Esta dissertação focaliza dois textos do escritor William Faulkner, considerado pela crítica como um dos expoentes das experimentações modernistas. O primeiro a ser estudado aqui é A Rose for Emily, uma short story publicada em 1930; o segundo é Absalom, Absalom!, um romance de 1936. O objetivo é investigar se no trabalho de Faulkner pode ser encontrado um narrador por excelência, partindo do conceito apresentado por Walter Benjamin em seu estudo The storyteller: reflections on the works of Nikolai Leskov. Minha proposta é levantar a questão do fim da comunicabilidade da experiência do narrador para então sugerir que, ao contrário do que Benjamin afirma, a arte de narrar não chegou ao fim. Meu argumento é de que as narrativas de Faulkner evidenciam sua arte de narrar imbricada com seu uso de ponto de vista. A experiência e a experimentação de Faulkner enquanto escritor são investigadas neste trabalho, principalmente sua manipulação do uso de ponto de vista, e são analisadas à luz de conceitos desenvolvidos por Walter Benjamin, Wayne Booth, Gérard Genette, Mieke Bal, entre outros. Os resultados desta pesquisa destacam que o trabalho de Faulkner com ponto de vista pode ser considerado muito mais que um mero experimento modernista, pois sua experiência como escritor proveniente do Sul dos Estados Unidos tem impacto nessa experimentação. A memória individual e coletiva, a transmissão de experiência, o contar e o recontar de histórias dos narradores, são fatores importantes para a construção de significado nas narrativas estudadas. Além disso, ao discutir a significação de sua obra, tanto no aspecto formal quanto no aspecto relativo ao contexto geográfico e literário de seu tempo e lugar, espero contribuir com mais um olhar sobre as estratégias narrativas de Faulkner, escritor que, ainda hoje, fomenta investigação e produção acadêmica significativa, justamente por conseguir construir círculos narrativos que apresentam narradores por excelência. / This thesis brings into focus two texts by William Faulkner, a writer who has been praised as one of the exponents at modernist experimentations. The first one to be studied here is A Rose for Emily, a short story published in 1930; the second is Absalom, Absalom!, a novel from 1936. The objective is to investigate whether a genuine storyteller can be found in Faulkner‘s work, supported by the concept presented by Walter Benjamin in his essay The storyteller: reflections on the works of Nikolai Leskov. My aim is to raise the question of the end of communicability of experience in order to suggest that, contrary to what Benjamin affirms, the art of storytelling has not reached its end. My argument is that Faulkner‘s narratives evidence his storytelling art as being imbricated with his use of point of view. Faulkner‘s experience and experimentation as a writer are investigated here, principally his manipulation with the use of point of view, and they are analyzed in the light of the concepts developed by Walter Benjamin, Wayne Booth, Gérard Genette, Mieke Bal, and others. The results of this research highlight that Faulkner‘s work with point of view is to be considered much more than merely a modernist experimentation, because his experience as a writer from the South of the United States has impact on this experimentation. Individual and collective memory, transmission of experience, narrators telling and retelling stories, are important factors for the construction of meaning in the narratives studied here. Moreover, by discussing the meaningfulness of his work, whether in its formal aspect or in the aspect related to the geographic and literary context of its time and place, I expect to contribute with yet another look into the narrative strategies employed by Faulkner, a writer that, still today, fosters academic investigation and production, exactly for being able to construct telling circles that present genuine storytellers.

