Submitted by PPG Letras (letraspg@pucrs.br) on 2018-10-09T17:40:34Z No. of bitstreams: 1 Tese Danieli dos Santos Pimentel.pdf: 4896329 bytes, checksum: 8fbcf34615980e06f38eda3d7a624cee (MD5) / Approved for entry into archive by Sheila Dias (sheila.dias@pucrs.br) on 2018-10-10T11:51:49Z (GMT) No. of bitstreams: 1 Tese Danieli dos Santos Pimentel.pdf: 4896329 bytes, checksum: 8fbcf34615980e06f38eda3d7a624cee (MD5) / Made available in DSpace on 2018-10-10T12:12:57Z (GMT). No. of bitstreams: 1 Tese Danieli dos Santos Pimentel.pdf: 4896329 bytes, checksum: 8fbcf34615980e06f38eda3d7a624cee (MD5) Previous issue date: 2018-03-28 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / This thesis studies the poetics of transcreation in the editions of A asa e a serpente [The Wing and the Serpent] (1979; 1980; 1988; and 2004), from Brazilian writer Vicente Cecim, with the objective of analyzing, from a comparison of the books, how the author?s literary work is carried by the glance of the (in)visible ink. First, it is created a route of the main aspects of the author?s trajectory, in addition to his relationship with contemporary Brazilian literature. In regard to critical reception of his work, diverse opinions are listed based on records present in the initial publication of A asa e a serpente (1979), passing through more specific analysis of Cecim?s creative universe. In conjunction, we discuss the literary composition of Andara?s cycle, which has as vertices, among others, reflections involving the Being and the perception of (in)visible worlds; the imagery of the labyrinth, as an imaginary space and a metalanguage of Vicente Cecim?s writing; the unfinishedness of literary writing itself and silence as a space opened to the creative imagination. In the chapter on theoretical foundation, an explanation is provided on what is the transcreation poetics through the logic of the writer himself, and how that concept suggests means for analyzing the different editions of A asa e a serpente. Lastly, it is outlined a comparison of the editions, resulting in the conclusion that Vicente Cecim delineates a transcreative writing approach centered between the visible and the invisible, culminating in oscillations which become perceptive trough changes in the writing plane and in the graphic project of the books. / Cette th?se ?tudie la po?tique de la transcr?ation dans les diff?rentes ?ditions du livre A asa e a serpente (1979, 1980, 1988 et 2004), de l??crivain br?silien Vicente Cecim. L?objectif est d?analyser, ? partir de la comparaison entre les ?ditions, comment se construit l??criture litt?raire de l?auteur par le biais de l?encre (in)visible. Dans un premier temps, on pr?sente un parcours des principaux aspects de la trajectoire de l?auteur, et aussi de sa relation avec la litt?rature br?silienne contemporaine. En ce qui concerne la r?ception critique de son oeuvre, on rassemble des opinions diverses bas?es sur des registres pr?sents dans la premi?re publication de A asa e a serpente (1979), en passant par des analyses plus sp?cifiques l?univers cr?atif de Cecim. De plus, on d?veloppe une ?tude de la composition litt?raire du cycle de Andara, qui a comme vecteurs, entre autres, des r?flexions au sujet de l??tre et des perceptions de mondes (in)visibles, l?image du labyrinthe comme espace imaginaire et du m?talangage de l??criture de Vicente Cecim, l?inachev? de l??criture litt?raire et le silence comme espace ouvert ? l?imagination cr?ative. Dans le chapitre de fondation, on explique ce qu?est la po?tique de la transcr?ation par la logique de l??crivain lui-m?me, et comment ce concept sugg?re les moyens d?analyser les diff?rentes ?ditions de A asa e a serpente. En dernier point, on ?bauche une comparaison entre les ?ditions, ce qui aboutit ? la conclusion selon laquelle Vicente Cecim ?bauche une ?criture transcr?ative qui est centr?e entre le visible et l?invisible. Ceci d?clenche des oscillations qui sont perceptibles ? travers les changements de plan de l??criture et dans le projet graphique des livres. / A presente tese estuda a po?tica da transcria??o nas edi??es de A asa e a serpente (1979, 1980, 1988 e 2004), de autoria do escritor brasileiro Vicente Cecim, com o objetivo de analisar, a partir do cotejo entre os livros, como se exerce a escritura liter?ria do autor pelo vi?s da tinta (in)vis?vel. Primeiramente, cria-se um percurso sobre os principais aspectos da trajet?ria do autor, al?m de sua rela??o com a literatura brasileira contempor?nea. No que diz respeito ? recep??o cr?tica de sua obra, elencam-se opini?es diversas com base em registros presentes na publica??o inicial de A asa e a serpente (1979), perpassando por an?lises mais espec?ficas acerca do universo criativo ceciniano. Aliado a isso, discorre-se a respeito da composi??o liter?ria do ciclo de Andara, que tem como v?rtices, dentre outros, reflex?es que envolvem o Ser e as percep??es de mundos (in)vis?veis; a imagem do labirinto, enquanto espa?o imagin?rio e metalinguagem da escrita de Vicente Cecim; o inacabamento da pr?pria escrita liter?ria e o sil?ncio como espa?o aberto ? imagina??o criadora. No cap?tulo de fundamenta??o, explica-se o que ? a po?tica da transcria??o pela l?gica do pr?prio escritor, e de como esse conceito sugere meios de analisar as diferentes edi??es de A asa e a serpente. E, por ?ltimo, delineia-se um cotejo entre as edi??es e A asa e a serpente, que resulta na conclus?o de que Vicente Cecim concebe uma escrita transcriativa que se centra entre o vis?vel e o invis?vel, culminando em oscila??es que s?o percept?veis atrav?s de mudan?as no plano da escrita e no projeto gr?fico dos livros