Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-01-14T18:23:38Z No. of bitstreams: 1 pamellaterezinhasouzadeoliveiracostaalmeida.pdf: 1064853 bytes, checksum: 1412fcd781eab925d67661f7465e04df (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-01-25T17:38:03Z (GMT) No. of bitstreams: 1 pamellaterezinhasouzadeoliveiracostaalmeida.pdf: 1064853 bytes, checksum: 1412fcd781eab925d67661f7465e04df (MD5) / Made available in DSpace on 2016-01-25T17:38:04Z (GMT). No. of bitstreams: 1 pamellaterezinhasouzadeoliveiracostaalmeida.pdf: 1064853 bytes, checksum: 1412fcd781eab925d67661f7465e04df (MD5) Previous issue date: 2015-08-31 / FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais / O presente trabalho analisa a trajetória do conceito de Autoficção, cunhado por Serge Doubrovsky, e como ele tem sido assumido como uma palavra-valise, principalmente na literatura brasileira contemporânea. Temos como objetivo refletir acerca da utilização do termo na imprensa para designar todo tipo de texto em que o autor e personagem possam ser, ainda que minimamente, confundidos e como isso dialoga com o fenômeno do retorno do autor à cena literária, após Roland Barthes o ter decretado morto em1968. Nossa hipótese é de que o termo, por ser muito abrangente, acaba por definir muitos gêneros experimentais, o que acaba por não definir de fato e essa presença do autor, que agora se dá de uma outra maneira, acaba por corroborar para que essa definição não seja bem sucedida quando comparada ao termo francês. No Brasil, dentre inúmeras obras que poderiam servir de mote, selecionamos dois: A chave de Casa, de Tatiana Salem Levy (2010) e O Diário da queda, de Michel Laub (2011); sem pretender chegar a uma decisão categórica, mas buscando, principalmente, analisar quais são os motivos que levam críticos e mídia a considerá-los como autoficção. Para isso, em primeiro lugar, como se dá essa volta do autor para a cena literária, como ele acaba por se travestir de personagem e qual é a intenção disso; em segundo analisamos a discussão acerca do conceito de autoficção, principalmente, na França; para, finalmente, analisarmos como essa teoria se dá nas obras literárias contemporâneas no Brasil. Para desenvolver essa pesquisa, utiliza-mo-nos de autores que dialogam com as teorias citadas, entre eles: Philippe Lejeune, Serge Doubrovsky, Roland Barthes, Michel Foucault, Vincent Colonna, Diana Klinger, Paul De Man, Luiz Costa Lima, Sylvia Molloy, Andreas Huyssen, Friedrich Nietzsche, etc., além de textos de jornais e blogs. / The current paper aims to analyzing the course of the autofiction concept, coined by Serge Doubrovski, and how it has been taken as a portmanteau, especially in contemporary Brazilian literature. Our goal is to reflect upon the use of the term in press to designate any kind of text in which the author and the character could be, even if minimally, mistaken for each other and how it relates with the return of the author to the literary scene phenomenon, after Roland Barthes declaring him dead in 1968. Our theory is that the term, due to its broadening, ends up defining many experimental genres, which does not define in fact the presence of the author, now given in a different fashion, comes to corroborate so this definition is not as succeeded when compared to the French term. In Brazil, among countless works that could be a motto, we have chosen two: A chave de Casa, by Tatiana Salem Levy (2010) and O Diário da queda, by Michel Laub (2011); not aiming to achieve an unequivocal decision, but looking forward, mainly, to analyze which are the reasons why critics and media consider them autofiction. For doing so, firstly, how the author turns him/herself towards the literary scene, how s/he ends up travestying as a character and what is the intention in it; secondly we analyze the discussion regarding the concepts of autofiction, specially, in France; for then, finally, analyze how this theory happens I contemporary Brazilian literary works. In order to develop this research, we made use of authors who dialogue the aforementioned theories, namely: Philippe Lejeune, Serge Doubrovsky, Roland Barthes, Michel Foucault, Vincent Colonna, Diana Klinger, Paul De Man, Luiz Costa Lima, Sylvia Molloy, Andreas Huyssen, Friedrich Nietzsche, and etc., besides newspaper articles and blogs.

