Zugl.: Regensburg, Universiẗat, Diss., 2008.

O livro de contos Il gioco del rovescio, do escritor italiano Antonio Tabucchi, publicado em 1981, marca o início de uma poética, segundo o autor. Com o título de poetica dei buchi, Tabucchi propõe uma literatura fragmentária, com uma predileção pelos vazios, pela construção narrativa a partir destes buracos e fissuras, por histórias incompletas. Esta poética é reafirmada e acrescida de pequenas nuances em Piccoli equivoci senza importanza e LAngelo Nero, coletâneas de contos publicadas respectivamente em 1985 e 1991. Neste trabalho, procuramos analisar estas obras discutindo alguns de seus temas e procedimentos estruturais, verificando sua recorrência e procurando dialogar com concepções teóricas ligadas à pós-modernidade literária. / The collection Il gioco del rovescio, of the italian writer Antonio Tabucchi, published in 1981, marks, according to the author, the beginning of a poetics. With the title poetica dei buchi, Tabucchi suggests a fragmented literature, that shows a preference for empty, for narrative constructions starting from these buchi and fissures, for incompleted stories. That poetics is reaffirmed and strengthened by subtle nuances in Piccoli equivoci senza importanza and LAngelo Nero, collections of stories published in 1985 and in 1991. In this work, we try to analyze these collections, discussing some of their themes and structural processes, verifying their recurrence and trying to dialogue with the theoretical conceptions related to postmodernity in literature.

La thèse se propose d'explorer les rapports entre la peinture et l'œuvre de l'un des écrivains italiens majeurs de la deuxième moitié du XXème siècle et du début du siècle successif, Antonio Tabucchi (1943-2012). Ce travail vise à avancer dans la compréhension de l'œuvre narrative tabucchienne, tout en fournissant un parcours de l'œil, du regard et du voir, où l'œil, le regard et le voir sont alternativement ceux de l'écrivain, de ses personnages et du lecteur. Dans ce parcours, se déployant par étapes successives et par de continuels allers et retours entre les mots et les images, le langage verbal est le centre incontournable. La peinture y est un objet d'étude, mais avant tout le principal moyen d'analyse, nous permettant d'étudier et de saisir au plus près les textes. Le parcours proposé est divisé en trois parties, chacune consacrée à une modalité différente de la présence de la peinture dans l'œuvre tabucchienne. De ces trois parties, la première s'intéresse plus particulièrement aux images peintes apparaissant dans l'univers de l'écrivain italien. Il y est notamment question des différentes possibilités de leur identification, de la place qu'elles occupent, des fonctions qu'elles jouent à l'intérieur de l'œuvre et pour sa compréhension. Dans cette première étape de notre étude, une place de choix est laissée à la citation picturale, à son mode d'être, son rôle et son fonctionnement pour le lecteur. La deuxième partie de la thèse se concentre principalement sur l'allusion picturale et plus particulièrement sur la capacité des mots de donner à voir, d'évoquer des peintures en l'absence de toute référence picturale à proprement parler. À l'intérieur de cette partie, l'écart entre le lisible et le visible, entre ce qu'on lit et ce que l'on voit apparaît comme la principale clé herméneutique du texte. Enfin, la troisième partie de cette thèse fait de la peinture un modèle pour lire le texte, fixant l'attention du lecteur sur un champ d'étude problématique, aux enjeux théoriques majeurs, celui des correspondances entre littérature et peinture. Dans cette partie, après une introduction plus théorique permettant d'étayer la question abordée, nous passerons de la question des analogies entre les artistes à la recherche d'équivalences et d'effets semblables obtenus par l'écrivain et les peintres par les moyens de leurs propres arts. Liées entre elles par la méthodologie adoptée et les finalités poursuivies, ces trois parties n'en sont pas moins autonomes, car chacune d'entre elles met en avant un rapport différent entre peinture et littérature, une modalité distincte du transfert entre les arts. / This Phd thesis aims to explore the relationship between the art of painting and the literary production of Antonio Tabucchi (1953-2012), one of the leading writers in Italian contemporary literature. This work aims to contribute to the understanding of Tabucchi's literary works, by providing a path for the eye and for the vision where the subjects of perception will be alternatively the writer, his characters and the reader. In this course which is structured in different successive stages and follows a continual back and forth between words and images, the verbal language is always the key. Painting is not only an object of study, but also the primary means of analysis and it allows to study and understand more closely the texts. This imaginary path is divided into three parts and each of them analyzes a different modality of the presence of painting in Antonio Tabucchi's works. The first part focuses on painted images appearing in the world of this writer. This section focuses on the references to the various possibilities of pictures' identification and on the place and functions they play within the text and in the understanding process. In this first phase of our study, a privileged place is left to the pictorial quote; we study its mode of being, its role and its function towards the reader. The second part takes into consideration the concept of pictorial allusion and particularly the ability to use words to see artworks and to evoke paintings despite the absence of any pictorial reference. In this part the difference between the visible and legible, between what we read and what we see is the principal hermeneutic key for any interpretation of the text.Finally, the third part shows how painting could be a model to read the text drawing the reader's attention to a problematic field of study. This one concerns the equivalences between literature and painting and generates some important theoretical issues. In this part, after a theoretical introduction, we will examine the similarities between different artists and we seek similar effects achieved by the writer and painter by means of their own arts. These three parts are linked by the methodology adopted and by the objectives pursued, but they are also autonomous because each of them highlights a different relationship between painting and literature revealing a distinct mode of transfer between the arts.

