Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2017-10-04T20:58:53Z No. of bitstreams: 1 JeffersonEduardoDaPazBarbosa_DISSERT.pdf: 843425 bytes, checksum: 659589e3b42f6dee429cd6493b1b9b37 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2017-10-11T00:29:46Z (GMT) No. of bitstreams: 1 JeffersonEduardoDaPazBarbosa_DISSERT.pdf: 843425 bytes, checksum: 659589e3b42f6dee429cd6493b1b9b37 (MD5) / Made available in DSpace on 2017-10-11T00:29:46Z (GMT). No. of bitstreams: 1 JeffersonEduardoDaPazBarbosa_DISSERT.pdf: 843425 bytes, checksum: 659589e3b42f6dee429cd6493b1b9b37 (MD5) Previous issue date: 2017-05-05 / Esta disserta??o tem como tema a tens?o entre Maurice Blanchot e Jean-Paul Sartre quanto ao aspecto ?tico, pol?tico e filos?fico da literatura. Entendemos que essa tens?o faz parte da subjetividade art?stica moderna, tendida entre a liberdade de recusa soberana e a aceita??o do compromisso com a hist?ria, de modo que ambos os autores acirram essa contradi??o da literatura. Se, por um lado, Blanchot (2011b) afirma que a literatura ? a porta para uma experi?ncia al?m dela mesma, experi?ncia que busca tornar a morte poss?vel, Sartre (2004) afirma que a literatura ? o ?mbito de uma rela??o entre liberdades onde tem lugar uma dial?tica fundamental que implica a tomada de consci?ncia. Ambos os autores concebem a realidade humana como negatividade, por isso a import?ncia de Hegel como fundo comum de onde a tens?o emerge. A filosofia hegeliana, atrav?s dos cursos de Alexandre Koj?ve (2012), com sua ?nfase na ideia de morte, ter? em Blanchot uma rearticula??o sem a qual n?o poder?amos compreender suas ideias sobre a literatura. Em Sartre, a filosofia hegeliana ? igualmente importante, uma vez que suas ideias sobre o existencialismo articulam n?o apenas a fenomenologia husserliana e o marxismo (posteriormente), mas a dial?tica da negatividade e do universal concreto. Para Blanchot, a literatura manifesta uma liberdade absoluta, uma interroga??o radical que p?e em causa todos os projetos humanos. Para Sartre, essa liberdade absoluta, que pode ter sido o af? do surrealismo, ? concebida como tenta??o da irresponsabilidade. A literatura permanece o lugar de uma ambiguidade que est? presente nos dois autores. / This dissertation is about the tension between Maurice Blanchot and Jean-Paul Sartre, as to the ethical, political and philosophical aspect of literature. We understand that this tension is part of modern artistic subjectivity, stretched between freedom of sovereign refusal and acceptance of commitment to history, so that both writers stir up this contradiction of literature. If, on the one hand, Blanchot (2011b) affirms that literature is the door to an experience beyond itself, an experience seeks to make death possible, Sartre (2004) says that literature is the space of a relation between freedoms where a fundamental dialectic takes place that implies an awareness. Both authors conceive the human reality as negativity, hence the importance of Hegel as common ground from which tension emerges. The Hegelian philosophy, through the courses of Alexandre Koj?ve (2012), with its emphasis on the idea of death, will have in Blanchot an rearticulation without which we could not understand his ideas about literature. In Sartre, Hegel?s philosophy is equally important, since his ideas about existentialism articulate not only phenomenology and Marxism (later), but the dialectic of negativity and the concrete universal. For Blanchot, literature manifests an absolute freedom, a radical interrogation that calls into question all human projects. For Sartre, this absolute freedom, which was the desire of surrealism, is conceived as a temptation to irresponsibility. The literature holds the place of an ambiguity that is present in the two authors.

FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico / LâÃcriture de Melville, mÃme aprÃs tout le temps passà et avec diverses interprÃtations, alaissà inquiets les lecteurs et la critique. Pour cela, afin de prÃserver ce qui la permet survivre, nous nâavons pas comme but Ãpuiser les visions possibles de lâoeuvre, bien au contraire, on prÃtend contribuer à lâoverture des possibilitÃs et des vÃritÃs à propos du dit e du non-dit prÃsent chez lâoeuvre de lâÃcrivain amÃricain, en ce que concerne les livres Bartleby, lâÃcrivain, Benito Cereno et Billy Budd. Dans notre Ãtude, le but central est penser les trois Ãcritures de Herman Melville à partir de leurs personnages-titres, mais qui ne sont pas les narrateurs de lâhistoire, de faÃon à perdre le pouvoir de dominer le destin de lâÃcriture. De telle faÃon, les personnages donnent plutÃt des indices que des paroles concrÃtes et sont entre le dit et le non-dit / A escrita de Melville, mesmo com o passar do tempo e apesar de tantas anÃlises de suas obras, ainda nÃo deixou de inquietar leitores e estudiosos. Por essa razÃo, para preservar o que na obra literÃria faz dela sobrevivente, o objetivo de nosso estudo nÃo à de forma alguma esgotar as visÃes que as obras permitem; pelo contrÃrio, pretendemos contribuir para a abertura de mais possibilidades de questionamentos e de verdades acerca do dito e do nÃo-dito intrÃnseco Ãs obras do escritor estadunidense, no que concerne ao estudo de Bartleby, o escrivÃo, Benito Cereno e Billy Budd. Objetivamos em nossa dissertaÃÃo investigar na escrita de Herman Melville os aspectos relacionados Ãs personagens, as quais possuem destaque no tÃtulo de cada obra, mas nunca sÃo narradoras de sua histÃria, de modo que sÃo incapazes de ter domÃnio sobre ela. Nesse sentido, as personagens mais insinuam do que realmente dizem, estÃo no limite entre o dito e o nÃo-dito.

Made available in DSpace on 2017-07-21T14:53:58Z (GMT). No. of bitstreams: 1 Mayara Bueno.pdf: 1185832 bytes, checksum: 2efb8dc31dc01361966dbc94b12805f2 (MD5) Previous issue date: 2016-10-04 / This study aims the reading of the novel O falso mentiroso: memórias, by Silviano Santiago, as literary space, according to Maurice Blanchot‘s concept, where literary experiences enable an action of dilution of its own limits, such as reality and fiction, in a constant self-questioning exercise. The axis of Silviano Santiago‘s critical thought axis is the ―space-in-between" concept, based on the anthropophagic ritual, which deconstructs binary speeches and the concept of origin. Essential to us understand the literary relations and how this studied novel sets dialogs between fiction and the author‘s theory, therefore, between the fictitious writer and the reviewer. Connected to discussions of authors such as Walter Benjamin, Michael Foucault e Giorgio Agamben, we conceive Silviano Santiago‘s novel literary space as a place of deconstruction, where statutes are rated under suspicion and where the literature is also, theory. / Este trabalho propõe a leitura do romance O falso mentiroso: memórias, de Silviano Santiago, como espaço literário, apropriando-se do termo de Maurice Blanchot, onde experiências literárias possibilitam um processo de diluição dos seus próprios limites, como realidade e ficção, em um exercício de autoquestionamento constante. O eixo do pensamento crítico de Silviano Santiago é o conceito de ―entre-lugar‖ que, baseado no ritual antropofágico, descontrói discursos binários e o conceito de origem. Sua compreensão torna-se essencial para entendermos as relações literárias e como o romance aqui estudado estabelece diálogos entre a ficção e a teoria do autor, logo, entre o ficcionista e o crítico. Articuladas às discussões de autores como Walter Benjamin, Michael Foucault e Giorgio Agamben, pensamos o espaço literário do romance de Silviano Santiago como um lugar de desconstrução, onde estatutos são colocados sob suspeita e onde a literatura é, também, teoria.

