Este trabalho trata de descobrir os sentidos da formação literária na periferia (América hispânica e África portuguesa) por meio da análise de formas narrativas breves (contos) e de seus correspondentes processos sociais. Dividido em quatro partes, o presente estudo se inicia com uma abordagem comparativa dos conceitos de forma e formação segundo as teorias de Antonio Candido e Ángel Rama, da qual se depreenderá uma análise das condições em que se concretizou certo realismo vanguardista entre as décadas de 1930 e 1960. A segunda e a terceira partes investigam, por meio da análise das obras literárias de Jorge Luis Borges, Alejo Carpentier e Gabriel García Márquez, em América hispânica, bem como de José Luandino Vieira e Luis Bernardo Honwana, em África portuguesa, a relação entre forma narrativa e processo social com vistas à elucidação do sentido da formação segundo essas mesmas obras. Por fim, a quarta e última parte é composta por um breve ensaio sobre algumas das principais tendências da cultura brasileira contemporânea, marcada pelo horizonte da pós-formação, e em diálogo com as criações artísticas e os conceitos teóricos mobilizados ao longo das três partes anteriores. / This work tries to discover the meanings of literary formation in the periphery (Hispanic America and Portuguese Africa) through the analysis of brief narrative forms (short stories) and their corresponding social processes. Divided into four parts, the present study begins with a comparative approach of the concepts of form and formation according to the theories of Antonio Candido and Ángel Rama, from which stems an analysis of the conditions in which a certain avant-garde realism materialized between the 1930s and the 1960s. The second and third parts investigate, through the analysis of the short stories of Jorge Luis Borges, Alejo Carpentier and Gabriel García Márquez, in Hispanic America, as well as of José Luandino Vieira and Luis Bernardo Honwana, in Portuguese Africa, the relationship between narrative form and social process in order to elucidate the meaning of formation according to these same narratives. Finally, the fourth and last part is composed by a brief essay on some of the main tendencies of contemporary Brazilian culture, marked by a post-formation horizon, and in dialogue with the artistic creations and the theoretical concepts mobilized throughout the previous three parts.

Submitted by admin tede (tede@pucgoias.edu.br) on 2018-02-23T12:57:09Z No. of bitstreams: 1 VIVIANE ANDRADE OLIVEIRA.pdf: 1587489 bytes, checksum: d1b7d3b7fbe6ac02f15e3922f4fb4255 (MD5) / Made available in DSpace on 2018-02-23T12:57:09Z (GMT). No. of bitstreams: 1 VIVIANE ANDRADE OLIVEIRA.pdf: 1587489 bytes, checksum: d1b7d3b7fbe6ac02f15e3922f4fb4255 (MD5) Previous issue date: 2017-12-22 / Each new invention that humanity develops brings in itself new possibilities of artistic creation, in a way that the different procedures that the writer exercises, end up expanding the art’s concept in general. In this study, it was intended to analyze fixed ending, in games and interactive short narratives, with the sample Bariani Ortencio’s Morte sob encomenda (1974), Edward Packard’s The mystery of Chimney Rock (1985) and Marcelo Spalding’s Um estudo em vermelho (2013). It was highlighted the processes that characterize them, advancing and approximating text, writer, and reader, in the sense of providing larger interactivity between composing and reading actions, as much of the perspective of the narrative organization, as of the thematic coloration. It was considered conceptions of scholars like Roland Barthes (1974), Tzvetan Todorov (2013), Gérard Genette (1979), Julio Cortázar (2008), Wolfgang Iser (1979), Afrânio Coutinho (1986), Sérgio Capparelli (2010), Katherine Hayles (2009), Nick Monfort (2010), Lucia Santaella (2004), among others. It was verified how the authors on analyses approach and distance themselves considering the constructive process of the gender, the plot, the character, the temporality, the spatiality, and the theme, once that two are published in printed resources and the third takes place in electronic instrument and, as such, is dynamic. Although the analyzed samples showed some distance on the elements that constitute them, a relevant proximity was noted among them and it may be concluded that the essence of the narrative discourse development remains, regardless of the innovations proposed. / Cada nova invenção que o homem desenvolve traz em si novas possibilidades de criação artística, de tal sorte que os diferentes procedimentos que o escritor exercita, acabam por ampliar a própria concepção de arte. Neste estudo, propôs-se analisar narrativas literárias curtas de final fixo, em jogos e de construção interativa, tendo como amostras Morte sob encomenda, de Bariani Ortencio (1974), A casa mal-assombrada, de Edward Packard (1985) e Um estudo em vermelho, de Marcelo Spalding (2013). Foram destacados os procedimentos que as caracterizam avançando e aproximando escritura, escritor e leitor, no sentido de proporcionar maior interatividade entre o ato de compor e o de ler, tanto do ponto de vista da organização da narrativa, quanto da coloração temática. Foram consideradas as concepções de teóricos como Roland Barthes (1974), Tzvetan Todorov (2013), Gérard Genette (1979), Julio Cortázar (2008), Wolfgang Iser (1979), Afrânio Coutinho (1986), Sérgio Capparelli (2010), Katherine Hayles (2009), Nick Monfort (2010), Lucia Santaella (2004), dentre outros. Verificou-se como os autores dos objetos em análise se aproximam e se distanciam quanto ao processo construtivo do gênero, do enredo, da personagem, da temporalidade, da espacialidade e no que se refere à temática, uma vez que duas são publicadas em recursos impressos e a terceira realiza-se em instrumento eletrônico e, como tal, dinâmico. Embora as obras analisadas tenham demonstrado algum distanciamento nos elementos que as constituem, uma relevante aproximação entre elas foi notada, podendo-se concluir que a essência da elaboração do discurso narrativo permanece, independente das inovações propostas.

