Submitted by PPG Letras (letraspg@pucrs.br) on 2018-08-29T13:57:19Z No. of bitstreams: 1 Disserta??o_Juliana Milman Cervo.pdf: 3257340 bytes, checksum: a945df0b76a7e11ebeee0203ca00215b (MD5) / Approved for entry into archive by Sheila Dias (sheila.dias@pucrs.br) on 2018-08-29T18:41:06Z (GMT) No. of bitstreams: 1 Disserta??o_Juliana Milman Cervo.pdf: 3257340 bytes, checksum: a945df0b76a7e11ebeee0203ca00215b (MD5) / Made available in DSpace on 2018-08-29T18:48:43Z (GMT). No. of bitstreams: 1 Disserta??o_Juliana Milman Cervo.pdf: 3257340 bytes, checksum: a945df0b76a7e11ebeee0203ca00215b (MD5) Previous issue date: 2018-01-31 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / The present thesis consists of two volumes: the novel The house of the handbags, and the critical theory essay on artistic creation named (In)jured covers. The research was inspired by the necessity of given voice to ancestors which live inside my body ? especially my maternal grandmother, whose past had been marked by the overwhelming trauma of World War II. Considering the emptiness of a missing past, I formulate the following question: How is it possible to take on pre-birth memories? To do so, I deal with multiple verbal tenses and narrative voices in the fictional part in order to demonstrate gaps or to heal the wounds by filling in them imaginative spaces. Due to its synaesthetic feature, the critical essay gathers historical documents, photographs, films, diaries? fragments, family texts, as well as conversations with patients which inspired the development of the novel. Furthermore, I carried out a thorough affective study on the vacuum that may last between generations with the purpose of stablishing not only a bond, but also a contact. / Esta disserta??o ? constru?da em dois volumes: o romance A casa das bolsas e o ensaio cr?ticote?rico sobre a cria??o art?stica, Forros (In)Feridos. O trabalho foi disparado pela necessidade de fazer falar os ancestrais sucumbidos dentro do meu corpo ? especialmente a minha av? materna, cuja hist?ria fora avassalada pelo trauma da Segunda Guerra Mundial. Diante do vazio de um passado esburacado, formulo a pergunta ? como ? poss?vel efetuar uma apropria??o de mem?rias que s?o anteriores ao nosso nascimento? Lan?o m?o de m?ltiplos tempos verbais e vozes narrativas na parte ficcional para escancarar as fendas ou para suturar as feridas com brecha imaginativa. O ensaio cr?tico ? sinest?sico por reunir documentos hist?ricos, fotografias, filmes, trechos de di?rios, textos de familiares e conversas com pacientes que impulsionaram a cria??o do romance. Realizei um mergulho afetivo no v?cuo que pode subsistir entre as gera??es, almejando efetuar la?o e promover um contato.