238 f. / Submitted by Cynthia Nascimento (cyngabe@ufba.br) on 2013-02-22T13:08:13Z No. of bitstreams: 1 Fernanda Mota Pereira.pdf: 1391988 bytes, checksum: 874efeda2cedf050bf4581ac42d3405f (MD5) / Approved for entry into archive by Valdinéia Ferreira(neiabf@ufba.br) on 2013-02-22T14:59:13Z (GMT) No. of bitstreams: 1 Fernanda Mota Pereira.pdf: 1391988 bytes, checksum: 874efeda2cedf050bf4581ac42d3405f (MD5) / Made available in DSpace on 2013-02-22T14:59:13Z (GMT). No. of bitstreams: 1 Fernanda Mota Pereira.pdf: 1391988 bytes, checksum: 874efeda2cedf050bf4581ac42d3405f (MD5) / Nesta tese, são tecidas reflexões sobre entrecruzamentos do autobiográfico com o ficcional no horizonte do tema: “literatura como memória, memórias como literatura”, expresso em seu título. O uso da palavra “como” entre os termos literatura e memória(s) simboliza migrações que os marcam, compreendendo, ainda, categorias textuais relacionadas a eles, a saber: a crítica e o arquivo. Migrações que têm sua cena na memória, concebida como um bloco mágico no qual imaginação, devaneios, lembranças, leituras de si e do outro se emaranham,constituindo, criativamente, narrativas literárias, diários, depoimentos, ensaios, artigos e arquivos, que compõem o corpus, aqui investigado, no âmbito da produção intelectual de Virginia Woolf e Judith Grossmann. Em narrativas e outras categorias discursivas eleitas para este estudo, vislumbra-se a representação de sujeitos, cuja tessitura amalgama-se na escrita de seus textos, desmarcando a distinção entre eles por configurarem-se como traços atuantes em grafias de si, presentes, mesmo sob o signo da ausência, nos mais diversos textos – de narrativas escritas em primeira pessoa a escritos nos quais esta não consta –, e por terem como esboço o arquitexto, delineado na memória. Cada uma das categorias discursivas mencionadas foi tratada em um capítulo desta tese, sem, contudo, deixar de trazer à baila as confluências que as atravessam e denotam seus entrelaces, sob o compasso de digressões e redes alusivas da memória. / Universidade Federal da Bahia. Instituto de Letras. Salvador-Ba, 2010.

What follows is an attempt to circumscribe Virginia Woolf's ideas on life and death, the relation between self and all that which is not self, and the nature of reality, in short, Woolf's vision. I hope that whatever unity and structure may exist in the vision will not be overlooked, and moreover, I intend to avoid imposing a unity where none exists, whether the absence of unity is intentional or accidental

On November 7, 1928, Virginia Woolf wrote in her diary that her 1931 novel, The Waves, would be an "abstract mystical eyeless book" (Diaries 3; 203). In her personal writings, she also referred to the novel as "an endeavour at something mystic, spiritual; the thing that exists when we aren't there" (114). From the initial inspiration for the novel to her own notes, Woolf envisioned The Waves to be "spiritual" above all else. This project examines Woolf's engagement with spirituality throughout The Waves, particularly in the moments in the novel in which the queer characters--Rhoda and Neville--express sexual desire. In doing so, I suggest that Woolf engages in a queer spirituality--a spirituality that conveys both a queer sexual desire and identity. For Rhoda and Neville, and in some ways Woolf herself, that desire remains unachieved, suggesting that Woolf viewed spirituality as a means of expressing a queer identity that was oftentimes frustrated and unfulfilled. In that frustration, however, Woolf also appears hopeful for a future, a potentiality, in which queer individuals could express their queerness openly.

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Critics of Virginia Woolf's fiction have tended to focus their arguments on one of the following five cruxes: Woolf's personal biography, the role of art, the nature of reality, the structure of her novels, or they focus their arguments on gender-based criticism. Often, when critics attempt to explain Woolf through any of these categories, they succeed in constructing borders around her writing that minimize the multiplicities outside them. Post-structuralist theory helps to open up difference in Woolf's writing, specifically, the theories of Giles Deleuze and Félix Guattari. Their book, A Thousand Plateaus, allows readers of Woolf's novel, To the Lighthouse, outside the confines some past critics have put around it. I apply select Deleuze and Guattarian metaphors to Woolf's To the Lighthouse in order that multiplicities of the novel stand out. The Deleuze and Guattarian metaphors that are most successful in opening up difference in To the Lighthouse are strata; the Body without Organs; becoming; milieu and rhythm; and smooth and striated spaces. / Master of Arts

