Este estudo trata da presença da paródia nos contos reunidos em Papéis avulsos (1882), de Machado de Assis. Por paródia entende-se, segundo M. Bakhtin, a representação da linguagem de outrem com orientação divergente; e, segundo L. Hutcheon, a repetição de um texto ou discurso com diferença irônica. O objetivo geral da pesquisa é compreender como a paródia pode ser um elemento fundamental na estruturação de quatro contos de Papéis avulsos. Os objetivos específicos são: verificar como Machado de Assis emprega as formas e os gêneros no âmbito dos quais se desenvolve a enunciação dos contos; averiguar como o uso de referências, citações, obras, idéias, discursos etc., servem ambígua e dialogicamente aos narradores e personagens dos contos; compreender como essa mobilização constante de diversas referências, discursos e linguagens colabora com a construção dos contos tanto no nível formal quanto no temático; verificar de que modo o uso da paródia pode ter outro significado para o autor, que, através de diversas estratégias de distanciamento, exercita sua ironia sobre questões de seu tempo e de seu espaço. Pretende-se mostrar que, em todos os contos analisados, os procedimentos paródicos utilizados estão a serviço da produção de um distanciamento crítico e irônico do autor e do leitor em relação a sua realidade. / This study addresses the presence of parody in the short-stories gathered in Papéis avulsos (1882), of Machado de Assis. Parody is understood, according to M. Bakhtin, to be the representation of the language of others with a divergent orientation, and according L. Hutcheon, repetition of a text or speech with ironic difference. The general objective of the research is to understand how parody can be a key element in the structure of four short-stories of Papéis avulsos. The specific objectives are: to verify how Machado de Assis uses the forms and genres within which the narration of the short-stories develops; examine how the use of references, quotations, works, ideas, speeches etc., serve the narrators and characters of the stories with ambiguity; understand how this constant mobilization of different references, speech and language works on the construction of short-stories in terms both of form and theme; check how the use of parody may have another meaning for the author who, through various strategies of distancing, applies his irony to questions of his time and place. It is intended to show that in all of the stories examined, the use of parody serves to distance the author and the reader critically and ironically in relation to their reality.

Este projeto propõe o estudo da construção literária da infância nos contos Os desastres de Sofia, Felicidade clandestina, Restos do Carnaval e Cem anos de perdão e nos livros infantis O mistério do coelho pensante, A mulher que matou os peixes, A vida íntima de Laura, Como nasceram as estrelas e Quase de verdade. A partir da investigação das imagens de infância que se formam nos quatro contos memorialísticos e nos cinco livros infantis de Clarice Lispector, será possível comparar os dois blocos de estudo e assim reconstituir, pela singularidade das vozes narrativas, as diferentes visões desse período da vida em sua produção. Dessa forma, pretendemos compor um panorama abrangente desse tema e entender de que forma a infância se relaciona a outros aspectos de grande relevância nos textos da autora, contribuindo para a compreensão de um viés importante e ainda pouco estudado da obra clariciana. / The present work proposes the study of the literary construction of childhood in the short stories Os desastres de Sofia, Felicidade clandestina, Restos do Carnaval and Cem anos de perdão and children\'s books O mistério do coelho pensante, A mulher que matou os peixes, A vida íntima de Laura, Como nasceram as estrelas and Quase de verdade. From the investigation of the childhood images that form in Clarice Lispector\'s four memoir short stories and five children\'s books, it will be possible to compare the two blocks of study and thus reconstitute, by the singularity of the narrative voices, the different visions of this period of life in her production. Thus, we intend to compose a comprehensive panorama of this theme and to understand how childhood relates to other aspects of great relevance in the author\'s texts, contributing to the understanding of an important and still little studied bias of the Clarician\'s work.

