Submitted by admin tede (tede@pucgoias.edu.br) on 2017-02-09T18:13:28Z No. of bitstreams: 1 MARIA DIVINA MOREIRA DOS SANTOS SILVA.pdf: 4511401 bytes, checksum: c5a9b6a7795450ff9ae48acbf10b8c05 (MD5) / Made available in DSpace on 2017-02-09T18:13:28Z (GMT). No. of bitstreams: 1 MARIA DIVINA MOREIRA DOS SANTOS SILVA.pdf: 4511401 bytes, checksum: c5a9b6a7795450ff9ae48acbf10b8c05 (MD5) Previous issue date: 2015-08-31 / This thesis is an exploratory study of the novel The Young Törless, as a Bildungsroman and as heterotopia. For this, it took into account the point view of Foucault's about modernity and heterotopias of crisis crossed by the literary language. In this sense we studied some of the works of this author, in addition, of course, other authors in order to maintain a dialogue about the subject. Between the work of Foucault, it should be noted: The Order of Things, Discipline and Punish: The birth of the Prison; The Order of Discourse, Microphysics of Power, Dits et Écrits 3, and Le Corps Utopique - Les Heterotopies. The object of this thesis is the Bildungsroman as an original heterotopic place. The child development grows at the confluence of the two heterotopies: boarding school and adolescence. In the novel, the construction of the subjectivity is given by the forms of discourse production, by the power of relationships and affection in interpersonal relationships networks that are woven and woven as the narrative progresses. According to the adopted perspective, we studied the philosophical influences present in the novel and tried to show that The Young Törless as a Bildungsroman and as heterotopia exposes the relationships that underlie Törless subjectivity construction while he attends the boarding school in the late nineteenth century to the twentieth century. / Esta tese trata-se de um estudo exploratório do romance O Jovem Törless, de Robert Musil, como romance de formação e como heterotopia. Para isso, levou-se em consideração o pensamento de Foucault para heterotopias atravessadas pela linguagem literária. Nesse sentido foram estudadas algumas das obras desse autor, além, evidentemente, das de outros autores como forma de manter um diálogo a respeito do tema. Da obra de Foucault, foram lidas As palavras e as coisas, A Ordem do Discurso, Microfísica do Poder, Ditos e Escritos III, Des Espaces Autres e Le Corps Utopique – Les Heterotopies. O objeto desta tese é o romance de formação como espaço heterotópico por excelência, espaço em que se dá a formação do indivíduo na confluência de duas heterotopia: o internato e a adolescência. No romance a construção da subjetividade se dá pelas formas de produção discursiva em disputa nesses espaços, pelas relações de poder que aí tem lugar, pelas redes de relações que são tecidas e entretecidas à medida que a narrativa avança. De acordo com a perspectiva adotada, estudaram-se as influências filosóficas presentes no romance e procurou-se demonstrar que O Jovem Törless como romance de formação e como heterotopia expõe as relações que subjazem à trajetória de formação de Törless como estudante de colégio interno, relações, essas, condizentes com a formação escolar na virada do século XIX para o século XX.

Vita, de Melania Mazzucco (jovem escritora italiana contemporánea), é um romance que trata sobretudo do exílio, (ex-solum, distância da própria terra, emigração) por meio de uma narrativa que mescla ficção, realidade, memória. Escrito em algumas partes em primeira pessoa, o romance possui uma nuance de autobiografia. A ficção se entrelaça com as pesquisas da memória familiar e pessoal da autora, de modo a narrar uma epopéia coletiva, a qual em raríssimos casos encontrou a via da literatura. Vita e Diamante Mazzucco, os protagonistas, são dois jovens italianos que, no início do século XX, junto à multidão que compôs a grande emigração italiana, afrontam a América, a paixão e a vida. Com um enredo aparentemente limitado a um grupo e a um período histórico, os temas presentes na obra apontam para uma questão contraditória, o limite entre a reportagem verídica e a reconstrução ideal dos fatos, entre a memória histórica e a construção narrativa, colocando em evidência situações análogas. A problemática do \"outro\" (Vita e Diamante como representantes dos \"vencidos\", da outra face da história) faz emergir a real alteridade que a literatura - e o romance melhor que outros gêneros - é capaz de trazer à tona, verbalizando aquilo que estava desde muito tempo escondido na memória familiar e, talvez, na memória coletiva / Vita, di Melania Mazzucco (giovane scrittrice italiana contemporanea), è il romanzo di una storia di esilio (ex-solum, allontanati dal proprio suolo, emigrati), intessuto di finzione, realtà, memoria. Scritto in alcune parti in prima persona, il romanzo sfuma nell\'autobiografia. L\'invenzione s\'intreccia alla ricerca di una memoria familiare e personale, per narrare una epopea collettiva che rarissimamente ha trovato la via della letteratura. Vita e Diamante Mazzucco, i protagonisti, sono due ragazzi italiani che, all\'inizio del Novecento, insieme alla moltitudine di immigrati della grande emigrazione, affrontano la loro America, passione e vita. Apparentemente limitati a un gruppo e a un periodo, i temi del romanzo toccano il rapporto contraddittorio, il limite fra reportage veridico e ricostruzione ideale, fra memoria storica e costruzione narrativa e portano alla luce vite \"analoghe\". La problematica dell\' \"altro\" (Vita e Diamante come rappresentanti dei \"vinti\", dell\'altra faccia della storia) fa emergere la reale alterità che la letteratura - e il romanzo meglio di altri generi - può portare alla luce, verbalizzando ciò che era da lungo tempo rimosso nella memoria familiare e, forse, in quella collettiva