Les narrateurs du Bel Inconnu de Renaut de Beaujeu, de Florimont, d’Aimon de Varennes et de Partonopeu de Blois se démarquent par leur statut ambigu. Ils posent leur voix dès le prologue et s’affirment à travers un dialogue avec les dédicataires dont la lecture ou l’écoute actualisent le processus narratif. Un transfert à la fois énonciatif et scriptural parachève cette élaboration, offrant la possibilité aux auteurs de se couler dans la fonction du narrateur, appréhendé dès lors comme l’unique médiateur du récit. Dans une perspective plus large, l’intrication des formes et des matières favorise la complexité et la richesse du « je » polymorphe à venir. Les narrateurs deviennent alors conteurs et maîtres d’une narration qu’ils organisent à leur guise. En adoptant des stratégies narratoriales diverses, ils demeurent la voix unique et font figure d’instance narrante surplombante dans une perspective exclusive, globale et cohérente. Mais surtout, ils combinent leur « je » conteur à leur « je » amoureux dont les interruptions au caractère plus intime permettent la réalisation. Le récit subsume ainsi le discours lyrique, le fait sien, l’espace romanesque devenant le lieu d’une mutation lors de laquelle les narrateurs se projettent dans les personnages eux-mêmes, conçus tels des outils au service du « je ». Nous assistons ainsi à une narration plus intériorisée et à la manifestation d’un narrateur-auteur qui, en tant que sujet empirique, se sert de la fiction comme d’un véritable espace d’expérimentation. Cette figure auctoriale se cristallise lorsque le « je » exhibe ses capacités d’écrivain ou lorsqu’il livre des considérations pseudo-autobiographiques semblant marquer le texte du point de vue d’une conscience. / The narrators in Le Bel Inconnu by Renaut de Beaujeu, Florimont, by Aimon de Varennes and Partonopeu of Blois stand out due to their ambiguous status. They establish their voice in the prologue and assert themselves through a dialogue with the dedicatees, whose reading or listening updates the narrative process. A transfer, which is at the same time enunciative and scriptural, completes this elaboration, offering the authors the possibility to sink into the function of the narrator, understood from then on as the sole mediator of the narrative. From a broader perspective, the entanglement of forms and materials fosters the complexity and richness of the future polymporph "I". The narrators then become storytellers and masters of a narrative that they organise as they see fit. By adopting diverse narratorial strategies, they remain the sole voice and act as an overriding narrative authority from an exclusive, comprehensive and coherent perspective. But above all, they combine their storyteller "I" with their romantic "I" whose interruptions to the more intimate style allow for their realisation. The narrative thus subsumes the lyrical discourse, adopting it as its own, the romantic space becoming the place of change in which the narrators project themselves into the characters themselves, conceived as tools in the service of "I". We are thus witnessing a more internalised narrative and the manifestation of a narrator-author who, as an empirical subject, uses fiction as a truly experimental space. This auctorial figure crystallises when the "I" exhibits his capacities as a writer or when he provides pseudo-autobiographical considerations seeming to mark the text from the point of view of a consciousness.

Esta dissertação focaliza dois textos do escritor William Faulkner, considerado pela crítica como um dos expoentes das experimentações modernistas. O primeiro a ser estudado aqui é A Rose for Emily, uma short story publicada em 1930; o segundo é Absalom, Absalom!, um romance de 1936. O objetivo é investigar se no trabalho de Faulkner pode ser encontrado um narrador por excelência, partindo do conceito apresentado por Walter Benjamin em seu estudo The storyteller: reflections on the works of Nikolai Leskov. Minha proposta é levantar a questão do fim da comunicabilidade da experiência do narrador para então sugerir que, ao contrário do que Benjamin afirma, a arte de narrar não chegou ao fim. Meu argumento é de que as narrativas de Faulkner evidenciam sua arte de narrar imbricada com seu uso de ponto de vista. A experiência e a experimentação de Faulkner enquanto escritor são investigadas neste trabalho, principalmente sua manipulação do uso de ponto de vista, e são analisadas à luz de conceitos desenvolvidos por Walter Benjamin, Wayne Booth, Gérard Genette, Mieke Bal, entre outros. Os resultados desta pesquisa destacam que o trabalho de Faulkner com ponto de vista pode ser considerado muito mais que um mero experimento modernista, pois sua experiência como escritor proveniente do Sul dos Estados Unidos tem impacto nessa experimentação. A memória individual e coletiva, a transmissão de experiência, o contar e o recontar de histórias dos narradores, são fatores importantes para a construção de significado nas narrativas estudadas. Além disso, ao discutir a significação de sua obra, tanto no aspecto formal quanto no aspecto relativo ao contexto geográfico e literário de seu tempo e lugar, espero contribuir com mais um olhar sobre as estratégias narrativas de Faulkner, escritor que, ainda hoje, fomenta investigação e produção acadêmica significativa, justamente por conseguir construir círculos narrativos que apresentam narradores por excelência. / This thesis brings into focus two texts by William Faulkner, a writer who has been praised as one of the exponents at modernist experimentations. The first one to be studied here is A Rose for Emily, a short story published in 1930; the second is Absalom, Absalom!, a novel from 1936. The objective is to investigate whether a genuine storyteller can be found in Faulkner‘s work, supported by the concept presented by Walter Benjamin in his essay The storyteller: reflections on the works of Nikolai Leskov. My aim is to raise the question of the end of communicability of experience in order to suggest that, contrary to what Benjamin affirms, the art of storytelling has not reached its end. My argument is that Faulkner‘s narratives evidence his storytelling art as being imbricated with his use of point of view. Faulkner‘s experience and experimentation as a writer are investigated here, principally his manipulation with the use of point of view, and they are analyzed in the light of the concepts developed by Walter Benjamin, Wayne Booth, Gérard Genette, Mieke Bal, and others. The results of this research highlight that Faulkner‘s work with point of view is to be considered much more than merely a modernist experimentation, because his experience as a writer from the South of the United States has impact on this experimentation. Individual and collective memory, transmission of experience, narrators telling and retelling stories, are important factors for the construction of meaning in the narratives studied here. Moreover, by discussing the meaningfulness of his work, whether in its formal aspect or in the aspect related to the geographic and literary context of its time and place, I expect to contribute with yet another look into the narrative strategies employed by Faulkner, a writer that, still today, fosters academic investigation and production, exactly for being able to construct telling circles that present genuine storytellers.

