Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2016-08-30T20:11:26Z No. of bitstreams: 2 Dissertação - Robson Pereira da Silva - 2016.pdf: 727332 bytes, checksum: 4e1dc76425bdc9a1b09b56b0f2bb6422 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-08-31T13:12:47Z (GMT) No. of bitstreams: 2 Dissertação - Robson Pereira da Silva - 2016.pdf: 727332 bytes, checksum: 4e1dc76425bdc9a1b09b56b0f2bb6422 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-08-31T13:12:47Z (GMT). No. of bitstreams: 2 Dissertação - Robson Pereira da Silva - 2016.pdf: 727332 bytes, checksum: 4e1dc76425bdc9a1b09b56b0f2bb6422 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-07-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Ney Matogrosso during the military regime, especially in the 1970s, performed it marginal individuals who helped in the process of "symbolic production" in their performances (phonograms, cover, liner notes, music Show Video); conventionally an aesthetic of subversion. However, his work was not disconnected from the reality of their time. So here, it’s analyzed in dialogue with the productions that have agreed to submit the incorporation of marginal figures. Thus, the main objective of this research is to understand the cultural context in the 1970s the structure of feeling based on the counter-violence that exhibited with marginal performativity in artistic productions between 1964-1979. For this, here it’s envisaged the overview of clashes of representations engendered from the 1970s, when appeared the division internal and differences in the art of segments connected to the left, where social, political and cultural dilemmas reached art. / Ney Matogrosso durante o regime militar, especificamente na década de 1970, corporificou personagens marginais que auxiliaram no processo de “produção simbólica” em suas performances (fonograma, capa, encarte, videoclipe, espetáculo); o que convencionou uma estética da subversão. Entretanto, sua obra não esteve desligada da realidade de sua época. Por isso, aqui é analisada em diálogo com as produções que tiveram o compromisso de exibição e corporificação de figuras da marginalidade. Assim, a intenção principal dessa dissertação é compreender a obra de Ney Matogrosso no bojo das performances da contraviolência, em diálogo com a produção cultural da década de 1970, pela estrutura de sentimento calcada na evidência da articulação entre erotismo e violência que exibiu como performatividade: a figura do marginal, em produções artísticas, entre 1964-1979. Para isso, é preciso retomar o panorama de lutas de representações que se engendraram a partir da década de 1970, momento em que se dimensionou a circunscrição de divergências internas nos segmentos de arte ligados à esquerda e a contracultura, em que dilemas sociais, políticos e culturais recaíram sobre a arte.

Made available in DSpace on 2017-07-10T18:56:15Z (GMT). No. of bitstreams: 1 ANDRE ADRIANO BRUN.pdf: 927589 bytes, checksum: 76e9fa0fe996048f1555190b65020ef1 (MD5) Previous issue date: 2008-02-26 / In this research, with base in a perspective analytic-theoretical sociological predominantly, it was aimed to analyze comparatively the relation among time, space and feminine universe, having as focus the representations of the characters' feminine protagonists of the romances pseudomemorialistas Cartilha do silêncio (1997), by Francisco Dantas, and A dança dos cabelos (2001), by Carlos Herculano Lopes. The first chapter, entitled "Time, feminine condition and memory", approach the relation between the feminine protagonists and the time, with emphasis in the categories memory and destiny. The memory is the resource through which the protagonists appeal to explain the force and the inexorability of their tragic destinies. The appeal to her, through the disordered affluence of the memories and images remote or recent, subverts and paralyzes the protagonists' present, appearing for a future without expectations, obscured for the ghosts of the past and for the terrible present condition. The second chapter, whose title is "Space, feminine identity and reclusion", approaches the identity relation among the feminine protagonists and the space in which are inserted. The house, in general, and the room, especially, they are analyzed with base in the speeches in vogue in the focalized times, ruled in the patriarchal moral couple that it promoted, harnessed to a very rigid sexual distinction, a space differentiation of the humankind, linking the man to the external spaces and, the woman, to the