Cette thèse vise à étudier la lettre comme un objet littéraire, par une perspective endogène, dans sa relation avec l’œuvre, alors même qu’elle s’en distingue. Par une approche comparatiste, les liens entre une production littéraire et une production épistolaire, qui créent une poétique de la lettre au féminin, sont analysés. Pour cela, les notions de genre et de gender ont été confrontées dans le corpus choisi : les lettres de Virginia Woolf (1882-1941) et celles de Marguerite Yourcenar (1903-1987). Elles incarnent deux auteures majeures, mais leurs lettres ont été peu étudiées dans leur ensemble. Ces lettres révèlent un questionnement sur la forme et le style, alors que la question du féminin, par le statut de la femme auteure, se greffe à l’analyse. Une résonance se crée entre l’œuvre et la correspondance de ces deux femmes, qui pourtant se distinguent. En repoussant les limites du genre canonique, la lettre est donc envisagée comme un objet au statut ambigu, une zone intermédiaire, qui longe et trouble l’œuvre, qui se fait poétique par le discours de la femme auteure, et par le processus créatif qui se mêle à l’écriture épistolaire. À partir de cette problématique, le corps de la lettre est tracé en trois orientations : la première se focalise sur le discours de la femme de lettres au sein de la correspondance, la deuxième sur la méthode d’application scripturale et la troisième sur l’invention d’un style. / The aim of this thesis is to explore the medium of letters as literary objects, using an endogenous perspective, and taking into account their relationship with the literary work. Through a comparative analysis, this thesis seeks to explore the links between a literary and an epistolary production, which create a feminine poetics of letter writing. Thus, the concepts of genre and gender are explored in the letters of Virginia Woolf (1882-1941) and those of Marguerite Yourcenar (1903-1987). Though they represent two major writers, not all of their letters have been studied. They reveal a concern for form and style, as well as for the feminine and the status of the woman writer. The letters echo the work of art of the two women writers despite their differences. The frontiers of literary genre are hence disregarded and this study considers the ambiguous nature of the letters, as an intermediate area, which runs along the literary work and disrupts it. Therefore, epistolary writing provides a form of poetics through the voice of the woman author and through the creative process that is involved. As a consequence, the study of the letters is threefold: first, it explores the way the woman of letters uses the epistolary genre to construct her identity. Second, it focuses on the method used in the letters, between the self and the other, between writing, reading and creating. Finally, it examines the letters as a space of style experimentation.

O presente trabalho tem por finalidade discutir a leitura que Lucia Miguel Pereira faz de Virginia Woolf em quatro ensaios, Dualidade de Virginia Woolf, Crítica e feminismo, O Big Ben e o carrilhão fantasista e Assombração, nos quais explora aspectos importantes dos ensaios e romances da escritora inglesa. Para Lucia Miguel Pereira, a nova forma do ensaio idealizada por Woolf consiste em uma renovação estética que a distingue de seus predecessores e contemporâneos pela união da linguagem crítica com a narrativa. Denominada de abordagem humanista pela crítica brasileira, a concepção de Woolf possibilita um espaço de criação artística capaz de envolver o leitor e estabelecer uma relação de intensa proximidade com ele. Entretanto, as explicações de natureza estética de Woolf, que congregam mito e movimento feminista para a criação dessa nova forma, são vistas por Pereira mais como resultado de uma visão pessoal da escritora do que como crítica literária propriamente dita. Com relação ao tempo ficcional, seguindo a sugestão de Lucia Miguel Pereira a respeito da necessidade de interação entre tempo cronológico e psicológico no romance, é feita uma leitura comparativa de To the lighthouse e Mrs. Dalloway, de Virginia Woolf, e Amanhecer, da autoria da escritora brasileira, a fim de demonstrar como ambas lidaram com a temporalidade no romance. O fio condutor da análise é a proposta estética de Woolf e o ponto de vista da crítica brasileira. / This thesis aims at investigating Lucia Miguel Pereiras reading of Virginia Woolf in four of her articles, Dualidade de Virginia Woolf, Crítica e feminismo, O Big Ben e o carrilhão fantasista, and Assombração, in which she explores key aspects of the English writers essays and novels. According to Lucia Miguel Pereira, Woolfs essays are formally innovative and her renewal of the form distinguishes her from her predecessors and contemporaries. Such differences are reinforced by the simultaneous use of narrative and critical language, which raises the essay to status of an artistic creation, capable of involving the reader by means of an interaction and closeness which Pereira names as a humanistic approach. However, Pereira considers Woolfs explanations of her aesthetics, which include myth and feminism, as resulting much more from her very personal stance than as literary criticism as such. As for fictional time, taking up Lucia Miguel Pereiras suggestion about the necessary interaction between chronological and psychological time in the novel, we compare To the lighthouse and Mrs. Dalloway, by Virginia Woolf, and Amanhecer, by the Brazilian novelist, in order to demonstrate how both writers deal with temporality in the novel, bearing in mind Woolfs aesthetic proposal and the Brazilian critics point of view.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / Trata-se de analisar a relaÃÃo entre a morte e o real nas psicoses, utilizando os romances Ao Farol e Mrs. Dalloway da escritora inglesa Virginia Woolf. Recorreu-se à teoria psicanalÃtica desde Sigmund Freud para compreender-se a categoria da morte, chegando atà Jacques Lacan e sua teoria sobre o real nas psicoses. Investigou-se sobre a vida de Virginia Woolf a partir de diÃrios e biografias da autora e percebeu-se que as mortes de diversos entes queridos foram-lhe extremamente marcantes, o que pareceu restar como marca em sua obra literÃria. Dado que a morte era aquilo que do real emergia que mais lhe causava angustia, escrever sobre a morte enquanto um dos nomes do real parecia agir como um intervalo de elaboraÃÃo frente a uma existÃncia fadada ao encontro com o que à da ordem do sem sentido. Exploraram-se os dois citados romances no intuito de compreender de que forma a morte emerge em sua escrita, na tessitura narrativa, na construÃÃo dos personagens, na elaboraÃÃo do enredo, entre outros aspectos. A pesquisa permitiu relacionar como a morte e o real surgem na categoria das psicoses e, particularmente, analisar as possibilidades de elaboraÃÃo para Woolf, via escrita, frente ao encontro com o real, que nÃo fossem um total assujeitamento aos elementos mortÃferos desse real. / This work analyzes the relation between the death and the Real in psychosis, by using the novels To the Lighthouse and Mrs. Dalloway from the english writer Virgina Woolf. One has studied the psychoanalytical theory from Sigmund Freud to understand the category of death, reaching as far as Jacques Lacan and his theory of Real in psychosis. The life of Virgina Woolf was investigated through her diaries and biographies, leading to realize that the death of several loved ones was extremely significant to her, which seems to remain as trace in her life work. Since death was what emerged from the Real that distressed her the most, to write about death as one of the names of the Real seemed to act as an elaboration intermission in the face of an existence fated to meet that whic is from the category of meaningless. The two novels were studied in order to understand how death emerges in her writing, in the storyâs fabric, in the characterâs creation, in the storyâs making, among other aspects. The research allowed one to understand how the relation between death and the Real appears in psychosis and, in particular, to analyze the possibilities of elaboration to Woolf, through her writing and in the face of the encounter with the Real, that werenât her complete submission to the deadly elements of the Real.