Este trabalho é uma reflexão acerca da Arte de Contar Histórias como uma importante ferramenta artística e educativa na formação do ser humano de todas as épocas, vista especialmente em suas relações com as questões trazidas pelo universo contemporâneo da cibercultura. Ao problematizar e dialogar com a emergência e complexidade desse universo, a função social do contador de histórias, sua arte e seu papel formador encontram visões divergentes, antagônicas e polêmicas trazendo assim discussões pertinentes para seu lugar e importância na vida atual. O que é importante saber para contar histórias no mundo de hoje? Qual a relevância da arte de contar histórias em um mundo mediado por telas? Qual o impacto da cibercultura no universo do contador de histórias e o impacto do trabalho do contador de histórias na Era Digital? Tais questões foram discutidas partindo de imagens significativas que serviram de metáforas para o aprofundamento dos problemas bem como do depoimento de contadores e ouvintes de histórias, teóricos da comunicação, antropólogos, filósofos, poetas e educadores. / This work is a reflection about the Art of Storytelling as a major artistic and educational tool in the educational process of human beings of all ages, especially seen in its relations with the questions raised by the contemporary universe of cyberculture. When discussing and questioning the emergence and complexity of this universe, the social role of storyteller, his art and his educational role, we came across different, antagonistic and controversial sights bringing relevant discussions to his place and importance in the present life. What is important to know in order to tell stories in today\'s world? What is the relevance of storytelling in a world mediated by screens? What is the impact of cyberculture in the storytelling universe and the impact of the storyteller\'s work in the Digital Age? Such issues were discussed starting from meaningful images that served as metaphors for the deepening of the problems as well as the testimony of storytellers and listeners, communication theorists, anthropologists, philosophers, poets and educators

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My thesis discusses the ways in which Julia Alvarez's In the Time of the Butterflies (1994) and In the Name of Salomé (2000) are revolutionary texts contesting traditional, male dominated history and redirecting historical and communal foci to the lives of Dominican women. I employ Walter Benjamin's theories found in his essays "The Storyteller" (1936) and "On the Concept of History" (1940) to assist my exploration of Alvarez's questions concerning the power and effect of storytelling, and the importance of reconstructing various historical voices and images, specifically, the importance of reconstructing female voices in male dominated cultures. I discuss the female-narrated component to Dominican history which Alvarez creates in her reconstruction of the lives of these women. Alvarez confronts the challenge of breaking these women out of their marginalized status by combining fiction with history in her reconstruction of their lives. Alvarez assumes the multifaceted role of mediator, story-teller, and historian as she remembers and re-presents Dominican history through the eyes of women who lived, experienced, and affected change within the Dominican Republic. Without merely act as a reporter of historical "facts," Alvarez reconstructs the lives of these women fictionally, applying her impressions and ideas about the personalities, feelings, and thoughts of these women, and historically, utilizing first and secondhand accounts and information about the women. Ultimately, the women are presented as individuals but are also connected to a collective memory and history. As individuals with human characteristics, the women are no longer inaccessible legends. As members of a collective memory and history, the women are redeemed from the isolating effect of their patriarchal society which would have women remain silent. Due to Alvarez's reconstruction, their stories finally have the potential for further dissemination in the future with the possibility to affect other oppressed peoples. Thus, Alvarez's reconstruction of the resistance of a few women in Dominican history produces the capacity for additional resistance by Alvarez's audience to the same forces that these women were combating which continue to exist today — forces such as patriarchy, dictatorial governments, fascism, and economic disparity.