O livro de contos Il gioco del rovescio, do escritor italiano Antonio Tabucchi, publicado em 1981, marca o início de uma poética, segundo o autor. Com o título de poetica dei buchi, Tabucchi propõe uma literatura fragmentária, com uma predileção pelos vazios, pela construção narrativa a partir destes buracos e fissuras, por histórias incompletas. Esta poética é reafirmada e acrescida de pequenas nuances em Piccoli equivoci senza importanza e LAngelo Nero, coletâneas de contos publicadas respectivamente em 1985 e 1991. Neste trabalho, procuramos analisar estas obras discutindo alguns de seus temas e procedimentos estruturais, verificando sua recorrência e procurando dialogar com concepções teóricas ligadas à pós-modernidade literária. / The collection Il gioco del rovescio, of the italian writer Antonio Tabucchi, published in 1981, marks, according to the author, the beginning of a poetics. With the title poetica dei buchi, Tabucchi suggests a fragmented literature, that shows a preference for empty, for narrative constructions starting from these buchi and fissures, for incompleted stories. That poetics is reaffirmed and strengthened by subtle nuances in Piccoli equivoci senza importanza and LAngelo Nero, collections of stories published in 1985 and in 1991. In this work, we try to analyze these collections, discussing some of their themes and structural processes, verifying their recurrence and trying to dialogue with the theoretical conceptions related to postmodernity in literature.

Prenant notre point de départ dans l’étude du rapport fantastique avec le savoir mis en évidence par Michel Foucault à propos du travail littéraire de Flaubert, nous voudrions nous interroger sur les modalités proprement contemporaines des rapports entre les écrivains et les savoirs, et tenter de caractériser précisément ces rapports dans la littérature européenne contemporaine, en nous appuyant sur les œuvres de Pierre Michon, W.G. Sebald et Antonio Tabucchi. À l’aide d’une définition pragmatique des savoirs, nous commençons par une étude des représentations de l’érudition dans la fiction, en nous concentrant sur divers personnages, secondaires ou plus importants, qui jouent tous des rôles d’intercesseurs dans la production, la transmission et la diffusion des savoirs. S’ils fonctionnent bien d’un certain côté comme des figures de l’érudition, images idéales de savoirs efficaces, ces personnages portent aussi des critiques des savoirs établis et des hiérarchies qui lui sont associées. Les lieux associés aux savoirs, bibliothèques et musées en particulier, sont également abordés selon cet angle polémique. La seconde partie de notre travail s’attache à l’étude des usages des savoirs par les écrivains que nous avons choisis, en fournissant des éléments pour une poétique des textes littéraires contemporains construits sur un rapport à l’érudition. Leur écriture seconde, s’appuyant sur une grande variété de textes, s’approprie de nombreux savoirs. Nous étudions successivement les diverses modalités des usages des paroles rapportées, que cela soit à travers l’oralité, par des citations, ou la présence des langues étrangères, pour montrer les usages particuliers des savoirs que font nos écrivains. En opposition à un usage postmoderne de l’érudition, une érudition inquiète, mettant au centre de sa dynamique une mise en commun du sens, se fait jour. / Beginning with the fantastic relation with knowledge highlighted by Michel Foucault regarding Gustave Flaubert’s literary work, we would like to bend over the contemporary modalities of the relations between knowledge and literary writers, and try to precisely characterize theses relations in contemporary European literature, basing our work on the examples of Pierre Michon, W.G. Sebald and Antonio Tabucchi. A pragmatic definition of knowledge helps us to begin with a study of the representations of erudition in the fiction, focusing upon various characters, who play an intermediary role in the production, transmission or diffusion of knowledge. If on one hand they operate as figures of erudition, ideals representations of effective knowledge, these characters on the other hand carry with them some critics of the established knowledges and the hierarchy that are associated with them. The places associated with knowledge, libraries or museums, are also studied in this polemic approach. The second part of our work studies the uses of knowledge done by the writers chosen, giving some elements for a poetic study of the contemporary literary texts that are written in a relation with knowledge. Their secondary writing, built on a wide variety of texts, assimilates various knowledges. We study successively the diverse modalities of the uses of the words reported, by the relation between the literary text and the orality, the quotations, or the presences of foreign languages, to highlight the original uses of knowledge done by our writers. Opposing a postmodern use of erudition, emerges an anxious and restless erudition, concerned by the sharing of meaning and the community it constitutes.

