Orientador: Tania Celestino de Macêdo / Banca: Hiudéa Tempesta Rodrigues Boberg / Banca: Guacira Marcondes Machado Leite / Resumo: O presente estudo pretende realizar uma classificação das personagens nos contos de João Antônio, já que constituem um dos elementos estruturais dos textos ao lado do foco narrativo, responsável pela transformação na maneira de apresentar as figuras que permeiam a ficção desse autor. Para a realização do trabalho, tomamos como ponto de partida os seus dois primeiros livros, Malagueta, Perus e Bacanaço (1963) e Leão-de-chácara (1975), nos quais encontramos quatro grupos distintos de personagens. Aos malandros e "otários" que habitam as páginas da primeira obra, adicionamos as figuras de um bandido e um "merduncho" na observação dos seres da segunda publicação. / Abstract: This dissertation is aimed at the classification of the characters in João Antônio's short stories, since they are one of the text structural elements together with the narrative focus, responsible for the transformation in the way of presenting these characters. The starting point of this research was Malagueta, Perus e Bacanaço (1963) and Leão-de-chácara (1975), which show four distinct groups of characters. To the "malandros" (roguish) and "otários" (suckers) that inhabit the pages of the first book, the figures of a "bandido" (bandit) and a "merduncho" (poor common people) of the second book were added. / Mestre

Contrary to popular belief, Tartan Noir is not a synonym for Scottish noir but a mystifying marketing label for a national literature: dark, contemporary Scottish crime fiction. As it comprises an immense diversity of writing done in such mainstream sub-genres as detective, police, and serial killer fiction, as well as actual noir, I will investigate both the contrasts and the crossovers between said sub-genres. I will show that only few of the writers who are most associated with Tartan Noir write much, or any, noir, whereas most of those who do are not commonly associated with the term. With a view to remedying this, I will discuss the novels which have most influenced the reputation of Tartan Noir alongside those which have most influenced its identity. And by showing how this literature integrates the tension between several highly charged counter concepts – such as conformity and individuality, convention and innovation, sensationalism and thoughtful social, cultural, and political commentary – I hope to demystify Tartan Noir, that is, define the term and refine its use.

L’écrivain chinois Mo Yan a mis en scène dans son œuvre romanesque des avatars de l’auteur, identifiés à lui par le nom dans deux romans et par le rôle de créateur du récit dans plusieurs récits. Ces représentants ne sauraient être identifiés à l’auteur empirique, mais peuvent être interprétés à l’aune de ce que représente pour nous l’auteur, au sens large, ou dans une visée individuelle, lorsque nous analysons leur caractérisation en fonction d’autres textes, fictifs ou référentiels, construisant la figure biographique, théorique et fantasmatique de l’auteur. Outre qu’elle joue sur l’aporie de sa présence dans la fiction, cette représentation métafictionnelle a des fonctions diverses. Dans Le Pays de l’alcool, elle souligne l’allégorie tout en déjouant la censure ; dans La Dure Loi du karma, elle brosse un portrait comique du romancier, reflétant ses différents rôles pour le lecteur et la société. La suite de l’étude porte sur des narrateurs révélant un statut de créateur du récit, de sorte qu’ils provoquent une distanciation et un doute sur leur situation diégétique, en les associant à une tendance métafictionnelle présente dans l’œuvre de Mo Yan depuis son premier roman long, Le Clan du sorgho rouge, où elle est l’effet d’un narrateur omniscient et présent dans l’univers de la fiction. Ces figures d’autorité thématisent l’imagination à l’œuvre, tout en signalant l’altérité de la figure de l’auteur que le lecteur infère de ses indices supposés. Elles représentent l’auteur en une logique non référentielle, comme produit d’un ensemble mouvant d’hypothèses, issues d’une interprétation des récits comme éléments constitutifs de l’œuvre. / In his fictional works, Chinese novelist Mo Yan created avatars of the author, who are either identified by their name such as the characters Mo Yan in The Republic of Wine and in Life and Death Are Wearing Me Out or by a creative role they reveal, in other narratives. Both doubles, Mo Yan’s fictional homonyms, cannot be considered as the empirical author, and yet may be interpreted in the light of what the author means to us, whether in a broad or