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.

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

The Phd thesis titled Boundaries of the labyrinth and subtitled Literary space in the Italian postmodern novels strives for specification and closer definition of the genre of post-modern novel through the analysis of literary space. Formally, the thesis is divided into three parts. The first part aims to provide a theoretical introduction into the problems of three areas related to the given topic, namely the definition of postmodernity and postmodernism, the genre of the novel itself and last but not least the study of space in literature. The content of the second part is the actual literary and scientific analysis of the selected novels (Città invisibili and Se una notte d'inverno un viaggiatore by Italo Calvino, Notturno indiano by Antonio Tabucchi, Comici spaventati guerrieri by Stefano Benni and Oceano mare and City by Alessandro Baricco) which follows three basic and most frequent spacial topoi occurring in these novels, namely the topos of the city, the house-hotel and the road. The third and final section sums up the observed aspects and characteristics and strives to use them as a basis for determining a certain and generalizing spacial and temporal principle which would facilitate at least a partial characterization of the postmodern novel as an independent genre.