Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-01-27T13:27:42Z No. of bitstreams: 1 saviodamatomendes.pdf: 828811 bytes, checksum: da0b9c008f1c08b673e1d0adac1d9c84 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-01-27T13:58:33Z (GMT) No. of bitstreams: 1 saviodamatomendes.pdf: 828811 bytes, checksum: da0b9c008f1c08b673e1d0adac1d9c84 (MD5) / Made available in DSpace on 2016-01-27T13:58:33Z (GMT). No. of bitstreams: 1 saviodamatomendes.pdf: 828811 bytes, checksum: da0b9c008f1c08b673e1d0adac1d9c84 (MD5) Previous issue date: 2014-03-27 / O que se propõe neste estudo é investigar os procedimentos que em uma obra literária levam ao efeito de ―Fora na linguagem‖. O que é esse Fora? Que gama de efeitos produz? Quais os procedimentos para fazê-lo existir em uma obra de arte, na literatura em particular? Eis algumas das questões que nos interessam. Para desenvolver tal procura em busca do Fora, utilizaremos como suporte e corpus teórico autores que seguiram a trilha do Fora na linguagem, tais como Roland Barthes, Maurice Blanchot, Gilles Deleuze, Pierre-Félix Guattari, Tatiana Salem Levy, dentre outros. Será a partir de cinco obras previamente selecionadas que exploraremos alguns dos procedimentos que levam ao Fora, assim como seu conceito aplicado à literatura: ―A Terceira Margem do Rio‖ e ―Meu Tio Iauaretê‖, de Guimarães Rosa; Mar Paraguayo, de Wilson Bueno; Bodenlos: uma autobiografia filosófica, de Vilém Flusser e Bartleby, o escrivão, Herman Melville. Nosso objetivo não será analisar tais obras, mas, a partir delas, observar alguns dos procedimentos que levam ao Fora. Portanto, tomaremos delas apenas os recortes necessários. Falaremos do que força o pensamento a pensar, do que antecede o pensar. Falaremos do Fora e do plano de imanência; dos corpos sem órgãos; dos devires moleculares e molares. Falaremos de linhas; pontos, encontros, fugas; máquinas; superfície de registro; produção, processo; fluxos e rupturas. Falaremos de limiares; entremeios; gradientes; fragmentações; linhas e margens que se desmancham, desdobram, invaginam, explodem; intensidades e potências; territorialização e desterritorialização. / What is proposed in this study is to investigate the procedures in a literary work lead to the effect of "Out in the language." What is this out? Range of effects that produce? What procedures exist to make it into a work of art, literature in particular? Here are some of the issues that concern us. To develop such a search to search out , we use as support and theoretical corpus authors who followed the trail out of the language , such as Roland Barthes , Maurice Blanchot , Gilles Deleuze , Félix Guattari Pierre - Tatiana Salem Levy , among others . Will be from five previously selected works will explore some of the procedures that lead to out , as well as its concept applied to literature : " The Third Bank of the River " and " My Uncle Iauaretê " , Guimarães Rosa , Mar Paraguayo , Wilson Bueno , Bodenlos : a philosophical autobiography, Flusser and Bartleby , the scribe Herman Melville . Our goal is not to analyze such works , but from them , watching some of the procedures that lead to out . Therefore , we will take them only the necessary cutouts . Talk about what force thought to think , from the foregoing thinking . We will speak out and the plane of immanence ; bodies without organs , the molecular and molar becomings . We will talk about lines , points , meetings , trails , machinery, surface registration , production , process, flows and ruptures . Speak of thresholds ; inset ; gradients ; fragmentation ; lines and edges that crumble , unfold, invaginate , explode , intensities and powers ; territorialization and deterritorialization.