individual sense, when their characteristics are confronted with the biographical, theoretical and fantasmatic figure of Mo Yan which other texts create. Drawing attention to the aporetical presence of the author in a universe he created, metafictional author representations have various functions. In The Republic of Wine, it enlights the allegorical value of the novel and, to the real author, is a means to deter censorship. In Life and Death Are Wearing Me Out, Mo Yan is a parody of a novelist, where the role he plays for the reader and in society appear in a nutshell. Next, the sign of the author is to be extended to other narrators who reveal, more or less explicitly, that they create the narrative, thus inducing readers to suspend belief and reconsider their diegetic posture. Beginning with his first long novel Red Sorghum, metafiction has been an obsessive tendency in Mo Yan’s novels, making imagination a theme of the novel while suggesting the figure of the author a reader infers from the text is but a shifting body of hypotheses, which envision narratives a part of the whole works that make the author.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Os escritores Mário de Carvalho e Xosé Luís Méndez Ferrín apresentam, em sua escrita, uma marca que os aproxima sobremaneira: a inserção, na teia narrativa de grande parte de sua obra, de elementos insólitos não ocasionais, ou seja, traços essenciais à efabulação ficcional. Suas obras, quase sempre, dialogam com tradições místicas, míticas e lendárias, de que se nutrem, e, relendo a tradição de suas nações, em sentido pleno, repensam o mundo em que se inscrevem a partir de transfigurações do que tem sido comumente visto como real pelo senso comum. Depositários de uma tradição que a todo tempo retomam, seus escritos são diálogo não só no que diz respeito à velha dicotomia real/irreal, como são testemunho de dois planos confluentes e caros à Pós-Modernidade: 1) questionamento ou representação do passado por meio da veia insólita como forma de se restaurar as identidades portuguesa e galega; 2) a ficção como protagonista dela mesma por meio da arquitetura de textos que dialogam entre si como verdade e mentira. A partir da comparação desses autores, pensar-se-á na relação do homem com o insólito e na condição pós-moderna como elemento importante, se não vital, para a própria significação da realidade empírica / The writers Mário de Carvalho and Xosé Luís Méndez Ferrín present, in their writing, a brand that brings them greatly together: the insertion, most of the part of their work in web narrative, of not occasional unusual elements, in other words, the essential features for fictional fable. Their works, almost always, dialogue with mystical traditions, mythical and legendary, that are nourished, and in rereading the tradition of their nations, in full sense, rethink the world that they are inserted by transfigurations that has been commonly seen as "real" by the sense common. Trustees of a tradition that reiterating all the time, their writings are a dialogue not only in regard to the old dichotomy real / unreal, but are also a testimony of two confluent and rich plans to Post-modernity: 1) questioning or representation of the past through the unusual vein as a way to restore the Portuguese and Galician identities, and 2) fiction as the protagonist by itself through the textual architecture that dialogue each other as true and lie. By comparing these authors, we will think the relationship between the man with the unusual and the postmodern condition as an important element, if not vital, to the very meaning of empirical reality

Orientador: Aguinaldo José Gonçalves / Banca: Lúcia Osana Zolin / Banca: Regina Célia dos Santos Alves / Banca: Tieko Yamaguchi Miyazaki / Resumo: Este estudo procura conhecer os processos de construção da personagem de ficção e do herói, em sua marcha, do ponto de vista mimético e antropomórfico, cuja realização se dá na obra Viva o povo brasileiro de João Ubaldo Ribeiro. Parte-se da hipótese de que o título da obra tem caráter sinedóquico, onde se identifica e realiza o herói coletivo na sua relação com as demais personagens, entendidas na sua evolução de máscara para signo narrativo. Considerou-se que, pela interlocução entre história e historiografia, na desfuncionalização e dessintagmatização dos elementos constituintes da história, constrói-se a personagem-temática e o herói coletivo representando a relação tensional entre colonizadores e colonizados; classe senhoril/patronal e escrava/ laboral. Para isso, foram utilizados conceitos como: arquétipos e motivos temáticos; personagem