144f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-05-17T12:08:56Z No. of bitstreams: 1 dissertacao Antonio Laranjeira.pdf: 846540 bytes, checksum: 886ead3b0f2fc931dff06c7ce9d2bc51 (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-05-20T18:07:59Z (GMT) No. of bitstreams: 1 dissertacao Antonio Laranjeira.pdf: 846540 bytes, checksum: 886ead3b0f2fc931dff06c7ce9d2bc51 (MD5) / Made available in DSpace on 2013-05-20T18:07:59Z (GMT). No. of bitstreams: 1 dissertacao Antonio Laranjeira.pdf: 846540 bytes, checksum: 886ead3b0f2fc931dff06c7ce9d2bc51 (MD5) Previous issue date: 2007 / Fala-se muito sobre sexo e menos sobre amor. O sexo passa a ser um dos protagonistas da cena pós-moderna, transformado em espetáculo. Para Roland Barthes, no século XX, o amor é obsceno, em lugar do sexo. Ao amor, reserva-se um espaço exíguo, enquanto que, para o sexo, a excessiva publicidade. Muitos exemplares da literatura pop contemporânea, como Sexo, de André Sant´Anna (1999), exibem esse panorama descrito. No romance em questão, o amor encontra apenas um espaço ínfimo destinado a si. O amor e o desejo sexual estão voltados para o que há de mais fragmentário no corpo. Com o ser humano transformado em coisa e o sexo convertido em espetáculo, os relacionamentos deixam de ser orientados pelo ideal romântico de amor e passam a ser pautados pela busca de prazer sexual. A partir da leitura de Sexo, pretende-se observar, por um viés interdisciplinar, como o sentimento amoroso se configura no âmbito da sociedade pós-moderna de consumo. No mundo pós-moderno, como o que é habitado pelas personagens de Sexo, o vínculo amoroso é transitório, passível de ser rompido a qualquer instante. O prazer é a meta estabelecida por aqueles que desejam construir conexões. Perdendo o caráter subversivo, o corpo é submetido a um excesso de estímulos e a sexualidade é manifestada como mais um estilo de vida a ser consumido. / Salvador

Cette mémoire est une analyse du subtexte immanent dans le roman « 1979 » (2001) de Christian Kracht, auteur suisse, qui est le plus connu pour son début « Faserland » (1995). Ces oeuvres sont situées dans le mouvement de la littérature Pop allemande des années 1990 et en résultent en même temps. Dans ce contexte, le climat socio-politique après la réunification, notamment le Literaturstreit, jouera un rôle important dans mon interprétation comme fond de la poésie de Kracht. J’exposerai les difficultés que le discours de la littérature Pop porte en ce qui concerne l’œuvre de cet auteur, qui, même s’il est vu en général comme fondateur de ce genre littéraire en Allemagne, ne considère pas ses textes comme littérature Pop dans ses déclarations notoirement problématiques. Je devrais objecter que Kracht est en combat avec la littérature Pop d’une façon stylistique et pas rarement ironique, ce qui traverse la définition étroite dominante. Il fait cela en adoptant sur l’un côté le trait le plus signifiant du genre, à savoir le caractère superficiel extrêmement descriptif et en transmettant sur l’autre côté un message moral profond, ce qui rend impossible la classification de ses textes comme Pop, signifiant seulement le divertissement ou l’archivisme de Moritz Bassler. En fait, la fréquence de signifiants de Pop dans les textes de Kracht créent par leur arrangement un réseau de sens qui, dans le paradigme post- moderne, peut être décrit le mieux avec le terme « rhizome » de Gilles Deleuze et Félix Guattari. En faisant ça, Kracht suit une autre tradition qui traverse les limites de la littérature Pop, comme il se sert de la décadence, de l’esthétisme et du symbolisme du fin-du-siècle d’un Hugo von Hofmannsthal, d’un Stefan George et d’un Joris-Karl Huysmans avec leurs pointes de mise en garde contre les déficits du modernisme, du libéralisme et du capitalisme, d’une façon nommée « fondamentalisme esthétique » par le sociologiste Stefan Breuer. Cette recherche se référera aux interprétations originales des textes source, aux évaluations de littérature d’accompagnement, à savoir des manuels scolaires en critique littéraire, en sociologie et en histoire allemande, aux comptes rendu, dissertations et entrevues et aux textes philosophiques. Cette mémoire est