Ana Cristina Cesar e Roland Barthes são frequentemente caracterizados por uma dicção intimista e subjetiva, que o estudo especializado averigua ser resultado de articulações muito específicas do eu em seus textos. Esta dissertação inscreve-se nesses estudos, traçando a movimentação entre os espaços de intersecção, os de autonomia e o trânsito entre escritor e locutor em escritos de Ana C. e de Barthes. Examina a inclusão deliberada de determinados dados biográficos dos escritores no espaço textual da obra, pensando um arraigamento da escrita na biografia como projeto em Barthes e como inquietação em Ana C.. Discute os diários como espaço de modulação do eu na escrita, e também de correlatos como subjetividade e identidade, visto que os dois autores trabalham o gênero com finalidades literárias, operando nele certos deslocamentos. São também investigados modos de relação entre os meticulosos eus textuais e o Outro, em duas frentes: imagens fotográficas em livros dos autores e o anseio pelo outro, como interlocutor em Ana C. e como matéria e motivo de um narrar em Barthes. A análise se concentra sobre A teus pés, Crítica e Tradução e a iconografia de Inéditos e Dispersos de Ana C., e de Barthes, A Câmara Clara, Incidentes e Roland Barthes por Roland Barthes. / Ana Cristina Cesar and Roland Barthes are often described as having an intimist and subjective diction, which specialized study shows to be the result of very specific articulations of I in their texts. Likewise, this dissertation traces the dynamics of intersection, autonomy and transit between writer and speaker in the writings of Ana C. and Barthes. It examines the deliberate inclusion of certain writers biographical data in the oeuvre arena, which roots writing in biography as a project for Barthes and as unease for Ana C.. This work discusses the diary as a writing arena for modulating the I, as well as related notions such as subjectivity and identity, given that the two authors work the genre with literary purposes and thus operate certain shifts in it. This study also investigates relationships between the meticulous textual I and the Other, on two fronts: photography in the authors books and the longing for the other, as an interlocutor for Ana C. and as subject and reason of narrative for Barthes. The analysis focuses on Ana C.s A teus pés, Crítica e Tradução and the iconography of Inéditos e Dispersos, and Barthes Camera Lucida, Incidents and Roland Barthes by Roland Barthes.

This essay seeks to explore Roland Barthes’ critique of ideology and the two notions with which ‘ideology’ is interconnected throughout his works: mythology and doxa. The primary importance of this critique, within the field of contemporary rhetoric, as I argue in this text, is to be found in its dissemination of ideological critique. Given the complex nature of the theories of Barthes, the question of his ideological critique must be asked in a twofold shape: first, the functions of the critique itself, as it unfolds throughout Barthes’ oeuvre, must be unravelled. Secondly – and this question is shown to be justified by the results of the first – the mythological structure of Barthes’ works themselves must be drawn up.  Contrary to the common understanding of Barthes (the doxa, if you will), according to which his works should be split in two – early/late Barthes or structuralist/poststructuralist Barthes – I argue instead that the most informative way to understand him is by seeing his writings as always structured around a kernel: namely ideology and its critique. The splitting of Barthes oeuvre hides in part the perennial nature of this kernel. In my reading, I seek instead to show that this kernel informs the major works of Barthes (sometimes in a complex way) by two modi: the agonistic and the anti-agonistic. In turn, these modi can be understood as nodes in the mythological system that makes up Barthes’ works, which in this essay is named barthescity.  For Barthes, mythologies function as second order linguistic systems, exchanging the expressed meaning of the first order systems (visible, audible) for their own. This is also the case with barthescity. This second meaning is shown to express a system of perspectives and properties that is described here as different parts of a single virtue. The virtuous aspect of barthescity, I argue, might be of use to the general public in their everyday being in our ideologically permeated world. Thus, the dissemination of ideological critique found in Barthes’ works, is consequently not to be understood foremost as the direct critique or theory used or propagated by Barthes himself, but rather as the indirect, mythological and rhetorical effect of his texts.

