O presente texto tem como principal objetivo apresentar uma investigação provocada a partir da escrita e reedição do livro 2013, da produção de um novo livro, intitulado 2015 e da preparação do material para um terceiro volume, chamado 2017. Teremos, dessa forma, a problematização de uma serialização indeterminada de publicações contaminadas pelo cotidiano e pela autobiografia chamada Presente Contínuo. Como fonte de pesquisa artística serão investigadas – através da análise da imagem/texto e seus modos flexíveis de intenção – algumas estratégias poéticas já empregadas por diferentes artistas, como Stephane Mallarmè, Edward Ruscha, Jonathan Safran Foer, Georges Perec, John Cage, Luiz Ruffato e Augustín Fernández Mallo. Para aprofundar o arcabouço teórico, foram convocados os escritos de autores que problematizam o cotidiano, a escrita de si, o impulso arquivista e a autoficção, como Maurice Blanchot, Agnes Heller, Philipe Lejeune, Roland Barthes, Jacques Derrida, Judith Butler e Henry Lefebvre. Finalmente, a partir do processo poético envolvido quando operamos elementos cotidianos, autoficcionais e arquivistas para criar narrativas verbo-visuais não-lineares na forma de livros, serão discutidos aspectos do artista como editor, do artista como curador e do artista como pesquisador. / The main aim of this text is to present an investigation provoked from the writing and reissue of the book 2013, from a new book production entitled 2015 and the material preparation for a third volume, called 2017. In this way, we will have the problematization of an undetermined serialization of publications contaminated by daily life and by the autobiography called Present Continuous. As a source of artistic research will be investigated – through image/text analysis and their flexible modes of intention - some poetic strategies already employed by different artists, such as Stephane Mallarmè, Edward Ruscha, Jonathan Safran Foer, Georges Perec, John Cage, Luiz Ruffato and Augustín Fernández Mallo. In order to deepen the theoretical framework, the writings of authors who problematize daily life, the writing itself, archival impulse and autofiction, such as Maurice Blanchot, Agnes Heller, Philipe Lejeune, Roland Barthes, Jacques Derrida, Judith Butler, and Henry Lefebvre were summoned. Finally, from the poetic process involved when we operate everyday, autofictional and archival elements to create nonlinear verbo-visual narratives in the form of books, we will discuss aspects of the artist as editor, the artist as curator and the artist as a researcher.

Submitted by Aline Batista (alinehb.ufpel@gmail.com) on 2017-05-31T20:10:45Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação Janaína Silva.pdf: 1121721 bytes, checksum: 742a54432ed47acabb6d67c26e09ebd5 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2017-05-31T20:19:11Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação Janaína Silva.pdf: 1121721 bytes, checksum: 742a54432ed47acabb6d67c26e09ebd5 (MD5) / Made available in DSpace on 2017-05-31T20:19:18Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação Janaína Silva.pdf: 1121721 bytes, checksum: 742a54432ed47acabb6d67c26e09ebd5 (MD5) Previous issue date: 2017-02-17 / Sem bolsa / Esta dissertação investiga aspectos da escrita de si na contemporaneidade, mais especificamente no discurso autoficcional. Buscando melhor compreender o fenômeno da autoficção, uma das modalidades da escrita de si, traçamos um levantamento sobre o nascimento do termo e seu posterior desenvolvimento, que é ampliado e modificado por diferentes teóricos que fazem da escrita autoficcional sua prática e seu objeto de estudo. Percebemos que a prática da escrita da autoficção é cerceada por polêmicas e posições teóricas algumas vezes contraditórias, daí a necessidade sobre um aprofundamento do tema. No Brasil, a autoficção vem em crescente expansão nos meios literários, e atualmente muitos escritores vem criando romances baseados em elementos autobiográficos, o que fomenta a reflexão sobre as possibilidades de representação do real no ficcional. Dentre diversos autores, escolhemos analisar a produção literária do escritor paulistano Ricardo Lísias, por considerá-lo como um expoente da literatura de cunho autoficcional no cenário nacional, devido à sequência de publicações em que o autor faz uso de elementos autobiográficos em um contexto de ficção. No entanto, para fins de melhor delimitação do corpus, optamos por focar o debate sobre a autoficção no romance Divórcio, por considerá-lo rico em possibilidades de análise no que tange ao uso de elementos autoficcionais na literatura brasileira contemporânea. Em Divórcio, Ricardo Lísias propõe um relato híbrido, em que mescla elementos autobiográficos e ficcionais, apresentando ainda um sujeito desestabilizado pelo trauma e que busca se reconstruir e se reestabelecer concomitantemente à prática da escrita, fazendo ainda uso do seu nome próprio como um importante recurso autoficcional. / The present dissertation investigates aspects of self-writing in contemporaneity, more specifically in the autoficcion discourse. In order to understand the phenomenon of self-fiction, a