Dans la seconde moitié du XIIe siècle, une redéfinition du paysage littéraire s’effectue au moment même d’un grand essor économique que les historiens appellent la « révolution commerciale du XIIIe siècle » (1160-1330). Ce contexte culturel et social semble permettre l’émergence de nombreuses formes narratives de langue vernaculaire caractérisées par la brièveté (contes exemplaires, dits, fables, fabliaux, lais et miracles), dont la plupart ne survivront pas à la fin de cette période. Partant de cette observation, cette thèse examine les liens qui unissent les récits brefs aux discours commerciaux. Elle propose que les formes littéraires caractérisées par une économie du vers ont non seulement été un véhicule de choix pour transmettre et problématiser les idées marchandes, mais qu’elles se sont aussi instituées sur leur capacité à narrativiser des enjeux qui leur était contemporains. Véritables laboratoires poétiques et culturels, les formes brèves ont été à la fine pointe du discours social et ont participé à redéfinir le rapport à l’argent, à l’échange, à la valeur et à la dette, à un moment important du développement de la pensée économique au Moyen Âge. Divisée en huit chapitres, cette thèse s’intéresse d’abord au lexique commercial en langue vernaculaire, avant de faire des études plus pointues d’enjeux discursifs propres à l’époque. Si le vocabulaire marchand est employé dans les premiers monuments de la langue française, on remarque que les œuvres produites à partir des années 1160 l’utilisent plus fréquemment et qu’elles leur accordent désormais des sens monétaires (chapitre 1). Tout au long du XIIIe siècle, ce vocabulaire a un usage varié, puisqu’il permet à la fois d’exprimer les échanges sur terre, en même temps qu’il permet de métaphoriser l’idée chrétienne de la rédemption. L’analyse des acceptions concrètes, abstraites et « éthico-économiques » de ce lexique nous permet de faire un premier pas dans le corpus des formes brèves afin d’en marquer les spécificités (chapitre 2). Notant que les formes brèves n’utilisent pas de la même façon les termes de l’économie, nous avons établi une véritable typologie des genres à partir des différences constitutives (chapitre 3 et chapitre 4). Dans la deuxième partie de cette thèse, les composantes narratives des récits brefs ont été examinées à la lunette des discours économiques de la « révolution commerciale ». Les récits qui racontent la vente d’un cheval ont réinvesti la notion juridique du juste prix en problématisant les échanges de biens jugés équivalents (chapitre 5). La question de la fraude monétaire a nourri un nombre d’intrigues où des échanges non équivalents sont accomplis et où un personnage tente d’obtenir un surplus sur un autre, à un moment où les théologiens débattent de la notion même de superhabundantia (chapitre 6). Remanié tout au long du Moyen Âge, selon les goûts du jour et en fonction des changements d’attitudes face à l’usure, le miracle d’Abraham le juif a permis de transmettre l’idée que les dettes monétaires ne se pensent indépendamment des dettes divines (chapitre 7). Enfin, le dernier chapitre s’intéresse à l’idée d’« économie narrative », qui n’apparaît pas dans les Arts poétiques médiolatins, mais qui est rendue bien sensible par des récits brefs démesurés qui ne respectent pas la contrainte de la brièveté (chapitre 8). / During the second half of the 12th century, the redefinition of the literary landscape happens at the same time as a great economic growth that is known to the historians as the “commercial revolution of the 13th century” (1160-1330). This cultural and social context seems to have permitted the emergence of numerous narrative forms in the vernacular language that are characterised by their brevity (pious tales, dits, fables, fabliaux, lais and miracles), most of which won’t survive the end of the period. Starting from this observation, this thesis examines the links that unites the récits brefs to the commercial discourses, showing that the literary forms characterised by an economy of the verse have not only been the perfect vehicle to transmit and problematize the merchants’ ideas, but also that they have instituted themselves on their capacity to create narratives from contemporary issues. Poetic laboratories of the cultural ideas, the brief forms have been at the leading edge of the social discourse and have participated in sharpening the ways to conceive the notions of value, money, exchange and debt, during an important moment of the development of the economical thought in the Middle Ages. Divided into eight chapters, this thesis examines first the vernacular commercial lexicon, before making more in-depth studies of discursive issues specific to the time. If the commercial vocabulary is already used in first monuments of the French language, we notice that the works produced from the 1160s use it more frequently and give them monetary meanings (chapter 1). Throughout the thirteenth century, this vocabulary has a varied use, since it expresses both the exchanges on earth and the Christian idea of redemption. The analysis of the concrete, abstract and “ethico-economic” meanings of this lexicon allows us to take a first step in the corpus of short forms in order to examine their specificities (chapter 2). Noting that short forms do not use economics terms in the same way, we were then able to establish a true typology of genres from their respective uses (chapter 3 and chapter 4). In the second part of this thesis, the narrative components of the short stories were examined through the lens of the economic discourse of the “commercial revolution”. Stories about the sale of a horse have reinvested the legal notion of a justum pretium by problematizing the exchange of goods deemed to be equivalent (chapter 5). The question of monetary fraud has fuelled a number of intrigues where unequal exchanges are accomplished and where one character tries to obtain a surplus over another, at a time when theologians are debating the very notion of superhabundantia (chapter 6). Revamped throughout the Middle Ages, according to the tastes of the day and according to the changes of attitudes towards usury, the Miracle of Abraham the Jew made it possible to transmit the idea that the monetary debts are not thought independently of divine debts (chapter 7). Finally, the last chapter is interested in the idea of "narrative economy", which does not appear in the Latin poetic arts, but which is made very sensitive by disproportionate short narratives who do not respect the constraint of brevity (chapter 8).