O presente trabalho, a partir da perspectiva comparatista, desenvolve uma análise crítica de algumas narrativas de Estórias Abensonhadas de Mia Couto e de Rio dos bons sinais de Nelson Saúte à luz da importância do gênero conto, em que também significativamente se revelam as dimensões das literaturas africanas de língua portuguesa, além das possibilidades de investigação em torno de algumas das lógicas culturais que envolvem a história dos diferentes grupos etnolinguísticos que fazem parte do contexto geográfico moçambicano. Evidentemente que preservadas as especificidades históricas de cada grupo nacional local, a dissertação também se volta para a análise das tensões históricas resultantes do processo de intervenção metropolitana e manifestas na ficção moçambicana, sobretudo em textos escritos por uma intelectualidade urbana local mobilizada para a resistência. Inevitavelmente, as questões que foram se intensificando em torno da identidade moçambicana entendida a partir dessa perspectiva endógena serão examinadas. / The present study, from the comparative perspective, develops a critical analysis of some narratives from Estórias Abensonhadas by Mia Couto and from Rio dos bons sinais by Nelson Saúte in the light of the importance of the short story genre, that also reveals the significant dimensions of African literature in Portuguese language, beyond the possibilities of research around some of the cultural logics that involve the history of different ethnolinguistic groups that are part of the geographical context of Mozambique. Of course that preserved the historical location of each national group, the dissertation also turns to the analysis of historical tensions resulting from the intervention process and metropolitan Mozambican manifest in fiction, especially in texts written by a local urban intelligentsia mobilized for resistance. Inevitably, the questions which were intensified around Mozambican identity understood from this perspective endogenous will be examined.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-05-17T12:40:33Z No. of bitstreams: 1 alineazevedorochaduim.pdf: 1440710 bytes, checksum: 395def86178f8e51c7d4b785f683c7af (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-05-22T14:00:31Z (GMT) No. of bitstreams: 1 alineazevedorochaduim.pdf: 1440710 bytes, checksum: 395def86178f8e51c7d4b785f683c7af (MD5) / Made available in DSpace on 2018-05-22T14:00:31Z (GMT). No. of bitstreams: 1 alineazevedorochaduim.pdf: 1440710 bytes, checksum: 395def86178f8e51c7d4b785f683c7af (MD5) Previous issue date: 2018-03-28 / Esta pesquisa pretende analisar a situação feminina cabo-verdiana por meio da perspectiva de Orlanda Amarílis. A autora revela particularidades das vivências femininas em Cabo Verde e na diáspora, uma vez que ela também é uma mulher diaspórica tendo escrito sua obra em terras europeias sem, contudo, deixar de se preocupar com a posição de subalternidade e resignação de suas conterrâneas. Dessa forma, são analisadas também as personagens orlandianas sob o viés de identidades culturais e de gênero a partir de suporte teórico e critico de autores como: Stuart Hall, Frantz Fanon, Benjamin Abdala, Joan Scott e Thomas Bonnici, entre outros. Toda a pesquisa está voltada à analise de quatro personagens femininas de quatro contos selecionados para o corpus desta dissertação, sendo eles: “Desencanto”, “A casa dos mastros”, “Thonon-les-bains” e “Luna Cohen”. Dessas narrativas, são levantadas questões de como a mulher enfrenta situações sociais e financeiras adversas na diáspora e, também, a violência dentro do contexto de Cabo Verde e Europa. / This study aims at analyzing the Cape Verdean feminine condition from the perspective of Orlanda Amarílis. The author reveals singularities of feminine