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Esta tese propõe uma experiência de escrita a partir do percurso do pesquisador atravessado pelo encontro com os Malucos de BR. Tal experiência baseia-se nas discussões realizadas por Deleuze e Guattari sobre literatura menor. Nesse sentido, experimenta-se a produção de um romance permeado pela influência dos estilos de Kafka e de Dostoievski, na tentativa de trazer para o espaço de produção acadêmica a potência em termos de agenciamento e devir-outro possibilitado pela escrita literária. Utiliza-se da literatura, da música, de filmes e da produção acadêmica para constituir o desenho de seu mapa no acompanhar os malucos. O texto-tese nasce cindido em metades, como no romance O visconde, partido ao meio, de Ítalo Calvino. Uma das grandes metades seria composta pelo escrito de cartas e novelas, e a outra metade, pelo que se chama de romance. Escreve-se sob a inspiração da estrutura textual dos trabalhos de Kafka: cartas, novelas e romances. Inicia-se com as cartas, que funcionam como um fora-texto, um explicativo que não compõe o texto principal, mas é reunido ao seu lado, como uma legenda; após as cartas, o leitor vai encontrar o que se chama de novelas. Nelas, os textos estão com ares de acabados; é possível ver início, meio e fim. Também são os textos mais acadêmicos e duros. A última parte é a experimentação mais potente, no sentido de se permitir fazer uma escrita de um romance. Como um sempre inacabado. Nele, encontra-se o percurso de um personagem conceitual, o corpo, que opera polifonicamente, de modo singular, convocando um agenciamento coletivo. Investe em uma escrita polifônica, feita por diversos atores que se agenciam a personagens de histórias literárias, conduzindo-os a novas vidas. Toma-se a experiência da escrita do romance como um ponto de chegada, mesmo que inacabado, mas um ponto onde se faz necessário um corte na rede rizomática pela qual se anda. / This thesis proposes a writing experience from the researcher’s trajectory in its intersection with ‘Malucos de BR’. Such experience was founded on discussions about minor literature carried out by Deleuze and Guattari. In this sense, the production of a novel was experienced, influenced by Kafka and Dostoyevsky’s styles, in an attempt to bring to the setting of academic production the potency in terms of both agency and becoming-other enabled by literary writing. Literature, music, movies and academic production were used to draw a map along the path with ‘malucos’. The thesis-text was born divided in halves, like the novel The Viscount, by Italo Calvino. One of the big halves comprises letters and short stories, and the other consists of what has been called a novel. Writing was inspired by the textual framework of Kafka’s works: letters, short stories and novels. At the beginning, the letters function as an outside text, an explanation that is not part of the main text, but it is positioned on its side, as a subtitle; following the letters, the reader finds what has been called short stories. The texts have a finished look; it is possible to notice its beginning, middle and end. These are the most academic and hardest texts. The last part is the most potent experimentation, in the sense of allowing oneself to write a novel. Like something always unfinished. The trajectory of a conceptual character is found in it - the body, which operates polyphonically, in a singular way, calling for collective agency. It invests in a polyphonic writing performed by several authors in agency with characters from literary stories, thus leading them to new lives. The experience of writing a novel is taken as a point of arrival; despite being unfinished, it is a point in which it is necessary to cut the rhizomatic network on which one has roamed.

The thesis attempts to describe resistance in terms of history, space, and identity in Michael Ondaatje¡¦s The English Patient. The first chapter of the thesis sets out to elaborate the historical context of the novel, and its influence on the subaltern personas. The chapter aims to demonstrate how postcolonial literature rejects Western official history, providing an alternative voice for the subaltern subjects in the novel. In the second chapter I focus on the spatial politics of the novel, bringing geographical and bodily space into discussion by means of adopting the concepts of de- and re-territorialization. It designates how the broken geography and the wounded body characterize the marginalized characters and their dwelling space. Chapter Three is dedicated to the study of the personas¡¦ identity and their relationships, which are formed and developed under emotions of lack and desire. In this chapter I also discuss the intertextuality of the novel, exemplifying how the novel mirrors other literary works and art works, borrowing yet subverting the classics of Western civilization. In The English Patient, Ondaatje voices for the subaltern, adopting Western classics as the objects of revision. He maps the resistance of the subaltern on the ruins of the Western classics by rewriting the Empire¡¦s histories, space and subaltern identities. The mergence of alternative histories and spaces interweaves a fictional world that is divergent from the official Western world.

