"The Bear Went Over the Mountain" is a memoir that marks the people, events, landscape, and era that shapes a women's identity as she journeys from adolescence to adulthood. The story evolves through accretion with the use of a variety of writing strategies such as third person limited omniscient narrator, auto-fiction, mosaic, and disrupted narrative. Other conventions of Creative Non-fiction are used such as dialogue, characterization and plot. Autotopography (photographs) are used to create a motif of ancestral ghosts. They haunt the lives of these characters as they act and react to plots that began long before they were born. An ancestral photograph is placed with the date of the story at the beginning of each section. The mismatching photograph and date is intended to show how these fierce personalities, long dead, have carved their presence into the lives and fates of these characters.

[pt] A escrita literária de Silviano Santiago questiona a concepção moderna de literatura, problematiza o fazer literário a partir de uma perspectiva metateórica e faz uso de uma voz enunciadora do discurso em primeira pessoa, que se desdobra continuamente no tecido literário. As obras selecionadas para o corpus da tese – Stella Manhattan, Uma história de família, O falso Mentiroso e Histórias mal contadas – apresentam um enunciado ondulante que se organiza por meio do desdobramento da voz narrativa em um eu-ficcional, delineado a partir da alternância entre a projeção de referências biográficas do escritor e a projeção de seu discurso crítico-teórico. O corpus selecionado relativiza a representação de sujeito e erige o enunciado discursivo ao mesmo tempo em que teoriza sobre o processo de enunciação por meio de um narrador ondulante. Diante dessa nova perspectiva do fazer literário, o estudo aqui desenvolvido, consciente de que novas estratégias de leitura se tornam indispensáveis, amplia seu campo analítico, estendendo o olhar para o discurso extraliterário das entrevistas, concedidas pelo escritor para ratificar seu pensamento ensaístico e para propor uma reorganização das fronteiras ficcionais. / [en] The literary writing of Silviano Santiago questions the conception of modern literature, problematizes the literary making from a meta theoric perspective and makes use of an enunciating voice in the first person speech, that unfolds continuously in the literary tissue. The selected works for the corpus of the thesis – Stella Manhattan, Uma história de família, O falso mentiroso e Histórias mal contadas – present an wavering enunciate that organizes itself through the unfolding of the narrative voice in a fictional self, delineated from the alternation between the projection of the writer s biographic references and the projection of his critic-theoric speech. The selected corpus makes relative the subject representation and erects the discursive enunciate at the same time that theorizes about the enunciation process by means of the wavering narrator. In face of this new perspective of the literary making, the study, conscious that new reading strategies have become essential, broadens its analytical field, extending a look into the extraliterary speech of the interviews, conceded by the writer to ratify his essay line of thought and to propose a reorganization of the fictional frontiers. / [fr] L écriture littéraire de Silviano Santiago conteste le concept moderne de la littérature, aborde la question du faire de la littérature du point de vue méthatéorique et fait usage de l énonciateur de la voix du discours à la première personne, qui se déroule en continu dans le tissu littéraire. Les oeuvres sélectionnées pour le corpus de la thèse - Stella Manhattan, Uma história de Família, O falso mentiroso et Histórias mal contadas - présentent des caractéristiques d un énoncé ondulant qui est organisé pour le déroulement de la voix narrative du Je fictionel, delimité pour l alternance entre la projection de références biographiques de l écrivain et la projection de son discours critique et théorique. Le corpus sélectionné relativise la representation du sujet et erige l énoncé du discours au meme temps que théorise à propos du procès d énonciation par un narrateur ondulant. Compte tenu de cette nouvelle pespective du faire littéraire, cette étude a pour but, sachant que de nouvelles stratégies de lectures deviennent indispensables, développer le champ d analyse, étendant son regard vers le discours extra-littéraire des entretiens, accordés par l écrivain qui ratifient leur pensée essayistique et de proposer une réorganisation des frontières de la fiction.