Partant du constat qu'un changement des paradigmes définitoires de l'autofiction semblait être en train de s'opérer dans la production littéraire québécoise contemporaine, mais consciente que le genre autofictif est reconnu pour les mésententes que causent entre les critiques sa définition (Doubrovsky, Colonna, Genette, Darrieussecq), j'ai tenté, dans le présent mémoire, d'étudier les récits autofictifs de Vickie Gendreau, Testament et Drama Queens, en m'appuyant sur le rapport entretenu par ces deux textes à la vraisemblance. J'ai postulé que la vraisemblance est un élément central définitoire des autofictions. Chez Gendreau, le rapport des narratrices à leurs corps malades, en dégénérescence, constitue l'instance de vraisemblance principale, et actualise sans arrêt dans le texte le pacte autobiographique – constitutif des autofictions. Les textes de Gendreau, qui plus est, sont des récits autofictifs qui se définissent par leur rapport à la vraisemblance et dans lesquels les éléments invraisemblables ne constituent pas une sortie du pacte de lecture autobiographique. Je définis d'abord, dans un chapitre théorique, l'autofiction et la vraisemblance (Barthes, Rapin, Aristote, Mercier, Genette). Puis, en me basant sur Putain et Folle, autofictions de Nelly Arcan considérés par la critique comme des récits québécois exemplaires du genre, j'établis un canevas de vraisemblance, sur lequel je m'appuie pour mon analyse des romans de Vickie Gendreau. / Noting that a change of the autofiction's defining paradigms seems to be taking place in Québec contemporary literary production, but aware that the genre is a recognized source for disagreements between scholars (Doubrovsky, Colonna, Genette, Darrieussecq), I herein attempted to examine Vickie Gendreau's Testament and Drama Queens, relying on the relationship maintened by these two texts with the concept of vraisemblance. I asserted that the vraisemblance is central in defyning autofictions; that, in Gendreau's writing, the relationship of the narrators to the degenerating body is crucial in the development and constant updating of the autobiographical pact – constitutive of autofictions; and especially that Gendreau's novels are defined by their relationship to the vraisemblance, and that implausible elements present in the text do not break the autobiographical pact. I first defined, in a theoretical chapter, autofiction and vraisemblance (Barthes, Rapin, Aristote, Mercier, Genette). Then, based on Putain and Folle, autofictions by Nelly Arcan widely regarded by critics as Quebec examples of the genre, I established a vraisemblance canvas on which I rely for my analysis of Gendreau's novels.

This thesis explores the works of the Colombian writer Fernando Vallejo in terms of autobiography and fiction. Using the theoretical approaches of Philippe Lejeune in his book On Autobiography and Serge Doubrovsky in his book Fils: Roman this thesis will draw distinctions between autobiography and what Doubrovsky calls "autofiction" in Vallejo'­s collection of five texts known as El rio del tiempo. Lejeune has shown that the canonical form of autobiography is characterized by the equation author=narrator=character. However, if we apply this clear-cut definition to Vallejo's book, a series of question arise: Who is speaking in his novels? Can we unequivocally attribute the narrator's ideas to Vallejo himself? Or if his novels are mere autobiographies, why does Vallejo use some blatantly fictitious situations? Fernando Vallejo'­s work underscores the fine boundary between fiction and autobiography and the impact that this relation has on his readers. In his writing, the present time and past time are fused in the capricious channel of his memory, confirming that every autobiography, no matter how sincere it is, is also a form of storytelling. / Master of Arts

