Made available in DSpace on 2016-03-15T19:45:34Z (GMT). No. of bitstreams: 1 Luciana Venancio.pdf: 2766107 bytes, checksum: 10289deafcd5f178da03b7abacb3f8f7 (MD5) Previous issue date: 2007-02-14 / The paper s purpose is the study of the retextualize like a auxiliary process to the redaction development, having the orality like a start point for the writing expression. It is approached the textual coherency and comprehension about the linguistics facts showed and the modifications that compromised or not the understanding about the subject. The corpus which was used is the mensalão case and the texts produced by the students of the second degree of the São Paulo s periphery. The mainly theories used was the Costa Val (1999/2002); Trevisan (1992); Preti (1994); Charolles (1978); Halliday e Hasan (1978); Broncarkt (1999) and Marcuschi (2000). The texts studied was the Primeira Renúncia , published by Folha de São Paulo and Fábrica de Fraudes , by Revista Veja . The mainly elements displayed was: (1) the occurrence of the reduction operations; (2) the texts informations level actualized; (3) add and inferences that allow the construction of a new text; (4) grammatical rules, cohesion and coherence elements used in the retextualize, following the grammatical normative; (5) sections texts which emphases the retextualize; (6) the reality social inserts in the redactions; (7) the reflection student s attitudes about the owner textual productions. Like a result, it s verified that retextualize become the textual production easer. / Este trabalho propõe-se ao estudo da Retextualização como um processo auxiliar para o desenvolvimento da redação, partindo-se da oralidade como premissa para a posterior expressão escrita. Aborda-se se os níveis de compreensão e de coerência em relação ao texto base (oral) estão representados nos fatos lingüísticos escritos e se as alterações no ato de escrever comprometeram ou não o entendimento do assunto, o que constitui objetivo maior desta pesquisa. Para tanto, utiliza como corpus selecionado o caso Mensalão e as redações produzidas por alunos do nível médio de uma escola da periferia de São Paulo, ao longo do segundo semestre de 2005. A fundamentação teórica baseia-se, especialmente, nas proposições de Costa Val (1999/2002); Trevisan (1992) e Preti (1994); nos posicionamentos sobre produções lingüísticas, como Charolles (1978); Halliday e Hasan (1978); Broncarkt (1999) e no modelo básico de análise desenvolvido por Marcuschi (2000). O exame da retextualização se dá pelo tipo dissertativo, a partir da leitura mediada do texto Primeira Renúncia publicado em Folha de São Paulo e Fábrica de Fraudes veiculado na revista Veja , retornando ao texto de base concomitantemente à orientação de pesquisa individual sobre a temática sugerida pelo professor. Os elementos observados nas redações foram: (1) ocorrências de operações reducionistas; (2) níveis informacionais atualizados no texto, considerando-se as abordagens realizadas; (3) acréscimos e inferências que possibilitam a construção de um novo texto; (4) regras gramaticais e elementos de coesão e coerência utilizados na Retextualização, segundo a gramática normativa; (5) momentos do texto em que se deu maior ênfase à retextualização; (6) possibilidades de estarem os traços lingüísticos da realidade social inseridos nas redações e, por fim, (7) atitude reflexiva do aluno sobre sua própria produção ao final do processo. Como resultado, verifica-se que a retextualização facilita a construção do texto e a revelação do aluno e, neste revelar, o professor de língua portuguesa torna-se responsável para a melhoria da qualidade do texto do aluno e pela transformação das mentalidades em prol do exercício da cidadania.