life in Cape Verde, Africa, and in diaspora since she herself was a diasporic woman who wrote her literary work in European land concerned with the position of subalternity and resignation of her country female mates. Henceforth her characters are analyzed under the perspective of cultural identities and gender based on theoretical and critic apparatus with works by Stuart Hall, Frantz Fanon, Benjamin Abdala, Joan Scott and Thomas Bonnici among others. The entire research is focused on the analysis of four female characters of four short stories selected to compose the corpus of this dissertation: “Desencanto” (Disenchantment), “A casa dos mastros” (The house of the masts), “Thonon-les-bains” and “Luna Cohen”. From those narratives, questions are raised such as how women face adverse social and financial situations in diaspora and also violence inside the context of Cape Verde and Europe.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-10-10T11:07:41Z No. of bitstreams: 1 leonardomendesgoncalves.pdf: 1236882 bytes, checksum: 7f17d402258cb8ba94f5d74d96d5ba15 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-10-16T13:33:49Z (GMT) No. of bitstreams: 1 leonardomendesgoncalves.pdf: 1236882 bytes, checksum: 7f17d402258cb8ba94f5d74d96d5ba15 (MD5) / Made available in DSpace on 2018-10-16T13:33:49Z (GMT). No. of bitstreams: 1 leonardomendesgoncalves.pdf: 1236882 bytes, checksum: 7f17d402258cb8ba94f5d74d96d5ba15 (MD5) Previous issue date: 2018-08-31 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A presente dissertação pretende analisar o projeto de resistência contido em Nós matamos o Cão Tinhoso (1964), do escritor moçambicano Luís Bernardo Honwana, por meio da perspectiva literária. O autor, ao escrever as sete narrativas contidas nessa antologia, estrutura sua crítica ao colonialismo na década de 1960, presente no território moçambicano. Em razão da publicação dessa obra moçambicana, o escritor Ondjaki resgatou a textualidade de Honwana e produziu o conto: Nós choramos pelo Cão Tinhoso (2007), fazendo uma menção ao conto moçambicano. Dessa forma, conceitos tais como o de resistência, de mímica, de camuflagem, de memória e de intertextualidade serão apontados neste trabalho, a fim de nortear a análise literária das narrativas envolvidas nesta pesquisa. Assim sendo, como suporte teórico, tomaremos por base Alfredo Bosi, Frantz Fanon, Homi K. Bhabha, Maurice Halbwachs, Mikhail Bakhtin e Julia Kristeva, entre outros. Procuraremos, sem esgotar os textos, demonstrar como essas textualidades apresentam uma inscrição dialógica, cujo objetivo é criticar a sistemática colonial e as sequelas por ela desencadeadas. / The present dissertation intends to analyze the resistance project contained in Nós mtamos o Cão Tinhoso (1964), by the Mozambican writer Luís Bernardo Honwana, through the literary perspective. The author, in writing the seven narratives contained in this anthology, structures his criticism of colonialism in the 1960s, present in Mozambican territory. Due to the publication of this Mozambican work, the writer Ondjaki rescued the textuality of Honwana and produced the tale Nós choramos pelo Cão Tinhoso (2007), making a mention of the Mozambican tale. Thus, concepts such as resistance, mimicry, camouflage, memory and intertextuality will be pointed out in this work, in order to guide the literary analysis of the narratives involved in this research. Thus, as theoretical support, we will take as basis Alfredo Bosi, Frantz Fanon, Homi K. Bhabha, Maurice Halbwachs, Mikhail Bakhtin and Julia Kristeva, among others. We will try, without exhausting the texts, to demonstrate how these textualities present a dialogical inscription, whose objective is to criticize the colonial systematics and the sequels it unleashed.