Esta tese propõe uma experiência de escrita a partir do percurso do pesquisador atravessado pelo encontro com os Malucos de BR. Tal experiência baseia-se nas discussões realizadas por Deleuze e Guattari sobre literatura menor. Nesse sentido, experimenta-se a produção de um romance permeado pela influência dos estilos de Kafka e de Dostoievski, na tentativa de trazer para o espaço de produção acadêmica a potência em termos de agenciamento e devir-outro possibilitado pela escrita literária. Utiliza-se da literatura, da música, de filmes e da produção acadêmica para constituir o desenho de seu mapa no acompanhar os malucos. O texto-tese nasce cindido em metades, como no romance O visconde, partido ao meio, de Ítalo Calvino. Uma das grandes metades seria composta pelo escrito de cartas e novelas, e a outra metade, pelo que se chama de romance. Escreve-se sob a inspiração da estrutura textual dos trabalhos de Kafka: cartas, novelas e romances. Inicia-se com as cartas, que funcionam como um fora-texto, um explicativo que não compõe o texto principal, mas é reunido ao seu lado, como uma legenda; após as cartas, o leitor vai encontrar o que se chama de novelas. Nelas, os textos estão com ares de acabados; é possível ver início, meio e fim. Também são os textos mais acadêmicos e duros. A última parte é a experimentação mais potente, no sentido de se permitir fazer uma escrita de um romance. Como um sempre inacabado. Nele, encontra-se o percurso de um personagem conceitual, o corpo, que opera polifonicamente, de modo singular, convocando um agenciamento coletivo. Investe em uma escrita polifônica, feita por diversos atores que se agenciam a personagens de histórias literárias, conduzindo-os a novas vidas. Toma-se a experiência da escrita do romance como um ponto de chegada, mesmo que inacabado, mas um ponto onde se faz necessário um corte na rede rizomática pela qual se anda. / This thesis proposes a writing experience from the researcher’s trajectory in its intersection with ‘Malucos de BR’. Such experience was founded on discussions about minor literature carried out by Deleuze and Guattari. In this sense, the production of a novel was experienced, influenced by Kafka and Dostoyevsky’s styles, in an attempt to bring to the setting of academic production the potency in terms of both agency and becoming-other enabled by literary writing. Literature, music, movies and academic production were used to draw a map along the path with ‘malucos’. The thesis-text was born divided in halves, like the novel The Viscount, by Italo Calvino. One of the big halves comprises letters and short stories, and the other consists of what has been called a novel. Writing was inspired by the textual framework of Kafka’s works: letters, short stories and novels. At the beginning, the letters function as an outside text, an explanation that is not part of the main text, but it is positioned on its side, as a subtitle; following the letters, the reader finds what has been called short stories. The texts have a finished look; it is possible to notice its beginning, middle and end. These are the most academic and hardest texts. The last part is the most potent experimentation, in the sense of allowing oneself to write a novel. Like something always unfinished. The trajectory of a conceptual character is found in it - the body, which operates polyphonically, in a singular way, calling for collective agency. It invests in a polyphonic writing performed by several authors in agency with characters from literary stories, thus leading them to new lives. The experience of writing a novel is taken as a point of arrival; despite being unfinished, it is a point in which it is necessary to cut the rhizomatic network on which one has roamed.