interiors. Entitled "Eroticism, violence, madness and death", the third chapter intends to analyze these four elements that, individual and collectively, they identify the five feminine protagonists. These themes, always associated to the feminine nature, they contributed, along the history, to exalt the woman's satanic face. To hide and to subdue this evil facet, it just presented a way to the women: to be dedicated to the marriage and the maternity, undergoing the gear that moved the society. The characters of the referred works try to adjust to this program ideological absolutist, however, be for the violence/oppression to it inherent, be for the simple curiosity, they don't totally submit, sustaining, like this, the two facets the one of the Virgin Mary and the one of the Eva sinner that, in general, they cover great part of the myths concerning the femininity. Be for the faith in the fatality and for the affluence of memories of the past, torturing the present and darkening the characters' future; be for the intimate connection with the same space; be for the shared characteristics and repeated along the generations that succeed; the five protagonists resemble each other and identify, being stagnated in the time and in the space. It is as if them, generation after generation, they had had lessons for the same "spelling book" and they had their destinies interlaced in a same braid, in spite of the distinctions, besides of authors. All - each one to her way - they "dance" in a same rhythm, essentially to circulate, and with few variations according to the choreography. / Nesta pesquisa, a partir de um viés analítico-teórico preponderantemente sociológico, objetivou-se analisar comparativamente a relação entre tempo, espaço e universo feminino, tendo como foco as representações das personagens protagonistas femininas dos romances pseudomemorialistas Cartilha do silêncio (1997), de Francisco Dantas, e A dança dos cabelos (2001), de Carlos Herculano Lopes. O primeiro capítulo, intitulado Tempo, condição feminina e memória , atém-se à relação entre as protagonistas femininas e o tempo, com ênfase nas categorias memória e destino. A memória é o recurso através do qual as protagonistas recorrem para explicar a força e a inexorabilidade dos seus trágicos destinos. A recorrência a ela, por meio do afluxo desordenado das lembranças e imagens remotas ou recentes, subverte e paralisa o presente das protagonistas, apontando para um futuro sem expectativas, obnubilado pelos espectros do passado e pela terrível condição presente. O segundo capítulo, cujo título é Espaço, identidade feminina e reclusão , aborda a relação de identidade entre as protagonistas femininas e o espaço no qual estão inseridas. A casa, de modo geral, e o quarto, em especial, são analisados com base nos discursos em voga nas épocas focalizadas, pautados na dupla moral patriarcal que promoveu, atrelada a uma distinção sexual muito rígida, a espacialização dos gêneros, vinculando o homem aos espaços exteriores e, a mulher, aos interiores. Intitulado Erotismo, violência, loucura e morte , o terceiro capítulo se propõe a analisar estes quatro elementos que, individual e coletivamente, identificam as cinco protagonistas femininas. Estes temas, sempre associados à natureza feminina, contribuíram, ao longo da história, para a relativa demonização da mulher. Para ocultar e subjugar esta faceta maligna, apresentava-se apenas uma saída às mulheres: dedicarem-se ao casamento e à maternidade, submetendo-se à engrenagem que movia a sociedade. As personagens das referidas obras procuram se ajustar a este programa ideológico impositivo, porém, seja pela violência/opressão a ele inerentes, seja pela simples curiosidade, não se submetem totalmente, sustentando, assim, as duas facetas a da Virgem Maria e a da Eva pecadora que, em geral, revestem grande parte dos mitos acerca da feminilidade. Quer pela crença na fatalidade e pelo afluxo de lembranças do passado, torturando o presente e obscurecendo o futuro das personagens; quer pela íntima ligação com o mesmo espaço; quer pelas características compartilhadas e repetidas ao longo das gerações que se sucedem; as cinco protagonistas se assemelham e se identificam, parecendo estagnadas no tempo e no espaço. É como se elas, geração após geração, tivessem tido lições pela mesma cartilha e tivessem seus destinos entrelaçados numa mesma trança, a despeito das distinções, inclusive de autores. Todas cada uma a seu modo dançam num mesmo ritmo, essencialmente circular, e com poucas variações quanto à coreografia.