PIMENTEL, Davi Andrade. A Literatura de Hilda Hilst na perspectiva de Maurice Blanchot. 2009. 322 f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2009. / Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-06-25T15:27:01Z No. of bitstreams: 1 2009_DIS_DAPIMENTEL.pdf: 2005479 bytes, checksum: 5f704f5c33a4884ec9d76db5006a2f0a (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-06-28T12:56:39Z (GMT) No. of bitstreams: 1 2009_DIS_DAPIMENTEL.pdf: 2005479 bytes, checksum: 5f704f5c33a4884ec9d76db5006a2f0a (MD5) / Made available in DSpace on 2012-06-28T12:56:39Z (GMT). No. of bitstreams: 1 2009_DIS_DAPIMENTEL.pdf: 2005479 bytes, checksum: 5f704f5c33a4884ec9d76db5006a2f0a (MD5) Previous issue date: 2009 / Esta dissertação analisa os processos da escrita literária de oito obras em prosa da escritora Hilda Hilst – A obscena senhora D; Kadosh; Rútilos; Fluxo-Floema; Tu não te moves de ti; O caderno rosa de Lori Lamby; Com os meus olhos de cão e Estar Sendo. Ter Sido – a partir do pensamento do filósofo-teórico Maurice Blanchot sobre literatura, como, por exemplo: a fragmentação do discurso, a instabilidade da narrativa, a errância dos personagens, a não-verdade e o não-poder, decorrentes da impossibilidade da morte no texto literário. A ideia de literatura presente nesta dissertação refere-se à ideia de literatura como autossuficiente, uma literatura que se basta, que não precisa da relação mundo real – literatura – mundo real para existir. Desse modo, não fazemos nenhuma relação das obras hilstianas com a contemporaneidade em que foram publicadas, nem com a contemporaneidade atual desta dissertação. Ao abdicarmos do mundo prático em favor do mundo literário, pretendemos observar a arquitetura de escombros da linguagem hilstiana sem as implicações de fatores extraliterários, o que nos proporciona uma investigação mais depurada do texto literário.

Le terme désœuvrement apparaît comme une des grandes notions qui peuplent la critique littéraire du 20ème siècle. Il marque la mise en mouvement de l'absence de l’œuvre dans laquelle l'écriture tend vers l'espace où rien ne peut être fait. La Trilogie romanesque de Beckett et les romans de Blanchot se croisent dans cet espace du désœuvrement. Les deux écrivains tentent de faire opérer la fin de la littérature en cherchant une nouvelle forme qui réalise le chaos. Dans leur œuvre, le temps, l'espace, la narration et le langage sont mis en redéfinition en abandonnant tous leurs caractères traditionnels. L’œuvre s'approche donc du fragmentaire. / The term worklessness became one of the main concepts in the literary criticism of the 20th century. It marked the absence of the work on the way to a literary space where nothing can be done. Both Beckett and Blanchot tried to put an end to literature by creating a new form that could express the chaos. In theirs novels, time, space, narration and language no longer remain their traditional characteristics. The works of the two authors are close to what we call fragmented novel.

Denna uppsats behandlar Willy Kyrklunds roman Solange (1951) utifrån några av de verktyg som utvecklats av Gilles Deleuze och Félix Guattari för att närma sig litteraturen. Som teoretisk utgångspunkt kommer jag huvudsakligen att använda mig av Deleuzes och Guattaris studie över Franz Kafka med titeln Kafka: För en mindre litteratur (1975), tillsammans med ett antal andra relevanta skrifter och verk. I Kafkastudien utvecklas begreppet om den mindre litteraturen, vilket i korthet kan beskrivas som ett särskilt förhållningssätt till en större, etablerad litteratur. Jag kommer även undersöka Solange utifrån begreppet om djur-blivandet, så som det presenteras i Deleuzes och Guattaris Tusen platåer (1980). Utifrån dessa verktyg kommer jag i första hand att undersöka den säregna användningen av aspekter som form, genre och berättande i Solange, med avsikten att visa hur romanen på olika plan omförhandlar litterära normer och konventioner till förmån för vad som kan sägas vara ett kollektivt utsägande.