Dass die Textlinguistik nicht umhin kommt, ihre Beschreibungen und ihr Instrumentarium auch im Hinblick auf Texte zu überprüfen, die nicht von Muttersprachlern erzeugt worden sind, ist durch die wachsenden Bedürfnisse nach fremdsprachiger Kommunikation und die rapide steigende Zahl entsprechender kommunikativer Ereignisse bedingt. Der Fokus der vorliegenden Publikation liegt auf dem fremdsprachigen Text (vorzugsweise in seiner schriftlichen, monologischen Ausprägung) als sprachlicher Größe liegen. Bei der Analyse fremdsprachiger Texte werden neben textlinguistischen Fragen aber auch andere Gesichtspunkte berücksichtigt: soziolinguistische Aspekte, z.B. in Bezug auf die Kommunikationspartner, die kommunikativen Domänen, den sozial-historischen Rahmen der Kommunikation usw., psycholinguistische Hintergründe, z.B. im Hinblick auf die kognitive Verarbeitung fremdsprachlich-kommunikativer Anforderungen, literaturwissenschaftliche Bezüge, etwa hinsichtlich fremdsprachiger Einflüsse auf literarische Werke und ihre Rolle im literarischen Diskurs, translationswissenschaftliche Gesichtspunkte im Hinblick auf die Adaptation und Bewahrung des Fremden im übersetzten Text sowie pädagogisch-didaktische Fragen im Rahmen des gesteuerten Fremdsprachenerwerbs. / Owing to the growing necessity for foreign language interaction and the rapidly increasing number of associated communicative events, it is essential for text linguistics also to test its categories and methodology on texts which have not been produced by native speakers. The focus of the present publication lies on the foreign language text (primarily on its written, monological form) which is conceived as a linguistic entity. However, alongside textlinguistic issues the analysis of foreign language texts also entails a consideration of the following parameters: sociolinguistic aspects, e.g. with regard to the communicative partners, communicative domains, social-historic framework of the communicative situation etc.; psycholinguistic aspects, e.g. with respect to the cognitive processing of foreign language communication tasks; literary aspects, e.g. with regard to foreign language influences on literary works and their role in literary discourse; translatory aspects concerning the adaptation and preservation of foreign cultural elements in a translated text and pedagogical-didactic questions concerning foreign language teaching.

Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2017-12-27T17:10:27Z No. of bitstreams: 1 MARIA EDINEUMA MARTINS DANTAS DOS SANTOS - DISSERTAÇÃO PROFLETRAS - 2016.pdf: 1288453 bytes, checksum: ff4d83a5366330bf4c660870e7841221 (MD5) / Made available in DSpace on 2017-12-27T17:10:27Z (GMT). No. of bitstreams: 1 MARIA EDINEUMA MARTINS DANTAS DOS SANTOS - DISSERTAÇÃO PROFLETRAS - 2016.pdf: 1288453 bytes, checksum: ff4d83a5366330bf4c660870e7841221 (MD5) Previous issue date: 2016-02-24 / Capes / O objetivo principal desta pesquisa é propor estratégias de leitura e análise textual que venham contribuir para a promoção do multiletramento, no 8º ano do ensino fundamental, a partir de um trabalho voltado para o gênero multimodal propaganda, com base na sequência didática de Dolz e Schneuwly (2004) e na adaptação desse sequência proposta por CostaHubes e Simion (2014). O interesse pela elaboração da proposta surgiu da reflexão acerca da dificuldade que os alunos apresentam quanto à leitura, que se encontra muito limitada ao processo de decodificação, assim como ao tratamento dado por alguns professores quanto às práticas leitoras em sala de aula, que ainda permanecem muito arraigadas aos métodos tradicionais, ou seja, a um estudo descontextualizado, o que leva apenas a análise de partes do texto, reduzindo o ensino de línguas ao mero estudo de regras gramaticais. Além disso, nessas aulas, costumeiramente, são utilizados apenas textos impressos, que priorizam tão somente os aspectos verbais, deixando de lado a análise de outros elementos não verbais, tão importantes quanto àqueles, para o entendimento e para a produção de sentido. A metodologia aqui utilizada consiste na realização de uma pesquisa de cunho bibliográfico acerca do tema, aliada à proposta de uma sequência didática, em torno do gênero propaganda, com a finalidade de auxiliar, de forma mais dinâmica, o processo que envolve as práticas de leitura, análise e, consequentemente, produção textual, as quais abordem questões relativas à textualidade, desenvolvidas pela Linguística Textual, buscando, desse modo, ressignificar antigas práticas de leitura, sob a perspectiva inovadora dos multiletramentos, que possibilitem o desenvolvimento e/ou aprimoramento das competências linguísticas e discursivas dos alunos. A escolha pelo gênero propaganda deu-se por causa da sua massiva circulação social, através das mais variadas mídias, inclusive as digitais, e por sua multimodalidade, ou seja, por agregar variadas semioses num único texto, fator importante para o seu entendimento. Essa proposta de trabalhar com um gênero da esfera publicitária é uma forma de provocar no aluno a curiosidade investigativa e a capacidade de análise em relação à leitura crítica