écrit en allemand. / This master's thesis is an analysis of the subtext immanent in the novel "1979" (2001) by Swiss author, Christian Kracht, who is best known for his debut, "Faserland" (1995). These works are situated in and result from the 1990's movement of German pop literature. In that context, the socio-political climate after the re-unification, most notably the Literaturstreit, plays an important role in my interpretation as the background to Kracht's poetics. I delineate the difficulties that the pop literature discourse carries both, as a literary category and in regard to this author's work, taking into consideration his notoriously problematic statements to the effect that he does not consider his texts to be pop literature, in spite of being commonly regarded as the founder of this literary form in Germany. I shall argue that Kracht engages in a stylistic and more often than not ironic play with pop literature, which transgresses the dominant narrow definition of it. He does so by adopting on the one hand its most-defining feature of extreme descriptive superficiality, yet by conveying on the other hand a moral message of profound dimensions, which renders impossible the classification of his texts as pop, neither in the sense of mere entertainment nor in the sense of Moritz Bassler’s archivism. In fact, the very arsenal of pop signifiers present in Kracht's texts create through their arrangement a web of meaning, which in the post-modern paradigm can be best described with Gilles Deleuze's and Félix Guattari's term “rhizome." By doing so Kracht follows in the footsteps of another tradition which transgresses the boundaries of pop literature, as he reaches back to the aestheticistic décadence and symbolism at the fin-de-siècle of a Hugo von Hofmannsthal, a Stefan George, and a Joris-Karl Huysmans, with their strong undertones of warnings against the shortfalls of modernism, liberalism, and capitalism, in a fashion that is termed “aesthetic fundamentalism” by Stefan Breuer. This research draws on original interpretations of the source texts, on evaluations of secondary literature such as scholarly works in German literary criticism, sociology and history, on book reviews, essays and interviews, and on philosophical texts. The thesis is written in German. / Gegenstand der vorliegenden Arbeit ist der narrative Subtext im Roman 1979 (2001) des Schweizer Autoren Christian Kracht, der vor allem mit seinem Romandebüt Faserland (1995) bekannt wurde. Seine Texte stehen im Zusammenhang mit der Neuen Deutschen Popliteratur der 90er Jahre. In diesem Kontext hat auch das soziokulturelle Klima nach der Wiedervereinigung eine wichtige Rolle, das sich am prägnantesten im Literaturstreit äußerte, weshalb dieser in der hier vorgenommenen Intepretation von Krachts Poetik seinen Platz findet. Außerdem soll aufgezeigt werden, inwieweit die Neue Deutsche Popliteratur sowohl als gattungstechnische Kategorie als auch im Bezug auf Krachts Werk problematisch ist. Dies entspricht den Beteuerungen des Autors, dass er keine Popliteratur schreibe, obwohl er als ihr Gründer gilt. Das Argument dieser Arbeit ist, dass Kracht auf stilistische und oft ironische Weise mit Popliteratur spielt, wodurch er die bestehende enge Definition dieser transgressiert. Da er einerseits das bezeichnenste Merkmal von Popliteratur, nämlich die Oberflächenbeschreibung, übernimmt, andererseits aber dadurch eine tiefe moralische Aussage macht, lassen sich seine Texte nicht als Pop verorten,weder als Unterhaltung, noch im Sinne von Moritz Baßlers Archivismus. Vielmehr ergeben die von Kracht versammelten Pop-Signifikanten in ihrer Vernetzung ein Sinngebäude, das in postmoderner Parlanz mit Gilles Deleuze und Félix Guattari als „Rhizom“ bezeichnet werden kann. Indem Kracht so verfährt, knüpft er ebenfalls an eine Tradition jenseits von Popliteratur an, und zwar an die ästhetizistische décadence und den Symbolismus des fin de siècle eines Hugo von Hofmannsthal, Stefan George und Joris-Karl Huysmans, sowie deren Warnungen vor den Mängeln des Modernismus, Liberalismus und Kapitalismus, wobei diese Einstellung von Stefan Breuer als ästhetischer Fundamentalismus bezeichnet wird.