O cinema brasileiro, historicamente caracterizado por sua marginalização no circuito de exibição e distribuição em detrimento do cinema estrangeiro, viveu um período de público significativo e títulos provocantes durante a década de 1970, com a Boca do Lixo, polo de produção cinematográfico localizado nas ruas do Triunfo, Gusmões, Vitória e dos Andradas, centro de São Paulo. Inserida em um contexto de efervescência política e comportamental, seus longas-metragens abordavam os corpos de belas mulheres, em tramas marcadas por elementos eróticos e pornográficos. Ao mesmo tempo, a Censura, órgão federal subordinado ao Ministério da Justiça, tinha como um de seus critérios para os cortes que impunha sobre as produções simbólicas a presença de cenas consideradas imorais e ofensivas ao decoro público. Partindo de questões como as diferenças entre o erotismo e a pornografia e as formas através das quais o poder lidou com a sexualidade ao longo da história do Ocidente, esta pesquisa foca-se na análise de cinco filmes da Boca do Lixo e seus respectivos processos censórios: Amadas e Violentadas (1976), A Ilha dos Prazeres Proibidos (1978), Histórias que Nossas Babás não Contavam (1979), A Noite das Taras (1980) e Mulher Objeto (1981). Neles foi encontrada uma gradação do erótico ao pornográfico, na medida em que se buscava aprimorar a qualidade dos prazeres, passando assim a outro regime de visibilidade. A Censura, por sua vez, atuou a partir de um modelo normativo de sexualidade, separando as abordagens consideradas normais das desviantes. Ao final, conclui-se que os filmes supracitados foram tolerados pela Censura graças à autocensura dos produtores e diretores: atuava-se na linha divisória aceita pelo órgão estatal ou desafiava-se essa linha, uma vez que houvesse recursos de apelação disponíveis e acessíveis. / Brazilian cinema, historically characterized by its marginalization in movie theaters and distribution circuit at the expense of foreign cinema, experienced a period of significant public and provocative titles during the 1970s with the Boca do Lixo, a filmmaking center located at the streets of Triunfo, Gusmões, Vitória and Andradas, in São Paulo downtown. Inserted in a context of political and behavioral turmoil, its feature films represented the bodies of beautiful women in plots marked by erotic and pornographic elements. At the same time, Censorship, a federal agency under the Ministry of Justice, had as one of its criteria for the cuts imposed on the symbolic productions the presence of scenes deemed immoral and offensive to public decorum. Considering issues such as the differences between eroticism and pornography, and the ways in which power has dealt with sexuality throughout the history of the West, this research focuses on the analysis of five films from Boca do Lixo and their processes in Censorship: Amadas e Violentadas (Beloved and Raped, 1976), A Ilha dos Prazeres Proibidos (The Island of Forbidden Pleasures, 1978), Histórias que Nossas Babás não Contavam (Tales that our nannies didn\'t use to tell, 1979), A Noite das Taras (The Night of Pleasures, 1980) and Mulher Objeto (Object Woman, 1981). It was found a gradation from erotic to pornographic, as they sought to improve the quality of pleasures, passing through another regime of visibility. Censorship, in turn, acted in a normative model of sexuality, separating the approaches considered deviant from normal. At the end, it is concluded that the five films were tolerated by the Censorship due to the self-censorship of producers and directors, working on the dividing line accepted by the state agency, or defying that line up once appeals were available and accessible.

Em Júlio Bressane, artes plásticas e erotismo são dois dos principais elementos de uma constelação particular que inclui a literatura, o modernismo brasileiro, a canção popular e, é claro, o próprio cinema. Em Filme de amor (2003), Bressane coloca em pauta o corpo nu e a questão do olhar, em uma pesquisa estética ligada a uma tradição pictórica que vai do Renascimento italiano (Sandro Botticelli, Raphael Sanzio) e da pintura espanhola (Diego Velázquez, Francisco Goya) até o realismo (Gustave Courbet) e o surrealismo de Balthus - nome central para o longa de 2003 - passando pela psicanálise (Lacan). Para Bressane, \"cinema inocente\" pode referir-se tanto aos filmes eróticos do Primeiro Cinema quanto ao momento da história das formas cinematográficas em que, dada a falta de referências anteriores, tudo é invenção. Nesse sentido, liberdade formal e liberalidade comportamental aproximam-se para criar uma espécie de utopia, uma \"Arcádia\" pessoal idealizada por seu cinema - época \"inocente\" e mitológica, anterior ao homem provar da árvore do fruto do