Th.--Langue et litt. mod.--Paris 7, 1988.

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Made available in DSpace on 2014-06-11T19:35:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-02-14Bitstream added on 2014-06-13T18:46:57Z : No. of bitstreams: 1 borges_cvm_dr_sjrp.pdf: 1185394 bytes, checksum: 11564f5a15faab173b0bd2172b8fb026 (MD5) / Esta tese apresenta um estudo sobre os romances Uma vida e A consciência de Zeno e sobre os capítulos esparsos “Un contratto”, “Le confessioni del vegliardo”, “Umbertino”, “Il mio ozio” e “Il vecchione” do autor italiano Italo Svevo. A partir da análise dos textos, o trabalho mostra como essas narrativas são exemplos do narcisismo literário, em que o artifício utilizado para fazer Literatura se torna a própria matéria narrada. Além disso, o estudo mostra a evidente evolução do trabalho de Svevo no que diz respeito ao artefato crítico e à consciência do trabalho criativo, uma vez que a presente tese analisa três momentos distintos de sua obra e demonstra um inegável amadurecimento dessas questões. A ênfase da análise empreendida está nos elementos referentes às autobiografias ficcionais e à metaficção, que dão ensejo também ao estudo sobre o foco narrativo e o tempo / This thesis presents a study about the novels A life and Zeno’s conscience and some sparse chapters, i.e. “Un contratto”, “Le confessioni del vegliardo”, “Umbertino”, “Il mio ozio” and “Il vecchione” from the Italian author Italo Svevo. Based on the analysis of the texts, the work shows how these narratives are examples of literary narcissism, in which the employed artifice to do Literature becomes the narrated theme itself. Furthermore, the study shows a clear evolution of Svevo's work in relation to the critic artifact and the consciousness of the creative work, since this thesis examines three different moments of his work and demonstrates an undeniable maturity of these issues. The emphasis of the undertaken analysis relies on the constituents relating to the fictional autobiographies and to the metafiction, giving rise also to the study of narrative focus and time

Thesis (MA)--Stellenbosch University, 1991. / ENGLISH ABSTRACT: The aim of this study is to point out and elaborate the affinities, culturally as well as textually, between the two Italian authors, Italo Svevo and Carlo Michelstaedter. Furthermore, it is the object of this study to demonstrate how, implicitly, the two authors provide an answer, each in his own way, to the question of "una vita degna di essere vissuta" - "a life worthy of being lived". The central theme in this regard concerns the distinctive notions that each author has in respect of 'Ihealth" and "disease", and "life" and "death", as well as how these notions correspond to the implicit search in their respective writings for "perfection", "authenticity" and "liberty". / AFRIKAANSE OPSOMMING: Hierdie studie het ten doel am die kulturele en tekstuele affiniteite tussen die lwee Italiaanse outeurs, Ital0 Svevo en Carlo Michelstaedter, uit te wys en uitvoerig te bespreek. Daarbenewens, is die voorneme van hierdie studie om te wys hoe elk van die tv:ee outeurs, implisiet, '0 aotwoord verskaf op die kwessie van "una vita degna di essere vissuta" - II 'n lewe wat waardig is om geleef te word". Die sentrale tema in hierdie verband het betrekking op die onderskeidelike opvattings wat elke auteur se werk bevat ten opsigte van "gesondheid" en "siekte", en "Iewe" en "dood". Daar word ook getoon hoe hierdie opvattings betreffende die implisiete soeke ten opsigte van "volmaaktheid", "outentisiteit" en ''vryheid" in hul onderskeidelike tekste korrespondeer.

The question that forms the foundation of this project is quite simple: how can space help us discuss literature and vice versa? The chapters of this dissertation explore the writing of Francesco Dall’Ongaro, Italo Svevo, Pier Antonio Quarantotti Gambini, and Marisa Madieri, each of whom addresses spatial concepts in their textual representations of the northern Adriatic region. Utilizing the related yet distinct approaches of spatial literary studies and geocriticism, paired with intellectual history, I find that the northern Adriatic region can be construed as a literary creation comprised of distinct, resistant narratives. The four texts under discussion promote a particular narrative of the region, revealing different strategies for its literary construction. Furthermore, this project aims to demonstrate that the spatially-attentive critic, no matter the discipline, has a vital role in deconstructing the process by which spaces enter the imaginary through cultural production.

