Made available in DSpace on 2016-08-10T11:06:51Z (GMT). No. of bitstreams: 1 Gisele Paiva Nunes Penha.pdf: 375829 bytes, checksum: 661f2dd1ba8a758d4d707b9bd3bf5c71 (MD5) Previous issue date: 2012-12-18 / The study developed here aims to examine integral aspects of the composition of the novel Veias e Vinhos (Veins and Wines), from Miguel Jorge. Initially, we analyzed some changes in the way of narrating this work, which breaks with the traditional model and uses innovative narrative techniques, such as multiple voices, different times and spaces that intertwine, focus predominantly inner and the predominance of interspersed narrative. These new narrative techniques reflect, convincingly, floating and fragmented reality that has been on the current narrative. While developing this analysis, we tried to show that the modernist novel has won a new profile, and that the glare of omniscient narration and the linear sequence of events are part of this new model. Its tessitura is made by different narrators, especially those linked to dramatic way, the mental analysis and the monologue. The use of awareness flow (that puts into play the stream of consciousness) procedure also shown here, serves to time an emanating from the interior living of the character and therefore is different from chronological, linear time, that drives the development of actions in the traditional novel. In the fictional universe of Veins and Wines, the focus moves from the outside to the inside world, causing the reading to put us in direct contact with the consciousness of the characters that appear fictionally represented in the work. And what we experience, artistically, are the free associations of ideas, chaotic states of characters with mental disorders, factors that lead to a permanent temporal and spatial fluidity. It is evident in this case that the novel in question exceeds the parameters of a particular perspective, unambiguous and a little dynamic of contemporary life, to fictionalize the metamorphosis, dynamism, the multifaceted and fragmentariness, factors involved in its composition, giving to this work a representative configuration of the current Brazilian literature. / O estudo aqui desenvolvido tem por fim examinar aspectos integrantes da composição do romance Veias e Vinhos, de Miguel Jorge. Inicialmente, foram analisadas algumas alterações ocorridas no modo de narrar dessa obra, que rompe com o modelo tradicional e usa técnicas narrativas inovadoras, como: múltiplas vozes, tempos e espaços variados que se interpenetram, focalização predominantemente interior e o predomínio da narrativa intercalada. Essas novas técnicas narrativas refletem, de maneira convincente, a realidade flutuante e fragmentária que passou a figurar na narrativa atual. No desenvolvimento desta análise, procuramos mostrar que o romance modernista ganhou novo perfil, e que faz parte deste novo modelo o ofuscamento da narração onisciente e da sequência linear dos fatos. Sua tessitura faz-se por meio de diversos narradores, especialmente daqueles ligados ao modo dramático, à análise mental e ao monólogo. O uso do fluxo da consciência (que coloca em cena a corrente da consciência), procedimento, também, aqui, evidenciado, serve-se de um tempo emanado da vivência interior da personagem e é, portanto, diferente do tempo cronológico, linear, que comanda o desenvolvimento das ações no romance tradicional. No universo ficcional de Veias e Vinhos, a focalização passa do mundo exterior para o interior, fazendo com que a leitura nos coloque em contato direto com a consciência das personagens, que aparecem ficcionalmente representadas na obra. E o que experimentamos, artisticamente, são as livres associações de ideias, estados caóticos de personagens com perturbações psíquicas, fatores que nos conduzem a uma permanente fluidez temporal e espacial. Evidencia-se, neste caso, que o romance em análise supera os parâmetros de uma perspectiva determinada, inequívoca e pouco dinâmica da vida contemporânea, ao ficcionalizar a metamorfose, o dinamismo, a multifacetação e a fragmentariedade, fatores que permeiam a sua composição, dando a essa obra uma configuração representativa da literatura brasileira atual.

Le roman libanais prend son essor pendant la guerre civile de 1975. Ce roman s’attache à pointer les failles les plus intimes de l’individu. Appelé à tort, roman de guerre, celle-ci n'est alors que le révélateur des mécanismes mortifères qui empêchent l'émergence de l’individu en souffrance. Servant également de catharsis, la guerre crée les conditions d’une liberté d'expression, en bannissant tabous et non-dits. Notre analyse se développe autour de trois oeuvres situées durant la première période de la guerre. La démarche est basée sur l’exploitation d’outils narratifs et psychanalytiques. Elle permet d’identifier bon nombre de ces «mécanismes de mort » en dévoilant une autre vision de l’individu et du monde, au travers d’une fiction et de personnages « embourbés dans» des conflits internes et externes. Ces conflits figent le récit et les personnages qui paradoxalement sont incités à se relever d'entre les décombres du fait même qu'ils existent dans la fiction par leur cortège d'émotions et de sentiments. Ils se pérennisent sous la plume de l'écrivain, en défiant par là même toute finitude. Le tout au travers d’une approche narrative jusqu’alors inédite. / The Lebanese novel writing soars up during the civil war of 1975. It attempts to point out the flaws and the deepest weaknesses of the individual. Mistakenly called war novel, it only grants little importance to the subject of war itself. The war becomes hence the revealer of lethal mechanisms that prevent the individual’semergence. Serving also as a catharsis, it fosters freedom of speech by breaking taboos and the unsaid. Our study opts for an analysis of three works of the first period of the war, mainly based on the use of narrative and psychoanalytic tools. It identifies several of these “death mechanisms” by revealing another vision of the individual and the world. The characters are incited to rise from the rubble, as the eruption of their emotions and feelings allow them to perpetuate thanks to the word power of the novelists, thereby reaching the audience and challenging all finitude through a previously unseen narrative approach.