self-writing modality, we conduct a review of the birth of the term and its later development, which is amplified and modified by different theorists who chose the autofiction writing as their practice and their study object. We recognize that the practice of autofiction writing is delimited by polemics and sometimes contradictory theoretical positions, hence the necessity of extensive studies of the theme. In Brazil, autofiction hás been growing in literary circles, and today many writers are creating novels based on autobiographical elements, which encourages reflection on the possibilities of representing the real in the fictional. Among several authors, we chose to analyze the literary production of the writer from São Paulo, Ricardo Lísias, considering him as an exponent of autofiction literature on the national scene, due to the sequence of works in which the author makes use of autobiographical elements in a context of fiction . However, to delimitate the corpus of this work, we chose to focus on the debate on autofiction in the novel Divorce, considering its different possibilities of analysis regarding the use of autofiction elements in contemporary Brazilian literature. In Divorce, Ricardo Lísias proposes a hybrid story, in which he mixes autobiographical and fictional elements, presenting a subject destabilized by the trauma. A individual that seeks to reconstruct and reestablish concomitantly to the practice of writing, that finds in use of his own name an important autofiction resource.

“Identity” constitutes one of the most debates theoretical concepts in the domain of postcolonial studies. Scholars often have a historical perspective for examining the question of identity in contemporary literary works. In fact, in the last three decades of the 20th century, we notice a significant increase in the number of literary works of an autobiographical and biographical nature. In the contemporary literature, the predominance of “personal narratives” in which reflect on identity, could be attributed to the heightened sense of individuality, which in turn results from the failure of Grand Ideologies, the mass migrations triggered by the processes of decolonization, the alienation of the consumerist society, and the fundamental redefinition of gender roles in the latter half of the 20th century. But during this period, there is also a parallel epistemological shift that takes place, and which is sometimes downplayed in the historical approach of the postcolonial studies. The episode in the history of ideas, known as “the death of the Subject,” is commonly associated with the structuralist movement in the 1950s and 60s. Structuralists argued that the human mind is traversed by omnipresent structures that play a much more significant role in the creative process than the conscious mind. In the case of language for example, it is not we who make use of the language, but rather, it is the language that evolves and produces itself through our mental structures. With language, human agency is also questioned in literary creation. As a result, literary critics take issue with such notions as “self,” and “self-writing,”-or autobiography. In France, the New Novel was the locus for the literary representation of structuralist theories, and played an important role in the formalist movement of the 1950s and 1960s. Using various techniques, the New Novelists sought to annihilate the anthropocentric narration or otherwise underscore the passive experience of reality by the Subject. The result was a highly formalist type of novels, predominant in the 50s and 60s, drawing mostly an elite intellectual readership. But May 1968 events marked a departure from the structuralist ideology in general, and the literary esthetics of the New Novel in particular. This political, social, and cultural upheaval in France was a ramification of the global student movement against institutional apparatuses and different forms of political establishment. In France, it was also a reaction to the elitist academism that denied the “human,” and to a literary expression that negated individuals and their personal stories. May 1968 protests objected to the monopoly of elite institutions on discourse and knowledge, and that they aspired to a “democratization” of discourse. The increase in the number of autobiographical and biographical works after 1970s, could therefore be viewed as a dialectical response to the formalism of the New Novel. This epistemological shift opened up the discursive space for narratives of “self” and “identity.” These narratives document a highly subjective experience of reality in a rapidly-changing world. Most importantly, they reflect the preoccupations of the contemporary individual as well as the transformations of the social life, and as such, narratives of family, exile, sexuality, and quotidian abound. The personalization of the experience goes so far as to call into question the very meaning of reality and History, and thus the “referential” genres autobiography and biography are new writing practices “autofiction” and “biofiction” which maintain an ambiguous rapport with the referential reality.