de textos multimodais que são produzidos socialmente. Para a realização desta pesquisa, alguns autores foram consultados para a fundamentarem teoricamente. São eles: Solé (1998), Leffa (1996, 1999), Koch (1997, 2009, 2012, 2013, 2014), Bakhtin (2011), Marcuschi (2008, 2012), Dolz e Schneuwly (2004), Antunes (2005, 2010), Rojo (2015), Dionísio (2011), entre outros. Também consultamos as orientações dos Parâmetros Curriculares Nacionais (PCNs) de Língua Portuguesa (1998) e de outras fontes. / The main objective of this research is to propose strategies of reading and textual analysis that will contribute to the promotion of multiletration in the 8th year of elementary school, starting from a work oriented to the multimodal propaganda genre, based on the didactic sequence of Dolz and Schneuwly (2004) and in the adaptation of this sequence proposed by Costa-Hubes and Simion (2014). The interest in preparing the proposal arose from the reflection about the difficulty that the students present in reading, which is very limited to the decoding process, as well as the treatment given by some teachers regarding the reading practices in the classroom, which still remain very much rooted in traditional methods, that is, a decontextualized study, which leads only to the analysis of parts of the text, reducing the teaching of languages to the mere study of grammatical rules. Moreover, in these classes, usually only printed texts are used, which prioritize only the verbal aspects, leaving aside the analysis of other non verbal elements, as important as those, for the understanding and the production of meaning. The methodology used here consists of the accomplishment of a bibliographic research about the theme, together with the proposal of a didactic sequence, around the propaganda genre, with the purpose of helping, in a more dynamic way, the process that involves reading practices, analysis and, consequently, textual production, which deal with issues related to textuality, developed by Textual Linguistics, thus seeking to resignify old reading practices, under the innovative perspective of multiliteracy, that enable the development and / or enhancement of competences Linguistic and discursive the students. The choice for the propaganda genre was due to its massive social circulation, through the most varied media, including the digital ones, and for its multimodality, that is, to add several semioses in a single text, an important factor for their understanding. This proposal to work with a genre of the advertising sphere is a way to provoke in the student the investigative curiosity and the capacity of analysis in relation to the critical reading of multimodal texts that are produced socially. For the accomplishment of this research, some authors were consulted to base it theoretically. They are: Solé (1998), Leffa (1996, 1999), Koch (1997, 2009, 2012, 2013, 2014), Bakhtin (2011), Marcuschi (2008, 2012), Dolz and Schneuwly , 2010), Rojo (2015), Dionísio (2011), among others. We also consulted the guidelines of the National Curricular Parameters (PCNs) of Portuguese Language (1998) and other sources.

Made available in DSpace on 2014-06-11T19:26:54Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-02-25Bitstream added on 2014-06-13T19:14:19Z : No. of bitstreams: 1 vitagliaro_km_me_sjrp.pdf: 979972 bytes, checksum: ef5faebb618c01cbd4b32df5c0b5655d (MD5) / Este trabalho objetiva estudar alguns conceitos desenvolvidos por Maria Gabriela Llansol ao longo de seus textos, como a “cena fulgor” e o “dom poético”, que provocam o deslocamento da narratividade para a textualidade. Foram selecionados seis contos de sua primeira obra, Os pregos na erva (1962), observando-se dois núcleos estruturais da “cena fulgor”: a imagem poética e o diálogo. Consciente de que a imagem é um traço constitutivo do universo lírico, responsável pela transformação das palavras, num movimento de expansão que liberta os signos de seus significados usuais, a narrativa de Llansol recorre a esse traço como uma maneira de iluminar a mínima cena que conta, pois a ação é reduzida, o espaço é precário e a comunicação entre as personagens é falha. Essas características são típicas do teatro contemporâneo de Samuel Beckett e provocam, em alguns casos, o efeito de distanciamento sugerido por Brecht. Por essa razão, o conceito de diálogo será utilizado em dois sentidos: como interação verbal que estrutura o drama, e, de forma mais ampla, como um sistema de correlação que permite observar a intersecção entre os gêneros épico, lírico e dramático. Para isso, fundamenta-se em Bakhtin (2000) e Rosenfeld (2005), na discussão dos gêneros; em Octavio Paz (1982) e Friedrich (1978), na concepção de imagem; em Beckett (1952) e Brecht (2005), com suas teorias sobre o teatro moderno (2005) e em críticos que analisam a obra da escritora portuguesa. Por fim, conclui-se que a narrativa de Llansol é uma rede destecida enquanto enredo, mas que se tece enquanto texto que extrapola as barreiras dos gêneros literários, fazendo coexistir numa relação harmônica, e ao mesmo tempo conflitante, prosa, poesia e drama. Como “pregos na erva”, as