Cette mémoire est une analyse du subtexte immanent dans le roman « 1979 » (2001) de Christian Kracht, auteur suisse, qui est le plus connu pour son début « Faserland » (1995). Ces oeuvres sont situées dans le mouvement de la littérature Pop allemande des années 1990 et en résultent en même temps. Dans ce contexte, le climat socio-politique après la réunification, notamment le Literaturstreit, jouera un rôle important dans mon interprétation comme fond de la poésie de Kracht. J’exposerai les difficultés que le discours de la littérature Pop porte en ce qui concerne l’œuvre de cet auteur, qui, même s’il est vu en général comme fondateur de ce genre littéraire en Allemagne, ne considère pas ses textes comme littérature Pop dans ses déclarations notoirement problématiques. Je devrais objecter que Kracht est en combat avec la littérature Pop d’une façon stylistique et pas rarement ironique, ce qui traverse la définition étroite dominante. Il fait cela en adoptant sur l’un côté le trait le plus signifiant du genre, à savoir le caractère superficiel extrêmement descriptif et en transmettant sur l’autre côté un message moral profond, ce qui rend impossible la classification de ses textes comme Pop, signifiant seulement le divertissement ou l’archivisme de Moritz Bassler. En fait, la fréquence de signifiants de Pop dans les textes de Kracht créent par leur arrangement un réseau de sens qui, dans le paradigme post- moderne, peut être décrit le mieux avec le terme « rhizome » de Gilles Deleuze et Félix Guattari. En faisant ça, Kracht suit une autre tradition qui traverse les limites de la littérature Pop, comme il se sert de la décadence, de l’esthétisme et du symbolisme du fin-du-siècle d’un Hugo von Hofmannsthal, d’un Stefan George et d’un Joris-Karl Huysmans avec leurs pointes de mise en garde contre les déficits du modernisme, du libéralisme et du capitalisme, d’une façon nommée « fondamentalisme esthétique » par le sociologiste Stefan Breuer. Cette recherche se référera aux interprétations originales des textes source, aux évaluations de littérature d’accompagnement, à savoir des manuels scolaires en critique littéraire, en sociologie et en histoire allemande, aux comptes rendu, dissertations et entrevues et aux textes philosophiques. Cette mémoire est écrit en allemand. / This master's thesis is an analysis of the subtext immanent in the novel "1979" (2001) by Swiss author, Christian Kracht, who is best known for his debut, "Faserland" (1995). These works are situated in and result from the 1990's movement of German pop literature. In that context, the socio-political climate after the re-unification, most notably the Literaturstreit, plays an important role in my interpretation as the background to Kracht's poetics. I delineate the difficulties that the pop literature discourse carries both, as a literary category and in regard to this author's work, taking into consideration his notoriously problematic statements to the effect that he does not consider his texts to be pop literature, in spite of being commonly regarded as the founder of this literary form in Germany. I shall argue that Kracht engages in a stylistic and more often than not ironic play with pop literature, which transgresses the dominant narrow definition of it. He does so by adopting on the one hand its most-defining feature of extreme descriptive superficiality, yet by conveying on the other hand a moral message of profound dimensions, which renders impossible the classification of his texts as pop, neither in the sense of mere entertainment nor in the sense of Moritz Bassler’s archivism. In fact, the very arsenal of pop signifiers present in Kracht's texts create through their arrangement a web of meaning, which in the post-modern paradigm can be best described with Gilles Deleuze's and Félix Guattari's term “rhizome." By doing so Kracht follows in the footsteps of another tradition which transgresses the boundaries of pop literature, as he reaches back to the aestheticistic décadence and symbolism at the fin-de-siècle of a Hugo von Hofmannsthal, a Stefan George, and a Joris-Karl Huysmans, with their strong undertones of warnings against the shortfalls of modernism, liberalism, and capitalism, in a fashion that is termed “aesthetic fundamentalism” by Stefan Breuer. This research draws on original interpretations of the source texts, on evaluations of secondary literature such as scholarly works in German literary criticism, sociology and history, on book reviews, essays and interviews, and on philosophical texts. The thesis is written in German. / Gegenstand der vorliegenden Arbeit ist der narrative Subtext im Roman 1979 (2001) des Schweizer Autoren Christian Kracht, der vor allem mit seinem Romandebüt Faserland (1995) bekannt wurde. Seine Texte stehen im Zusammenhang mit der Neuen Deutschen Popliteratur der 90er Jahre. In diesem Kontext hat auch das soziokulturelle Klima nach der Wiedervereinigung eine wichtige Rolle, das sich am prägnantesten im Literaturstreit äußerte, weshalb dieser in der hier vorgenommenen Intepretation von Krachts Poetik seinen Platz findet. Außerdem soll aufgezeigt werden, inwieweit die Neue Deutsche Popliteratur sowohl als gattungstechnische Kategorie als auch im Bezug auf Krachts Werk problematisch ist. Dies entspricht den Beteuerungen des Autors, dass er keine Popliteratur schreibe, obwohl er als ihr Gründer gilt. Das Argument dieser Arbeit ist, dass Kracht auf stilistische und oft ironische Weise mit Popliteratur spielt, wodurch er die bestehende enge Definition dieser transgressiert. Da er einerseits das bezeichnenste Merkmal von Popliteratur, nämlich die Oberflächenbeschreibung, übernimmt, andererseits aber dadurch eine tiefe moralische Aussage macht, lassen sich seine Texte nicht als Pop verorten,weder als Unterhaltung, noch im Sinne von Moritz Baßlers Archivismus. Vielmehr ergeben die von Kracht versammelten Pop-Signifikanten in ihrer Vernetzung ein Sinngebäude, das in postmoderner Parlanz mit Gilles Deleuze und Félix Guattari als „Rhizom“ bezeichnet werden kann. Indem Kracht so verfährt, knüpft er ebenfalls an eine Tradition jenseits von Popliteratur an, und zwar an die ästhetizistische décadence und den Symbolismus des fin de siècle eines Hugo von Hofmannsthal, Stefan George und Joris-Karl Huysmans, sowie deren Warnungen vor den Mängeln des Modernismus, Liberalismus und Kapitalismus, wobei diese Einstellung von Stefan Breuer als ästhetischer Fundamentalismus bezeichnet wird.

