Made available in DSpace on 2014-12-17T15:07:04Z (GMT). No. of bitstreams: 1 AnaCPB_DISSERT.pdf: 1501996 bytes, checksum: 52e8ddaaf1c065cf14ab7cf195b8406d (MD5) Previous issue date: 2013-03-11 / Conselho Nacional de Desenvolvimento Cient?fico e Tecnol?gico / In the study of African literature in Portuguese language, the theme importance of memory is done by contact those literary works have with the context in which they operate. This study aims to reflect how memory as social element becomes an agent of the composition of literary structure in the O Vendedor de Passados (2004), by Jos? Eduardo Agualusa. Therefore, we have as reference the critical method developed by Antonio Candido (1976), regarding the critical dialectic, in order to understand how such a throwback acts in the structuring of the romance in a relationship with both structural and thematic elements. Firstly, it presents a panoramic reading the Angolan literary scene in the post-independence, relating this context with the route of writing of Jos? Eduardo Agualusa. Then it performs the analysis of the relationships between narratives categories - narrator, characters, space, time - and the memorial element, keeping in mind that these categories would be constructed in dialogue with the memory. Lastly, there is the reflection on the dynamics between fiction and reality apprehended in novelistic discourse in which a seller of past figures in an analysis that takes place from the skeptical look on this work. As a theoretical approach, we highlight mainly readings: Hampat?-B? (2010), Laura Padilla (2007), Tania Mac?do (2008) for the observation of the specific African context quickened in the novel; Tedesco (2004), Halbwachs (2006), Le Goff (2003) regarding the conceptualisation of memory; and Landesman (2006), Krause (2004), Gai (1997) in cutting the skeptical outlook with which the romance dialogues / No estudo das literaturas africanas de l?ngua portuguesa, a import?ncia da tem?tica da mem?ria se faz pelo contato que as obras liter?rias possuem com o contexto no qual est?o inseridas. Neste estudo, pretende-se refletir como a mem?ria, enquanto elemento social, torna-se um agente de composi??o da estrutura liter?ria em O vendedor de passados (2004), de Jos? Eduardo Agualusa. Para tanto, tem-se como referencial o m?todo cr?tico desenvolvido por Antonio Candido (1976), no tocante ? cr?tica dial?tica, a fim de se perceber de que maneira tal reminisc?ncia atua na estrutura??o do romance em uma rela??o com elementos tanto estruturais quanto tem?ticos. Em um primeiro momento, apresenta-se uma leitura panor?mica do cen?rio liter?rio angolano no p?s-independ?ncia, relacionando esse contexto com o percurso da escrita de Jos? Eduardo Agualusa. Em seguida, realiza-se a an?lise das rela??es entre as categorias narrativas narrador, personagens, espa?o, tempo e o elemento memorial, tendo em vista que as referidas categorias seriam constru?das no di?logo com a mem?ria. Por fim, destaca-se a reflex?o sobre a din?mica entre a fic??o e a realidade apreendida no discurso romanesco no qual figura um vendedor de passados, uma an?lise que se realiza a partir do olhar c?tico presente na obra. Como aporte te?rico utilizado, destacam-se, principalmente, as leituras de: Hampat?-B? (2010), Laura Padilha (2007), Tania Mac?do (2008) para a observa??o das especificidades do contexto africano vivificado no romance; Tedesco (2004), Halbwachs (2006), Le Goff (2003) no tocante ? conceptualiza??o da mem?ria; al?m de Landesman (2006), Krause (2004), Gai (1997) no recorte do panorama c?tico com o qual o romance dialoga

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2018-01-15T21:10:48Z No. of bitstreams: 1 IsabelaHelenaRodriguesCoelho_DISSERT.pdf: 1042444 bytes, checksum: 3d68a0f390e10202bd16bb9b5fa17e70 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-01-17T11:12:12Z (GMT) No. of bitstreams: 1 IsabelaHelenaRodriguesCoelho_DISSERT.pdf: 1042444 bytes, checksum: 3d68a0f390e10202bd16bb9b5fa17e70 (MD5) / Made available in DSpace on 2018-01-17T11:12:13Z (GMT). No. of bitstreams: 1 IsabelaHelenaRodriguesCoelho_DISSERT.pdf: 1042444 bytes, checksum: 3d68a0f390e10202bd16bb9b5fa17e70 (MD5) Previous issue date: 2017-07-25 / Considerando a representa??o espacial como ato pol?tico de interfer?ncia, dinamiza??o, provoca??o e desestabiliza??o, neste trabalho procuraremos investigar na obra O vendedor de passados (2004), de Jos? Eduardo Agualusa, a presen?a de vetores espaciais por diferentes abordagens. Como introduz Brand?o (2013), o conceito apresenta uma adaptabilidade particular na teoria liter?ria, por isso objetivamos tra?ar um recorte que envolva a an?lise fenomenol?gica (BACHELARD, 2008), a semi?tica (BARTHES, 2003a), a da geografia humanista (HOLZER, 2008), entre outras. Como ponto rotacional prenhe de elucubra??es sobre o espa?o, tamb?m investigamos uma conversa??o entre outras formas de arte, como a fotografia (BARTHES, 2012). Nessa t?nica, a literatura possibilita o que Jacques Ranci?re denomina ?partilha do sens?vel? (RANCI?RE, 2005): a refra??o das sensibilidades que, pela diversidade, fundam uma est?tica democr?tica, pois estes espa?os perfuram o ?lugar-comum? fazendo circular heterogeneidades inerentes ?s rela??es sociais, ou seja, s?o espa?o de ressignifica??o (FOUCAULT, 2009). Portanto, enquanto a escrita liter?ria provoca fissuras pelo poder alqu?mico, as figura??es espaciais questionam territ?rios simb?licos e identit?rios no romance. / Considering the spatial representation emerges like a politic act of interference, dynamisation, provocation and destabilization, in the present work we pursue investigate in the book O vendedor de passados (2004), from Jos? Eduardo Agualusa, the presence of spatial vectors in different approaches. As Brand?o introduce (2013), the concept presents a particular adaptability in literary theory, therefore we aim to draw a section that involves a phenomenological analysis, (BACHELARD, 2008), the semiotic (BARTHES, 2003a), the human geography (HOLZER, 2008), among others. As a rotational point filled with lucubration about the space, we also investigate a conversation with others forms of art, like the photography (BARTHES, 2012). In this substance, the literature will possibility Jacques Ranci?re?s ?Distribution of the Sensible? (RANCI?RE, 2005): the refraction of sensibilities that, through diversity, establish a democratic aesthetic in unity, because this spaces puncture the commonplace making circulate the heterogeneities inherent to social relationships, in other words, they are spaces of resignification (FOUCAULT, 1984). Therefore, while the literary writing provokes fissures by the alchemic power, the space figurations questioning symbolic and identity territories.