À travers ce qu’il nomme son « Autobiographie américaine » constitué de dix romans, Dany Laferrière a créé un univers multiforme traitant de l’enfance, de l’adolescence, de la dictature, du départ et du retour au pays natal. Les deux œuvres à l’étude, soit Pays sans chapeau et L’Énigme du retour, explorent le thème du retour au pays natal par le biais d’un narrateur-personnage dont les ethoï discursifs, c’est-à-dire les images de soi créées dans et par le discours, se multiplient. Alors qu’ils redécouvrent le pays, les narrateurs se présentent par exemple comme lecteur, fils, écrivain, voyageur, membre d’une communauté d’exilés, reporter, étranger, etc. La mouvance identitaire des narrateurs permet de lier les romans au genre autofictionnel et d’étudier le traitement des lieux et de l’expérience du retour dans les deux cas. De plus, lorsque les narrateurs se présentent aux lecteurs en tant qu’écrivain, leur bagage littéraire se dévoile et leur vision du pays s’enrichit de leur mémoire littéraire. Nous proposons donc, dans le mémoire qui suit, d’étudier les stratégies de représentation du pays natal et d’interroger la possibilité de retour des narrateurs. Pour ce faire, nous tenterons dans le premier chapitre de faire ressortir et de définir les ethoï discursifs qui nous paraissent centraux dans les deux romans. Puis, nous développerons l’identité narrative d’écrivain afin d’explorer la mémoire littéraire des narrateurs en étudiant les intertextes implicites et explicites. Dans le dernier chapitre, nous mettrons de l’avant la possibilité de retour au pays par le biais de l’écriture. / Through what he names his "American autobiography" formed by ten novels, Dany Laferrière creates a multifaceted universe dealing with childhood, adolescence, dictatorship, the departure and the return to one’s native land. Both Pays sans chapeau and L’Énigme du retour explore the theme of the return to one’s native land by using a character-narrator whose discursive ethoses, that is the images of oneself created within and by a discourse, are multiplied. While they are rediscovering the country, the narrators present themselves for instance as the reader, the son, the writer, the traveler, the member of an exiled community, the reporter, the stranger, etc. The identitarian mobility of the narrators allows us to connect those novels with the autofiction genre, as well as the study of the settings and the experience of returns in both cases. Furthermore, when the narrators present themselves to the readers as a writer, their literary knowledge is revealed and their vision of the country is enriched by their literary memories. In this thesis, we propose to study the strategies of representation of one’s native land and to question the possibility of the narrators’ return. To do so, we will attempt to bring out and to define the discursive ethoses that appear crucial in the novels. Then, we will develop the narrative identity of the writer in order to explore the narrators’ literary memories by studying the implicit and the explicit intertexts. Finally, we will bring forward the possibility of returning to one’s native land by writing.

Ce mémoire se décline en trois parties. La première en est une de création où se succèdent cinq nouvelles mettant en scène des personnages en quête de leur propre présence. Dans chacune des courtes histoires présentées, la photographie prend une place centrale quant à l’incarnation de cette recherche. Suit une partie théorique portant sur la présence dans trois œuvres photo-textuelles de Sophie Calle. À leur lecture, une impression de présence émane. De quoi s’agit-il, exactement? Comment cela fonctionne-t-il? Et à quel point cette matière est-elle malléable? Cette analyse tente de répondre à ces questions en s’intéressant aux rapports entre texte et photographie dans À suivre, Gotham Handbook et Des histoires vraies, et ce, à la lumière des écrits de Roland Barthes, de Georges Didi-Huberman et de Johnnie Gratton. Puis, une réflexion sur l’écriture s’ouvre sur l’idée de l’expérience comme manière d’embrasser la présence. Je propose une poétique du corps de l’écrivain qui cherche des états de présence au monde en fréquentant des magasins de vêtements de seconde main. J’ouvre ainsi mon atelier en présentant un micro-cycle de création comportant des procédés d’épuisement des sens et menant ultimement à une expression de la sensibilité à l’expérience, si cruciale dans mon processus personnel.