[pt] A tese é constituída de duas partes, uma ficcional, a outra ensaística. A primeira é um romance de auto-ficção composto por quatro narrativas que se entrecruzam. Em busca de um sentido para seu corpo paralisado, a personagem faz uma viagem de retorno às origens, tentando encontrar a casa onde o avô morava na Turquia. Paralelamente a essa história, outras duas narrativas desenham diferentes possibilidades de resposta à sua paralisia: a morte da mãe e uma história de amor violenta. Há ainda uma quarta narrativa que conta o passado do seu avô, que veio para o Brasil aos vinte anos, e da sua mãe, que foi torturada e exilada durante a ditadura. O ensaio, por sua vez, aborda o percurso de doutorado, explicitando como a tese se transformou em romance e defendendo essa escolha como uma posição política. Num segundo momento, discute-se a idéia de herança familiar e herança literária, mostrando as tarefas contraditórias que elas implicam: receber e escolher, acolher o que é anterior a nós e interpretá-lo. Por último, discute-se o conceito de auto-fição, gênero literário que coloca em questão os limites entre ficção e realidade. / [fr] La thèse est constituée de deux parties: une fiction et un essai. La première est un roman d´auto-fiction composé de quatre narrations qui s´entremêlent. Afin de comprendre le pourquoi de la paralysie de son corps, le personnage principal (une jeune femme) entreprend de faire un voyage de retour à ses origines, à la recherche de la maison où vivait son grand-père, en Turquie. Parallèlement à cette histoire, deux autres narrations apportent différentes possibilités de réponse à sa paralysie: la mort de sa mère et une histoire d´amour violente. La quatrième narration évoque le passé de son grand-père, venu de Turquie au Brésil à l´âge de vingt ans, et de sa mère, torturée et exilée pendant la dictature brésilienne. L´essai, quant à lui, aborde le parcours du doctorat, en expliquant comment la thèse s´est transformée en roman, et en faisant un parti pris politique. Dans la deuxième partie, il est question d´héritage familial et d´héritage littéraire et de la manière dont ces deux héritages nous mettent face à des enjeux contradictoires: recevoir et choisir, accueillir ce qui est antérieur à soi et l´interpréter. Enfin, le concept d´auto-fiction est analysé comme genre littéraire ainsi que les limites de ce genre: entre fiction et réalité.

Inger Edelfeldt (1956) and Bengt Martin (1933-2010) are two Swedish writers of different generations. Both of them did, between the years 1968 to 1983, write about adolescent men coming to terms with their homosexuality. Edelfeldt wrote two versions of the same story, with slight but significant differences, the main being different implied readers (adult versus adolescent). Bengt Martin wrote about three young homosexual characters: Joakim, Bengt and Bengt. The story about Joakim is presented as fiction but bears many resemblances with Martin’s autobiography. The story about Bengt, the only one of these stories meant for an adolescent implied reader, is seemingly presented as autobiographical but bears only slight resemblances to the Bengt brought forth in the autobiography Jag ångrar ingenting (“I don’t regret anything”). My purpose is to analyze how and why Edelfeldt and Martin re-wrote these stories. In what ways do the rewritings change the story about how it is to be young and homosexual? My result shows that a story about homosexuality differs due to the time it was written and that Martin and Edelfeldt wrote about this subject in a transit period between the focus on societal discrimination and the need to show a possible happy life. The wish to show society that homosexual individuals are unfairly treated conflicts with the need to give hope to young homosexual people. The word young is important in this context, as the adolescent implied reader (in Bengt Martin’s youth books about Bengt and the second version of Edelfeldt’s novel) makes the story more hopeful and less problematized. The analyzed books show the importance of seeing sexual identity as a construction. Martin and Edelfeldt are products of their time and society, but also actors in the re-shaping of homosexual identity.

No description available.

No description available.

[pt] A dissertação propõe investigar as diferentes formas de se entender memória na literatura de Monika Maron (Berlim/Alemanha, 1941-), especialmente na obra Pawels Briefe [Cartas de Pawel] (1999). Com fortuna critica eloquente, a obra da autora impulsionou diferentes conceitos e indagações acerca do tema memória. Maron parte de um arquivo familiar para construir a narrativa pós-memorial e monta sua história-ficção-memória a partir de imagens, cartas, depoimentos e imaginação literária. No contexto geral da obra de Maron, e Pawels Briefe é caracterizado como livro central. Temas como pós-memória, memória crítica, narrativa geracional, trauma e luto são contemplados, cotejados e indagados, assim os problemas da recepção dos textos de memória. Ao se tratar de imagens justapostas ao texto narrativo, defende-se que, além de um aide-memoire, as fotografias representam a inserção do silêncio na linguagem narrativa. Para isso, parte-se da obra de Rancière e seus argumentos a favor da potência representativa da literatura e questionando o elogio do irrepresentável, procura-se incluir o silêncio como potência no terreno da linguagem, em vez de identificá-lo como aquilo que está para além dela. / [en] The thesis proposes the investigation of the various forms of understanding memory in the literary work of Monika Maron (Berlin/ Germany, 1941-), specially in Pawels Briefe [Pavels Letters] (1999). With eloquent wealth of treatises, the author’s work inspired different forms of understanding and questioning the subject of memory. Maron uses a family archive to create a post-memorial narrative and builds her historical –fictional- memorial book with pictures, letters and literary imagination. Pawels Briefe is put as a central piece in a broader view of Maron’s work. Subjects like post-memory, critical memory, generational narrative, trauma and grief are discussed, compared and questioned here. So are the issuesregarding the reception of memory texts. Addressing the juxtaposition of images and narrative, I support that photographic images represent not only an aide-memoire but also the inlcusion of silence in prose. Based on the works of Rancière and his arguments in favor of the representative potentiality of literature and questioning the eulogy of the irrepresentable, its objective is to include silence as a force in the field of language, instead of identifying it as something that is beyond it. In Pawels Briefe, by Monika Maron, this minute’s silence can be identified in the insertion of photographic pictures.