A travers Fils de S. Doubrovsky, Le Miroir qui revient d'A. Robbe-Grillet et A l'ami qui ne m'a pas sauvé la vie d'H. Guibert, notre étude abordera par une approche psychanalytique le fantasme à l'oeuvre dans l'autofiction. Reprenant la formule d'A. Robbe-Grillet sans toutefois nous imputer le propos, notre réflexion s'articulera autour de deux axes rendant compte du discours autofictionnel. Dans un premier temps, l'autobiographe est appréhendé dans cette pente à " faire sa propre statue ". Dans un second temps, l'autofictionnaliste y oppose cette volonté à " se projeter hors de soi ". Peu à peu se construit face au père-analyste ou au père-médecin l'imaginaire adolescent d'un fils en proie à ses apories : l'un devient une figure rivale et gémellaire de l'autre autour de cette parole-pulsion et de son économie. Dans ce rapport d'addiction à la Loi qui est autant de désintrication et d'ironie que de nostalgie et d'adhésion, le gynogenre autofictionnel ne semble exister qu'en miroir du phallogenre autobiographique. L'autofictionnaliste ne cesse d'évoquer par une ironie tenant lieu d'exorcisme cet autobiographe qui sommeille en lui. Par une rhétorique psychanalytique volontairement simple, il se présente sous l'image d'un fils soumis à une structure hystérique face à un père dont il déjoue la censure et les pudeurs. Cette figure d'ultra-autobiographe, plus intègre que le père lui-même, ferait de ses voeux autobiographiques une promesse donjuanesque à seule fin de susciter le désir de l'auteur. L'autofictionnaliste jouant à être cet autobiographe plus " ultra " que le père essaimerait quelques leurres se révélant être des figures gratuites, abandonnerait çà et là quelques aveux véridiques mais insignifiants, tendrait à séduire le lecteur et à le faire entrer dans une mécanique du désir dont la fin serait de dominer sa victime par l'indécidable. Il tiendrait le jeu de l'énigme autant qu'il écrirait. Il soutiendrait le désir du lecteur plus qu'il ne dévoilerait. Ainsi, se construirait un texte blanc qui serait ce secret d'un texte à venir sans cesse promis mais qui neviendrait pas, tout le jeu consistant à le faire oublier.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Conselho Nacional de Desenvolvimento Científico e Tecnológico / Diante da recorrência da criação de personagens-escritores nas obras brasileiras de ficção publicadas a partir dos anos 1990, foi escolhida a produção de Daniel Galera como estudo de caso. O personagem-escritor foi observado como estratégia para discutir questões relativas à cena literária contemporânea. Foi delimitado como corpus dessa pesquisa o blog criado durante a estada de Daniel Galera em Buenos Aires, ao participar do projeto Amores Expressos, e o romance Cordilheira (2008), escrito como fruto dessa experiência. Tendo em vista a trajetória de sua carreira em constante relação com a internet, foi analisada a construção do escritor-personagem no blog hospedado no site do projeto, em contraponto à figura do personagem-escritor no romance. Para tanto, foram utilizados textos sobre a autoficção, a performance e a autoria. Na comparação dos textos de ambos os suportes, foram evidenciadas semelhanças e diferenças nas problematizações a respeito da formação do autor. Foi investigada a inserção de trechos do blog no romance como estratégia que oferece complexidade nos espelhamentos das imagens e enriquece os efeitos de leitura do romance / Given the recurrence of the creation of characters as writers in Brazilian fiction works published since the 1990s, it was chosen the Daniel Galeras production as a case study. The character as writer was seen as a strategy to discuss issues concerning the contemporary literary scene. The research corpus was defined by a blog created during the Daniel Galeras stay in Buenos Aires, when he participated in Amores Expressos project, and the novel Cordilheira (2008), written as a result of that experience. By the trajectory of his career in a constant relation with the internet, it was analyzed the construction of writer as character in a blog hosted on the project site, in contrast to the figure of character as writer in the novel. For that, texts on autofiction, performance and authoring were used. Comparing the texts of both supports, similarities and differences in problematizations regarding the authors formation were found. The inclusion of excerpts from the blog in the novel was seen as a strategy that offers complexity of mirroring images and enhances the effects from the novel reading

No description available.