1 Michaela Rumpíková, Résurrection de l'auteur : Hervé Guibert Abstract Hervé Guibert's writings are shocking, revolting, surprising with their explicit and expressive content. The author's desire to show, to reveal and to expose himself transforms his private universe into a space where intimacy becomes extimacy. His exhibitionist project is accomplished with the assistance of a literary genre, autofiction, the new postmodern cosmos of the "I". This thesis seeks to analyse the notion and the modalities of his "I", intimately connected to the themes of body, illness, life, death and resurrection, in his literary chronicles of AIDS, To the Friend Who Did Not Save My Life, The Compassionnate Protocol, Modesty, or Immodesty and The Man in the Red Hat. The "I" of the autodiegetic narrator appears as fragmentary and unstable. His "self" configures and unconfigures at the same time. There is a sense of alienation from his own body which has been dramatically altered by the illness. As a consequence, we witness both physical and psychological defragmentation of the subject. The body, constituent of the "I" identity, gradually transforms into an impersonal "it", an entity apart. In order to (re)construct himself, the author uses various writing processes that help him become familiar with his new "self". Finally,...

In the development of psychiatric science, patient photographs have been used to classify and visualize mental illness. Within the social sciences, this historical practice has been interpreted as an exercise of power, where the depicted people are reduced to diagnoses. This thesis explores the possibility of alternative ways of interpreting patient photographs. Based on the French philosopher Roland Barthes’ theory of photography and his concept of punctum - time, four photographs of patients at Ulleråker's psychiatric asylum in Uppsala from the early 20th century are analyzed. The thesis draws a historical background to the role of photography within psychiatry. The four photographs are analyzed in relation to other forms of portrait photography and the status of patient photographs as portraits is examined. Finally, the question how the time since the photo opportunity affects our ability to interpret the images is discussed.

[pt] Uma ponte pela escrita é uma tese de doutoramento em Letras, na área de Literatura Brasileira, pela PUC-Rio com pesquisa realizada de 2004 a 2008, enfocando a aquisição de habilidades de leitura e escrita. Professores em diversos níveis de ensino reclamam que seus alunos lêem e escrevem cada vez menos e pior. Contudo, no altamente interativo meio da Internet cresce o volume de e-mails e o número de blogs, websites, fotologs etc. Portanto, parece plausível que trazer um nível mais evidente de interatividade na relação do leitor com a obra literária e os colegas poderia ser um caminho para despertar o gosto pela leitura e escrita nos estudantes. As histórias interativas conhecidas como RPG (role playing game) teriam característica mobilizadoras e facilitadoras que poderiam ser úteis para resgatar o espaço da literatura nas escolas. Esta hipótese foi testada em quatro pesquisas de campo realizadas: alunos de graduação na universidade; alunos do Ensino Médio da rede pública; alunos adolescentes do Instituto Nacional de Educação de Surdos (INES): grupos de voluntários fora do ambiente escolar. O objetivo foi estimular a leitura ao motivar uma escrita criativa a partir das narrativas vivenciadas interativamente pelos alunos e voluntários. Métodos de pesquisa incluíram observações, entrevistas, questionários e análises de dados. O método TNI (Técnicas para Narrativas Interativas) para utilização de histórias interativas para fins didáticos foi desenvolvido durante a pesquisa. / [en] A bridge through writing is a dissertation in Portuguese, in the area of Brazilian Literature, by the Catholic University of Rio with research made between 2004 and 2008, with focus on students acquisition of reading and writing skills. Teachers in several levels of education complain that their students reading and writing skills are decaying more and more. But, in the highly interactive enviroment of the Internet the volume of e-mails and quantity of blogs, websites, fotologs etc, keeps growing. Therefore, it seems plausible that bringing a more evident level of interactivity to the relation between the reader and the literary work and the classmates could be a way to awaken the taste for reading and writing in students. The interactive stories known as RPG (role playing game) would have mobilizing and facilitating characteristics that could be useful to retrieve literature s space at schools. This hypothesis was tested in four field researches: undergraduate students at an university; high school students of a public school; teen-age students of the National Institute for Education of Deaf People (INES); groups of volunteers outside the school enviroment. The objective was to stimulate reading by motivating a creative writing based upon the narratives experienced by the students and volunteers. Research methods included observations, interviews, questionnaires and data analysis. The method TNI (Technique for Interactive Narratives) for the application of interactive stories for educational purposes was developed during the research.