Ce travail est une analyse exhaustive des romans publiés par l’écrivain chilien Alejandro Zambra entre 2006 et 2011. Compte tenu de son appartenance à la génération postdictatoriale, on va se concentrer sur la reconstruction autofictionnelle de l’enfance, et sur la façon dont elle reproduit, questionne et renverse le récit dictatorial dominant qui relègue les enfants sur le plan des personnages secondaires. Pour identifier le développement du discours, on va s’appuyer sur des outils critiques de la génétique littéraire dont le concept central « d’avant-texte » nous permet de faire une lecture rétrospective de Bonsái et de La vida privada de los árboles comme des précurseurs idéologiques de Formas de volver a casa. En raison de la centralité jouée par l’espace dans ces romans, on va consacrer une grande partie du travail à la représentation spatiale et la manière dont l’espace configure la position des personnages à l’intérieur du schème narratif. C’est dans cette relation que l’on identifie la dichotomie spatiale élaborée dans les œuvres, car l’espace et la vie privée sont reliés à l’inertie et la résignation dans l’univers textuel, tandis que l’action et le questionnement appartiennent au domaine de l’espace et la vie publics. Lus l’un après l’autre, les romans témoignent du parcours suivi de l’écrivain, qui assimile le récit dictatorial en évitant la confrontation narrative au début, pour, par la suite, approcher le passé, l’histoire familiale et la dictature, dans un processus autofictionnel qui projette les différentes voies du retour chez soi. / This work is a detailed analysis of the novels published by the Chilean writer Alejandro Zambra between 2006 and 2011. Considering his belonging to the so-called postdictatorial generation, which the author willingly embraces, this thesis focuses on his autofictional reconstruction of childhood, and on the way in which it reproduces, questions and subverts the dominant dictatorial narrative that condemns the children to the role of secondary characters. To follow the development of his discourse, we resort to genetic criticism’s central concept of the “pre-text” (or the “foretext”), with the help of which; we can reread Bonsái and La vida privada de los árboles retrospectively in order to identify them as ideological precursors of Formas de volver a casa. A substantial part of the work deals with the representation of space and with the way in which it configures the narrative positions of the characters in the texts. In this relationship we can identify the spatial dichotomy articulated by the novels, which associates the private life and spaces with inactivity and resignation, as well as the public life and spaces with action and questioning. The sequence of novels analyzed bear witness to the autofictional trajectory traversed by the author, who initially assimilates the dictatorial narrative, by avoiding a direct confrontation with the past and with his family’s history in a narrative elusion, before approaching these subjects through a self-confrontation that prefigures the different ways of going home. / El siguiente trabajo es un análisis detallado de las novelas publicadas entre el 2006 y el 2011 por el escritor chileno Alejandro Zambra. Tomando en cuenta su membresía a la llamada generación posdictatorial, que el autor acoge voluntariamente, nos enfocaremos en la reconstrucción autoficcional de la infancia, y la manera en que esta reproduce, cuestiona y subvierte la narrativa dictatorial dominante que relega a los niños de aquel entonces al papel de personajes secundarios. Para identificar este desarrollo discursivo, recurrimos a las herramientas críticas de la genética literaria, pues su central concepto de “pre-textos” (o “avant-textes”) nos permite hacer una lectura retrospectiva de Bonsái y La vida privada de los árboles no solo como textos previos a Formas de volver a casa, sino que como sus precursores ideológicos. Debido a la centralidad que juega el espacio en estas novelas, gran parte de nuestro trabajo se concentra sobre la representación espacial y la manera en que esta configura la posición de los personajes dentro del esquema narrativo. En dicha relación podemos identificamos la dicotomía espacial articulada por las obras, la cual vincula el espacio y la vida privada con la inacción y la resignación, así como el espacio y la vida privada con la acción y el cuestionamiento. Leídas en secuencia, las novelas testifican el trayecto recorrido por el autor, quien inicialmente asimila la narrativa de la dictadura al evitar la confrontación narrativa, para luego acercarse al pasado, la historia familiar y la dictadura, en un proceso de autoficcionalización que plantea las diferentes formas de volver a casa.

9.2 Abstract In this Master's thesis we have attempted to interpret Émile Ajar's novel La Vie devant soi using knowledge based on the psychoanalytic theory of trans-generational transmission. This theory assumes that a person who has been the victim of a traumatic experience cannot consciously refer to it, either through embarrassment or due to the fact that the trauma cannot be referred to verbally. However, he or she can refer to such traumas subconsciously in hints or symbols, precisely because expressing traumas, or their symbolisation in words, is the most effective therapy. If the trauma is not erased, it is transferred further trans-generationally. We consider Émile Ajar's La Vie devant soi to be a suitable work for applying the above- mentioned theory, not only due to the extraordinary life story of the author, but also as concerns the novel itself. Émile Ajar is a pseudonym of the well-known author Romain Gary (born Roman Kacew) who created the character of Émile Ajar in order to write freely regardless of what was expected of Gary as an established author and moreover, a well-known supporter of de Gaulle. As Gary's play on identities was brought to light only after his death, he was the only author to have ever been awarded the Goncourt Prize twice - the second time as Émile Ajar in La Vie devant...

