Social philosophy at the end of the twentieth century must be prefixed by what it follows. It has become commonplace to describe our moment as postmodern and post-structuralist, perhaps also post-Marxian. While true enough, our situation more specifically must be post-Lacan, post-Althusser, post-Foucault, and post-Critical Theory. A number of theorists highlight the context this dissertation places itself in, but Slavoj Žižek and Judith Butler should be emphasized in this regard. The positive project of this dissertation begins with radical doubts about the operation of epistemic truth in subjectivity and in language (of a sort first raised by Nietzsche). The dissertation is a series of case studies in the modes of failure of truth, and of the manner in which ideology functions within the void left by the necessary absence of truth. It has a political project of determining what forms counter-hegemony can take absent a traditional assumption of a solid ground for veracity.

Orientador: Ana Luiza Silva Camarani / Banca: Luiz Gonzaga Marchezan / Banca: Luciana Moura Colucci de Camargo / Resumo: Edgar Allan Poe afirma a respeito de seu poema The raven, em seu ensaio The philosophy of composition, que "[...] nenhum ponto de sua composição se refere ao acaso, ou à intuição, que o trabalho caminhou, passo a passo, até completar-se, com a precisão e a sequência rígida de um problema matemático", demonstrando, por isso, que ele entendia ser o processo criativo um ato puramente lógico, consciente e analítico. E, de fato, a análise de seus textos comprova a proposição citada. Além disso, o autor americano é considerado por grande parte da crítica literária como o mestre do horror, figurando alguns de seus textos no cânone das obras primas do fantástico, sendo quase que indispensável a presença de algum de seus contos em uma coletânea dessa categoria literária. Partindo-se, então, desses elementos foi possível levantar a hipótese de que, como a obra poeana está tão intimamente relacionada ao fantástico, a análise de seu racional e sistemático método composicional poderá conduzir à inclusão de novos elementos à estrutura já existente da literatura fantástica. Assim, a presente pesquisa procurou sistematizar o peculiar modus operandi de Poe através da análise de seus contos The black cat, The fall of the house of Usher, The oval portrait, The man of the crowd, William Wilson, Ligeia, e ensaios The philosophy of composition Philosophy of furniture e The poetic principle, para em seguida contrastar os resultados obtidos com as teorias do fantástico, em especial a de Todorov, permitindo estabelecer, dessa forma, pouco a pouco, outra leitura da literatura fantástica, sob a ótica da própria teoria pessoal de Edgar Allan Poe / Abstract: Edgar Allan Poe said about his poem The Raven, in his essay The philosophy of composition, that "[...] no one point in its composition is referrible either to accident or intuition - that the work proceeded, step by step, to its completion with the precision and rigid consequence of a mathematical problem." thereby demonstrating that he understood the creative process is a purely logical, conscious and analytical. And indeed, analysis of his texts proves the proposition cited. In addition, the american author is seen by much of literary criticism as the master of horror, featuring some of his texts in the canon of masterpieces of fantastic, with almost indispensable the presence of some of his tales in a collection of this literary category. Starting from those factors, it was possible to hypothesize that as the Poe‟s work is so closely related to the fantastic, the analysis of their rational and systematic compositional method may lead to inclusion of new elements the existing structure of fantastic literature. Thus, this research sought to systematize the peculiar modus operandi of Poe through the analysis of his short stories The black cat, The fall of the house of Usher, The oval portrait, The man of the crowd, William Wilson, Ligeia, and the essays The philosophy of composition, Philosophy of furniture and The poetic principle, then to contrast the results with the theories of fantastic, particularly Todorov‟s, establishing, thus, little by little, another reading of fantastic literature, from the perspective of their own Edgar Allan Poe‟s personal theory / Mestre

Made available in DSpace on 2014-06-11T19:25:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-05-23Bitstream added on 2014-06-13T20:53:09Z : No. of bitstreams: 1 machado_dl_me_arafcl.pdf: 665674 bytes, checksum: 848577b81299938ae333362f7d3babe6 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Edgar Allan Poe afirma a respeito de seu poema The raven, em seu ensaio The philosophy of composition, que “[...] nenhum ponto de sua composição se refere ao acaso, ou à intuição, que o trabalho caminhou, passo a passo, até completar-se, com a precisão e a sequência rígida de um problema matemático”, demonstrando, por isso, que ele entendia ser o processo criativo um ato puramente lógico, consciente e analítico. E, de fato, a análise de seus textos comprova a proposição citada. Além disso, o autor americano é considerado por grande parte da crítica literária como o mestre do horror, figurando alguns de seus textos no cânone das obras primas do fantástico, sendo quase que indispensável a presença de algum de seus contos em uma coletânea dessa categoria literária. Partindo-se, então, desses elementos foi possível levantar a hipótese de que, como a obra poeana está tão intimamente relacionada ao fantástico, a análise de seu racional e sistemático método composicional poderá conduzir à inclusão de novos elementos à estrutura já existente da literatura fantástica. Assim, a presente pesquisa procurou sistematizar o peculiar modus operandi de Poe através da análise de seus contos The black cat, The fall of the house of Usher, The oval portrait, The man of the crowd, William Wilson, Ligeia, e ensaios The philosophy of composition Philosophy of furniture e The poetic principle, para em seguida contrastar os resultados obtidos com as teorias do fantástico, em especial a de Todorov, permitindo estabelecer, dessa forma, pouco a pouco, outra leitura da literatura fantástica, sob a ótica da própria teoria pessoal de Edgar Allan Poe / Edgar Allan Poe said about his poem The Raven, in his essay The philosophy of composition, that [...] no one point in its composition is referrible either to accident or intuition - that the work proceeded, step by step, to its completion with the precision and rigid consequence of a mathematical problem. thereby demonstrating that he understood the creative process is a purely logical, conscious and analytical. And indeed, analysis of his texts proves the proposition cited. In addition, the american author is seen by much of literary criticism as the master of horror, featuring some of his texts in the canon of masterpieces of fantastic, with almost indispensable the presence of some of his tales in a collection of this literary category. Starting from those factors, it was possible to hypothesize that as the Poe‟s work is so closely related to the fantastic, the analysis of their rational and systematic compositional method may lead to inclusion of new elements the existing structure of fantastic literature. Thus, this research sought to systematize the peculiar modus operandi of Poe through the analysis of his short stories The black cat, The fall of the house of Usher, The oval portrait, The man of the crowd, William Wilson, Ligeia, and the essays The philosophy of composition, Philosophy of furniture and The poetic principle, then to contrast the results with the theories of fantastic, particularly Todorov‟s, establishing, thus, little by little, another reading of fantastic literature, from the perspective of their own Edgar Allan Poe‟s personal theory