Made available in DSpace on 2017-07-10T18:56:31Z (GMT). No. of bitstreams: 1 pablo.pdf: 780060 bytes, checksum: 568fe01f4b8000e520b641fa395f6f7c (MD5) Previous issue date: 2011-02-22 / The general aim in this work is to understand the violence phenomena represented in Literature, through the reading of some short stories of the Brazilian writer Rubem Fonseca. It is proposed to comprehend the violence portrait in the short stories by a sociological way, i.e. as one of the ways to understand the imbalance in the relation we-I, written by Nobert Elias, in one ―society composed by individuals‖, where men live in groups, although they think they are separated. In order to comprehend the presence of violence in literature, some of the author s main narratives which problematize the theme along the history. So, the selection of the short-story genre is done, and some of the main cases in which the violence theme appears is registered, since the fiction of great writers in the occidental canon until the fiction of Rubem Fonseca, a great centerpiece in the violence representation in the contemporary literature. Thus, a typology of the violence social types was built through a categorization of the Rubem Fonseca s characters who represent the contemporary social actors in the diegesis. This character typification allowed the violence in the contemporary social relations to be understood, deeply related to the daily experiences in big cities. / Tem-se por objetivo geral nesta dissertação compreender o fenômeno da violência representado na literatura por meio da uma leitura de alguns contos do escritor brasileiro, Rubem Fonseca. Propõe-se compreender a representação da violência nos contos de Rubem Fonseca sociologicamente, isto é, como um dos meios usados para compreender o desequilíbrio na relação nós-eu, proposta por Norbert Elias, em uma ―sociedade de indivíduos‖, na qual os homens convivem em grupo, mas se pensam separados. Para entender a presença da violência na literatura, promove-se uma seleção das principais narrativas que problematizaram o tema ao longo da história. Faz-se, então, a seleção do gênero conto e registram-se algumas das principais aparições do tema da violência ficcionalizadas pelos grandes escritores que compõem o cânone literário ocidental, até chegar à ficção de Rubem Fonseca, que se trata de uma representação da violência de grande destaque na literatura contemporânea. Desse modo, a pesquisa procurou identificar as principais formas de violência, presentes nos contos analisados e os elementos motivadores dessa violência. Para isso, foi construída uma tipologia dos tipos sociais de violência por meio de uma categorização dos personagens da ficção fonsequiana que representam, na diegese, os atores sociais da violência na contemporaneidade. Essa tipificação de personagens permitiu compreender a problematização da violência nas relações sociais contemporâneas, profundamente relacionada com a experiência cotidiana das grandes cidades.

A partir do trânsito entre diferentes livros do escritor francês contemporâneo Pascal Quignard (1948) livros como Boutès, Vie secrète, Sur le jadis ou Petits Traités , este trabalho traça uma pequena constelação, tendo como centro os espaços vazios e os silêncios deixados pelo texto. Se a escrita é também a possibilidade de fazer emergir, junto dela, aquilo que não é dito (que não pode ser dito), ela aqui não se fixa em nenhum gênero específico, mas se movimenta entre eles, esboçando um pensamento vivo que por isso não se preocupa em esconder os caminhos das associações, permitindo-se ser interrompido e fazendo da interrupção uma potência rítmica. O texto fragmentário de Quignard, nesta pesquisa, torna-se ponto de partida para a construção de relações possíveis da leitura com a experiência, do passado com o presente, na tentativa de habitar os espaços intermediários, que nos possibilitam desestruturar algo das categorias fixadas e das noções pré-estabelecidas. / While creating a constellation in the crossings between different books by the contemporary French author Pascal Quignard (1948) such as Boutès, Vie secrète, Sur le jadis or Petits Traités , this work defines its center upon the empty spaces and silences left by the text. If writing enables the possibility of suggesting that which is not said (that which cannot be said), here we find no attachment to a specific genre; we rather move between genres, outlining a living thought. For this very reason, not much care is given to hiding the associations. The text allows itself to be interrupted and even to provoke a rhytmic potentiality out of interruption. The fragmentary texts by Quignard, in this research, become the starting point for the construction of possible relations between reading and experience, the past and the present, in the attempt of dwelling in the intermediary spaces, which allow us to structure something out of fixed categories and pre-established notions.

