Esta tese apresenta um estudo comparativo entre a trilogia O tempo e o vento, formada pelos romances O continente (1995), O retrato (1995) e O arquipélago (1995), do escritor brasileiro Erico Verissimo; e o romance Yaka (1998), do escritor angolano Artur Carlos Maurício Pestana dos Santos, conhecido como Pepetela, pelo fato dos dois escritores se utilizarem de estratégias narrativas comuns, tais como a saga familiar, a metaficção, a técnica narrativa do contraponto e a polifonia na escrita de seus romances históricos ou narrativas de fundação. A utilização de recursos narrativos comuns torna semelhantes as estruturas narrativas das duas obras que formam o corpus da pesquisa. Ao final da tese, esperamos comprovar que a obra do escritor brasileiro serviu de modelo para o escritor angolano, que incorporou algumas de suas estratégias narrativas e as adaptou ao contexto da literatura angolana, segundo o conceito de intertextualidade de Julia Kristeva (1974) que concebe a escrita de um texto literário como a leitura do corpus anterior, noção que implica ver o texto como absorção e transformação de um outro texto, de modo que o romancista ao escrever a sua obra sempre parte de um modelo pré-existente, seja para legitimá-lo ou questioná-lo, sem que isto signifique que ele tenha feito uma mera cópia do modelo apropriado. / This thesis presents a comparative study of the trilogy O tempo e o vento,formed by the novels O Continente (1995), O retrato (1995) and O Arquipélago(1995), by the Brazilian writer ÉricoVerissimo, and the novelYaka (1998), by the Angolan writer Artur Carlos Maurício Pestana dos Santos, known as Pepetela, by the fact of the two writers use common narrative strategies, such as family saga, a metafiction, the counterpoint narrative technique and polyphony in their historical novels writing and founding narratives. The use of narrative resources makessimilar the narrative structures of the two works that compose the corpus of this research. At the end of the thesis, we hope to prove that the work of Brazilian writer served as a model for the Angolan writer, which incorporated some of his narrative strategies and adapted them to the context of the Angolan literature, according to the concept of intertextuality of Julia Kristeva (1974) that conceives writing a literary text as the reading of previous corpus notion that implies seeing the text as absorption and transformation of another text, so that the novelist, at the time he writes his work, always parts of a pre-existing model, in order to legitimize it or question it, without this implying that he has made a mere copy of the appropriate model.

Les poésies concrète, visuelle, sonore, apparues au début des années 1950 dans une vingtaine de pays du monde, dont l’Allemagne, la Suisse et l’Autriche, et les pièces radiophoniques expérimentales ont, jusqu’à présent, été perçues comme jeux formels avec le matériau verbal épargnant à leurs auteurs une prise de position politique par rapport au réel. Face à la réception réductrice du concept sartrien de « littérature engagée », les poétiques expérimentales apparaissent comme « désengagées ». Or, les auteurs invoquent la portée politique de leur déconstruction de poétiques traditionnelles, de normes linguistiques et de modes de pensée de la culture occidentale. Les formes d’écriture expérimentale ne seraient-elles pas alors des choix politiques au sens où elles ébranlent des visions et expériences du monde? Cette mise à distance du réel provoquerait ce que Rancière appelle la « subjectivation politique », c'est-à-dire l’émancipation du citoyen par rapport à son identité sociale figée par des manières de dire et de penser. Montrant l’intention politique immanente à certains choix poétiques cette étude aborde la notion d’engagement sous un angle poétologique / Concrete, visual and sound poetry, as well as experimental radio plays, appearing in the early 1950s in Germany, Switzerland and Austria specifically, have until now been perceived as formal games with language, sparing their authors from taking any political position with regards to reality. Given this narrow understanding of the sartrian concept of “engaged literature”, experimental poetry hence appeared as “disengaged.” And yet, authors insist on the deconstruction of traditional poetry, of linguistic norms and of the Occidental vision of culture. As a consequence, shouldn’t we also understand experimental literary forms as political in the sense that they shatter our traditional vision and experience of the world? The distance taken from reality leads to what Rancière calls “political subjectivity”, by which he means the emancipation of the individual from a fixed social identity through news ways of saying and thinking. Analyzing the political intention inherent to specific poetical choices, this study offers a poetic approach of literary political engagement