing,” I claim, surface in Tlali’s addressing of the sensitive issues of black women’s victimisation and gendered violence. “Whispering” entails muting the criticism of the perpetrators of gendered violence, whereas “distancing” results in dis/placing gendered violence on the margins of the community. This study also examines the literary/social context of Tlali’s oeuvre: it explores specific traits of the South African black literary tradition, how the issue of rape has been addressed there, and the depiction of African patriarchy in autobiographies by South African black women.</p>