A presente tese tem como objetivo analisar figurações de Deus nos romances saramaguianos Manual de Pintura e Caligrafia, Levantado do Chão, Memorial do Convento, O Evangelho Segundo Jesus Cristo e Caim. Nos três primeiros, Deus não aparece como personagem, mas pelos comentários críticos, seja do narrador, seja das personagens, pode-se presumir a inexistência de Deus, que nada mais é que uma criação da mente humana. Nos dois últimos, Deus surge como uma personagem de ficção, com características que destoam daquelas que lhe são atribuídas pela tradição religiosa judaico-cristã, sendo dessacralizado, tendo como contrapartida a elevação do homem a único senhor de seu próprio destino. / This thesis aims to analyze God\'s figurations in the Saramago\'s novels Manual of Painting and Calligraphy, Raised from the Ground, Baltasar and Blimunda, The Gospel According to Jesus Christ and Cain. In the first three, God doesn\'t appear as character, but for the critical comments, belong to the narrator, belong to the characters, it can be supposed the inexistence of God, that it is nothing else that a creation of the human mind. In the last two, God appears as a fiction character, with characteristics that differ from those characteristics that Jewish-Christian religion tradition attribute to him, stopping being a sacred being, having as compensation the elevation of the man to only master of his own destiny.

O presente estudo tem como objetivo analisar a construção do nacionalismo egípcio na obra Trilogia do Cairo, de Nagib Mahfuz, romance em três volumes que recobre o período histórico de maturação do nacionalismo egípcio até o momento que antecedeu o nasserismo, respectivamente de 1917 a 1944. Desse modo, inicialmente são apresentadas as teorias sobre o nacionalismo, no intuito de situar as correntes teóricas que descrevem o desenvolvimento dos conceitos de nação, estado e estado nacional ao longo da história, a saber, a teoria clássica, a modernista, a essencialista e a etno-simbolista. Em seguida, este trabalho apresenta o contexto histórico do nacionalismo egípcio e sua confluência com o nacionalismo árabe. Apesar de a Trilogia do Cairo não abranger o período que se estende do início até a decadência do nacionalismo de expressão nasserista, o presente estudo considera importante mencioná-lo como um todo, no intuito de contextualizar aquilo que o romance já anunciava como premente na sociedade egípcia, a necessidade de autonomia política dentro de um projeto de base nacionalista. A fim de se estabelecer as relações entre autor, obra e instituição, na sequência são discutidos os diversos pareceres críticos do romance, além de sua abordagem enquanto discurso literário e prática discursiva. Desse modo, através da narrativa da inscrição da história no discurso literário, analisado no presente estudo sob o formato de cronotopos, se pretendeu efetivar uma exposição do modo como as personagens fictícias e históricas, que participaram do processo de tentativa de emancipação do Egito, construíram o nacionalismo. / This work intends to analyse the construction of egptian nationalism in Cairo Trilogy, by Nagib Mahfuz, novel composed by tree volumes that recover the period between 1917 and 1944, regarded to the real rising of nacionalism and the previous nasserism age. Initially this study introduces theories about nationalism in order to define the concepts of nation, state and national state, after that, the context of egptian and arabic nationalism is introduced. Although Cairo Trilogy recovers the period before nasserism age, this reference is important to sign the need of political autonomy within an egpitian nationalist project. The following discussion is about linguistics and literary criticism related to the novel, in whish is made the reflexion about literary discourse and discourse practices. Thus, through the narrative inscription of history in literary discourse, analysed in this study by the notion of chronotope, this work intended to make an exhibition about how ficcional and historical characters, who participated the egption freedom process, built the nationalism.