palavras não se fixam, flutuam, se desprendem, se deslocam, num movimento ininterrupto que tece o corpo da escrita. / This work aims to study a few concepts developed by Maria Gabriela Llansol along some of her texts, like “cena fulgor” and “dom poético”, that cause the replacement from narrativity to textuality. Six short stories from her first work, Os pregos na erva (1962), were selected, considering two structural cores of “cena fulgor”: poetic imagery and dialogue. Being aware that imagery is a constitutive trace of the lyrical universe, responsible for transformation of words, in a motion of expiation that frees the signs from their usual meanings, Llansol’s narrative follows this trace as a way of lighten up the smallest scene that it refers to, because action is reduced, setting is precarious and communication between people is flawed. These characteristics are typical of Samuel Beckett’s contemporary theater and provoke, in certain cases, the distancing effect suggested by Brecht. For this reason, the concept of dialogue will be taken in two senses: as verbal interaction that structures the drama and, in a more broaden way, as a system of correlations that allows us to observe the intersection between epic, lyric and dramatic genres. Aiming that, the theories that fundament this research regard Bakhtin (2000) and Rosenfeld (2005), discussing genres; Octavio Paz (1982) and Friedrich (1978), for the conception of imagery; Beckett (1952) e Brecht (2005), about modern theater (2005); and critics that have analyzed the Portuguese author’s work. At last, we come to the conclusion that Llansol’s narrative is an unweaved web regarding the plot, but that weaves itself as a text that goes beyond literary genres’ borders, in such a way that narrative, poetry and drama coexist in a harmonic, but yet confronting relationship. As “pregos na erva” (nails in a herb) words are not fixed, they float, they are released, they move in an non-interrupt way that weaves the body of the text.

Bien que fort différents, les romans des années 1950 d’Alain Robbe-Grillet et les romans des années 1960 de Robert Pinget ont prétendu contester les formes littéraires que le XXe siècle a héritées du siècle précédent, et notamment la description dite « balzacienne ». Nous interrogeons ici les modalités linguistiques de cette contestation et l’ambiguïté littéraire de ce déni d’héritage. La relation entre la description telle que l’ont pratiquée d’une part ces deux « Nouveaux Romanciers » et d’autre part les grands auteurs réalistes du XIXe siècle est ici envisagée selon une triple perspective : le maintien ou non d’une textualité prototypiquement méronymique ; la construction langagière d’une réalité dont l’existence est soudain moins sûre ; l’effacement énonciatif et ses conséquences esthétiques. Selon une approche résolument technique, les descriptions romanesques de Pinget et de Robbe-Grillet sont donc ici systématiquement mises en regard de descriptions canoniques de Balzac, mais aussi de Flaubert et de Zola. La contestation du protocole réaliste repose en effet sur une reprise et un refus : la complexité textuelle, la confusion dénotative et reférentielle, l’instabilité énonciative permettent aux deux romanciers de procurer des descriptions à la fois hyperréalistes et antiréalistes. Tout en prenant acte de la différence radicale des deux auteurs, il s’agit finalement de montrer comment l’un et l’autre sont parvenus à mettre au point un protocole descriptif résolument nouveau, qui rende compte du monde en tant qu’il est et en tant qu’il échappe. / Although very different, the novels of the 1950s by Alain Robbe-Grillet and of the 1960s by Robert Pinget claimed to challenge the literary forms that the twentieth century has inherited from the previous century, including the description of Honoré de Balzac. We question here the linguistic modalities of this confrontation, as well as the literary ambiguity of this denial of inheritance.The relationship between the description as have practiced these two "New Novelists" and on the other hand the great realistic writers of the nineteenth century is considered here in a triple perspective: maintenance / defence - or not – of a textuality, which is prototypically based on meronymy ; the linguistic construction of a reality whose existence is suddenly uncertain ; the enunciative erasure and its aesthetic consequences. In a decidedly technical approach, the descriptions of the novels of and Robbe-Grillet and Pinget are systematically opposed to the canonical descriptions of Balzac, but also to some extent to Flaubert and Zola. Challenging the realistic protocol is indeed based both on a recovery and a refusal: the textual complexity, the denotative and referential confusion and the enunciative instability allow these two novelists to provide descriptions which can be considered hyperrealistic as well as antirealistic. Eventually, while acknowledging the radical difference between the two authors, the aim is to show how both writers have managed to develop a considerably new descriptive protocol that reflects the world as it is and as it escapes.