[pt] Este trabalho é composto por duas partes distintas e complementares: a primeira apresenta o romance autoficcional Menina do Cerrado, colagem de resíduos da memória e da fabulação criativa engendrada especialmente para a presente composição. A segunda agrega um posfácio com considerações sobre elementos de cunho prático-teórico que alicerçam a ficção. A união das duas partes realça o esforço de fazer a aproximação de percepções artísticas a determinados conceitos da filosofia recente. / [en] This work consists of two distinct but complementary sections: the first presents the auto-fictional novel Menina do Cerrado (The Girl from the Cerrado), a collage of bits of memories and the creative figment specially designed for this composition. The second one adds an afterword with considerations about practical and theorectical elements which support the fiction. Both parts together highlight the application of approaching artistic perceptions and some concepts of new philosophy.

[pt] A pesquisa de mestrado intitulada Fazendo a América investiga, de forma teórica e ficcional, o potencial criativo que o exílio enquanto instância subjetiva - não apenas geográfica - desperta no indivíduo. A dissertação entretece discussão teórica à escrita de autoficção, com a apresentação de uma novela sobre uma família com quatro gerações de imigrantes e suas histórias. O formato ficcional permite pensar o exílio, sua potência e seus desdobramentos através da própria escrita, e explorar a sensação de identidade fragmentária e de alteridade geradas tanto pelo exílio geográfico como por diferentes exílios interiores e sociais patentes na contemporaneidade - entre eles o do escritor, que trafega entre o mundo real e o do papel. Partindo da visão flusseriana do exilado não como vítima, mas como vanguarda, Fazendo a América joga luz sobre a ideia de libertação vertiginosa (FLUSSER, 2007) que a força desestabilizadora (SAID, 2006) do exílio carrega, e conclui que as fendas subjetivas abertas pelo exílio são também espaços de potência e fertilidade para a criação artística. / [en] The master s research entitled Making America investigates, in a theoretical and fictional way, the creative potential that the exile as a subjective instance - not just as a geographic one - awakens in the individual. The dissertation intertwines theoretical discussion with the writing of self-fiction, with the presentation of a novel about a family with four generations of immigrants and their stories. The fictional format allows one to think of exile, its power and its unfolding through writing itself, and to explore the sense of fragmentary identity and alterity generated both by geographical exile and by different inner and social exiles evident in contemporaneity - among them that of the writer, who travels between the real and the paper worlds. Making America emphasizes the idea of vertiginous liberation (FLUSSER, 2007) that the destabilizing force (SAID, 2006) of the exile carries with it, and concludes that the subjective gaps opened by exile are also spaces of power and fertility for artistic creation.