This thesis addresses the contribution of Francesc Payarols and Andreu Nin to the Catalan literary system between 1928 and 1937 via the introduction of unmediated translations from Russian into Catalan. This contribution has been studied by comparing it to previous translation activity from Russian into Catalan, to translations in literary systems that due to prestige and geographical proximity can be considered neighbouring systems to the Catalan system (the French, the British and the Spanish), and by reviewing some of the critical reception that these publications gathered in the Catalan press of the time. Selected terminology and theoretical concepts of Polysystem Theory (PST) have been used critically in the methodological framing. This study occupies the gap of knowledge in current scholarship around the work of Payarols, whilst also building on previous and contemporaneous research on Nin. The evolution of translation from Russian into Catalan is contextualised from its introduction in 1879 until the establishment of Edicions Proa in 1928, the platform from which Payarols and Nin published the majority of the texts studied. The role of the translators as agents of the system is particularly highlighted, given both the influence of their translations in creating examples of models of prose that autochthonous novelists could use, and the power of their textual choices outside of the primary authors (Tolstoy, Dostoevsky, Chekhov). Joan Puig i Ferreter’s agency is also explored, as the figure behind Proa’s success and one of the main promoters of the reintroduction of novels into the literary repertoire in Catalan from the late 1920s. This research studies the unmediated Catalan translations of Tolstoy, Dostoevsky, Chekhov, and a selection of nineteenth and twentieth century authors carried out by Payarols and Nin, and reviews some of the impact that these had upon Catalan writers such as Mercè Rodoreda, Sebastià Juan Arbó and Joan Sales. Overall, these translations largely exceeded the previous available items of Russian literature in Catalan, and in cases such as Dostoevsky and Chekhov, they established a textual presence to go with their already existing literary fame. This process establishes that power dynamics were in operation between these translators, and that Nin had higher esteem from the literary milieu, which in turn affected the prestige of the texts he was commissioned to translate. I then contribute to the debate on the mythologisation of Nin’s work by suggesting a revision of his texts, supported by a comparison with the recently revised versions of some of Payarols translations.

This work discusses the theory of the Tragic and the Comic as revealed in the French approach to Shakespeare's tragedy and comedy, with particular reference to certain examples of each genre. In part I, chapters 1-4 inclusive examine questions which are basic to the understanding of Shakespeare in France. In part II, chapters 5-9 inclusive deal with the French approach to Shakespeare's tragedy, the first two of them being based on "Shakespeare and Corneille" and "Shakespeare and Racine" respectively. In part III, chapters 10-16 inclusive turn to the question of the French approach to Shakespeare's comedy, the first of them trying to throw some light on the complex differences and similarities between French and English comedy.

Valerius Maximus situates his ninth and final book (henceforth referred as V9) in clear contrast to the rest of his output by adopting an apotreptic approach and focusing entirely on 'vitia'. This makes a break from the dispersive manner in which 'vitia' had hitherto been treated by different authors across a myriad of works, nor was V9’s structure replicated in the same manner by any other Roman author since V. Worthy of note is also how V treats his subject exclusively in a single book, creating 'intensity' as a technique 'per se' to shock the reader into making them fully aware – beyond all reasonable doubt – how pernicious and dangerous 'vitia' are. At the heart of V9 is the ubiquity of vice that transcends ethnicity. In fact V brings domestic and external 'exempla' closer, vice is inherent in life itself; the characters inhabiting both the domestic and external sections are not opposites, but are presented as culpable of the same vices (although sometimes certain 'exempla' are graded worse than others).

Cette thèse s’assigne comme objectif d’examiner l’évolution des évocations culturelles et théoriques des grands ensembles français entre les années 1960 et 2000. Notre recherche s’articule autour de la Cité des Quatre-Mille de La Courneuve. Prenant en compte les productions journalistiques disséminées par les grands médias durant ces quatre dernières décennies, les contrastant avec des créations artistiques plus dissidentes, les comparant avec des créations culturelles réalisées par les habitants de cette cité, nous élaborons un «complexe culturel» permettant un questionnement à la fois différent et «démocratique» des représentations historiques des grands ensembles. Le chapitre premier détaille l’armature théorique et méthodologique de notre étude. Le chapitre II propose une analyse rancièrienne des principes d’égalité, de démocratie et de politique. Les chapitres suivants (chapitre III, IV et V) retracent la trajectoire spécifique de la Cité courneuvienne. Le chapitre III se focalise sur les représentations journalistiques des Quatre-Mille au sein de la nation. Le chapitre IV est dévolu à la culture artistique et contraste d’autres formes de représentations esthétiques de la Cité et de l’identité nationale. Centré sur les productions quotidiennes de banlieusards, le chapitre V donne lieu à différentes représentations entre «banlieues» et citoyenneté.