Cette thèse propose une approche globale des Déserts de l’Amour de Rimbaud. Étant donné les nombreuses incertitudes véhiculées par l’œuvre, une étude de son manuscrit autographe s’impose tout d’abord, étude visant à établir l’ordre des feuillets, l’établissement du texte, la date de transcription par une expertise en écritures, mais encore à évaluer son degré d’achèvement, l’éventualité de détenir en l’état un manuscrit complet et déterminer enfin l’auteur de la numérotation atypique des feuillets. L’approche générique, après être revenue sur la notion même de genre et ses implications, s’appliquera à définir le caractère générique du récit de rêve puis problématisera le genre formel des Déserts de l’Amour à partir d’une réflexion sur le poème en prose. Dans le souci d’une approche générique contextuelle seront abordés plusieurs auteurs représentatifs de nos deux genres (Nodier, Bertrand, Nerval) et plus particulièrement le Baudelaire des Petits Poëmes en prose. Nous proposerons enfin une lecture, un commentaire littéraire détaillé des Déserts de l’Amour. / This thesis proposes a global approach to The Deserts of Love. Given the many uncertainties surrounding this text, the prerequisite for its analysis is the exploration of Rimbaud’s manuscript, to prove the order of the folios, to provide an accurate text, to establish its date of transcription by a diachronic study of the poet’s handwriting ; the ambition is also to judge the extent to which this is a finished work, whether the known text is complete and, lastly, to determine the source of the untypical numbering of the folios. After examining the concept of genre and its implications, the generic approach will seek to define the generic status of the dream narrative and then problematise the formal genre of The Deserts of Love on the basis of a reflexion on the subject of the prose poem. The need to contextualise this generic approach requires the analysis of several representative authors in the two generic fields involved (Nodier, Bertrand, Nerval) and in particular of the Baudelaire of the Petits Poëmes en prose. The thesis concludes with a detailed literary commentary of The Deserts of Love.

Toutes les illustrations qui ponctuent cette thèse ont été réalisées par Chantal Poirier. Elles ont été insérées dans le texte selon un ordre méticuleusement aléatoire. / Le texte qui suit, malgré son libellé onomastique (le nom « John Cage »), son orientation disciplinaire (la « théorie littéraire ») et sa visée thématique (« la révision du commentaire critique »), se place d’emblée dans une posture d’écriture et de création. Il consiste à proposer comme point de départ l’identité de la forme textuelle et de sa dérivation métatextuelle, en d’autres mots : de la voix citée et analysée avec l’autre voix citante et analysante. Cette prémisse dérive elle-même d’une confrontation locale : les spécificités et les idiosyncrasies de la textualité mise en place par John Cage à partir des années quarante (partitions littéraires des recueils Silence et A Year from Monday, mésostiches de M et X, réécritures et « writing through » d’Empty Words…). En effet, l’examen par la théorie littéraire d’un corpus aussi disséminé et « néologique » que l’est celui de John Cage pousse son rédacteur à poser la question de sa propre écriture (« autoréflexivité ») et à rendre possible une réalisation artistique personnelle (« performativité »). C’est donc à travers la contingence d’une langue et d’une subjectivité au travail que la théorisation (textuelle) du texte cherche ici à s’élucider et à s’écrire. Le travail commence par installer les modalités à la fois circulaires et circulatoires de la théorie littéraire, une tension rhétorique et épistémologique qu’il identifie sous le nom d’« aporie autoréflexive » (le texte théorique est concerné par la question de lui-même). Il s’efforce ensuite d’analyser la nouveauté de l’œuvre littéraire cagienne, en empruntant un schéma dialectique et antagoniste : d’un côté, une « textualité-objet », originale et orthographique, de l’autre, une « textualité-sujet », disséminante et intertextuelle, anarchique et jubilatoire. Enfin, le texte propose la révision, la recomposition, la « réécriture » du commentaire critique sur les bases nouvelles d’une textologie autoréflexive et performative — une indiscipline d’écriture qui utilise sciemment les coordonnées linguistiques de son élocution (néologie, typographisme, procédés citationnels…) et qui fait place sans camouflage ou refoulement à la personnalité intertextuelle, contextuelle, métissée du rédacteur. Par l’entremise d’une sorte d’« exemplarité textuelle » (Cage), ce travail insiste pour une synthèse à la fois productive et expressive des voix analysées et analysantes dans les études littéraires. On verra que, par moments, cette proposition implique que le texte se marginalise. / The following text, despite its onomastic labelling (the name “John Cage”), its disciplinary orientation (“literary theory”), and its thematic aim (“the revision of the literary commentary”), positions itself as a writing and creative venture. It starts by stating the strict identity of texts and metatexts, in other words, of the quoted, analyzed voice, with the quoting, analyzing other voice. This premise derives from a specific confrontation: the specificities and idiosyncrasies of John Cage’s literary production since the late 1940s (the literary scores from the anthologies Silence and A Year from Monday, the mesostics from M and X, the rewritings and “Writing through’s” from Empty Words…). Indeed, the examination by literary theory of a body of work as disseminated and “neological” as John Cage’s encourages the literary critic or theoretician to ask the question of his own writing (“self-reflexivity”) and also to make possible an original artistic realization (“performativity”). It is therefore through the possibilities of a language and of a subjectivity at work that the (textual) theorization of texts tries herein to elucidate and to write itself. This work starts by setting up the modalities both circular and circulatory of literary theory—a rhetorical and epistemological tension that will be identified as the “self-reflexive aporia” (the theoretical text is primarily concerned by the question of itself). It then tries to analyze the novelty of Cage’s literary work, using a dialectical and antagonistic configuration: on one hand, an “objective textuality”, original and orthographical; on the other hand, a “subjective textuality”, disseminating and intertextual, anarchic and unrestrained. Finally, this text proposes the revision, recomposition and “rewriting” of the critical commentary on the basis of a new self-reflexive and performative textology. That is: a sort of undiscipline in writing that knowingly manoeuvres the linguistic coordinates of its elocution (neology, typographism, quotation processes…) and that does not try to conceal or repress the intertextual, contextual, heterogenous and disparate personality of its author. Through a sort of “textual exemplarity” (Cage), this work insists on a synthesis both productive and expressive between the voices analyzing and the voices being analyzed. We will see accordingly that this proposition implies, from time to time, that the text be marginalized.

No description available.

Le texte qui suit, malgré son libellé onomastique (le nom « John Cage »), son orientation disciplinaire (la « théorie littéraire ») et sa visée thématique (« la révision du commentaire critique »), se place d’emblée dans une posture d’écriture et de création. Il consiste à proposer comme point de départ l’identité de la forme textuelle et de sa dérivation métatextuelle, en d’autres mots : de la voix citée et analysée avec l’autre voix citante et analysante. Cette prémisse dérive elle-même d’une confrontation locale : les spécificités et les idiosyncrasies de la textualité mise en place par John Cage à partir des années quarante (partitions littéraires des recueils Silence et A Year from Monday, mésostiches de M et X, réécritures et « writing through » d’Empty Words…). En effet, l’examen par la théorie littéraire d’un corpus aussi disséminé et « néologique » que l’est celui de John Cage pousse son rédacteur à poser la question de sa propre écriture (« autoréflexivité ») et à rendre possible une réalisation artistique personnelle (« performativité »). C’est donc à travers la contingence d’une langue et d’une subjectivité au travail que la théorisation (textuelle) du texte cherche ici à s’élucider et à s’écrire. Le travail commence par installer les modalités à la fois circulaires et circulatoires de la théorie littéraire, une tension rhétorique et épistémologique qu’il identifie sous le nom d’« aporie autoréflexive » (le texte théorique est concerné par la question de lui-même). Il s’efforce ensuite d’analyser la nouveauté de l’œuvre littéraire cagienne, en empruntant un schéma dialectique et antagoniste : d’un côté, une « textualité-objet », originale et orthographique, de l’autre, une « textualité-sujet », disséminante et intertextuelle, anarchique et jubilatoire. Enfin, le texte propose la révision, la recomposition, la « réécriture » du commentaire critique sur les bases nouvelles d’une textologie autoréflexive et performative — une indiscipline d’écriture qui utilise sciemment les coordonnées linguistiques de son élocution (néologie, typographisme, procédés citationnels…) et qui fait place sans camouflage ou refoulement à la personnalité intertextuelle, contextuelle, métissée du rédacteur. Par l’entremise d’une sorte d’« exemplarité textuelle » (Cage), ce travail insiste pour une synthèse à la fois productive et expressive des voix analysées et analysantes dans les études littéraires. On verra que, par moments, cette proposition implique que le texte se marginalise. / The following text, despite its onomastic labelling (the name “John Cage”), its disciplinary