Ensaísmo, práticas confessionais, autoficção, performance de si, apropriação de imagens amadoras, valorização do processo e abertura da cena à sua não-realização, na forma da emergência do fracasso, são escolhas, projetos ou procedimentos estéticos empregados em um número crescente de filmes brasileiros, sobretudo aqueles tomados por documentais. Tais escolhas dialogam, criticamente ou não, com uma cultura audiovisual colonizada por estratégias que visam a uma permanente intensificação dos \"efeitos de real\": seja por meio da tentativa de apagamento da linguagem como construção e mediação (o que chamamos de \"apelo realista\"), seja por meio da exposição de uma suposta intimidade como lugar privilegiado, ou mesmo garantia, da verdade do sujeito (o que chamamos de \"hipertrofia da subjetividade\"). Na contramão dessa tendência e operando na indeterminação entre autenticidade e encenação, pessoa e personagem, público e privado, processo e obra, experiência e jogo, vida e performance, diversos documentários brasileiros contemporâneos, que constituem o foco de nosso interesse, têm investido na opacidade, na explicitação das mediações, na reposição da distância e na tensão entre as subjetividades e seus horizontes ficcionais - destilando dúvidas a respeito da imagem documental, colocando sob suspeita seus procedimentos ou produzindo suas próprias esquivas. Os filmes que constituem o nosso corpus - caso de Jogo de cena (Eduardo Coutinho, 2007), Santiago (João Moreira Salles, 2007), Pancinema permanente (Carlos Nader, 2008), Juízo (Maria Augusta Ramos, 2008), Filmefobia (Kiko Goifman, 2009), Moscou (Eduardo Coutinho, 2009), Sábado à noite (Ivo Lopes Araújo, 2007), O céu sobre os ombros (Sergio Borges, 2010), Pacific (Marcelo Pedroso, 2009), Rua de mão dupla (Cao Guimarães, 2004), Avenida Brasília Formosa (Gabriel Mascaro, 2010) e Viajo porque preciso, volto porque te amo (Marcelo Gomes e Karim Ainouz, 2009), além de diversos outros títulos, de longas e curtas-metragens, a eles relacionados - não são aqui vistos como meros sintomas de nossa época, nem como formas puramente autônomas dotadas de legitimidade artística. Organizados em quatro ensaios e articulados a outras manifestações da cultura, os filmes analisados tanto constituem diversos regimes de visibilidade (com seus correlatos modos de produção da subjetividade) como tensionam as formas estéticas e as forças culturais, políticas e sociais em jogo em nossa sociedade mediada pela imagem, onde o que se mobiliza e disputa é a própria vida ordinária (que sempre interessou ao documentário), contígua às dinâmicas do capital e indissociável de seus jogos de cena. / Filmic essays, confessional practices, autofiction, performance of the self, appropriation of amateur images, appreciation of the creative process and the openness of the scene to its non-closure assuming a sense of failure: these are all choices, projects or aesthetic procedures employed by a growing number of Brazilian films, especially those classified as documental. These choices dialogue, critically or not, with an audiovisual culture colonized by strategies that aim the constant intensification of \"reality effects\". These effects are achieved either by the attempt of erasing filmic language as a construction and as a mediation process (what we name \"realist appeal\"), or by means of exposing an alleged intimacy as the place of the subject\'s guaranteed truth (what we name \"subjectivity hypertrophy\"). Heading towards another direction, a number of Brazilian contemporary documentaries work within an undetermined zone between the authentic and the staged, the real subject and the fictional character, the public and the private sphere, the artistic process and the final work, the real experience and the invented game, life and performance. These films, which will be the main focus of our interest, invest in the opacity of meaning, in the self-evidence of the filmic mediations as well as the reenactment of distances and tensions between subjects and their fictional counterparts, raising questions about the status of the documental image and putting their own artistic procedures under scrutiny. The films chosen for our analysis - Playing (Eduardo Coutinho, 2007), Santiago (João Moreira Salles, 2007), Permanent Pancinema (Carlos Nader, 2008), Behave (Maria Augusta Ramos, 2008), Filmphobia (Kiko Goifman, 2009), Moscow (Eduardo Coutinho, 2009), Saturday night (Ivo Lopes Araújo, 2007), The sky above (Sergio Borges, 2010), Pacific (Marcelo Pedroso, 2009), Two way street (Cao Guimarães, 2004), Avenida Brasília Formosa (Gabriel Mascaro, 2010) e I travel because I have to, I come back because I Love you (Marcelo Gomes e Karim Ainouz, 2009) and many other short and feature films - are not seen as symptoms of our time neither as purely autonomous forms with artistic legitimacy. Organized in four essays, the films are analyzed in combination with other cultural manifestations creating different visibility regimes (each one with its own mode of subjectivation) and tensions within the aesthetic forms and the cultural forces - a political and social quarrel at play in our society permeated by images - in which the place of dispute is a theme that always interested documentarists: the ordinary life, always connected to the dynamics of capitalism and inseparable from its scenic games.