Esta tese propõe uma experiência de escrita a partir do percurso do pesquisador atravessado pelo encontro com os Malucos de BR. Tal experiência baseia-se nas discussões realizadas por Deleuze e Guattari sobre literatura menor. Nesse sentido, experimenta-se a produção de um romance permeado pela influência dos estilos de Kafka e de Dostoievski, na tentativa de trazer para o espaço de produção acadêmica a potência em termos de agenciamento e devir-outro possibilitado pela escrita literária. Utiliza-se da literatura, da música, de filmes e da produção acadêmica para constituir o desenho de seu mapa no acompanhar os malucos. O texto-tese nasce cindido em metades, como no romance O visconde, partido ao meio, de Ítalo Calvino. Uma das grandes metades seria composta pelo escrito de cartas e novelas, e a outra metade, pelo que se chama de romance. Escreve-se sob a inspiração da estrutura textual dos trabalhos de Kafka: cartas, novelas e romances. Inicia-se com as cartas, que funcionam como um fora-texto, um explicativo que não compõe o texto principal, mas é reunido ao seu lado, como uma legenda; após as cartas, o leitor vai encontrar o que se chama de novelas. Nelas, os textos estão com ares de acabados; é possível ver início, meio e fim. Também são os textos mais acadêmicos e duros. A última parte é a experimentação mais potente, no sentido de se permitir fazer uma escrita de um romance. Como um sempre inacabado. Nele, encontra-se o percurso de um personagem conceitual, o corpo, que opera polifonicamente, de modo singular, convocando um agenciamento coletivo. Investe em uma escrita polifônica, feita por diversos atores que se agenciam a personagens de histórias literárias, conduzindo-os a novas vidas. Toma-se a experiência da escrita do romance como um ponto de chegada, mesmo que inacabado, mas um ponto onde se faz necessário um corte na rede rizomática pela qual se anda. / This thesis proposes a writing experience from the researcher’s trajectory in its intersection with ‘Malucos de BR’. Such experience was founded on discussions about minor literature carried out by Deleuze and Guattari. In this sense, the production of a novel was experienced, influenced by Kafka and Dostoyevsky’s styles, in an attempt to bring to the setting of academic production the potency in terms of both agency and becoming-other enabled by literary writing. Literature, music, movies and academic production were used to draw a map along the path with ‘malucos’. The thesis-text was born divided in halves, like the novel The Viscount, by Italo Calvino. One of the big halves comprises letters and short stories, and the other consists of what has been called a novel. Writing was inspired by the textual framework of Kafka’s works: letters, short stories and novels. At the beginning, the letters function as an outside text, an explanation that is not part of the main text, but it is positioned on its side, as a subtitle; following the letters, the reader finds what has been called short stories. The texts have a finished look; it is possible to notice its beginning, middle and end. These are the most academic and hardest texts. The last part is the most potent experimentation, in the sense of allowing oneself to write a novel. Like something always unfinished. The trajectory of a conceptual character is found in it - the body, which operates polyphonically, in a singular way, calling for collective agency. It invests in a polyphonic writing performed by several authors in agency with characters from literary stories, thus leading them to new lives. The experience of writing a novel is taken as a point of arrival; despite being unfinished, it is a point in which it is necessary to cut the rhizomatic network on which one has roamed.

Submitted by admin tede (tede@pucgoias.edu.br) on 2016-09-12T18:27:45Z No. of bitstreams: 1 MARCOS VIEIRA DA SILVA.pdf: 792830 bytes, checksum: 41f6349bb258db4b598c422d46004419 (MD5) / Made available in DSpace on 2016-09-12T18:27:45Z (GMT). No. of bitstreams: 1 MARCOS VIEIRA DA SILVA.pdf: 792830 bytes, checksum: 41f6349bb258db4b598c422d46004419 (MD5) Previous issue date: 2016-03-29 / This paper aims to make an approximation of some concepts of the Philosophy of Difference as proposed by Gilles Deleuze and Felix Guattari to Kafka´s so called Minor Literature, in specific The Metamorphosis and The Trial. For these philosophers, although Literature and Philosophy have different objects, they have bonds and come close to each other when they give their testimony of life. It is life that runs through literature; several types of devir overflow in literary writing: devir-man, devir-woman, devir-child, devir-animal, devir-molecule, imperceptible devir, flows of life and death shaping rizomes, agitating Franz Kafka´s world map. The character Gregor Samsa in Metamorphosis is a man, but a transformed man, turned into an insect, a deviranimal, a devir-molecule, a flow of desire, blocks of sensation. Kafka´s world is truly agitated, the political machine, the war machine are all connected, disconnected and re-connected, shuffling the codes in The Trial and in Metamorphosis and as they were shuffled, they took language to the limit, forcing thought to think and language to stutter, because language and thought fold themselves inside and outside through the forces of sign. In this movement between the inside and the outside, we are led to weave our third margin. Pointing the possible connections between Deleuze´s Philosophy of Difference and Literature, searching in the reflections, experimentation with some concepts such as sign, rizome, desire, agency, flows, machines and the concept of Minor Literature as a field of aesthetical experimentation, is the intention of this work. / O trabalho tem como objetivo aproximar alguns conceitos da filosofia da diferença de Gilles Deleuze e Felix Guattari com a literatura dita menor de Franz Kafka, mais especificamente nas obras A Metamorfose e O Processo. Para esses filósofos, embora a literatura e a filosofia tenham objetos diferentes, elas fazem elos, se aproximam quando testemunham a vida. É a vida que corre na literatura, devires diversos transbordam na escrita literária. Devir-homem, devir-mulher, devir-criança, devir-animal, devir-molecular, devirimperceptível, fluxos de vida e de morte fazem rizomas, agitando o mapamundo de Franz Kafka. O personagem Gregor Samsa na Metamorfose é um homem, mas um homem transformado, modificado em um inseto, um deviranimal, um devir-molecular, um fluxo de desejo, blocos de sensação. O mundo de Kafka é uma verdadeira agitação, máquina política, máquina de guerra conectam, desconectam e reconectam embaralhando os códigos no Processo e na Metamorfose e ao embaralhar leva a linguagem ao seu limite, forçando o pensamento a pensar e a língua a gaguejar, porque a linguagem e o pensamento dobram dentro e fora pela força do signo. Nesse movimento entre dentro e fora somos levados a tecer a nossa terceira margem. Apontar as possíveis conexões entre filosofia da diferença de Deleuze e da literatura, procurando a partir das reflexões, experimentar alguns conceitos como signo, rizoma, desejo, agenciamento, fluxos, máquinas, e do conceito de literatura menor enquanto campo de experimentação estética, é o que se pretende na proposta deste trabalho.