Depuis son invention par Serge Doubrovsky en 1977, le concept d’autofiction n’a cessé d’évoluer et de stimuler la réflexion sur la production romanesque. Après sa consécration en France, l’autofiction gagne les littératures européennes et occidentales, d’abord en Allemagne et en Pologne, puis au Canada et aux États-Unis, ou encore en Espagne et en Amérique latine. Elle franchit ensuite les frontières pour s’adapter aux spécificités culturelles des littératures étrangères. Elle est adoptée au Japon, questionnée en Iran et pratiquée aux Antilles, dans l’Océan Indien, en Afrique du Sud, au Brésil ou encore en Chine. Depuis quelques années, le phénomène littéraire semble gagner le monde arabe. Certains écrivains s’en réclament, d’autres s’en accommodent et d’autres préfèrent employer divers concepts pour définir leur pratique romanesque, ce qui a poussé la critique arabe à forger un vocabulaire technique. Parmi les notions proposées, un terme se dégage : al-taḫyīl al-ḏātī. Mais cette nouvelle terminologie peut-elle attester l’émergence d’un « nouveau genre » dans la littérature arabe ? La présente thèse se propose donc d’étudier la question de la validité de l’autofiction dans la littérature arabe. La première partie de cette thèse donne un aperçu historique de la longue tradition d’écriture du moi depuis le XIXe siècle. La seconde partie questionne la production romanesque contemporaine, ensuite présente un certain nombre d’œuvres qui sont à mi-chemin entre l’autobiographie et la fiction, pose le débat critique et fixe notre cadre théorique. La troisième partie est consacrée à l’étude des œuvres choisies de Mohamed Choukri, de Sonallah Ibrahim et de Rachid pour observer au plus près la pratique autofictionnelle, d’en comprendre les mécanismes et d’en connaître les motivations. À partir de ces trois auteurs et des exemples qu’ils nous donnent de leur pratique d’écriture, on se propose dans la conclusion d’établir un modèle d’autofiction arabe et de définir des thèmes que l’on pourrait appliquer à un vaste ensemble de textes modernes et contemporains. / Since its invention by Serge Doubrovsky in 1977, the concept of auto-fiction has continued evolve and stimulate thinking about the novel and its production. After its consecration in France, the auto-fiction has won over European and Western literature, starting first in Germany and Poland, Canada and the United States, as well as gathering acclaim in Spain and Latin America. It then crossed borders and adopted itself to the cultural specificities of foreign literature which is why it has also been adopted in Japan, questioned in Iran and practiced in the Caribbean, the Indian Ocean, South Africa, Brazil or China. In recent years, this literary phenomenon has also gained momentum in the Arab world. Some Arab writers have adopted it, others have accommodated it, and still others have chosen various concepts to help define their practice as novelists, inspiring the critics to create a new technical vocabulary such as: al-taḫyīl al-ḏātī. However, does the creation of new Arabic terminology within the realm of auto-fiction merit the claim that a ‘‘new genre’’ has emerged in the Arabic literature? This study raises the question of the validity of the auto-fiction as applied to Arabic literature. Therefore, the first part of this thesis gives a historical panorama of the long tradition of auto-fiction since the 19th century. The second part questions the contemporary novel’s production, then presents a number of works that are part autobiography and part fiction, exemplifying the critical debate that sets up the theoretical framework of this study. The third part is dedicated to studying selected works by Mohamed Choukri, Sonallah Ibrahim and Rashid El-Daïf and examining the practice of these authors use of auto-fiction in order to understand its mechanisms and their motivations. In conclusion, as a result of the examination of these three authors and the examples they give of their writing, an attempt is made to show a pattern for Arab auto-fiction in order to identify some of the themes that could be applied to a wide set of modern and contemporary texts. / استمرّ مفهوم autofiction أو "ذات متخلية" في تطوّره و تطوير التفكير حول إنتاج الرواية، منذ اختراعه من قبل سيرج دوبروفسكي في عام 1977. بعد تكريسه في فرنسا، يتقدّم المفهوم في الأدب الأوروبي والغربي، أوّلاً في ألمانيا وبولندا وكندا والولايات المتّحدة، أو في إسبانيا وأمريكا اللاتينية. ثم يجتاز الحدود ليَتَأَقْلَمَ بخصوصيات ثقافة الأدب الأجنبي. فتَمّ اعتماده في اليابان، شُكِّكَ به في إيران وتمارس في منطقة البحر الكاريبي والمحيط الهندي وجنوب أفريقيا والبرازيل والصين. وفي السنوات الأخيرة، يبدو أن هذه الظاهرة الأدبية تكتسح العالم العربي. بدأ بعض الكتّاب يصرحون بانتماء نصوصهم إلى هذه الكتابة الأدبية، والبعض الآخر يعترفون بأن نصوصهم تنتمي سردياً إلى هذا النوع الأدبي غير أنها تحافظ على تجنيسها المألوف (الرواية، السيرة الذاتية، الخ) وآخرون يفضلون استخدام مفاهيم مختلفة لتعريف تجاربهم الروائية، مما دفع النقاد العرب بصياغة مفردات تقنية جديدة. و يظهر من بين المفاهيم المقترحة مصطلح "الــــتخييل الذاتي". ولكن هل هذا المصطلح الجديد يمكنه أن يشهد ظهور "نوع جديد" في الأدب العربي؟يطرح هذا البحث مسألة صحة التخييل الذاتي في الأدب العربي. يقترح الجزء الأول من هذه الأطروحة إعطاء لمحة تاريخية عن تقليد قديم في كتابة الذات منذ القرن التاسع عشر . والجزء الثاني يطرح إنتاج الرواية المعاصرة، ثم يعرض عدداً من الأعمال الروائية التي تقع بين السيرة الذاتية والخيال، ويثير النقاش حول هذه المسألة في النقد العربي والغربي، ثم يثبت الإطار النظري. ويخصّص الجزء الثالث في دراسة الأعمال المختارة لمحمد شكري، وصنع الله إبراهيم ورشيد الضعيف لمراقبة ممارسة كتابة "التخييل الذاتي"، لاستعاب آلياتها ومعرفة دوافعها. ومن هؤلاء المؤلفين لثلاثة ومن الأمثلة المتواجدة في كتاباتهم، نقترح في الخاتمة إقامة نموذج للتخييل الذاتي العربي وتحديد مواضيع من الممكن تطبيقها على نطاق مجموعة واسعة من النصوص الحديثة والمعاصرة