The aim of this essay is to find signs of autofiction in the autobiographical novel Ru written by Kim Thúy. We also examine the functions of autofiction in the novel. What purpose can an autofictional strategy of writing serve?Autofiction is a literary term with many significations and that is why we have formulated our own definition of autofiction in this essay. The practice of autofiction is not new, it is in fact a historical category and we think that this shows the value of autofiction as a very human way of writing, and that this value is related to the human memory and to the wish to relate past events in a more vivid way. For exemple, a comparison can be made between the human memory and autofiction; both of them have pictures of own memories and also pictures of memories that someone else gave them. It is also possible that fiction and reality blend unconsciously when we call to mind events from the past.Ru is the first novel of Kim Thúy and it describes her and her family’s life during the Vietnam War, under the communist regime’s terror, as refugees and as immigrants in Canada. The author hop from present time to past time according to her memory. Ru does not have chapters, instead it is composed of many short stories which are linked togheter by a thought or a word. It is not an enumeration of events, places or numbers, in Ru it is the individual’s perspective that is in focus.We have analysed the autofiction in Ru according to the following points: écriture consonantique, littérarité, rétrospection dialectique, découpage temporal and reconstitution. In our analysis we have shown that there is autofiction in Ru. First of all because the novel is not written in a chronological order but also because it contains the authors search for her-self which is also a search for healing of traumatic experiences. We have also dicussed the functions of autofiction in Ru and we have seen that Kim Thúy insert stories of others which has a function for the collective history of the people of Vietnam. Kim Thúy uses fiction to make the readers imagine the real. In this way, fiction and reality are not opposed, it is just two different manners of talking about the real world.

O presente texto tem como principal objetivo apresentar uma investigação provocada a partir da escrita e reedição do livro 2013, da produção de um novo livro, intitulado 2015 e da preparação do material para um terceiro volume, chamado 2017. Teremos, dessa forma, a problematização de uma serialização indeterminada de publicações contaminadas pelo cotidiano e pela autobiografia chamada Presente Contínuo. Como fonte de pesquisa artística serão investigadas – através da análise da imagem/texto e seus modos flexíveis de intenção – algumas estratégias poéticas já empregadas por diferentes artistas, como Stephane Mallarmè, Edward Ruscha, Jonathan Safran Foer, Georges Perec, John Cage, Luiz Ruffato e Augustín Fernández Mallo. Para aprofundar o arcabouço teórico, foram convocados os escritos de autores que problematizam o cotidiano, a escrita de si, o impulso arquivista e a autoficção, como Maurice Blanchot, Agnes Heller, Philipe Lejeune, Roland Barthes, Jacques Derrida, Judith Butler e Henry Lefebvre. Finalmente, a partir do processo poético envolvido quando operamos elementos cotidianos, autoficcionais e arquivistas para criar narrativas verbo-visuais não-lineares na forma de livros, serão discutidos aspectos do artista como editor, do artista como curador e do artista como pesquisador. / The main aim of this text is to present an investigation provoked from the writing and reissue of the book 2013, from a new book production entitled 2015 and the material preparation for a third volume, called 2017. In this way, we will have the problematization of an undetermined serialization of publications contaminated by daily life and by the autobiography called Present Continuous. As a source of artistic research will be investigated – through image/text analysis and their flexible modes of intention - some poetic strategies already employed by