Zugl.: Regensburg, Univ., Diss., 2008

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-02-22T11:45:44Z No. of bitstreams: 1 José Ribamar Ferreira.pdf: 884058 bytes, checksum: bc17949ed0cb882824fec45ea3cec3a3 (MD5) / Made available in DSpace on 2017-02-22T11:45:44Z (GMT). No. of bitstreams: 1 José Ribamar Ferreira.pdf: 884058 bytes, checksum: bc17949ed0cb882824fec45ea3cec3a3 (MD5) Previous issue date: 2017-02-17 / This research aims to investigate the construction of subjectivity in Antonio Tabucchi’s novel Afirma Pereira, as well as the writing resources used by the author in the making of a certain type of subject amidst the existential uncertainties in the end of the 1930s, in the context of the Salazar regime. The analytical bias of this study assumes that Antonio Tabucchi proposes, throughout the novel, literature as a form of political resistance, and also the construction of one’s subjectivity in the search of self-affirmation in the middle of Portugal’s totalitarian ideology. Moreover, this research demystifies the ideological discourses that have contributed to the deconstruction of the subjectivity of the subject, such as alienation, self-restraint, and solitude. We furthermore identify in Afirma Pereira the identity crisis of the modern man, who was trapped in his “hegemonic self” and, therefore, alienates himself. Finally, we problematize the appearance of existential problems experienced by the character Pereira in that very troubled period of the history of Portugal, such as anxiety, melancholy, fear, insecurity, solitude, and uncertainties, among other symptoms of that country’s social-historical situation during the Salazarism. Concerning the construction of the subjectivity, the research is based on the reflections of Jean-Paul Sartre, Kierkegaard, Fernando Pessoa, Octavio Paz, and other authors. Through this research, we hope to communicate to the reader that it is indeed possible, from the enunciative voice of Afirma Pereira’s testimony, to elucidate and demystify ideological discourses and ethnocentric paradigms that prevail over people’s consciousness and prevent them from asserting themselves in the world / O objetivo desta pesquisa é investigar a construção da subjetividade no romance Afirma Pereira, de Antonio Tabucchi, e quais os recursos de escrita de que o autor se vale para construir certo tipo de sujeito em meio às incertezas existenciais no final da década de 1930, no contexto salazarista. A pesquisa se dá pelo viés da análise de que Antonio Tabucchi traz presente no romance a literatura como resistência política, a construção da subjetividade do sujeito em busca de se autoafirmar em meio as ideologias totalitárias de Portugal; também desmistifica discursos ideológicos que contribuíram para a desconstrução da subjetividade do sujeito bem como: a alienação, o comedimento, a solidão entre outros. Identificamos ainda, no romance Afirma Pereira, a crise de identidade do homem contemporâneo, que se prendeu no seu “eu hegemônico” e por isso se aliena. Por fim, problematizamos a aparição das problemáticas existenciais vivenciadas pela personagem Pereira, naquela fase tão conturbada de Portugal, entre elas: ansiedade, melancolia, medo, insegurança, solidão, incertezas, entre outros sintomas da situação sócio-histórica do país durante o salazarismo. Fundamentam a pesquisa, em relação à construção da subjetividade, as reflexões de Jean-Paul Sartre, Kierkegaard, Fernando Pessoa, Otávio Paz e outros autores. Esperamos, por meio da nossa pesquisa, dizer ao leitor que a partir da voz enunciativa do testemunho do romance Afirma Pereira, é possível sim, elucidar e desmistificar discursos ideológicos e paradigmas etnocêntricos que sucumbem a consciência das pessoas, impedindo-as de se autoafirmar no mundo