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Cette thèse porte sur trois textes autobiographiques qui questionnent, à travers l’élaboration d’une pensée de l’événement, les oppositions convenues entre fiction et témoignage. L’Événement (2000) d’Annie Ernaux, Le jour où je n’étais pas là (2000) d’Hélène Cixous et L’Instant de ma mort (1994) de Maurice Blanchot présentent le récit autoréférentiel d’un événement traumatique, soit un avortement clandestin pour Ernaux, la mort en bas âge d’un enfant trisomique pour Cixous et la mise en joue par un soldat nazi lors de la Seconde Guerre mondiale pour Blanchot. Ce corpus, quoique hétérogène à plusieurs égards, loge à l’enseigne d’une littérature placée sous le signe de l’aveu, de la confession et de la révélation ; cette littérature porterait au jour ce qui était jusque-là demeuré impossible à dire. Partant de la figure de la honte inscrite dans ces trois œuvres, mais aussi dans d’autres textes de ces écrivains qui permettent de déployer ce qui se trame de secret et d’événement dans le corpus principal, cette thèse a pour objectif d’analyser les déplacements et les retours d’un trauma gardé secret pendant une quarantaine d’années et qui remonte, par la voie de l’événement, à la surface de l’écriture. Sous la double impulsion de la pensée de Jacques Derrida et de l’approche psychanalytique, cette thèse s’intéresse à la question de l’événement à l’œuvre chez Ernaux, Cixous et Blanchot. Dans chacune de ces œuvres, un événement traumatique intervient comme révélateur de l’écriture et d’un rapport singulier à la pensée de l’événement, marqué soit historiquement et politiquement (Blanchot), soit intimement (Cixous et Ernaux). Par l’écriture, ces auteurs tentent en effet de rendre compte de l’authenticité de l’événement ressenti, problématisant du même coup la nature et la fonction de l’événement tant réel que psychique dans le récit de soi. L’événement est ainsi abordé dans son caractère historique, psychanalytique mais également philosophique, ontologique ; la pensée de l’événement mise à l’épreuve des textes d’Ernaux, de Cixous et de Blanchot permet d’explorer les figures de la date, de l’archive, de la mort et du deuil qui lui sont liées, en plus de donner lieu à une poétique singulière chez chacun. Enfin, la thèse traite du rapport entre l’aveu de l’événement et la langue qui, défiant l’opposition traditionnelle du constatif et du performatif, entraîne l’événement du récit, cet autre événement qui arrive en même temps que le récit de l’événement traumatique. / This thesis focuses on three autobiographical texts: Annie Ernaux’s L’Événement (2000) [Happening], Hélène Cixous’s Le jour où je n’étais pas là (2000) [The Day I Wasn’t There] and Maurice Blanchot’s L’Instant de ma mort (1994) [The Instant of My Death]. Each presents a self-referential narrative of a traumatic event: respectively, Ernaux’s illegal abortion, the death in infancy of a child with Down’s syndrome for Cixous and Blanchot’s experience of having been aimed at by a Nazi soldier during World War II. These three texts work out a conception of the event and therefore question the conventional opposition between fiction and testimony. This corpus, although heterogeneous in many respects, is brought together under the sign of literary confessions, avowals and disclosures. Such literary writing is intent on unraveling or bringing to light what had hitherto remained impossible to say. This thesis analyzes the movements and returns of a trauma kept secret for over forty years which ultimately, by way of the event, resurfaces in writing. The thesis’s point of departure is the figure of shame found in the three works. Yet other texts of the same writers are summoned in an attempt to untangle the secrets and events woven in the main corpus. Under the impulse of both Jacques Derrida’s thought and that of psychoanalysis, this thesis focuses on the events in the making in Ernaux, Cixous and Blanchot’s writings. In each of these works, a traumatic event occurs and reveals the links between writing and a philosophy of the event, be it inscribed historically and politically (Blanchot) or intimately (Cixous and Ernaux). In their writings, these authors attempt to give an authentic account of the event as they experienced it, while at the same time problematizing the nature and function of both the real and the psychic event in self-writing. The event is addressed in its historical, psychoanalytical, and philosophical, ontological dimensions. Close attention to the texts of Ernaux, Cixous and Blanchot allows one to explore the figures of the date, the archive, as well as that of death and work of mourning. Moreover, a singular poetics emerge for each writer. Finally, the thesis deals with the relationship between the acknowledgement of the event and language. Notwithstanding the traditional opposition between constative and performative speech acts, another event—the event of narration—arises at the same time as the traumatic event is narrated.