Made available in DSpace on 2016-12-23T14:20:37Z (GMT). No. of bitstreams: 1 Maria da Penha dos Santos - capitulo 1.pdf: 1591289 bytes, checksum: a63ddb16bdf312cd9a6750a0a7f1e13e (MD5) Previous issue date: 2013-08-30 / The certainty of the existence of various possibilities of presenting a place, the purpose of this work is the search for ways to express other geographical ways of thinking the being in the world. From the photographic language and poetry, our proposal is to deterritorialise the hegemonic visual discourse, using the minor literature, from the perspective of Deleuze and Guattari. In our study, we focused on the Grande Terra Vermelha region, in Vila Velha City/ES . This region is presented as a place where, since its origin, has been highlighted as violent due to the large number of murders committed in the region. Based on post-structuralist presuppositions, this experiment intends to show that there are other possible versions, especially those that occur through the poetic fables. In other words, the idea is to promote a representation beyond the commonplace, deterritorializing and blurring the standard image / Certos de que há várias possibilidades de se apresentar um lugar, o propósito deste trabalho é buscar por meios para expressar outras formas geográficas de se pensar estar no mundo. A partir da linguagem fotográfica e da poesia, a nossa proposta que consiste em desterritorializar o discurso visual hegemônico, utilizando a literatura menor, na perspectiva de Deleuze e Guattari. Em nosso estudo tomamos como foco a Região da Grande Terra Vermelha em Vila Velha/ES . Apresentamos um lugar que, desde a sua origem, vem sendo destacado como violento em função do grande número de homicídios praticado na região e isso passou a se configurar como a única forma de se referir àquele lugar. Com base nos pressupostos pós-estruturalistas esse experimento tem a intenção de mostrar que há outras versões possíveis, principalmente àquelas que se dão por meio das fabulações poéticas. Ou seja, a ideia é promover uma grafia para além desse lugar comum, desterritorializando e rasurando a imagem padronizada

Certaines œuvres de Roberto Bolaño, Antoine Volodine, Sami Tchak, Umberto Eco, Alberto Mussa, Jasper Fforde et Julio Cortázar sont fondées sur le mélange entre littérature savante et paralittérature. Cette rencontre entre ces deux genres révèle une manière particulière d'envisager la littérature mineure. Nous considérons les expressions du mineur comme des espaces d'expérimentation et de commentaire sur la littérature. Grands connaisseurs de la paralittérature, les auteurs du corpus s’approprient ses codes pour ensuite les transgresser et leur adjoindre des éléments de commentaire sur la littérature, qui trouvent dans la paralittérature un territoire d'expansion parfaitement libre. Car ce mélange instaure un jeu entre le connu figuré par les codes de la paralittérature et l'inconnu qui réside du côté du commentaire sur la littérature. Ces écrivains s'occupent ainsi des failles et absences de l'histoire littéraire, de ce que celle-ci ne reconnaît pas ou ignore, autant que de ce qu'elle rejette. Cette thèse est consacrée à l'étude de ces auteurs ouverts à une nouvelle forme de littérature mineure. / Some works of Roberto Bolaño, Antoine Volodine, Sami Tchak, Umberto Eco, Alberto Mussa, Jasper Fforde and Julio Cortázar are founded on the mixture between scholar literature and paraliterature. This reunion between those two genres reveal a particular way to approach the minor literature. We consider the expressions of the minor as spaces of experimentation and of commentary about literature. Well-known paraliterature experts, the authors of the corpus take over its codes to immediately transgress them and add into them elements of commentary about the literature, that they found in the paraliterature a territory of expansion perfectly free. Because this mixture is a set up game between the well-known, figured by the codes of the paraliterature, and the unknown, that reside in the side of the commentary about the literature. Thus, these writers deal with gaps and absences of literary history, of which this one doesn't recognize or ignore, as much as it rejects. This thesis is dedicated to the study of those authors opening to a new way of Minor Literature.