Au début des années 1990, avec le décret de la « Période Spéciale », Cuba connaît une crise sans précédent qui remet en question, pour la première fois de son histoire, les fondements mêmes de la Révolution. La littérature cubaine, marquée matériellement par ce contexte, se fait l’écho des bouleversements survenus dans l’Ile. Ce dialogue qui s’instaure entre fiction et réalités sociales est au cœur de notre réflexion. A travers l’étude des nouvelles publiées depuis le début de cette période, nous avons essayé de saisir l’esprit d’une époque. Nous retraçons ainsi le destin littéraire de La Havane, en ces temps troublés, depuis les représentations de la destruction de la ville jusqu’aux images de sa dispersion. Ceux qui ont choisi d’écrire La Havane en crise s’exposent au chaos et au néant. La décadence physique et morale de la capitale et de ses habitants s’impose comme un thème artistique majeur. Face à une réalité en pleine décomposition, les écrivains cubains deviennent les artisans d’une possible restauration de la ville. Ils invoquent l’écriture pour sauver une Havane qui est entrée dans une phase accélérée de destruction. Métaphore d’une société et d’une nation en crise, la ville, détruite sur le plan matériel, se reconstruit, peu à peu, sur le plan littéraire. / At the beginning of the 1990’s, with the “Special Period” decree, Cuba knows an unsurpassed crisis which questions, for the first time in its history, the foundations of the Revolution. The Cuban literature, marked materially by this context, echoes the turnovers that arose on the Island. This dialogue, established between fiction and social realities, is at the heart of our reflection. Throughout the study of the short stories published since the beginning of this period, we have attempted to seize the spirit of this era. In thus doing, we recount the literary destiny of Havana, in these flustered times, from the representations of the destruction of the city until the images of its dispersal. The authors who chose to write Havana in crisis run the risk of chaos and nonexistence. The physical and moral decline of the capital and of its people stands out as a major artistic subject. Facing a reality in full decomposition, the Cuban writers have become the artisans of the city’s possible restoration. They call upon writing to save Havana which has entered a hastened destructive stage. Metaphor of a society and of a nation in crisis, the city, destroyed on a material level, rises again, little by little, on a literary level.

Nobel Prize in Literature laureate Gao Xingjian is well known especially as an author of drama and novels Soul Mountain and One Man's Bible. This thesis examines his early novellas and short stories that were created at the end of the 70s and in the 80s. An analysis of meaning contruction is focused primarily on motifs and narrative techniques. It explores the process of his literary creation in context of official ideological requirements on literature as well as in context of literature genres known as "scar literature", "literature of reflection" and "root seeking" literature. This thesis shows how Gao Xingjian is trying to create a unique and individual worldview of his characters.

Eleven short fictions are introduced with a discussion of genre. Genre is looked at as being a matter of degree ranging from absolute prose on one end of the spectrum to a very specific form of poem with conventions of its own such as the Shakespearean Sonnet on the other end of the spectrum. The analysis is made in an appeal for the short-short story (or sudden fiction) as being a genre of its own. It is argued that regardless of what category a fiction may fall into (and some of the distinctions seem arbitrary), that what is most important is success at conveying a meaningful experience.

The thesis deals with early short stories and novellas by Chinese woman writer Can Xue. The first part of the thesis presents the work of Can Xue in the context of author's life and focuses on finding motifs associated with her life experiences. The second part outlines historical development of Chinese literature in the 80s of the 20th century, observes position of Can Xue in the "avant-garde literature", and describes the writers literary sources of inspiration and authors own view on literary-historical context of her works. The third part is based on the analysis of specific stories. In the context of what other critics have discussed the thesis determines two main approaches to the interpretation of Can Xues work - the political and the psychological. The thesis concludes that there is a significant element of personal experience in Can Xues works. It should not, however, be considered a dominant element, as it mainly serves as means of examining general aspects of human psyche. The introspective nature of Can Xues works is also the key reason why this thesis puts the psychological interpretation of her works above the political interpretation.