Made available in DSpace on 2014-06-11T19:35:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-07-04Bitstream added on 2014-06-13T20:46:38Z : No. of bitstreams: 1 oliveira_scrd_dr_sjrp.pdf: 2615783 bytes, checksum: 8046c7f4f86da950ffe53d7b0b6836d6 (MD5) / Literatura pop foi a designação criada por Roberto Drummond para definir um tipo de escritura que buscou romper com o conceito tradicional do fazer literário. Quatro livros fizeram parte deste projeto, o chamado Ciclo da Coca-Cola: A morte de D. J. em Paris (1975), O dia em que Ernest Hemingway morreu crucificado (1978), Sangue de Coca-Cola (1980) e Quando fui morto em Cuba (1982). Neste trabalho, buscamos mostrar a influência da Arte Pop na confecção destas obras, uma vez que o autor nunca negou ter sido este movimento artístico o alicerce de seu projeto, sobretudo em relação aos temas e procedimentos. Entretanto, Roberto Drummond não se limita a eles. Apropria-se de referências insólitas e, por meio delas, explicita as violências impostas à sociedade brasileira da segunda metade do século XX: a da ditadura militar, da indústria cultural e da cultura de massa. Num verdadeiro “jogo-de-armar” novas possibilidades, ele faz com que personalidades do mundo real interajam com personagens ficcionais, incitando o leitor a retomar referências, muitas vezes, perdidas e/ou esquecidas pelo tempo. / Pop Literature (literarily, Pop Literature) was the name coined by Roberto Drummond to define one kind of writing that aimed to break up with the traditional concept of literary doing. This project was composed by four books, a serie known as the Coca-Cola Cycle: A morte de D. J. em Paris (1975), O dia em que Ernest Hemingway morreu crucificado (1978), Sangue de Coca-Cola (1980) and Quando fui morto em Cuba (1982). In this study we try to show the Pop Art influence in these works’ composition, considering the author never denied this artistic movement had been the foundation of his project, especially referred to themes and procedures. Nevertheless Roberto Drummond doesn’t limit himself by them; he owns remarkable references and, through them, explains the violence imposed to the Brazilian society of the second half of Twentieth century: by military dictatorship, cultural industry and mass culture. In actual building blocks of possibilities, he makes real people to interact with fiction characters, encouraging the reader to take references, sometimes lost and/or forgotten through time.