conhecimento. A questão da melancolia (Benjamin) será central para entender o cinema de Bressane, bem como a ideia da História como fragmento e ruína. / Painting and eroticism are two main elements in Júlio Bressane\'s own private constellation that also includes literature, Brazilian modernism, popular Brazilian music, and cinema itself. Filme de amor (2003) deals with the questions of the naked body and the gaze, and connects itself with a large tradition, from Italian Renascence (Sandro Botticelli, Raphael Sanzio) and Spanish painting (Diego Velázquez, Francisco Goya) to realism (Gustave Courbet) and Balthus\' surrealism - a main artist for the 2003 film. Besides all that, it touches psychoanalysis\' issues related to Lacan\'s theory. To Bressane, \"innocent cinema\" may refer to erotic films from Silent Cinema or to the moment in the history of film forms when, as there were no previous references, everything is an invention. So, both formal and sexual freedom came closer and creates some kind of utopia, an own personal \"Arcadia\" idealized by Bressane\'s films: an \"innocent\" and mythological age, previous to man has proved the forbidden fruit of knowledge. From Benjamin, the director learns the ideas of Melancholy and of History as fragment and doom.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-03-29T15:11:28Z No. of bitstreams: 1 angelavieiracampos.pdf: 1367059 bytes, checksum: 2f25f0b7ad0171a14ce4edb57bca56d2 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-04-24T02:48:46Z (GMT) No. of bitstreams: 1 angelavieiracampos.pdf: 1367059 bytes, checksum: 2f25f0b7ad0171a14ce4edb57bca56d2 (MD5) / Made available in DSpace on 2016-04-24T02:48:46Z (GMT). No. of bitstreams: 1 angelavieiracampos.pdf: 1367059 bytes, checksum: 2f25f0b7ad0171a14ce4edb57bca56d2 (MD5) Previous issue date: 2013-04-04 / A tese propõe um diálogo entre poesia e filosofia, com o objetivo de analisar os poemas do livro Salamandra, de Octavio Paz e de demonstrar a construção do corpo em sua relação com o conceito de otredad, evidenciado pelo autor em suas obras críticas. A partir do poema "Noche en claro", destaca-se, inicialmente, o diálogo de Paz com o movimento surrealista e se estabelecem outras discussões tais como a relação do eu-lírico com o tempo e com o corpo da cidade. Considera-se ainda a otredad na perspectiva da conciliação dos opostos, observando-se as relações analógicas entre microcosmos e macrocosmos. Nesse sentido, procede-se à análise dos poemas que apontam para a conexão entre o corpo humano e a natureza. Por fim, discute-se o poema "Salamandra", considerando-se a multiplicidade de corpos que o atravessa, bem como as proliferações do signo do animal que se desdobra a partir dos conhecimentos da alquimia presentes nesse texto. Todos esses movimentos de leitura têm o fogo como um elemento direcionador, seja para se pensar o corpo em sua dupla chama de amor e de erotismo, conforme o demonstra Octavio Paz em sua obra, seja para designar o devir, conforme o pensamento de Heráclito, ou mesmo para se abrir a uma poética do fogo, para se pensar com Gaston Bachelard. Os poemas e os textos críticos de Paz suscitam, ainda, o pensamento sobre a vitalidade e a potência dos corpos, para tanto, tornou-se necessário abordar as obras de pensadores como Nietzsche, Michel Foucault, Gilles Deleuze e Félix Guattari. / This thesis proposes a dialogue between poetry and philosophy, aiming at analyzing the book Salamandra by Octavio Paz, and also showing the construction of the body in relation to the otredad concept, which is evident in this author‘s critical works. From ―Noche en claro‖ poem, the dialogue between Paz and the surreal movement is initially highlighted, and other discussions are established, such as the relationship between the lyric ―I‖, time and the city body. Otredad is also considered in the perspective of an opposite conciliation taking into account the analogical relations between microcosms and macrocosms. Then, in this sense, the poems analysis point to the connection of the human body with nature. In the end, Salamandra poem is discussed concerning the multiplicity of bodies that pass by it, as well as proliferations of the animal sign unfolded from the Alchemy knowledges in the text. All these reading movements have the fire as a directing element, either in order to consider the body with its dual flame of love and eroticism, as Octavio Paz demonstrates in his works, or to nominate the ―devenir‖ according to Heraclito‘s thought, or even to open a fire poetics, considering Gaston Bachelard‘s term. Paz‘s poems and critical texts also arise the thought about the bodies‘ vitality and power, so it was necessary to approach works by Nietzche, Michel Foucault, Gilles Deleuze and Félix Guattari.