Este trabalho tem como objetivo analisar dois romances do escritor francês Jean Marie Gustave Le Clézio considerando a presença de um interdiscurso que caracteriza os textos. Nessa perspectiva, o romance Poisson d´or (1997) é, em parte, uma espécie de reescritura de sua obra-prima Désert (1980). Trata-se de dois discursos que se organizam um em relação ao outro garantindo uma permanente reconstrução temática que evoca dialeticamente a vida dos imigrantes marginalizados. Observa-se que as errâncias e os desejos das jovens protagonistas são o ponto comum entre as duas obras, Laïla e Lalla são duas e são uma só, elas representam um espelho identitário que reflete uma única face. A discussão acerca de identidade, imigração, exílio, retorno às origens e memória aponta para uma temática largamente debatida e explorada pela literatura lecleziana como mais uma forma de expressão dos marginalizados. Existem entre as narrativas inúmeras questões relativas à identidade do sujeito e ao declínio das tradições nas sociedades africanas e, como conseqüência dessa desestabilização social, o surgimento de novas identidades e a fragmentação do sujeito pós-colonial. Por fim, os romances têm como mesmo modelo o empreendimento de uma viagem de retorno ao espaço de origem, à pátria perdida, que se opõe severamente à acelerada vida moderna. Nessa fantasia de busca do paraíso perdido, encontra-se o possível estabelecimento de uma verdadeira identidade que porá fim ao dilema da errância dos desenraízados. / The purpose of this work is the analysis of two novels written by the french writer Jean Gustave Le Clézio considering the presence of an interdiscourse that characterizes the texts. In this perspective the novel Poisson dor (1997) is partly a kind of rewriting of his masterpiece Désert (1980). It is about two discourses that are organized one in relation of the other guaranteeing a permanent thematic reconstruction that evokes dialectly the life of marginalized immigrants. The wanders and wishes of the young main characters are the common point of both novels, Laïla and Lalla are two and one at the same time, they represent an identitary mirror that reflects a single face. The discussion about identity, immigration, exile, return to the origins and memory points out to a subject widely studied and debated by the specialists in Le Clézio as one more way of expression for the marginalized people. In the narratives there are many questions related to the identity of the subject and to the decline of the traditions in African societies and, as a consequence of this social desestabilization, to the appearance of new identities and the fragmantation of the postcolonial subject. At last, the novels have as the same model a journey of return to the origin space, to the lost country, that opposes strictly the accelerated pace of modern life. In this fantasy of search for the lost paradise, we can find the possible establishment of a true identity that will put an end to the dilemma of the wander of the people who live far from their country

Esta dissertação propõe uma interpretação da trilogia do escritor húngaro, judeu e sobrevivente dos campos de concentração e extermínio nazistas, Imre Kertész, composta por Sem destino, O fiasco e Kadish Por uma criança não nascida. A trilogia traça um movimento que vai da afirmação à negação da linguagem literária, deixando transparecer a impossibilidade de transmissão da experiência do horror do Holocausto. A trilogia de Kertész desenvolve-se no entrelaçamento dos discursos da literatura, da memória e da história e constitui um conjunto de obras que busca insistentemente um meio de expressão do horror e da opressão absoluta. Mas a resistência da linguagem frente à experiência, faz com que a primeira se volte contra si mesma e tenda à aniquilação, ao desnudar sua condição impossível. Ao analisar as obras em conjunto, este trabalho procura mostrar que a trilogia de Kertész é propositiva, uma vez que ela busca uma linguagem própria que visa não apenas representar o horror, mas também trazê-lo para dentro da narrativa e repensar, a partir da linguagem, a permanência ou não do pensamento que produziu a barbárie. / This dissertation proposes an interpretation of the trilogy Fatelessness, A kurdac (The failure), and Kaddish for an unborn child, by Imre Kertész, a Hungarian writer, a Jew and a survivor of concentration and extermination Nazi camps. The trilogy outlines a motion undergone by the literary language, from assertion to denial, baring that transmitting the experience of the Holocausts horror is an impossibility. Kertészs trilogy develops in the intertwining of literary, memory and historical discourses and constitutes a set of works that urgently seek a means to express absolute horror and oppression. But as language resists when facing experience, it turns against itself and tends annihilation while revealing its impossible circumstance. Analyzing the works as an ensemble, this dissertation shows that Kertészs trilogy is purposeful, as it seeks its own language which intends not only to represent the horror, but also to bring it into the narrative and rethink, from the language itself, the permanence or not of the mindset that produced that inhumanity.

