The creative outcome of my Masters Degree is an extract of my manuscript for a novel. The extract is 40,000 words in length and represents approximately one half of the completed novel. Fissure is the title of the novel. It is a novel which is unconventional in relation to the mainstream understanding of what a traditional novel is. Fissure aims to position itself within a post modern framework. It consists of two primary narratives set apart in time.

The creative outcome of my Masters Degree is an extract of my manuscript for a novel. The extract is 40,000 words in length and represents approximately one half of the completed novel. Fissure is the title of the novel. It is a novel which is unconventional in relation to the mainstream understanding of what a traditional novel is. Fissure aims to position itself within a post modern framework. It consists of two primary narratives set apart in time.

The creative outcome of my Masters Degree is an extract of my manuscript for a novel. The extract is 40,000 words in length and represents approximately one half of the completed novel. Fissure is the title of the novel. It is a novel which is unconventional in relation to the mainstream understanding of what a traditional novel is. Fissure aims to position itself within a post modern framework. It consists of two primary narratives set apart in time.

Orientador: Márcia Valéria Zamboni Gobbi / Banca: Isabel Cristina Saraiva de Assunção Rodrigues Salak / Banca: Sônia Helena de Oliveira Raymundo Piteri / Banca: André Sebastião Damasceno Corrêa de Sá / Banca: Maria Célia de Moraes Leonel / Resumo: A proposta desta tese é investigar, em textos da escritora portuguesa Teolinda Gersão, os ecos promovidos pela autointertextualidade e a relação destes com o discurso metaficcional. A obra de Gersão é permeada por elementos recorrentes, tanto no âmbito estrutural quanto no âmbito temático, que colaboram para a demarcação de um projeto de escrita autoconsciente em constante diálogo consigo mesma, fazendo circular imagens, formas, motivos, estratégias composicionais, e abdicando das fronteiras entre os textos. Adentramos os domínios da metaficção principalmente pelas concepções de Linda Hutcheon e Gustavo Bernardo, e da autointertextualidade pelos estudos de Maria Célia Leonel e Edward Hood. Nosso recorte privilegiou os dois Cadernos de Gersão, a saber Os guarda-chuvas cintilantes (1984) e As águas livres (2013), com vistas às relações autointertextuais destes com outras narrativas da autora, também contempladas pelas análises. Alguns dos procedimentos que conduzem à metaficção abordados nesta pesquisa são, por exemplo, a presença de imagens repetidas, como a casa, a água e o guarda-chuva, e o recurso da curadoria, lido a partir dos estudos de Luciene Azevedo (2016), em que o artista reinventa sua produção por meio das conexões interdiscursivas, apropriando-se de sua própria obra. Nosso percurso ainda procurou fazer um apanhado da prática metaficcional na narrativa portuguesa contemporânea, a fim de auxiliar, na localização panorâmica, a escrita de Teolinda. / Abstract: This work aims to investigate the echoes generated by the self-intertextuality and their relation with the metafictional discourse in the texts of Portuguese writer Teolinda Gersão. The work of Gersão is permeated by recurrent elements, both in the structural and thematic scopes, which contribute to delimit a project of selfconscious writing in constant dialogue with herself. Thus, images, forms, motifs and compositional strategies circulate, while the boundaries between texts are abdicated. The domains of metafiction are approached mainly through the concepts of Linda Hutcheon and Gustavo Bernardo, and those of selfintertextuality through the studies of Maria Célia Leonel and Edward Hood. This research focuses on the analysis of the two Gersão's Cadernos, namely Os Guarda-chuvas cintilantes (1984) and As águas livres (2013), in order to establish their self-intertextual relations with other narrative works of the same author. Some of the procedures that led to the metafiction contemplated by this research are, for example, the analysis of recurrent images, such as the house, the water and the umbrella, and the curatorial resource, read through of studies of Luciene Azevedo (2016), in which the artists reinvent their production through the interdiscursive connections, enabling them to appropriate their own work. This research also sought to capture the metafictional practice in the contemporary Portuguese narrative, in order to assist in the panoramic location of Gersão's writing. / Doutor

Since the mid-1980s, the study of Canadian postmodern historical fiction has been dominated by Linda Hutcheon’s “historiographic metafiction.” Emphasizing historiography and textuality, critics of historiographic metafiction have flattened the past to text and image, inadvertently severing its active connection with the present and removing it from historical process. This is problematic for the ideological intentions of the texts in question because it is an awareness of the past/present dialectic that incites awareness that present action can lead to future change. This thesis, therefore, examines three novels that have overwhelmingly been viewed as historiographic metafiction for their inclusion of researcher-historian characters: Findley’s The Wars, Bowering’s Burning Water, and Marlatt’s Ana Historic. By opening up these texts to criticism that acknowledges history as process, I demonstrate that there is no need to limit these novels to this problematic framework and that researcher-historian characters are valuable for more than their foregrounding of historiography.