Esse estudo analisa a composição do narrador em Partes de África (1991) e Natália (2009) de Helder Macedo. Iniciamos mostrando como o contexto histórico influencia a produção dessas narrativas e impõe certas características filosóficas e formais, em seguida, percorremos a tradição narrativa lusa em busca das origens às quais os autores contemporâneos respondem seja para rompê-las ou propor uma releitura. Na sequência, falaremos sobre o autor, já que ele costuma incluir em suas obras uma grande porção de dados autobiográficos. Macedo estreou como romancista, em 1991, com Partes de África, até o momento da conclusão desse estudo, lançou cinco romances que firmaram sua poética junto à crítica e o colocaram em posição de reconhecida grandeza no movimentado cenário da literatura contemporânea em língua portuguesa. Nossas bases teóricas provêm de Wayne Booth, em A retórica da ficção, e Gerard Genette, em Discurso da narrativa. O estudo de Booth revela os aspectos através dos quais podemos perceber essa consciência por trás do texto e de que forma podemos analisá-la. Os principais atributos pesquisados são o andamento da narração em relação à diegese que esses narradores promovem em suas narrativas, as escolhas envolvidas na determinação de um narrador em primeira ou terceira pessoa, a corroboração de outros narradores nesses textos, a intertextualidade apresentada nos enredos, a dramatização do narrador, de que privilégios dispõe essa entidade narrativa com relação à diegese e a que distância se posiciona. Além da marca mais evidente do narrador que é o comentário. Nos embasamos em Genette para distinguir mais profundamente os aspectos estilísticos através dos quais o narrador imiscui-se nos textos usando cenas e sumários. Além disso, propomos o estudo das duas obras em contraste uma a outra e as demais produções contemporâneas que tratam essa entidade narrativa com semelhante complexidade e provocam o leitor a interagir com suas obras. / This study analyzes the composition of the narrator in Partes da África (1991) and Natália (2009) by Helder Macedo. We begin by showing how the historical context influences the production of these narratives and imposes certain formal and philosophical characteristics on them, and then we move through the Lusitanian tradition narrative in search of the origins to which contemporary authors respond to by, either breaking loose from them, or proposing a reinterpretation. Next, we talk about the author, since he tends to include in his works a great deal of autobiographical data. Macedo debuted as a novelist in 1991 with Partes da África and, till completing this study, he has released five novels that have firmed his poetics with the critics and placed him in a position of recognized greatness in the bustling setting of contemporary literature in the Portuguese language. Our theoretical basis comes from Wayne Booth in The Rhetoric of Fiction, and Gerard Genette, Narrative Discourse. Booth's study reveals aspects through which we can see this consciousness behind the text and how it can be analyzed. The main attributes searched are the progress of the narrative regarding the diegesis that these narrators promote in their narratives, the choices involved in determining if a narrator is in first or third person, the corroboration of other narrators in these texts, the intertextuality presented in the plots, the dramatization of the narrator, which privileges does this entity of narrative have in relation to the diegesis, and how far away is it positioned. Besides the more evident mark of the narrator, which is the comment. We based our work on Genette to further distinguish the stylistic aspects through which the narrator inserts himself in the texts using scenes and summaries. Furthermore, we propose the study of the two works in contrast to one another and other contemporary productions that deal with this narrative entity of similar complexity and that incite the reader to interact with their works.

This dissertation, focusing on the Vers de circonstance, takes issue with traditional views on Stéphane Mallarmé's aesthetics and his positioning on the relation of art to society. Whereas Mallarmé has often been branded as an ivory-tower poet, invested solely in abstract ideals and removed from the masses, my research demonstrates his interest in concrete essences and the small events of the everyday. As such, the Vers de circonstance offer an exemplary entry point to understanding these poetic preoccupations as the poems of this collection are both characterized by their materiality and their celebration of ordinary festivities. Indeed, most of the poems either accompany or are directly written on objects that were offered as gifts on such occasions as birthdays, anniversaries or seasonal holidays. The omnipresence of objects and dates that can be referred back to real events displays Mallarmé's on-going questioning on the relation of art to reality. As I show, some of these interrogations rejoin the aesthetic preoccupations of the major artistic currents of the time, such as Impressionism in France and the Decorative Arts in England. These movements were defining new norms for the representation of reality in reaction to the changes of nineteenth century society. But as the genetic study of the Vers de circonstance reveals, along with the contextual framing and analysis of his other works, the occasional and the concept of the real play a fundamental role in his poetics at large. On the one hand, the aesthetic concept of the real allows him to draw the attention of his readers to the tension between the concreteness of reality with its elusiveness and ephemerality. On the other hand, the occasional is a way for Mallarmé to humanize the otherwise anonymous and impersonal quality of print. In an epoch when reality became mechanically reproducible and the distance between an author and its readers became increasingly distant and diffuse, the questions posed by Mallarmé on the relation of art to real objects, people and events were fundamental. As I conclude, therefore, the use of widely accessible quotidian objects, the mise en abyme of the visuality of writing, and Mallarmé's programmatic note to the reader to emulate his poetic project, all combine to validate his postulation of a new poetic art turned towards the everyday and his contemporaries.