Made available in DSpace on 2016-04-28T19:58:49Z (GMT). No. of bitstreams: 1 Edison de Abreu Rodrigues.pdf: 910145 bytes, checksum: 1db64bec280d1c2808c98c5bb74b54f4 (MD5) Previous issue date: 2013-04-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The objective of this research is to analyze comparatively the book: Poemas Escritos na Índia, by Cecilia Meireles and Noturno Indiano, by Antonio Tabucchi, analyzing the bias of the journey and alterity, comprehending how is the search for the otherness sense through the journey report . To achieve our goal, we propose the following hypothesis: it is possible that, in both works, the sense of alterity be constructed from the relationship between India, the poet lyric persona and the investigative narrator's character; Cecilia Meireles externs her poetic metaphysical experiences building a sense of otherness through contemplation of places and people, while Antonio Tabucchi builds otherness through investigation of a fleeting, nomadic shadow and a sense of missing thing. This research is based upon the relation between the concepts of the journey and alterity, the reflections of Octavio Paz, Wladimir Krysinski, Tzvetan Todorov and Mikhail Bakhtin. About the narrator traveler, the thoughts of Walter Benjamin and Michel Onfray proved to be of great value; the character of the night in the literature has as a parameter the conceptualization of Maurice Blanchot. Among the research results, we emphasize that despite building a sense of alterity in different ways, it is the journey that provides support for the search of this other being that is within us and, that the literary creation of an India capable to encompass the multiplicity of humanity, awakens in man the divine character and takes him to recognize himself / O objetivo desta pesquisa é analisar comparativamente os livros Poemas escritos na Índia, de Cecília Meireles, e Noturno Indiano, de Antonio Tabucchi, pelo viés da viagem e da alteridade, compreendendo como se dá a busca do senso de alteridade por meio do relato de viagem. Para atingir tal objetivo, propomos as seguintes hipóteses: é possível que, em ambas as obras, o senso de alteridade se construa a partir da relação entre a Índia e o eu-lírico da poeta, e entre a Índia e o eu investigativo do narrador-personagem; Cecília Meireles externa suas experiências metafísico-poéticas in loco, construindo a sensação de alteridade por meio da contemplação dos lugares e das pessoas, enquanto Antonio Tabucchi constrói a alteridade por meio da investigação de uma sombra fugidia e nômade, de um outro ausente. Fundamenta a pesquisa, em relação aos conceitos de viagem e alteridade, as reflexões de Octavio Paz, Wladimir Krysinski, Tzvetan Todorov e Mikhail Bakhtin; acerca do narrador viajante, o pensamento de Walter Benjamim e Michel Onfray revelou-se de grande valia; o caráter da noite na literatura, em Noturno Indiano, tem como parâmetro a conceituação de Maurice Blanchot. Entre os resultados da pesquisa, ressaltamos que, apesar de construir o senso de alteridade de modos diferentes, é a viagem que dá sustentação para a busca desse outro que está em nós, e que a criação literária de uma Índia capaz de abarcar a multiplicidade da humanidade desperta no homem o seu caráter divino e leva-o ao (re)conhecimento de si mesmo