This thesis includes seven short stories and a critical afterword. The afterword places the stories in their literary historical context in regards to creative nonfiction. It goes on to discuss the craft of fictionalizing autobiographical stories. Each of the stories should stand alone, though they follow the narrator's life for a number of years. Harlin Anderson is the narrator of all the stories.

Esta tese tem como proposta verificar as diferentes estratégias metaficcionais empregadas por António Lobo Antunes ao longo de sua produção romanesca. Considerando-se que a construção de uma narrativa metaficcional exige dois aspectos importantes o aspecto linguístico e a estrutura narrativa, bem como uma mudança no papel do leitor o presente estudo busca empreender uma leitura da produção romanesca do autor de forma a demonstrar que, se nos romances iniciais a metaficção apresenta-se com a composição da obra sublinhando a sua própria ontologia, expondo a sua construção como entidade específica e até certo ponto autônoma, posteriormente, estende-se ao questionamento das estruturas narrativas e emergência do narrador a assomar na obra como autor, procedimentos esses que implicam mudanças no papel do leitor. Essa possvel leitura , empreendida a partir de três romances: Memória de Elefante (1979), Não entres tão depressa nessa noite escura (2000) e Que cavalos são aqueles que fazem sombra no mar? (2009), títulos esses que dialogar constantemente com as demais obras do autor. Mais do evidenciar o emprego de tais estratégias, buscamos demonstrar como, por meio delas, o autor permite-nos discutir importantes questes da teoria literária, como a concepção de Literatura e Tradição, a confluência dos gêneros literários, bem como o redimensionamento dos papéis assumidos pelo autor e leitor na narrativa contemporânea. O presente estudo visa, também, a demonstrar como, sempre via linguagem, o romance antuniano dialoga com o contexto em que se insere, apontando para um retrato do homem e do mundo contemporâneos. / This thesis proposes to verify the different metafictional strategies used by Anto,,nio Lobo Antunes in his novel production. Considering that the construction of a metafictional narrative demands two important aspects the linguistic aspect and narrative structure, as well as a change in the readers role the present study undertakes a reading of the authors novel production in order to demonstrate that, if in the first novels the metafiction presents itself with the work composition emphasizing its own ontology, exposing its construction as specific entity and to a certain extent independent, afterwards it reaches the questioning of the narrative structure and the emergence of the narrator in the novel as an author, procedures which imply changes in the readers role. This possible reading considers three novels: Memória de Elefante (1979), Não entres tão depressa nessa noite escura (2000) and Que cavalos são aqueles que fazem sombra no mar? (2009), titles which dialog with the other pieces of work of the author. More than showing the use of the strategies, its demonstrated as, through them, the author allows us to discuss important issues of the literary theory, such as the conception of Literature and Tradition, the confluence of literary genres, and the redimensionament of the roles assumed by the author and the reader in the contemporary narrative. The present study also aims to demonstrate how, always through the language, Lobo Antuness novel dialogs with the context in which it is inserted, pointing to a portrait of the contemporary man and world.

Esta tese tem como proposta verificar as diferentes estratégias metaficcionais empregadas por António Lobo Antunes ao longo de sua produção romanesca. Considerando-se que a construção de uma narrativa metaficcional exige dois aspectos importantes o aspecto linguístico e a estrutura narrativa, bem como uma mudança no papel do leitor o presente estudo busca empreender uma leitura da produção romanesca do autor de forma a demonstrar que, se nos romances iniciais a metaficção apresenta-se com a composição da obra sublinhando a sua própria ontologia, expondo a sua construção como entidade específica e até certo ponto autônoma, posteriormente, estende-se ao questionamento das estruturas narrativas e emergência do narrador a assomar na obra como autor, procedimentos esses que implicam mudanças no papel do leitor. Essa possvel leitura , empreendida a partir de três romances: Memória de Elefante (1979), Não entres tão depressa nessa noite escura (2000) e Que cavalos são aqueles que fazem sombra no mar? (2009), títulos esses que dialogar constantemente com as demais obras do autor. Mais do evidenciar o emprego de tais estratégias, buscamos demonstrar como, por meio delas, o autor permite-nos discutir importantes questes da teoria literária, como a concepção de Literatura e Tradição, a confluência dos gêneros literários, bem como o redimensionamento dos papéis assumidos pelo autor e leitor na narrativa contemporânea. O presente estudo visa, também, a demonstrar como, sempre via linguagem, o romance antuniano dialoga com o contexto em que se insere, apontando para um retrato do homem e do mundo contemporâneos. / This thesis proposes to verify the different metafictional strategies used by Anto,,nio Lobo Antunes in his novel production. Considering that the construction of a metafictional narrative demands two important aspects the linguistic aspect and narrative structure, as well as a change in the readers role the present study undertakes a reading of the authors novel production in order to demonstrate that, if in the first novels the metafiction presents itself with the work composition emphasizing its own ontology, exposing its construction as specific entity and to a certain extent independent, afterwards it reaches the questioning of the narrative structure and the emergence of the narrator in the novel as an author, procedures which imply changes in the readers role. This possible reading considers three novels: Memória de Elefante (1979), Não entres tão depressa nessa noite escura (2000) and Que cavalos são aqueles que fazem sombra no mar? (2009), titles which dialog with the other pieces of work of the author. More than showing the use of the strategies, its demonstrated as, through them, the author allows us to discuss important issues of the literary theory, such as the conception of Literature and Tradition, the confluence of literary genres, and the redimensionament of the roles assumed by the author and the reader in the contemporary narrative. The present study also aims to demonstrate how, always through the language, Lobo Antuness novel dialogs with the context in which it is inserted, pointing to a portrait of the contemporary man and world.