Roland Barthes nunca colocou os pés em território brasileiro. O que não quer dizer que ele nunca tenha estado no Brasil: seus escritos, carregados com suas ideias, suas noções, seus paradoxos e suas idas e vindas, trataram de assegurar sua presença na história da crítica literária brasileira do século XX. As relações entre Barthes e os intelectuais constituem o tema deste trabalho, que tem por objetivo encontrar, descrever e problematizar as imagens do escritor francês, produtos de sua recepção no Brasil, de 1953, data da publicação do primeiro livro de Barthes, Le Degré zéro de lécriture, até o momento atual. Efeitos de um processo de refração, tais imagens não se limitam a reproduzir a dinâmica do pensamento barthesiano, mas também evidenciam as particularidades do contexto e dos intelectuais que delas se apropriaram. Pois a periodização estudada compreende um momento de transição na história da crítica brasileira que a recepção à obra do escritor torna evidente: a consolidação das instituições universitárias, nos anos 50 e 60, abriu um novo espaço para os debates literários, antes limitados aos jornais. A crítica literária e as discussões teóricas, até esse momento, dominadas por críticos de formação autodidata, passaram a, paulatinamente, constituir uma preocupação dos professores universitários. A proposta deste trabalho é examinar como o pensamento de Barthes foi integrado nesse contexto, tendo como fio condutor e corpus principal o jornal O Estado de S. Paulo, complementado pela revista universitária Língua e Literatura. Tendo sido primeiro comentado pela crítica jornalística para, em seguida, tornar-se objeto de uma crítica universitária, o pensamento barthesiano transparece sob a forma de imagens parciais que, ao final do percurso investigatório, compõem um mosaico heterogêneo e complexo. Incompreendido, mestre estruturalista da nouvelle critique, semiólogo e guru nas universidades, hedonista, subversivo: em cada imagem pulsa uma faceta de Barthes, num movimento constante, engendrando novas leituras e a escrita de novos textos, e assim circulando, viva. / Roland Barthes never placed his feet on Brazilian territory. Which is not to say that he has never been in Brazil: his writings, full of his ideas, his concepts, his paradoxes and his comings and goings, treated to ensure his presence in the history of Brazilian literary criticism of the twentieth century. The relations between Barthes and intellectuals are the subject of this work, which aims to find, describe and discuss the images of the French writer, products of his reception in Brazil, from 1953, the publication date of Barthes first book, Le Degré zéro de l\'écriture, until the present time. Effects of a refraction process, such images do not merely reproduce the dynamics of Barthesian thought, but also highlight the particularities of the context and intellectuals who have appropriated of them. As the periodization studied comprises a transition moment in the history of Brazilian criticism that the reception to the work of the writer becomes evident: the consolidation of the university institutions in the 50s and 60s opened a new space for literary debates, once limited to newspapers. Literary criticism and theoretical discussions, so far dominated by self-taught critical, began, gradually, a concern of academics. The proposition of this thesis is to examine how Barthes thoughts were integrated in this context, having as a guiding thread, and the main corpus, the newspaper O Estado de São Paulo, complemented by the university journal Língua e Literatura. Having first been discussed by the journalistic critics and later becoming a subject of academic criticism, Barthesian thought emerges in the form of partial images that, at the end of the investigative path, composes a heterogeneous and complex mosaic. Misunderstood, struturalist master of nouvelle critique, semiotician and guru in universities, hedonistic, subversive: in each image pulsates a facet of Barthes in a steady movement, engendering new readings and the writing of new texts, and thus circulating, alive.