different artists, such as Stephane Mallarmè, Edward Ruscha, Jonathan Safran Foer, Georges Perec, John Cage, Luiz Ruffato and Augustín Fernández Mallo. In order to deepen the theoretical framework, the writings of authors who problematize daily life, the writing itself, archival impulse and autofiction, such as Maurice Blanchot, Agnes Heller, Philipe Lejeune, Roland Barthes, Jacques Derrida, Judith Butler, and Henry Lefebvre were summoned. Finally, from the poetic process involved when we operate everyday, autofictional and archival elements to create nonlinear verbo-visual narratives in the form of books, we will discuss aspects of the artist as editor, the artist as curator and the artist as a researcher.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A literatura brasileira contemporânea apresenta como uma de suas características o retorno do autor, explicado pela participação do escritor, no século XXI, no circuito midiático. A presença assídua de escritores em programas de rádio e televisão, em lançamentos de livros, em feiras literárias, em palestras e congressos etc. confere-lhes uma identidade imagética suficientemente forte para despertar nos leitores o desejo por conhecer mais amiúde o que eles têm a dizer para além do texto literário. Sua participação como personagem literário, no entanto, apesar de conter referências autobiográficas, está longe de representar uma verdade biográfica, mas, ao contrário, cria uma aura de indecisão a respeito das referências narradas. A autoficção, desse modo, seria uma crítica à noção de sujeito e ao demasiado apelo do real em nossos dias. Bernardo Carvalho é um autor exemplar de uma escrita autoficcional. Nove noites é um romance que, além de fornecer signos extratextuais importantes para a construção de uma identidade autoficcional, textualmente baralha os conceitos de verdade e mentira, ficção e realidade, resultando num texto híbrido, característico da mitificação a que se submete o autor contemporâneo. O presente trabalho, preocupado em ofertar uma novidade para os estudos literários, amplia o corpus analisado e não se limita à análise do já canônico Bernardo Carvalho. Sete outros autores somam-se a este para uma maior abrangência do panorama da literatura brasileira contemporânea. Clarah Averbuck, Milton Hatoum, Ivana Arruda Leite, Marcelo Mirisola, Cíntia Moscovich, João Gilberto Noll e Silviano Santiago completam a pesquisa em torno da autoficção / The contemporary Brazilian literature presents as one of its features the return of the author, explained by the participation of the writer, in the twenty-first century, in the media circuit. The constant presence of writers in radio and television programs, book launches, literary fairs, lectures and conferences etc. gives them an imagery identity strong enough to awaken in readers the desire to know in a more detailed way what they have to say beyond the literary text. His participation as a literary character, however, although it contains autobiographical references, it is far from being a "true" biography, but, instead, it creates an aura of indecision about the narrated references. The autofiction thus would be a criticism of the notion of subject and the exaggerated appeal of the real today. Bernardo Carvalho is an example of an author writing autofiction. Nove noites is a novel that, in addition to providing important extratextual signs to build an autofictional identity, literally shuffles the concepts of truth and lie, fiction and reality, resulting in a hybrid text, characteristic of myth-making submitted by the contemporary author. This work, concerned about offering something new to literary studies, extends the corpus analysis and it is not limited to the analysis of the already canonical Bernardo Carvalho. Seven other authors are added to him for a more comprehensive panorama of the contemporary Brazilian literature. Clarah Averbuck, Milton Hatoum, Ivana Arruda Leite, Marcelo Mirisola, Cíntia Moscovich, João Gilberto Noll and Silviano Santiago complete the search about the autofiction