Dissertação(mestrado) - Universidade Federal do Rio Grande, Programa de Pós-Graduação em Letras, Instituto de Letras e Artes, 2009. / Submitted by Cristiane Silva (cristiane_gomides@hotmail.com) on 2012-11-05T11:51:42Z No. of bitstreams: 1 taisepossani.pdf: 883825 bytes, checksum: f18956565c6595cd58af0c5692ba564f (MD5) / Approved for entry into archive by Bruna Vieira(bruninha_vieira@ibest.com.br) on 2012-11-06T17:59:37Z (GMT) No. of bitstreams: 1 taisepossani.pdf: 883825 bytes, checksum: f18956565c6595cd58af0c5692ba564f (MD5) / Made available in DSpace on 2012-11-06T17:59:37Z (GMT). No. of bitstreams: 1 taisepossani.pdf: 883825 bytes, checksum: f18956565c6595cd58af0c5692ba564f (MD5) Previous issue date: 2009 / A novela Clarice (1996), de Ana Mirada, completa o conjunto de obras nas quais a narradora fabula a vida de autores do cânone literário brasileiro. Com essas ficções, Miranda enquadra-se em uma tendência da literatura contemporânea que cria biografias ficcionais de escritores ou artistas. Nesse sentido, a presente dissertação integra um comentário das obras de Miranda enquadradas no gênero metaficcional historiográfico e uma leitura interpretativa de Clarice, foco deste estudo. Para tanto, são pensadas questões relativas à literatura e sua relação com a história. Logo, apresenta-se uma visão de conjunto das narrativas de Ana Miranda que tematizam a história da literatura brasileira, aprofundando-se nos conceitos de ficção, metaficção e metaficção historiográfica. No contexto geral, relativo aos problemas de tipologia e poética narrativa, desenvolve-se a análise literária de Clarice, encaminhando a leitura para a constituição da obra, sobretudo no que tem a ver com suas estratégias intertextuais, no caso presente, a ficção de Clarice Lispector, o que motiva a reflexão em torno da escrita e da leitura literária. / The novel Clarice (1996), by Ana Miranda, completes the series of works, in which the narrator creates the authors’ of the Brazilian literary canon life. With those fictions, Miranda became part of a tendency in the contemporary literature that creates fictional biographies of writers or artists. In that sense, the present dissertation integrates a discussion of Miranda’s works included in the genre known as historiographic metafiction and also integrates an interpretative reading of Clarice, the study’s focus narrative. So, questions related to literature are thought in relationship with the history. Therefore, it shows a vision of group of Ana Miranda’s narratives that talk about the history of the Brazilian literature, being deepened in the concepts of fiction, metafiction and historiographic metafiction. In this general context, which deals with typology problems and poetic narrative, it grows Clarice’s literary analysis that directs the reading for the constitution of the work, concerning to the intertextual strategies, in this case Clarice Lispector’s fiction, which motivates the reflection around literary strategies as reading and writing.

Este trabalho pretende comparar e analisar a intertextualidade e a paródia que se realizam nas obras Em Liberdade e Espingardas e Música Clássica, de Silviano Santiago, brasileiro, e de Alexandre Pinheiro Torres, português. Pretende, ainda, mostrar os aspectos históricos, políticos e culturais ocorridos em Portugal e no Brasil, e que estão presentes em ambos os discursos literários. / This work inteds to compare and analyze the intertextual and the parodic process in Em Liberdade and in Espingardas e Música Clássica, whose authors are Silviano Santiago and Alexandre Pinheiro Torres, Brazilian and Portuguese writers, respectively. It also attempts to make a discussion around the historical, political and cultural aspects revealed in both texts, in order to show the relation between the literature and History, about the events occured in the countries of these authors and in wich they process their discourses.