Les mythes américains génèrent des symboles et des stéréotypes fréquents dans l’imaginaire collectif. Leur usage dans la littérature québécoise exclut toute idéologie, privilégiant l’acte fondateur d’une nouvelle mythologie. Les mythes québécois se sont d’abord distingués de ceux de l’Amérique. Ils ont porté un regard critique sur la globalisation que peut susciter le territoire américain. En élaborant leur littérature nationale, les auteurs québécois de la Révolution tranquille ont formulé d’autres pistes interprétatives autour des mythes américains. L’américanité offre des perspectives anthropologiques fluides à l’adaptation du mythe au cinéma et en littérature. Le mythe tel que le définit Roland Barthes permet une interprétation contemporaine de chaque mythe québécois présenté dans cette étude. Le corpus est donc composé d’œuvres québécoises et étatsuniennes, de films de Denys Arcand et Clint Eastwood, de romans et textes argumentatifs de notre auteur tranquille référent, Jacques Godbout mais aussi de Jacques Poulin, Philippe Aubert de Gaspé, Antonine Maillet, Anne Hébert, Jack Kerouac. / American myths generate recurring symbols and stereotypes in the collective imagination. In Quebec literature, the use of these myths ignores ideology, favouring the founding act of a new mythology. Quebec myths firstly distinguished themselves from American myths, carrying with them a critical perspective on the globalising process driven by the American territory. In developing their national literature, Quebec authors from the Quiet Revolution shaped new interpretations of American myths. Americanness offers changing anthropological perspectives for the adaptation of myths into film and literature. The myth as Roland Barthes defines it, enables a contemporary interpretation of each Quebec myth you can find in this study. Thus, the corpus in my dissertation is made up of Quebec and American works, movies directed by Denys Arcand and Clint Eastwood and novels or argumentative essays by the quiet author who is the subject of this dissertation, Jacques Godbout as well as Jacques Poulin, Philippe Aubert de Gaspé, Antonine Maillet, Anne Hébert and Jack Kerouac.

Comment écrire une vie? Cette question apparemment simple est la question qui anime ce texte. L'écriture de la vie - qu'on appelle ici la biographie (bíος - bios, vie et γραφή - graphein, écrire) - est un thème transversal. L'écriture biographique couvre pas seulement la littérature mais aussi d'autres domaines de la santé et des sciences humaines, comme la psychologie, l'éducation, anthropologie, histoire et sciences sociales. La bio-graphie comprend un large tissu de méthodologies; elle apparaît dans les histoires de la vie, dans la formation professionnelle, dans les études cas dans, dans les projets de vie, études de cas, etc. Le binôme vie-écriture est traité avec la philosophie de Friedrich Nietzsche et Gilles Deleuze, comme la force capable de créer, et surtout, créer elle-même. La notion de biographème proposé par Roland Barthes, c'est une stratégie puissante pour une réflexion sur l'écriture de la vie ouvert à la création de la possibilité de dire et surtout de vivre cette vie. L'apparition du biographème conduit à un nouveau traitement biographique de l'histoire. C'est une autre position de lecture, de sélection et de récupération des signes de vie. Plutôt que de passer par le contour de l'historiographie, la « pratique biographematique » se tourne vers le détail, le pouvoir du minuscule, vers le insignifiant et inexact. En pensant à la biographie comme création (et pas seulement comme une représentation du réel, déjà vécu) c'est mis en avant d'une politique contre l'utilisation de la biographie qui étouffle la vie, contre toute la stratégie ou méthodologie thanatographique. Le sujet luimême se déplace aussi - il devient, en effet, aussi un créateur, une réalité incroyable, même un acteur d'écriture et de la vie. Après tout, est-ce qu'il y avait un autre sens par écrit une vie qui n'est pas de croire en la puissance de la réinvention de cette vie? / Como escrever uma vida? Essa pergunta aparentemente simples é a questão que movimenta este texto. A escrita de vida – chamada aqui de biografia (bíος - bíos, vida e γραφή – gráphein, escrever) – é um tema transversal, compreendendo não somente a literatura, como também outros domínios das Ciências Humanas e da Saúde, como a psicologia, educação, antropologia, história e ciências sociais. A bio-grafia comporta um tecido amplo de operacionalizações e metodologias; ela aparece nas histórias de vida, na formação profissional, nas anamneses, nos relatos de experiências, nos projetos de vida, nos estudos de caso, etc. O binômio vidaescritura é tratado a partir da perspectiva levantada pelos filósofos Friedrich Nietzsche e Gilles Deleuze, como a força capaz de criar, e sobretudo, criar a si mesma. A noção de biografema, proposta por Roland Barthes, é uma potente estratégia para se pensar a escritura de vida aberta à criação de novas possibidades de se dizer e, principalmente, de se viver uma vida. O surgimento do biografema acompanha uma mudança de abordagem em relação às próprias vidas biografadas, acarretando num novo tratamento biográfico por parte das disciplinas. Trata-se de outra postura de leitura, de seleção e de valorização de signos de vida. Ao invés de percorrer as grandes linhas da historiografia, a prática biografemática volta-se para o detalhe, para a potência daquilo que é ínfimo numa vida, para suas imprecisões e insignificâncias. Tomar partido da biografia enquanto criação (e não somente como representação de um real já vivido) é colocar-se diante de uma política que se mostra contrária a todo uso biográfico que sufoca a vida, a toda estratégia ou metodologia thanatográfica. O próprio sujeito se desloca – ele passa a ser, neste sentido, também um criador, um fabulador de realidade, um ator mesmo de escritura e de vida. Afinal, haveria outro sentido em se escrever uma vida que não fosse o de acreditar na potência de reinvenção desta própria vida?