Esta tese de doutorado sobre o diário de Virginia Woolf divide-se em duas partes. A primeira, uma análise do diário como um todo, busca trazer à tona sua literariedade e aproximações modernistas, que, como procuro mostrar, viram-se obliteradas durante os processos de sua edição. O diário de Woolf tem sido tradicionalmente usado como suporte para interpretar suas obras principais os livros de ficção e não-ficção cuja publicação ela supervisionou pessoalmente em vida , porém, como observa seu biógrafo Quentin Bell, ele é, em si, uma grande obra. A primeira parte destaca ainda pontos de uma possível teoria literária woolfiana (as aspas se devem ao fato de Woolf ter sido avessas a consolidações e se propor a quebrar o molde a cada novo livro), tais como as possibilidades de representação do mundo e do indivíduo as subjetividades e os movimentos da história, da guerra e da violência, principalmente aqueles relacionados à mulher. Buscou-se realizar tal análise em confronto com o restante da obra de Woolf e seu contexto, dando atenção às particularidades do seu diário e, em especial, ao que chamo de sua forma-cruzamento. Sustento que o diário é uma obra especialmente marcada pelas intercessões entre gêneros; ficção e realidade; e interior e exterior (público e privado); bem como entre as demais obras woolfianas, num movimento de constante autotextualidade. A segunda parte da presente tese oferece a tradução integral e comentada do período em que Virginia Woolf morou no número 52 da Tavistock Square, em Londres (de março de 1924 a início de agosto de 1939), que denomino Diário de Tavistock. Tal tradução alinha-se com um entendimento que enxerga no próprio ato tradutório uma aproximação com o ato crítico, no sentido de que também proporciona um embate privilegiado com o texto e suas múltiplas relações interpretativas. / This doctoral thesis on Virginia Woolf\'s diary is divided into two sections. The aim of the first one, an analysis of Woolfs diary as a whole, is to highlight its literary and modernist traits, which as I try to demonstrate have been almost obliterated during its editing process. Woolfs diary has been conventionally used by scholars as a secondary source to interpret her major works the fiction and non-fiction books whose edition she personally oversaw , but as Quentin Bell, Woolfs biographer, declares, it is a major work of its own. The first part also highlights points of a Woolfian literary theory (I liberally use quotes here, for Woolf objected to being fixed on definitions and wished instead to break the mold with each new book). Among these are the possibilities of artistic representation of both the world and the individual e.g., the subjectivities and the movements of history, war and violence, especially those related to women. Such analysis takes into consideration the rest of Woolf\'s work, privileging the particularities of her diary and, especially, what I call its crossing form. Her diary is a work deeply marked by intercessions between genres; fiction and reality; interiority and exteriority (public and private), as well as between her other writings, in a movement of constant autotextuality. The second part of the thesis offers an annotated translation into Portuguese of the period in which Woolf lived at 52 Tavistock Square, London (March 1924 early August 1939), which I call the Tavistock Diary. Such a translation is aligned with an understanding that the translation act is also a critic one, in the sense that it provides a privileged confrontation with a text and its multiple interpretative relations.