Made available in DSpace on 2015-09-17T15:25:29Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-02-27. Added 1 bitstream(s) on 2015-09-17T15:48:45Z : No. of bitstreams: 1 000846705.pdf: 843210 bytes, checksum: e5661feb1f4490f4464d7389b241fe39 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Neste trabalho propusemos estudar a relação entre história e literatura na representação do salazarismo em Afirma Pereira, de Antonio Tabucchi. Para embasarmos a análise da obra, começamos por algumas reflexões sobre a origem do romance e suas características, partindo de estudos de Bakhtin e Lukács. Na sequência, aprofundamos alguns aspectos da relação entre literatura e história, que nortearam nosso olhar para a questão da representação ficcional proposta por Tabucchi, através da diferenciação entre a narrativa ficcional e a narrativa historiográfica. Essa relação abre a discussão para o romance histórico tanto o clássico, como o contemporâneo. Assim, analisamos alguns traços de ambas variações dessa forma romanesca, estabelecendo de que maneira o romance histórico clássico é atualizado segundo Jameson e Anderson. Em seguida, entramos numa abordagem histórica a respeito do salazarismo para entender de que forma Tabucchi representa tal regime e quais são os aspectos subvertidos em sua construção ficcional. Com base na teoria dos mitos ideológicos formadores do Estado Novo, do historiador português Fernando Rosas, nos aspectos da narrativa ficcional e do romance histórico, formamos o alicerce teórico e passamos para a análise da obra aqui estudada. Procuramos estabelecer de que forma o romance histórico tabucchiano questiona o salazarismo e o totalitarismo europeu e de quais dispositivos o autor parte para tal construção, como, por exemplo, a subversão dos mitos ideológicos por algumas personagens. Com efeito, como resultado da pesquisa podemos estabelecer que a obra é um romance histórico contemporâneo atualizando e transformando o conceito de romance histórico, e a representação ficcional do salazarismo é feita por meio do olhar questionador que inverte as bases principais do regime e as expõe com intuito de provocar a reflexão sobre tal período. / This study aimed to study the relationship between history and literature in the representation of Salazar in Antonio Tabucchi's Afirma Pereira. The analysis of the work started by some reflections on the origin of the novel and its features, from Bakhtin and Lukács studies. Following, deepen aspects of the relationship between literature and history, that guided our look at the issue of fictional representation proposed by Tabucchi, by differentiating between fictional narrative and historiographical narrative. This relationship raises issues for the classic historical novel, as the contemporary. So we analyzed some traits of both variations of this novel form, establishing how the historical novel is updated second Jameson and Anderson. Then we entered a historical approach about Salazar to understand how salazarismo is subverted by Tabucchi in his fictional construction. Based on the theory of mitos ideológicos do Estado Novo, of the portuguese historian Fernando Rosas, in the aspects of the novel and the historical novel, form the theoretical foundation for the analysis of the work studied here. We seek to establish how the tabucchian historical novel questions salazarism and european totalitarianism and the author of which devices for such construction, for example, the subversion of mitos ideológicos do Estado Novo by some characters. Indeed, as a result of research we can establish that the work is a contemporary historical novel updating and transforming the historical novel concept, and the fictional representation of Salazar is made through questioning look that reverses the salazarism main bases and exposes them like some way of reflection about that period.

Cette thèse s’attache à étudier la notion d’événement dans la nouvelle contemporaine, à travers un corpus de recueils américains, français et italiens, parus entre 1980 et 2007. Habituellement défini comme une rupture, engageant un bouleversement ontologique pour le sujet qui l’éprouve, l’événement connaît une autre représentation dans les récits brefs ici étudiés, engageant une réflexion épistémologique sur la littérature contemporaine, entre conscience d’un monde marqué par le manque et volonté de continuer malgré tout à raconter, selon d’autres modalités. Cette réflexion est mise en évidence par le récit bref. Nos nouvelles montrent à chaque fois ce qui semble être un appauvrissement. Ainsi, l’événement connaît un évidement : sa portée est atténuée, il n’entraîne pas de changements dans la conscience du personnage. De même, nos textes font voir un désengagement des instances auctoriale et narratoriale, empêchant l’établissement d’une signification univoque et d’une morale explicite. Enfin, ces histoires narrent fréquemment un dysfonctionnement, tant matériel que du récit en lui-même. Mais à chaque fois, ces carences sont en fait le lieu d’un renouvellement. L’évidement est la possibilité de proposer un autre récit où le sensationnel est mis à distance ; le désengagement permet au lecteur d’adopter vis-à-vis du texte une attitude qui ne soit pas celle de la maîtrise absolue ; le dysfonctionnement n’inaugure pas une nouvelle ère du soupçon, mais une volonté de souligner le potentiel narratif. De cette façon, la nouvelle contemporaine comme l’événement narré affichent une tension, entre perte et renouvellement. / This thesis sets out to study the notion of event in the contemporary short story, through a corpus of american, french and italian collections, published between 1980 and 2007. Usually defined as a breakdown, which leads an ontological upheaval for the subject who distressed it, the event has another representation in the short stories studied in this corpus. It puts an epistemological reflection about the contemporary literature, between awareness of a world marked by a gap and will of continuing to tell in any case, but with other modes. This reflection is particularly evident in the short story. Our collections show every time what seems to be an impoverishment. Indeed, the event distresses a « digging » : its impact is softened, it doesn’t lead changes in the character’s conscience. Similarly, our texts show a withdrawal of the author and the narrator, which prevents an unequivocal signification and an explicit moral. Finally, these stories frequently tell about a material malfunctionning, that also concerns the story itself. But everytime, these lacks are in fact the possibility of a renewal. The « digging » gives the opportunity to offer another story where the sensational is put at a distance ; the withdrawal allows to the reader to have with the text a posture which isn’t an absolute control ; the malfunctionning isn’t the beginning of a new suspicion’s age, but a will to emphasize narrative potential. By this way, the contemporary short story and the related event show a tension between loss and renewal.