This thesis is an historical and literary investigation of the treatment of the 1979- 89 Soviet-Afghan War in contemporary Russian literature. The texts chosen for study include official and unofficial literature, written within the former USSR as well as abroad, and cover publicistic writing, poetry, and prose fiction. These works are described and analyzed with a two-fold purpose: to explore creative trends found in the literature of this subject, and to evaluate the extent to which the genre of Afghan War literature in Russian has changed over the past decade. In order to provide a context for this literature, the introduction describes the method of socialist realism as it applies to military themes, and the legacy of World War Two novels in Russian. The first chapter provides a brief history of Russian-Afghan relations, and an account of the ten-year intervention. The second chapter documents the dissolution of official censorship during the 1980s, revealing dissent over the Soviet military role in Afghanistan. Chapter Three discusses the evolution of the genre of publicistic writing, and documents its unprecedented frankness through revelations made in Soviet journalistic investigations. Chapter Four provides an overview of song and poetry about the conflict, beginning with magnitizdat produced by amateur songwriters, and later including works by professional poets. Chapter Five discusses novels and short stories about the war. A range of fictional works is traced, from propagandistic portrayals, both pro-and anti-Soviet, to non-ideological, personal interpretations which incorporate lyricism, satire, and fantasy. Chapter Six focuses on the works of Aleksandr Prokhanov, a writer who initially used his fiction to support the war effort, and whose oeuvre charts the disintegration of Party consensus on interpretation and depiction of the events in Afghanistan. The final three chapters treat the works of Oleg Ermakov, whose lyricism and stylistic experimentation mark a new direction for recent Russian war fiction. The analysis shows Afghan War literature to signal a radical break with recent official Soviet military writing as shaped by socialist realism. This break is evident in the frankness and subjectivity of publicistic writing, and the anti-war sentiment found in a significant minority of published songs and poems. In particular, Oleg Ermakov's prose continues the past legacy of unofficial, dissident war fiction.

Cette thèse s’efforce d’examiner la représentation que le roman contemporain donne du tourisme. Elle s’appuie sur un corpus de romans parus entre 1990 et 2010 mêlant des auteurs aussi divers qu’Éric Chevillard, Jean Echenoz, Mathias Énard, Michel Houellebecq, Lydie Salvayre, Olivier Rolin ou Jean-Philippe Toussaint. Chacun de ces écrivains s’emploie à déjouer un discours au caractère souvent prescriptif et stéréotypé. Ces auteurs donnent à voir les aspirations contradictoires du touriste et la manière dont interagit ce personnage étonnamment complexe, au comportement hérité de paradigmes historiques et littéraires anciens. Le roman contemporain investit également le tourisme en tant que secteur d’activité– une hétérotopie au sens où l’entendait Michel Foucault – assimilable à un répertoire de formes contribuant à son renouvellement esthétique. Enfin, le roman interroge cette interface touristique, qui, s’intercalant entre le voyageur et le mode extérieur, en hypothèque la compréhension : le retour à une écriture transitive se trouve contrarié par un réel qui se dérobe sous sa propre représentation : paradoxalement, c’est en consentant à affronter ce medium que constitue le tourisme et en jouant ou en déjouant les stéréotypes dont il est porteur que le roman parvient à renouer avec un voyage original. / This thesis endeavours to examine the representation that the contemporary novel imparts to tourism. It draws on a corpus of novels issued between 1990 and 2010, involving writers as diverse as Éric Chevillard, Jean Echenoz, Mathias Énard, Michel Houellebecq, Lydie Salvayre, Olivier Rolin or Jean-Philippe Toussaint. Each of these writers seeks to outwit often prescriptive and stereotyped views. These authors shed light on the tourist’s contradictory aspirations and the way this unexpectedly complex character, whose behaviour has been inherited from ancient historical and literary paradigms, interacts. The contemporary novel also takes over tourism as a line of business– a heterotopia, as Michel Foucault understood it– akin to a repertoire of forms, contributing to its aesthetic renewal. Lastly, the novel interrogates this touristic interface device, which, positioning itself between the traveler and the outer world, jeopardizes the understanding of it. Hence, the return to transitive writing is thwarted by a reality that falls away under its own representation. Paradoxically enough, while consenting to confront that medium which tourism represents, and playing upon and against the stereotypes it conveys, the novel manages to rekindle its ties with an original journey.

[pt] O presente estudo tem como objetivo analisar as manifestações literárias produzidas pelos autores pertencentes à Literatura Marginal, buscando compreender as principais características textuais e políticas deste movimento. Nessa perspectiva, os produtos discursivos marginais serão vistos como manifestações contra-hegemônicas, resultantes de um esforço em produzir uma imagem própria sobre a vivência marginalizada, silenciando, assim, qualquer outro discurso produzido fora do espaço periférico. Para tanto, foi utilizado um arcabouço teórico que possibilita ler as formas de agenciamento político produzidas por este grupo. Além do exame do objeto literário, é realizada uma aproximação destas narrativas com o movimento Hip-Hop, mais precisamente com o RAP, colocando em relevo as muitas semelhanças quanto à estrutura textual das formas poéticas e as formas de veiculação de um discurso que almeja a conscientização dos leitores/ouvintes. Por se tratar de uma experiência literária pouco comum, a presença de escritores marginais em nossa série literária também apresenta novos questionamentos sobre a função e o papel do intelectual. Se outrora era o intelectual quem desempenhava a função de portavoz destes grupos, agora são os próprios marginais que rompem com a passiva posição de objeto e passam a figurar como sujeitos. Ao lançar um olhar crítico sobre esta disputa discursiva é possível identificar as tensões que o movimento de autores periféricos inaugura. / [en] The present study aims to analyze the literary work of authors who are part of the Literatura Marginal (Literature from the Outside) as a way to understand the chief aspects of this movement’s writing style as well as its main political characteristics. From this perspective, the productions of the periferia discourse will be understood as counter-hegemonic manifestations that originate from an effort to produce a specific view that reflects the marginalized experience, thus silencing any other discourse produced outside of the periferia space. To this end, we developed a theoretical outline that brings an understanding of the kinds of political engagement produced by this group. In addition to examining the literary product itself, this study considers the parallels between this type of narrative and the Hip-Hop movement, more specifically Rap, highlighting the many similarities between them as they relate to the structure of the writing and the way the discourse is disseminated, aiming at the conscientization of readers/listeners. Because this relates to an uncommon literary experience, the presence of periferia writers in our literary series also raises new questions about the role of the intellectual. If before it was the intellectual who acted as the spokesperson for these writers, now the outsiders themselves break with the passive role of objects and claim their place as protagonists. In bringing a critical view to this debate it is possible to identify the tensions that the periferia authors bring to this discussion.