orientation (“literary theory”), and its thematic aim (“the revision of the literary commentary”), positions itself as a writing and creative venture. It starts by stating the strict identity of texts and metatexts, in other words, of the quoted, analyzed voice, with the quoting, analyzing other voice. This premise derives from a specific confrontation: the specificities and idiosyncrasies of John Cage’s literary production since the late 1940s (the literary scores from the anthologies Silence and A Year from Monday, the mesostics from M and X, the rewritings and “Writing through’s” from Empty Words…). Indeed, the examination by literary theory of a body of work as disseminated and “neological” as John Cage’s encourages the literary critic or theoretician to ask the question of his own writing (“self-reflexivity”) and also to make possible an original artistic realization (“performativity”). It is therefore through the possibilities of a language and of a subjectivity at work that the (textual) theorization of texts tries herein to elucidate and to write itself. This work starts by setting up the modalities both circular and circulatory of literary theory—a rhetorical and epistemological tension that will be identified as the “self-reflexive aporia” (the theoretical text is primarily concerned by the question of itself). It then tries to analyze the novelty of Cage’s literary work, using a dialectical and antagonistic configuration: on one hand, an “objective textuality”, original and orthographical; on the other hand, a “subjective textuality”, disseminating and intertextual, anarchic and unrestrained. Finally, this text proposes the revision, recomposition and “rewriting” of the critical commentary on the basis of a new self-reflexive and performative textology. That is: a sort of undiscipline in writing that knowingly manoeuvres the linguistic coordinates of its elocution (neology, typographism, quotation processes…) and that does not try to conceal or repress the intertextual, contextual, heterogenous and disparate personality of its author. Through a sort of “textual exemplarity” (Cage), this work insists on a synthesis both productive and expressive between the voices analyzing and the voices being analyzed. We will see accordingly that this proposition implies, from time to time, that the text be marginalized. / Toutes les illustrations qui ponctuent cette thèse ont été réalisées par Chantal Poirier. Elles ont été insérées dans le texte selon un ordre méticuleusement aléatoire.

[pt] O texto literário pode hoje ser encontrado em diferentes plataformas, tornando-se acessível no computador, em tablets e até em celulares. Os paratextos editoriais, definidos por Gérard Genette como aparatos que giram em torno do texto principal de um livro, têm acompanhado estes deslocamentos. Sem deixar de exercer suas antigas funções, eles assumem outros formatos e proliferam no ambiente virtual, tendo muitas vezes mais acessos do que o texto da própria obra, considerado principal, veiculado frequentemente na plataforma impressa. Nesta dissertação, abordaremos os paratextos não só como um fenômeno de mercado que concede uma importância crescente à figura do autor, mas também à luz das quebras na hierarquização dos discursos provocadas pela tecnologia digital. Com este propósito, discutiremos o trailer do livro Todos nós adorávamos caubóis, de Carol Bensimon; a coluna As 15 coisas que sei sobre meu próximo livro, de Luisa Geisler, veiculada no Blog da Companhia; a hashtag Vida de escritor, no Instagram da editora Rocco; o folhetim Delegado Tobias, de Ricardo Lísias, publicado pela editora E-galáxia; e o blog da revista Peixe-elétrico. / [en] Nowadays, the literary text can be found in different platforms, including computers, tablets and even mobile phones. Editorial paratexts, defined by Gerard Genette as devices which gravitate around the body text of a book, have followed this shift. Not abandoning their former purposes, they have taken on other formats and have spread around the web. These paratexts are often more accessed than the actual text of the literary work, which is considered the principal part, frequently published and made available in print. This dissertation approaches paratexts not only as a market phenomenon, which grants the image of the author a growing importance, but also as a breach of discourse hierarchy, fueled by digital technology. Bearing that in mind, this study discusses the book trailer for Carol Bensimon s Todos nós adorávamos caubóis (We all loved cowboys); Luisa Geisler s column called As 15 coisas que sei sobre meu próximo livro (The 15 things I know about my next book), published online on Blog da Companhia; the hashtag Vida de escritor (Writer s life) on the Instagram account of the publishing house Rocco; the serial by Ricardo Lisias, Delegado Tobias (Tobias, chief of police), published by the e-book publishing house E-galaxia; and the Peixe-elétrico review s blog.