Orientador: Arnaldo Franco Júnior / Banca: Maria Lúcia Outeiro Fernandes / Banca: Luciene Azevedo / Banca: Sérgio Vicente Motta / Banca: Álvaro Luiz Hattnher / Resumo: Literatura pop foi a designação criada por Roberto Drummond para definir um tipo de escritura que buscou romper com o conceito tradicional do fazer literário. Quatro livros fizeram parte deste projeto, o chamado Ciclo da Coca-Cola: A morte de D. J. em Paris (1975), O dia em que Ernest Hemingway morreu crucificado (1978), Sangue de Coca-Cola (1980) e Quando fui morto em Cuba (1982). Neste trabalho, buscamos mostrar a influência da Arte Pop na confecção destas obras, uma vez que o autor nunca negou ter sido este movimento artístico o alicerce de seu projeto, sobretudo em relação aos temas e procedimentos. Entretanto, Roberto Drummond não se limita a eles. Apropria-se de referências insólitas e, por meio delas, explicita as violências impostas à sociedade brasileira da segunda metade do século XX: a da ditadura militar, da indústria cultural e da cultura de massa. Num verdadeiro "jogo-de-armar" novas possibilidades, ele faz com que personalidades do mundo real interajam com personagens ficcionais, incitando o leitor a retomar referências, muitas vezes, perdidas e/ou esquecidas pelo tempo. / Abstract: Pop Literature (literarily, Pop Literature) was the name coined by Roberto Drummond to define one kind of writing that aimed to break up with the traditional concept of literary doing. This project was composed by four books, a serie known as the Coca-Cola Cycle: A morte de D. J. em Paris (1975), O dia em que Ernest Hemingway morreu crucificado (1978), Sangue de Coca-Cola (1980) and Quando fui morto em Cuba (1982). In this study we try to show the Pop Art influence in these works' composition, considering the author never denied this artistic movement had been the foundation of his project, especially referred to themes and procedures. Nevertheless Roberto Drummond doesn't limit himself by them; he owns remarkable references and, through them, explains the violence imposed to the Brazilian society of the second half of Twentieth century: by military dictatorship, cultural industry and mass culture. In actual building blocks of possibilities, he makes real people to interact with fiction characters, encouraging the reader to take references, sometimes lost and/or forgotten through time. / Doutor

Abstract This thesis illustrates the social engagement in the literary writings of Pier Vittorio Tondelli, an Italian gay author whose works have been described by many Catholic, Materialists, and gay critics as frivolous and disengaged. The dissertation summarizes the mutation of the Italian literary concept of impegno from Neorealism to Postmodernism, through a selection of the texts of Elio Vittorini, Italo Calvino, Franco Fortini, Pier Paolo Pasolini, Leonardo Sciascia, and Umberto Eco. It shows how Tondelli’s interpretation of the role of the writer falls within the definitions given by Calvino and Eco. Moreover, the thesis demonstrates that Altri libertini and Pao Pao satisfy the characteristics of littérature mineure established by Gilles Deleuze and Felix Guattari, though Tondelli’s oeuvre is socially engaged instead of being politically engaged because of his lack of a political ideology. The dissertation highlights the core of Tondelli’s social commitment in his passionate defense of the outcasts in: Altri libertini where drug addicts, homosexuals, transsexuals, and bums are the protagonists; Pao Pao where a group of gay soldiers is described in its grotesque and camp attempt to “homosexualize” their barrack; Rimini where the Riviera Adriatica is portrayed as a place where everyone passes by and no one belongs; Camere separate through the love story of a gay couple in which one partner has to survive his lover’s death, due to an illness that is demonstrated in this thesis to be AIDS, while fighting against the homophobia of their families, institutions, society, and religion. Most of Tondelli’s socially excluded characters are introduced to the reader through an internal homodiegetic point of view. Another important component of Tondelli’s impegno is his open defense of both pop-culture and counter-cultures: gay, hippies, rockers, experimental theatre, street artists and alternative radio, which are central in all his writings.

Abstract This thesis illustrates the social engagement in the literary writings of Pier Vittorio Tondelli, an Italian gay author whose works have been described by many Catholic, Materialists, and gay critics as frivolous and disengaged. The dissertation summarizes the mutation of the Italian literary concept of impegno from Neorealism to Postmodernism, through a selection of the texts of Elio Vittorini, Italo Calvino, Franco Fortini, Pier Paolo Pasolini, Leonardo Sciascia, and Umberto Eco. It shows how Tondelli’s interpretation of the role of the writer falls within the definitions given by Calvino and Eco. Moreover, the thesis demonstrates that Altri libertini and Pao Pao satisfy the characteristics of littérature mineure established by Gilles Deleuze and Felix Guattari, though Tondelli’s oeuvre is socially engaged instead of being politically engaged because of his lack of a political ideology. The dissertation highlights the core of Tondelli’s social commitment in his passionate defense of the outcasts in: Altri libertini where drug addicts, homosexuals, transsexuals, and bums are the protagonists; Pao Pao where a group of gay soldiers is described in its grotesque and camp attempt to “homosexualize” their barrack; Rimini where the Riviera Adriatica is portrayed as a place where everyone passes by and no one belongs; Camere separate through the love story of a gay couple in which one partner has to survive his lover’s death, due to an illness that is demonstrated in this thesis to be AIDS, while fighting against the homophobia of their families, institutions, society, and religion. Most of Tondelli’s socially excluded characters are introduced to the reader through an internal homodiegetic point of view. Another important component of Tondelli’s impegno is his open defense of both pop-culture and counter-cultures: gay, hippies, rockers, experimental theatre, street artists and alternative radio, which are central in all his writings.