[pt] Celestino é uma dissertação desenvolvida em forma de romance ficcional. A aluna-escritora usa a escrita criativa como ferramenta para dialogar com os escritores e as teorias contempladas desde seu ingresso na graduação em Letras, habilitação em Produção Textual. Seus estudos e leituras no mestrado em literatura acabam por percorrer questões que indagam o papel de escritora e são exteriorizadas. / [en] Celestino is a thesis developed in the form of a novel. The author uses creative writing as a tool to engage with writers and theories contemplated throughout the graduate and post graduate degree programs in liturature. The research in the MA degree program inquire into the role of the writer and influenced the structure in which the novel was written.

Murakami Haruki est probablement l'auteur le plus célèbre et le plus largement traduit de sa génération. Ce succès mondial, que la critique a parfois pu expliquer par l'occidentalisation de l'auteur, nous semble plutôt reposer sur une utilisation habile de l'intertextualité. Notre étude, après une présentation générale de la notion d'intertextualité, s'attache à déterminer les divers mouvements intertextuels chez l'auteur ; d'abord, en s'intéressant à l'intertextualité externe, qu'elle intervienne au plan microstructural, avec la référence et la citation, ou macrostructural, avec le pastiche et la parodie. Ensuite, en revenant sur l'intertextualité interne, également appelée intratextualité, si prégnante chez Murakami et qui structure son œuvre en réseau d'univers labiles. Nous verrons enfin que cette intertextualité massive pose question tant du point de vue critique, avec la problématique de la postmodernité, que du point de vue du lecteur, avec celle de la réception. / Murakami Haruki is often said to be one of the most famous and most widely translated Japanese authors of his generation. This worldwide success, which have sometimes been explained by critics regarding the author's occidentalization, is, for us, rather based on a clever use of intertextuality. Our study, after a general presentation of the notion of intertextuality, sets out to determine the various intertextual movements in the author's works. First, by analyzing external intertextuality, whether it occurs on a microstructural (with references and quotations) or macrostructural plan (with the use of pastiche and parody). Then, by analyzing internal intertextuality (also called intratextuality), which structures his works in a labile worlds' network. We will finally see that this massive intertextuality is an important issue both for critical (with the question of postmodernity) and reader's (with the question of reception of the works) points of view.

Les sociétés libanaises et syriennes sont connues pour la richesse de leur héritage social et culturel. Comme littérature et sociétés s’interpénètrent, les littératures contemporaines au Liban et en Syrie sont profondément impactées par le communautarisme et le multiculturalisme qui modèlent différents portraits de femmes en déterminant leur vie et leurs parcours. Cette étude vise à explorer la diversité des portraits féminins que la littérature représente, et à sonder les dimensions historiques et culturelles de leurs environnements. Le va et vient entre les deux pays permet de saisir les différentes représentations de la réalité sociale à travers un ensemble d’ouvrages choisis à chaque fois en rapport avec une communauté déterminée. À travers les parcours, les combats, les transgressions, les gloires et les déboires du personnage féminin, les auteurs nous introduisent dans des environnements cloisonnés où les femmes sont le plus souvent représentées comme étant le socle de l’opposition au groupe. / Lebanon and Syria are both known for their diversity and multicultural heritage. As literature reflects societies, contemporary literatures in Lebanon and Syria are deeply impacted by communitarianism and multiculturalism that model different representations of women and determine their life and experience. This study aims to represent women in all their diversity and to explore the historical and cultural dimensions of their environment. The panel of works that we’ve selected in both countries will highlight the variety of representations and characters that are closely related to communities. By portraying frustrations, transgressions and actions, authors introduce us through literature to some closed environments where women are most likely represented as the voice of opposition to the social group.