Submitted by Edineia Teixeira (edineia.teixeira@unioeste.br) on 2019-03-11T19:52:22Z No. of bitstreams: 2 Jessica_Rodrigues_2018.pdf: 1353993 bytes, checksum: 9e77a71398195423e20a09632837b4f6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2019-03-11T19:52:22Z (GMT). No. of bitstreams: 2 Jessica_Rodrigues_2018.pdf: 1353993 bytes, checksum: 9e77a71398195423e20a09632837b4f6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-12-11 / The current dissertation presents an analytical reading upon the translation process of the book O Filho Eterno (2007), by Cristovão Tezza, whose translation to the English language is given the title The Eternal Son (2013), by the translator Alison Entrekin. To do so, we aim at establishing a comparative perspective between the Original Text (OT) and the Translated Text (TT), identifying the path followed along the translation process. The Translation Studies, from 1980s on, consolidates itself as an autonomous research and intellectual production field, not anymore as a branch of the Comparative Liteature or Linguistics. Literature scholars, for too long, focused themselves on a defensive posture, upon fidedignity aspects of the OT and the TT. Linguistics, yet, very poorly has explored the cultural aspects of the translation analysis. This comparative study between the O Filho Eterno and The Eternal Son broadened the literary analysis possibilities as it permitted a reflection on the understanding the creative expression lines used in the book through the double, the autofiction and the silence. The interdicts and the vertigo feeling from the original narrative are suppressed on the translation throughout a simplification of the creative resources, such as punctuation, word omissions and explanatory insertions; furthermore, a lexical and semantic diversification of the recurrent use of the original Filho for preferable terms of the translator as son, child, baby and Felipe, that, along the plot, turn out to be a guideline for the foreign reader. The TT simplification can be analyzed from four settled moments of the book: waiting the messianic son as a prize (son), not-acceptance of the child with Down Syndrome (child), the rising empathy with the stimulus sessions (baby) and the identity construction of Felipe with talents, tastes and features, beyond his Syndrome. The whole process is interweaved by the construction of the father and son double, established with feedbacks and reflections from the father-character, under the lens of a selective omniscient narrator that also ensured the narrative distance and the autofictional aspect of the book. Under such perspective, language is continuously challenged as the comfortable values of the symbolic plan categorization is doubted, such as comprehension, apprehension and valuation measures of the world’s narrator from O Filho Eterno come down to the experience of helplessness, inexpressible and of full meaningful silence. This study is based upon the theorical and critical approaches by Mona Baker (1993, 1995, 1996), Itamar Even-Zohar (1978), Susan Basnnett (2005), Philippe Lejeune, (2008), Diana Klinger (2006), Santiago Kovadloff (2003), Roland Barthes (1977, 2004), among others. / A presente dissertação apresenta uma leitura analítica do processo de tradução da obra O Filho Eterno (2007), de Cristovão Tezza, cuja obra em língua inglesa recebe o título de The Eternal Son (2013), na tradução de Alison Entrekin. Para isso, buscamos estabelecer uma perspectiva comparativa entre o Texto Original (TO) e o Texto Traduzido (TT), com a identificação do caminho adotado no processo tradutório. Os Estudos da Tradução, a partir da década de 1980, consolidam-se como uma área de pesquisa autônoma e de produção intelectual, não mais como um desmembramento da Literatura Comparada ou da Linguística. Teóricos da literatura, por muito tempo, pautaram-se, em uma postura defensiva, em questões