Rezension zu: Anja Hartung, Dagmar Hoffmann, Hans-Dieter Kübler, Bernd Schorb & Clemens Schwender (Hrsg.) (2016): Erotik und Sexualität. Medien & Altern Heft 9, Zeitschrift für Forschung und Praxis. München: kopaed.

The life of Henri-Pierre Roché (1879 – 1959), art collector, journalist, writer, finds its singular rhythm in a continual meandering between dispersion and the search for unifying harmony. This dispersion – moral and physical – appears to represent a necessary evil for him since he considers his vocation to be the gathering of human experiences from as wide a spectrum as possible in order to create a work that would be useful to society, that would lead to better understanding of issues such as political harmony, eroticism and polygamy. The dissertation consists of a detailed biographical study which covers Roché’s formative years until the publication of his first literary works (1879 – 1907). A biographical summary of the remainder of his life is followed by a chapter on his first major publication, Don Juan et... , which has not formed the subject of any literary analysis prior to this. The third chapter consists of an interpretation of Roché’s novel Deux Anglaises et le Continent as both a work of initiation and an initiation to his work, illustrating how it introduces themes that recur in two further novels, Jules et Jim and Victor. Through his way of life, Roché’s life becomes his most extensive and involved œuvre. This dissertation traces the roots of his propensity for dispersion and lack of unity, to his childhood and specifically to the form of education advocated by his mother Clara Roché. This attribute surfaces again in Roché’s keeping of a personal diary, spanning almost sixty years, in which he compulsively observes and notes his own behaviour and that of those around him. The diary emphasises and prepares the fragmentary, compressed style and open-ended writing which would later become Roché’s trademark. Abandoning his studies in political science, Roché sets out on a career which has much in common with the lives dilettante intellectuals fashion for themselves towards the end of the 19th century. His first human project, formulated around 1902, is an attempt to understand the mystery of erotic love and the possibilities of sexual relationships. To this end, he transforms his own life into a kind of laboratory. At a time when France has hostile inclinations towards Britain and Germany, Roché undertakes extensive journeys to these countries, learning the languages and opening himself to literary, social and philosophical influences. The dissertation pays particular attention to the analysis of these influences, an area which has not yet been covered by any other research. Through a detailed interpretation of Don Juan et..., the nature of seduction and desire is examined in the context of the literary myth of Don Juan and the association between fragmentation and desire is emphasised. In conclusion, the association between desire and its written expression is examined and found to be reflected in Roché’s fragmentary writing, through which he appears to find a solution/ compromise in the form of voluntary incompleteness compensating for his failure in the impossible quest for unity. / Thesis (DLitt)--University of Pretoria, 2009. / Modern European Languages / unrestricted

La recherche se focalise sur l’étude comparative de l’érotisme dans deux romans : La Marge d’André Pieyre de Mandiargues et La Pornographie de Witold Gombrowicz. Conformément à la nouvelle approche comparative (Apter, Casanova, Moretti) et dans une perspective culturelle et littéraire, le projet explore la façon dont l’érotisme peut être entendu (ou malentendu) dans l’histoire des idées, dans la critique littéraire et dans les œuvres littéraires. À partir d’une enquête épistémologique, de l’histoire contrastive du contexte littéraire franco-polonais et des enjeux critiques développés par Bataille, Foucault, Barthes et Deleuze, le projet montre les différences culturelles dans la représentation de l’érotisme littéraire. En outre, il compare la façon dont Mandiargues et Gombrowicz défendent la nécessité et le danger de l’érotisme dans la littérature, à travers leur écriture critique. Enfin, grâce à l’analyse des deux romans, l’étude tend à expliquer la dynamique de l’érotisme littéraire compris comme un thème tantôt descriptif tantôt narratif. Les deux romans montrent comment le rêve érotique peut être exploré à travers la temporalité narrative ou à travers l’espace et, par conséquent, comment ils peuvent conduire à des interprétations photographiques ou cinématographiques. Cette recherche vise à mettre en évidence le rôle de ces écrivains dans une discussion sur l’ars erotica contemporain dans la littérature mondiale et cherche à encourager l’étude de l’érotisme dans la littérature comparée. / The research focuses on the comparative study of eroticism in two novels: The Margin by André Pieyre de Mandiargues and Pornografia by Witold Gombrowicz. Following the new comparative approach (Apter, Casanova, Moretti) from a cultural and literary perspective, the project explores the ways in which eroticism can be understood (or misunderstood) in the history of ideas, in literary criticism and finally in literary works. Starting from an epistemological inquiry, the contrasting literary histories of Poland and France and theoretical approaches developed by Bataille, Foucault, Barthes and Deleuze, the project shows the cultural differences in representing eroticism in literature. Furthermore it compares how Mandiargues and Gombrowicz defend the necessity and the danger of eroticism in literature through their critical writing. Finally, thanks to a deep textual analysis of the two novels, the study seeks to explain the dynamics of literary eroticism understood as a theme that is either descriptive or narrative. The two novels show how the erotic dream can be explored through narrative temporality or space and consequently lead to photographical or cinematographical interpretations. This research intends to highlight the role of these writers in the discussion of contemporary ars erotica in global literature and to encourage the study of eroticism in comparative literature.