La présente étude conduit les traditions fragmentées de la culture littéraire de Trieste vers les préoccupations contemporaines de la littérature mondiale à l’époque actuelle où la mondialisation est largement perçue comme le paradigme historique prédominant de la modernité. Ce que j’appelle la « littérature globalisée » renvoie à la refonte de la Weltliteratur – envisagée par Goethe et traduite comme « world literature » ou la « littérature universelle » – par des discours sur la culture mondiale et le post-nationalisme. Cependant, lorsque les études littéraires posent les questions de la « littérature globalisée », elles sont confrontées à un problème : le passage de l’idée universelle inhérente au paradigme de Goethe entre le Scylla d’un internationalisme relativiste et occidental, et le Charybde d’un mondialisme atopique et déshumanisé. Les spécialistes de la littérature mondiale qui tendent vers la première position acquièrent un fondement institutionnel en travaillant avec l’hypothèse implicite selon laquelle les nations sont fondées sur les langues nationales, ce qui souscrit à la relation entre la littérature mondiale et les littératures nationales. L’universalité de cette hypothèse implicite est réfutée par l’écriture triestine. Dans cette étude, je soutiens que l’écriture triestine du début du XXe siècle agit comme un précurseur de la réflexion sur la culture littéraire globalisée du XXIe siècle. Elle dispose de sa propre économie de sens, de sorte qu’elle n’entre pas dans les nationalismes littéraires, mais elle ne tombe pas non plus dans le mondialisme atopique. Elle n’est pas catégoriquement opposée à la littérature nationale; mais elle ne permet pas aux traditions nationales de prendre racine. Les écrivains de Triestine exprimaient le désir d’un sentiment d’unité et d’appartenance, ainsi que celui d’une conscience critique qui dissout ce désir. Ils résistaient à l’idéalisation de ces particularismes et n’ont jamais réussi à réaliser la coalescence de ses écrits dans une tradition littéraire unifiée. Par conséquent, Trieste a souvent été considérée comme un non-lieu et sa littérature comme une anti-littérature. En contournant les impératifs territoriaux de la tradition nationale italienne – comme il est illustré par le cas de Italo Svevo – l’écriture triestine a été ultérieurement incluse dans les paramètres littéraires et culturels de la Mitteleuropa, où son expression a été imaginée comme un microcosme de la pluralité supranationale de l’ancien Empire des Habsbourg. Toutefois, le macrocosme projeté de Trieste n’est pas une image unifiée, comme le serait un globe; mais il est plutôt une nébuleuse planétaire – selon l’image de Svevo – où aucune idéalisation universalisante ne peut se réaliser. Cette étude interroge l’image de la ville comme un microcosme et comme un non-lieu, comme cela se rapporte au macrocosme des atopies de la mondialisation, afin de démontrer que l’écriture de Trieste est la littérature globalisée avant la lettre. La dialectique non résolue entre faire et défaire la langue littéraire et l’identité à travers l’écriture anime la culture littéraire de Trieste, et son dynamisme contribue aux débats sur la mondialisation et les questions de la culture en découlant. Cette étude de l’écriture triestine offre des perspectives critiques sur l’état des littératures canoniques dans un monde où les frontières disparaissent et les non-lieux se multiplient. L’image de la nébuleuse planétaire devient possiblement celle d’un archétype pour le monde globalisé d’aujourd’hui. / The present study brings the fragmented traditions of Triestine literary culture to bear on contemporary preoccupations with world literature at a time when globalization is widely perceived as the predominant historical paradigm that informs modernity. What I am calling “global literature” refers to the refashioning of Weltliteratur – envisioned by Goethe and translated as “world literature” or “littérature universelle” – by discourses on global culture and post-nationalism. However, when literary studies take on questions of global literature they are faced with a problem, navigating the universal idea of Goethe’s paradigm between the Scylla of a relativist, occidental internationalism and the Charybdis of a dehumanized, atopian globalism. Proponents of world literature who lean towards the former position gain an institutional foothold by working with the implicit hypothesis that nations are based in language, which underwrites the relationship between world literature and national literatures. The universality of this implicit hypothesis is what Triestine writing disproves. In this study, I argue that Triestine writing in the first decades of the twentieth century acts as a precursor to thinking about global literary culture for the twenty-first century. It has its own economy of sense, whereby it doesn’t fit into literary nationalisms, but it doesn’t fall into atopian globalism either. It is not emphatically opposed to national literature; rather it does not admit national traditions to take root. Triestine writers expressed a desire for a sense of unity and belonging, as well as a critical conscience that undoes that desire. It resists the idealization of its particularities, and never successfully coalesces into a unified literary tradition. Consequently, Trieste has often been thought of as a non-place and its literature as antiliterature. In bypassing the territorial imperatives of the Italian national tradition – as the case of Italo Svevo illustrates – Triestine writing was later caught up in the literary-cultural parameters of Mitteleuropa, where its literary expression was imagined as a microcosm of the former Habsburg Empire’s supranational plurality. However, the projected macrocosm of Trieste is not a unified image, like a globe; but instead it is a nebula – as Svevo had imagined it – where no universal idealizations could gain a foothold. This study interrogates the image of the city as a microcosm and as a nowhere and how that relates to the macrocosm of the atopias of globalization, in order to demonstrate that Triestine writing is global literature ante litteram. The unresolved dialectics of doing and undoing literary language and identity through the act of writing that animates Triestine literary culture plays out in globalization debates and the questions of culture that arise from it. Triestine writing offers critical perspectives on the status of canonic literatures in a world of disappearing borders and placeless places, where the nebula is a master image for today’s world.

Made available in DSpace on 2015-09-17T15:24:01Z (GMT). No. of bitstreams: 0 Previous issue date: 2001-04-20. Added 1 bitstream(s) on 2015-09-17T15:48:30Z : No. of bitstreams: 1 000156616.pdf: 1240383 bytes, checksum: 782b326b71efec9481ec3ef3b68a40d4 (MD5) / objetiva-se verificar os motivos que levam a uma consonância na leitura e interpretação de Memórias póstumas de Brás Cubas (romance considerado como o divisor de águas da obra do autor brasileiro Machado de Assis) e A consciência de Zeno (último romance do autor italiano Ítalo Svevo) por meio da análise de recursos narrativos e procedimentos de enunciação consonantes (perceptíveis por meio do funcionamento do narrador) utilizados na construção das narrativas e de discussões contrastivas de temas convergentes, a fim de detectar as características que fazem com que as duas obras representem inovação para suas épocas / The aim of this study is to verify the motives which lead to a concordance in the reading and interpretation of Memórias póstumas de Brás Cubas (Epitaph of a Small Winner, a novel considered to be a milestone in the works written by Machado de Assis) and A consciência de Zeno (Confessions of Zeno, last novel by the Italian writer Ítalo Svevo), through the analysis of narrative resources and consonant enunciation procedures (perceptible through the narrator) used in the construction of narratives and contrastive discussion of converging themes, in order to detect the characteristics which make both novels to be innovative