de fidedignidade entre o TO e o TT. Já a Linguística, pouco explorou os aspectos culturais nas análises tradutórias. O estudo comparado entre O Filho Eterno e The Eternal Son ampliou as possibilidades da análise literária ao permitir refletir sobre a compreensão das linhas de expressão criativas, pautadas na obra pelo duplo, pela autoficção e pelo silêncio. Os interditos e o sentimento de vertigem do original são suprimidos na narrativa traduzida por meio de uma simplificação de recursos criativos, como pontuação, supressão de palavras e inserções explicativas; também, por uma diversificação lexical e semântica do recorrente uso no original da lexia Filho, por vocábulos preferenciais da tradutora como son, child, baby e Felipe, que, no enredo, tornam-se guia no contexto narrativo ao leitor estrangeiro. A simplificação no TT pode ser analisada a partir de quatro momentos da obra: à espera do filho messiânico como um prêmio (son), a não-aceitação da criança com Síndrome de Down (child), a crescente empatia com as sessões de estímulo (baby) e a configuração da identidade de Felipe, com talentos, gostos e características, para além da Síndrome. Todo o processo é perpassado pela construção de um duplo entre pai e filho, estabelecido com flashbacks e reflexões do personagem pai, sob a lente de um narrador onisciente seletivo, que assegura um distanciamento narrativo e o aspecto autoficcional da obra. Sob tal perspectiva narrativa, a linguagem é desafiada à medida que os valores confortáveis da categorização no plano simbólico, como medidas de compreensão, apreensão e valoração do mundo do narrador de O Filho Eterno, culminam em uma experiência de desamparo, do indizível e de um silêncio pleno de significado. Este estudo ancora-se em abordagens teóricas e críticas advindas de Mona Baker (1993, 1995, 1996), Itamar Even-Zohar (1978), Susan Basnnett (2005), Philippe Lejeune, (2008), Diana Klinger (2006), Santiago Kovadloff (2003), Roland Barthes (1977, 2004), entre outros.

Made available in DSpace on 2017-07-21T20:49:36Z (GMT). No. of bitstreams: 1 Francine Higashi.pdf: 1848931 bytes, checksum: 2b02378bbb2b868ccf313296211372e7 (MD5) Previous issue date: 2017-04-19 / This dissertation aims at analyzing the novel O pavão desiludido, published in 1972, by José Carlos Oliveira, regarding its autofiction. The novel was published in the writer's maturity, however it is a childhood-themed narrative strongly loaded of a presence of self-writing, which brings it closer to the genre proposed by Serge Doubrovsky (1977). Autofiction, a genre that mixes fiction and autobiography, and which has been increasingly discussed, gains strength in this novel by José Carlos Oliveira, prior to the very concept of the term. For this research, we go through Crônica, a typical Brazilian genre that helped in the formation of our literature, and which was much used by the author from the 1960s until his death in 1986. We also consider the analysis of the writer's intimate diary in order to understand the mirrored selves that constitute his fiction. / Este trabalho/pesquisa tem por objetivo analisar o romance O pavão desiludido, de José Carlos Oliveira, sob o viés da autoficção. O romance foi publicado na maturidade do escritor, porém é uma narrativa sobre a infância carregada de uma forte presença da escrita de si, o que o aproxima do gênero proposto por Serge Doubrovsky (1977). A autoficção, gênero que mescla ficção e autobiografia, e que está sendo cada vez mais discutido na atualidade, ganha força nesse romance de José Carlos Oliveira, anterior ao próprio conceito do termo. Para este estudo, percorremos um caminho pela crônica, gênero que ajudou na formação da nossa literatura, e que foi muito exercido pelo autor desde a década de 1960 até a sua morte, em 1986. Consideramos também a análise do diário íntimo do escritor, a fim de compreender os eus espelhados que constituem a sua ficção.