Orientador: Mário Luiz Frungillo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-24T10:22:46Z (GMT). No. of bitstreams: 1 Saber_RogerioLobo_M.pdf: 1131901 bytes, checksum: bd74a40c9603c7d7c7f65986303efd81 (MD5) Previous issue date: 2014 / Resumo: As obras Crônica da casa assassinada e O morro dos ventos uivantes - escritas, respectivamente, pelos autores Lúcio Cardoso (1912-1968) e Emily Brontë (1818-1848) - podem ser lidas como textos que, além de explorarem elementos da estética gótica literária, partilham uma trama que se movimenta a partir dos planos de vingança executados por seus protagonistas Nina e Heathcliff. Em primeiro lugar, desejamos delimitar quais elementos e temas são explorados pelos textos que nos permitem compará-los com os romances pertencentes à literatura noir dos séculos XVIII e XIX. Por fim, prevemos a aproximação de ambos os romances, de maneira que possamos compreender as razões da vingança de cada um dos agentes, os instrumentos utilizados, o modo de execução do plano e, por fim, as consequências do ataque levado a cabo. A aproximação proposta, além de confirmar que os textos podem ser lidos como obras góticas, indica-nos conclusões de ordem filosófica a respeito do tema em estudo (vingança) / Abstract: The literary works Crônica da casa assassinada and Wuthering Heights - respectively written by Lúcio Cardoso (1912-1968) and Emily Brontë (1818-1848) - can be read as texts that explore elements from the literary gothic aesthetics as well as a plot that animates itself through the revenge plan executed by their protagonists Nina and Heathcliff. In the first place, we want to delineate the elements and themes that are explored in the texts and that allow us to compare them to the novels that belong to the 18th and 19th centuries literature noir. In conclusion, we foresee an approximative reading of both novels in order to understand the reasons of the revenge of each protagonist, the instruments used, how the plan was executed and, finally, the consequences of the attack. Our approximative reading confirms that the texts can be read as gothic novels and it indicates us philosophical conclusions on the elected theme (revenge) / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

[pt] A semente do desatino: o germe da transgressão em Lavoura arcaica consiste em uma análise do romance de Raduan Nassar, tomando o conceito de transgressão como operador de leitura na interface entre literatura e psicanálise. Tem como objetivo aproximar a estrutura narrativa da obra à questão do excesso, presente no traço barroco da escrita nassariana e no verbo colérico e disruptivo de André. O romance é perpassado pela ideia de transbordamento, encontrando seu ápice no embate entre pai e filho, no incesto e no filicídio; a pesquisa se propõe a investigar essa noção a partir das concepções de gozo em Jacques Lacan e de erotismo em Georges Bataille, além da contribuição teórica de Sigmund Freud, Friedrich Nietzsche, Michel Foucault, entre outros. / [en] The madness seed: the germ of transgression in Raduan Nassar s Ancient Tillage consists of an analysis of Raduan Nassar s romance, considering the concept of transgression as the reading operator at the interface between literature and psychoanalysis. Its object is to link the novel s narrative structure to the subject of the excess, always present at the baroque style of the nassarian writing and at the fiery-tempered and disruptive speech of André. The romance is entangled by the idea of overflowing, finding its apex at the shock between father and son, at the incest and at the filicide; the research investigate this notion starting from the concepts of jouissance as for Jacques Lacan and erotism as for Georges Bataille, including also the theoretical contribution of Sigmund Freud, Friedrich Nietzsche, Michel Foucault, amongst others.