Le phénomène de laïcisation, qui, dans nos sociétés occidentales, cherche à s’affranchir du sacré, a contribué à l’émergence d’une figuration de l’humain au centre de l’univers. Malgré ce progrès, perdurent aujourd’hui, sur le terrain même de la laïcité, des traces du sacré qui induisent des tensions entre foi et savoir. Deux universaux, qui légitimement s’attirent et se repoussent, interrogent plus fondamentalement l’humain, allant jusqu’à remettre en question l’élaboration ontologique dont il a fait l’objet. Un constat qui pose le diagnostic de sa propre fin. En effet, la question de l’anthropos persiste malgré tout à s’articuler à l’intérieur de la tradition de la religion. Si la modernité, notamment amorcée par l’anthropologie kantienne, pose les premières tentatives d’une émancipation du sacré en prônant l’autonomie de la raison, il reste que l’idéal de cet humain, dit laïc, ne renonce pas vraiment au monde de Dieu. Et, pour cause, il se représente toujours sur le terrain de la laïcité en contraste avec l’humain religieux. Cherchant à dépasser les résistances relatives au monde de Dieu, je propose de faire émerger et de se représenter, au travers d’une expérience de la pensée, l’humain laïc par-delà le geste interprétatif imposé par l’institutionnalisation de la religion. Je remonte donc aux premières traces de l’humain qui persistent dans ses testaments, ses métarécits, avant tout humain. Des testaments qu’on pourrait croire oubliés, mais non perdus. Je remonte comme un archéologue de la langue au moment des premières nominations dans l’écriture qui surgissent de la Genèse. À ces Écritures qui, en définitive, viennent aussi rappeler que le syndrome de Babel plonge toujours l’humain dans sa propre dissémination, celle de son nom propre. Surgit la nécessité de se traduire comme une oeuvre, à nouveau, dans sa propre langue, pour survivre. Se traduire, pour « se savoir » humain, plutôt pour « se savoir anthropos ». Pour en comprendre la tâche, j’ai convoqué trois anciens : Paul de Tarse, Sénèque et Clément d’Alexandrie. J’ai scruté et croisé les mises en scène des nominations de l’humain à partir des occurrences du mot « anthropos » et « homo » dans l’écriture en écartant le plus possible le prisme interprétatif imposé par l’institutionnalisation de la religion. Je me suis inspiré d’un dispositif interprétatif stoïcien à partir d’Épictète pour faire surgir, au travers d’une mise en dialogue de ces trois anciens, la traduction d’un humain laïc. Une traduction qui relève d’une anthropologie du bonheur fondée sur la cohérence des disciplines du jugement, du désir et de l’action. Une traduction, certes, mais aussi une expérience d’écriture qui a amené à penser, en dernière instance, qu’au demeurant, avant la lettre, il y a lieu de penser l’émergence d’un anthropos, ni profane, ni sacré, ni religieux, ni laïque, qu’il y a lieu de « se savoir » anthropos. / The secularization phenomenon, which in our western societies seeks to free itself from the sacred, has contributed to the emergence of a human figuration at the centre of the universe. Despite this progress, traces of the sacred that induce tensions between faith and knowledge continue to prevail today within secularization. These two universal concepts, which legitimately attract and repel each other, fundamentally question the human, to the point of putting into question the human’s underlying ontology. An observation that poses its own diagnosis. In fact, the question of the anthropos continues to articulate itself within the tradition of religion. If modernity, initiated by Kantian anthropology, poses the first attempts of an emancipation of the sacred by advocating the autonomy of reason, this idealized secular human does not renounce the world of God. And with good reason, as it is always represented as secular in contrast with the human of the religious sphere. Seeking to overcome all forms of resistance regarding the divine dimension, I propose letting the human emerge and come to be represented by means of a thought experiment that extends beyond the interpretative gesture imposed by the institutionalization of religion. I will go back to the first traces of the human that persist in early documents and texts that precede the concept of human as we understand it. This legacy may have been forgotten, but it was not lost. In the manner of an archaeologist of languages, I return to the first moments of naming in writing that takes place in Genesis. In these writings, which recall the event of Babel that plunges the human into the dissemination of its proper name, emerges the need for the human being to translate itself anew, as a work, in its own language, just to survive. Translate itself in order to know itself as human rather than as "anthropos". To understand the modalities of this task, I’ve brought together the ancient thinkers Paul of Tarsus, Seneca, and Clement of Alexandria. In analyzing these writings, I have scrutinized and cross-referenced the nominations of the human from the occurrences of the words "anthropos" and "homo", while avoiding as much as possible the interpretive prism imposed by the institutionalization of religion. I sought inspiration from a stoic interpretive framework deriving from Epictetus to create, through dialogue with these three ancient thinkers, the translation of the secular human. A translation that stems from the anthropology of happiness based on the coherence of the disciplines of judgment, desire and action. A translation, has ultimately led to thinking that, avant la lettre, before writing, there is a way to think the emergence of anthropos, neither profane, sacred, religous or secular, that there is a way to "know oneself" as anthropos.