Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2016-04-14T14:19:29Z No. of bitstreams: 1 TES_VINICIUS_GONCALVES_CARNEIRO_PARCIAL.pdf: 1785022 bytes, checksum: d03a666af7b53f5454406d7c560f182e (MD5) / Made available in DSpace on 2016-04-14T14:19:29Z (GMT). No. of bitstreams: 1 TES_VINICIUS_GONCALVES_CARNEIRO_PARCIAL.pdf: 1785022 bytes, checksum: d03a666af7b53f5454406d7c560f182e (MD5) Previous issue date: 2015-01-09 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / The Oulipo (Ouvroir de litt?rature potentielle [Workshop of Potential Literature]) is a post-World War literary movement founded by mathematicians and writers amongst whom we find famous personalities such as Raymond Queneau, Italo Calvino, Georges Perec and Jacques Roubaud. The Oulipo is based on the formal constraint as a "machine" of artistic creation in two ways: on the one side, an analytical approach which studies "plagiats par anticipation [anticipatory plagiarism]", i.e., the writers who worked on the formal constraints before the Oulipo; on the other hand, a synthetic approach based on innovation and experimentation with new literary constraints. Firstly, this doctoral dissertation discusses concepts (implicitly or explicitly) presented in the manifestos of the group and in the critical texts and interviews with Georges Perec, concerning mainly the concept of constraint. Secondly, it discusses these notions in the work of Perec, including the lipogram novel La disparition (2009a [1969]). The heart of this part is to analyze the relationship between the discourse of the Oulipo and its immediate and visible effects in La disparition, therefore between constraint and aesthetic formalism. As theoretical basis, the concepts of metatextuality as proposed by Bernard Magn? (1986; 1989), the death of the author as proposed by Roland Barthes (2004), intertextuality as proposed by Kristeva (2005) and reader as proposed by Wolfgang Iser (1996; 1999) and Umberto Eco (1991) are essentials, among others. At the end, extracts of La disparition translated into Portuguese by the author are presented, based on the theoretical work of Haroldo de Campos (2004), which considers translation as a device of critical appropriation. / O grupo liter?rio Oulipo (Ouvroir de litt?rature potentielle [Ateli? de Literatura Potencial]) surgiu na d?cada de 1960, na Fran?a, e postulava, a partir da aproxima??o entre literatura e matem?tica, a utiliza??o de contraintes para a cria??o liter?ria e para os estudos sobre literatura. Conforme o Oulipo, que tinha entre seus integrantes Raymond Queneau, Italo Calvino, Jacques Roubaud e Georges Perec, toda a obra liter?ria possui restri??es formais, cabendo ao escritor ter consci?ncia desse processo. Um dos romances que tornaram o grupo famoso foi La disparition, de 1969, escrito sem a vogal ?e?, a mais utilizada em franc?s. Nessa obra, a restri??o est? intimamente ligada a um jogo metatextual, em que se alude constantemente ? aus?ncia da vogal. Partindo da hip?tese de que nem um autor, grupo ou movimento liter?rio tem controle sobre os sentidos ou interpreta??es dos textos a ele ligados, este estudo se prop?e a debater os postulados oulipianos, sobretudo o conceito de contrainte, e suas consequ?ncias nos estudos liter?rios. Al?m disso, apresenta-se uma an?lise da obra de Georges Perec, com destaque para o romance La disparition (2009a [1969]). Para efetivar tal an?lise, prop?e-se tamb?m a tradu??o de extratos do livro, sendo a tradu??o aqui entendida como cr?tica (CAMPOS, 2004). A discuss?o te?rica partir? de alguns conceitos da teoria liter?ria, como os de morte do autor de Roland Barthes (2004), de intertextualidade de Julia Kristeva (2005), de metatextual de Bernard Magn? (1986; 1989), de leitor de Wolfgang Iser (1996; 1999) e Umberto Eco (1991) e de jogo de Huizinga (2012) e Agamben (2007), dentre outros.