La présente étude invite le lecteur à s’éloigner des longs fleuves d’encre pour plonger dans le monde du bref, du furtif et de l’allusif, et à explorer le genre qu’est la micronouvelle. Cette étude sert de prétexte, paratexte et péritexte à la traduction, de l’espagnol au français, du recueil de micronouvelles Fenómenos de circo (2011) de l’écrivaine argentine Ana María Shua. La micronouvelle jouit d’une diffusion différentielle dans le monde : particulièrement intense dans l’espace hispanophone, beaucoup plus timide dans l’espace francophone. À la traduction du recueil de micronouvelles le plus récent à ce jour d’une auteure connue et réputée en microfiction, j’ajoute la production d’une sorte d’état des lieux thématique des réflexions théoriques actuelles sur ce genre littéraire, sa définition, sa dénomination et une partie de son histoire. J’étudie ensuite huit caractéristiques qui ressortent des œuvres de microfiction en général et de celles d’Ana María Shua en particulier : fractalité, brièveté, métafiction, hybridité, intertextualité, effet de chute, présence du fantastique et rôle actif du lecteur. La traduction de la microfiction ne semble pas fondamentalement différente de la traduction de toute autre œuvre littéraire dans la même combinaison de langues. Elle reçoit néanmoins l’influence du rayonnement différentiel de la micronouvelle dans les espaces hispanophone et francophone ainsi que des caractéristiques propres au genre microfictionnel.

[pt] O relato brevíssimo é um espaço particular que vem experimentando um crescimento sustentado desde meados do século XX, especialmente na América Latina. Uma plétora de escritores e de antologias organizadas nesse formato invadiu o mercado editorial hispano-americano nos últimos anos. Trata-se da microficção, uma narrativa que cabe no espaço de uma página. Muitas das ferramentas narrativas dos pequenos relatos provêm do conto, do qual herda a capacidade de criar uma tensão, um ritmo que se traduz na sua pulsão interna, embora nelas também haja ressonâncias de outros gêneros. Na economia da linguagem da microficção esconde-se um olhar lúdico com forte presença do humor e da paródia no tratamento de certas temáticas. Situações do cotidiano, contos populares ou versões corriqueiras de clássicos da literatura misturam-se com ângulos inéditos da condição humana. Vozes aparentemente anônimas trazem de um lugar de não-tempo e de não-espaço histórias que provocam um despertar dos sentidos sobre aquilo que, em princípio, parece inexplicável. A perspectiva de análise a que nos propomos é a da recriação da tendência atual da praxis cultural de desintegração dos gêneros, examinando alguns de seus antecedentes, várias das características que constituem as microficções, como também a idéia de resistência que a atomização da narrativa em pequenos blocos (fragmentos) acarreta. A dissertação aborda a microficção como uma forma de escrita fragmentária e faz algumas leituras sobre a sua relação com a geometria de fractais a partir da obra de Ana María Shua, Luisa Valenzuela e Marina Colasanti. / [en] The very short stories belong to a particular narrative space which has been experiencing a sustained growth since the middle of XX century, especially in Latin America. During the last years, many writers and anthologies around this narrative form have appeared in hispano-american book market. It`s the microfiction, a narrative that fits in a single page. Many narrative tools of these fictions arise from the short stories, from which they inherit the capacity of recreate tension. A rhythm that is translated in an internal pulse, even though resonances of other genres can be identified in these minimum stories. Microfiction´s language economy hides a ludic glance with a strong presence of humor and parody in the treatment of certain themes. Everyday situations, popular tales or hilarious versions of literature`s classics are blended with unknown perspectives of the human condition. Stories are told by apparently anonimous voices from a field of no-time and no-space inducing the awakening of senses over those things that in principle seem unexplainable. The analytical perspective that this study proposes is the recreation of the current cultural praxis trends of genre disintegration, by looking at some of its previous manifestations, its constitutive characteristics, as well as the implications of the resistance that the atomization of narrative in small fragments brings about. This thesis embraces microfiction as a fragmentary narrative, also analysing its relationship with fractal geometry throughout Ana Maria Shua, Luisa Valenzuela and Marina Colasanti`s work.

Thesis (Ph.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / Until recently little attention has been paid to Latin American women writers and even less to those of them who are Jewish. This dissertation is an attempt to remedy that situation through the study of four contemporary Argentine Jewish women writers. My introduction explores theoretical issues relating to the specificity of both Jewish and women's writing. Chapter One considers the work of Alejandra Pizarnik (1936-1972). Although a Jew by birth, she shows very little overt Jewish influence in her work because she did not acknowledge her heritage. However, her background appears obliquely throughout her writing, for example, in many biblical references. Pizarnik's perspective on women is equally elusive, but nonetheless can be traced in her treatment of love and loss. Ana Maria Shua (1951- ), whose writing is the subject of the second chapter, is openly Jewish and unavowedly feminist. I study those aspects of her work that can be considered Jewish, such as her interest in the immigrant experience and her recounting of traditional Jewish folk tales. Although Shua does not admit to being a feminist, her books portray female dominance over men, particularly in El marido argentino promedio. Chapter Three centers on the writings of Manuela Fingueret (1945- ). Traditional customs, the Yiddish language and biblical references appear in her fiction and poetry. She depicts her female characters as strong and independent. Her poetry contains an element of eroticism, which she presents from a distinctively feminine perspective. The final chapter studies the work of Alicia Steimberg (1933- ). Steimberg's characters indicate contradictory feelings about being Jewish. Steimberg, like Shua, deals with the Jewish immigrant experience; she focuses on women, many of whom work outside the home. Steimberg's treatment of eroticism is idiosyncratically straightforward in its emphases. The dissertation's epilogue summarizes its conclusions and points the way for additional work to be done on Latin-American Jewish women writers. / 2999-01-01

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