In Peter Weiss debut Från ö till ö (1947) the ‘I’ travels from island to island as a castaway. The island here can signify, or work as a synecdoche for exile and the feeling of isolation that exile often induces. But the movement from island to island also implies a restless state: Peter Weiss shifting from painting to writing to filmmaking and theatre, from German to Swedish and then back to German. The years during exile and the years that followed the exile until his breakthrough in Germany with Schatten des körpers des Kütchens (1960), Abschied von den Eltern (1961) and Fluchtpunkt (1962), were the formative years of Peter Weiss authorship. In Sweden he abandoned a Hesse-influenced new-romanticism – an aesthetical and political dead-end in the 1940s – and oriented towards the Swedish modernists – fyrtiotalisterna – discovered psychoanalysis and became politically “aware”. These happenings – or machines as this essay likes to view them – all influenced and produced Weiss Swedish prose which is this essay’s main focus. Following Gilles Deleuze and Félix Guattari this essay understands Weiss Swedish authorship as a minor authorship. As Franz Kafka was in the German language, Peter Weiss was a stranger in Swedish and in Sweden, a “foreign bird” as one critic calls him. As a minor writer he is a political writer, the political realities are connected to him, his half-Jewish body is intertwined in the (bio)political realities of mid-century Germany; and those realities are visible in his prose, even if he himself, or his contemporaries, see him as an unpolitical author. Therefore there is no unpolitical and political period in the œuvre of Peter Weiss. Instead there are different flows and movements, from the political, from the production of the psychoanalytic-, modernist- and romantic-machine among others. There are lines of flights, deterritorialization and reterritorialization. This essay aims to follow some of these lines in the Swedish prose of Peter Weiss.

In the immediate post-independence period, forms of state-sponsored Irish nationalism were pre-occupied with exclusive cultural markers based on the Irish language, mythology and folk traditions. Because of this, a postcolonial examination of how such nationalist forms of identity were fetishised is necessary in order to critique the continuing process of decolonization in Ireland. This dissertation investigates Brian O’Nolan’s engagement with dominant colonial and nationalist literary discourses in his fiction and journalism. Deleuze and Guattari define a ‘minor’ writer’s role as one which deterritorializes major languages in order to negotiate textual spaces which question the assumptions of dominant groups. Considering this concept has been applied to postcolonial studies due to the theorists’ linguistic and political concerns, this dissertation explores the ‘minor’ literary practice of Brian O’Nolan’s authorial personae and writing techniques. Through the employment of Deleuze and Guattari’s concept of the deterritorialization of language alongside Walter Benjamin’s models of the flâneur and translation, and Claude Lévi-Strauss’s concept of bricolage, this thesis examines the complex forms of postcolonial narrative agency and discursive political resistance in O’Nolan’s work. While O’Nolan is often read in biographical terms or within the frameworks of literary modernism and postmodernism, this thesis aims to demonstrate the politically ambivalent nature of his writing through his creation of liminal authorial selves and heterogeneous narrative forms. As a bi-lingual author, O’Nolan is linguistically ‘in-between’ languages and, because of this, he deterritorializes both historical and literary associations of the Irish and English languages to produce parodic and comic versions of national and linguistic identity. His satiric novel An Béal Bocht exposes, through his use of an array of materials, how Irish folk and peasant culture have been fetishized within colonial and nationalist frameworks. In order to avoid such restricting forms of identity, O’Nolan positions his own authorial self within a multitude of pseudonyms which refuse a clear, assimilable subjectivity and political position. Because of this, O’Nolan’s authorial voice in his journalism is read as an allusive flâneur figure. Equally, O’Nolan deterritorializes Irish mythology in At Swim-Two-Birds as a form of palimpsestic translation and rhizomatic re-mapping of a number of literary traditions which reflect the Irish nation while in The Third Policeman O’Nolan deconstructs notions of empirical subjectivity and academic and scientific epistemological knowledge. This results in an infinite form of fantastical writing which exposes the limited codes of Irish national culture and identity without reterritorializing such identities. Because O’Nolan’s ‘minor’ literary challenge is reflective of the on-going crisis of Ireland’s incomplete decolonization, this thesis employs the concept of ‘minor’ literature to read Ireland’s historical past and contemporary modernity through O’Nolan’s multi-voiced and layered narratives.