De Roland Barthes à Pascal Quignard, ce que l’on observe c’est la recherche d’une hétérologie du savoir ; l’accentuation d’un discours « autre » sur le savoir ou plutôt la spectacularisation d’une forme hétérodoxe de l’écriture du savoir. Cela passe par le mélange des registres narratifs et argumentatifs, par le choix d’une forme plus fragmentaire que dissertative, par l’ouverture aux jeux énonciatifs comme par l’accueil de courts passages fictionnels dans les marges de la prose d’idées, par le souci enfin de la dimension figurale qui travaille en profondeur l’écriture du texte théorique. En engageant une comparaison entre ces deux générations d’écrivains, nous avons tenté une approche généalogique de cette ressaisie « hétérologique » des savoirs par la littérature. La question a été la suivante : qu’est-ce que l’insistance de la littérarisation du discours savant par les littéraires nous dit, en retour, de l’idée que la littérature se fait d’elle-même ? Derrière toutes ces annexions des disciplines savantes dans le domaine de la littérature – d’ailleurs exclusivement menées depuis la littérature, dans une indifférence quasi unanime de la « science » dont l’émancipation n’a plus à être revendiquée – n’y-a-t-il pas toute une stratégie de redressement symbolique du pouvoir et de la figure du littéraire ? Il ne s’agit pas ici d’une contribution à l’histoire de la littérature – dont le plan, souvent trop vaste, finit par essentialiser l’objet qu’elle se propose précisément d’historiciser –, mais plutôt d’une participation à l’histoire de l’idée de littérature ; et à l’intérieur de celle-ci, de façon plus resserrée encore, la tentative d’éclairer l’histoire de l’idée selon laquelle la littérature récente s’est voulue (de nouveau) souveraine dans l’ordre des discours. / The thing one observes moving from Roland Barthes to Pascal Quignard is the search for a sort of heterology of knowledge; the emphasis of an “other” discourse on knowledge or rather the spectacular display of a heterodox form for the writing of knowledge. This takes place by means of the intertwinement of both narrative and argumentative registers, as well as by the choice of a more fragmented rather than dissertational form, by a sort of openness to enunciation games but also by the incorporation of short fictional excerpts within the margins of such prose of ideas and finally by pondering the figural dimension deeply operating the writing of the theoretical text. The comparison initiated herewith between these two generations of writers has led us to put forward a genealogical approach of such “heterological” restoration of knowledge by literature. The question was outlined as follows: what does the insistence of the use by the literary of a scholar discourse literalization tell us, in its own way, concerning the very idea literature projects of itself? Underlying all the annexations of scholarly disciplines within the field of literature — indeed exclusively conducted from literature's point of view, in an almost unanimous indifference towards “science” whose emancipation no longer needs to be claimed — one asks whether there would not be a complete symbolic turnaround strategy of both the power and the figure of the literary. We do not aim at contributing to the history of literature — whose plan, often too wide, ends by essentializing the precise object it seeks to historicize — but rather to participating in the history of an idea of literature itself; and herewith, in a more strict manner, attempting to enlighten the history of the idea that recent literature has (once again) sought sovereignty within the order of discourse.