This investigation looks on how Setswana short story writers depict female characters in short stories as compared to their male counterparts. Four methods are employed in this study, namely: definition, interpretation, comparison and classification, to cast light on the problems of depiction of female characters. An adapted narratological model was considered most suitable for this study. In this model, when content is discussed, topic is emphasized, when plot structure is analysed, theme is highlighted and when style is examined, atmosphere is of paramount importance. Vital concepts related to the portrayal of female characters are (a) author, (b) text structure, (c) character, (d) womanism and (e) feminism. Discussions of the concept of the author tend to fall into two groups, namely: the real author and the author of the text. This second group, is also subdivided into three classes, which are biolographical, implied and abstract authors. The author as a person is the originator of the events, which are obviously related to the depiction of female characters. A biographical author is connected to real events, which are then used to describe female characters. An abstract author in this study is taken to mean the same as an implied author, because both types of voice disclose the information of the real author in the depiction of female characters. This information is the events through which female characters are portrayed in Setswana short stories. The structure of the text is examined as divided into three strata, namely: content, plot structure and style. Content is discussed as the events which will make up the plot have not been arranged by the author yet, that is are there before the text is written. This content layer has four elements, namely: events, characters, time and space, which are united into one unit by the topic. This topic controls all these elements. Plot structure is then the way in which the author as originator of the events arranges them. In the plot structure the four elements of the content are allocated different functions which revolve around one theme only. Analysis of plot structure is very important because it is where events related to female characters are arranged. Style is defined as a way in which an author uses language to expose his female characters when writing his short stories. The short story is divided in this study into two major types, namely: stories that simply inform and stories that entertain. Description of both types of short stories is given equal attention because the portrayal of female characters in many Setswana short stories is the aim of this examination. Character is the next concept examined in this study. Characters can be any of four types, namely: (a) content characters, (b) plot structure characters, (c) flat characters and (d) round characters. Content and plot structure characters differ in function in the plot. The distinction between flat and round characters lies in the manner in which they are described. These distinctions are important because this research focuses on female characters in the presentation selected Setswana short stories. Female characters can be portrayed by the author himself/herself, the narrator, the character himself/herself and/or by other characters. In these Setswana short stories female characters are usually portrayed as having no rights, which reflect all the mistakes made by people though not admitted by society in general. The portrayal of female characters can be approached using several categories, namely: womanism, experimental phase and feminism. Thus, analysis of selected Setswana short stories unravels how Setswana short story writers depict female characters, whether as womanists, women of the experimental phase or as feminists. Thus, this study divides the selected Setswana short stories into three groups, namely: stories of phase of womanism, stories of experimental phase and stories of phase of feminism, to find out whether depiction of female characters belong to only one of these three themes or to more than one. Stories of phase of womanism The study gives an investigation of womanism: Distinguishing characteristics related to womanism are: -- oppression and ill-treatment of female characters; -- discrimination and segregation of female characters; -- ignorance of female characters; -- the fact that female character should be beaten when they have done something wrong; and -- restriction of the role of female characters to taking care of their own families and the extended family. Setswana short story writers who write about womanism include Chikane ('Mafaratlhatlha a botshelo'and 'Sego sa metsi'), Magoleng and Ntsime ('Khutsana and 'Lerato le eseng lona'), Shole ('Seteropo ke sa gago' and 'Tlogela ngwanake'), Malope ('Le fa o ka e buela lengopeng…' and 'O nkutlwe') and Sikwane ('MmaModiegi'). These short story writers portray female characters living traditional lives even through events which address the issues of feminism. This vividly indicates that although life changes, women`s lives remain static, according to these Setswana short story writers. Stories of phase of feminism Feminism is the next concept explored by this study. The outstanding features which have been discovered in feminism attempts to: -- eradicate oppression of female characters; -- fight for equality amongst women and men in all spheres of life; -- remove segregation of and discrimination against female characters; and -- change the whole society. Setswana short story writers whose work explores the above aspects include Sikwane ('MmaModiegi'), Shole ('Seteropo ke sa gago' and 'Tlogela ngwanake’), Chikane ('Sego sa metsi') and Malope ('Bodiba jo bo jeleng ngwana `a mmaago…' and 'O nkutlwe'). These short story writers emphasize a change in the lives of female characters, describing the fight for equality for all so that each person becomes liberated. Stories of experimental phase Finally, this study examines the experimental phase which shares with both womanism and feminism. Setswana short story writers of the experimental phase intertwine these two approaches when they write their short stories. Features that are identified in both womanism and feminism are: -- the freedom of female characters; -- the liberation of the whole society; -- agreement on marriage and -- working together as a team to solve the problems of society. Malope is shown to be a Setswana short story writer who mixes womanism and feminism. What Malope stresses is that often female characters do not know where they stand, whether they belong to womanism or feminism, and so they end up living a double life. / Thesis (DLitt (African Languages))--University of Pretoria, 2007. / African Languages / unrestricted