como sujeito virtual, atualizado, realizado e glorificado. / Abstract: The aim of this study is to get to know the processes involved in building the fictional and heroic character, on its journey, from both the mimetic and anthropomorphic points of view, as it occurs in João Ubaldo Ribeiro's Long Live the Brazilians (Viva o povo brasileiro). It starts with the hypothesis that the title of the work has a synecdochic character, where the collective hero is identified and realized in his relationship with the other characters, understood in their evolution from mask to narrative sign. By means of the interlocution between history and historiography, in the defunctionalization and dissyntagmatization of the constitutive elements of the story, it was deemed that the thematic character and collective hero were constructed, representing the tensional relationship between colonizer and colonized; between the lord/master and slave/worker classes. In order to achieve this, the following concepts were used: archetypes and thematic motives, character as virtual subject, modernized, realized and glorified. / Doutor

Esta dissertação constitui uma reflexão sobre a situação social, política e cultural da Inglaterra na década de 70, especialmente nos anos de 1972 e 1973, como descrita no romance Serena, de Ian McEwan. O objetivo principal desta pesquisa é apresentar como o momento histórico supracitado é narrado no discurso ficcional, a partir da perspectiva da personagem Serena, em comparação com o discurso histórico, de acordo com fontes selecionadas, que narram a história da Inglaterra no contexto da Guerra Fria, dos ataques terroristas do IRA e do funcionamento do Serviço Secreto doméstico inglês, chamado MI5. / This dissertation constitutes a reflection about the social, political and cultural situation of England in the 70s, especially in the years of 1972 and 1973, as described in the novel Sweet Tooth, by Ian McEwan. The main objective of this research is to present how the historical moment mentioned above is narrated in the fictional discourse, from the perspective of the character, in comparison with the historical discourse and from a selection of sources, which narrate the history of England in the context of the Cold War, the terrorist attacks of the IRA and the functioning of the English domestic Secret Service, called MI5.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Os escritores Mário de Carvalho e Xosé Luís Méndez Ferrín apresentam, em sua escrita, uma marca que os aproxima sobremaneira: a inserção, na teia narrativa de grande parte de sua obra, de elementos insólitos não ocasionais, ou seja, traços essenciais à efabulação ficcional. Suas obras, quase sempre, dialogam com tradições místicas, míticas e lendárias, de que se nutrem, e, relendo a tradição de suas nações, em sentido pleno, repensam o mundo em que se inscrevem a partir de transfigurações do que tem sido comumente visto como real pelo senso comum. Depositários de uma tradição que a todo tempo retomam, seus escritos são diálogo não só no que diz respeito à velha dicotomia real/irreal, como são testemunho de dois planos confluentes e caros à Pós-Modernidade: 1) questionamento ou representação do passado por meio da veia insólita como forma de se restaurar as identidades portuguesa e galega; 2) a ficção como protagonista dela mesma por meio da arquitetura de textos que dialogam entre si como verdade e mentira. A partir da comparação desses autores, pensar-se-á na relação do homem com o insólito e na condição pós-moderna como elemento importante, se não vital, para a própria significação da realidade empírica / The writers Mário de Carvalho and Xosé Luís Méndez Ferrín present, in their writing, a brand that brings them greatly together: the insertion, most of the part of their work in web narrative, of not occasional unusual elements, in other words, the essential features for fictional fable. Their works, almost always, dialogue with mystical traditions, mythical and legendary, that are nourished, and in rereading the tradition of their nations, in full sense, rethink the world that they are inserted by transfigurations that has been commonly seen as "real" by the sense common. Trustees of a tradition that reiterating all the time, their writings are a dialogue not only in regard to the old dichotomy real / unreal, but are also a testimony of two confluent and rich plans to Post-modernity: 1) questioning or representation of the past through the unusual vein as a way to restore the Portuguese and Galician identities, and 2) fiction as the protagonist by itself through the textual architecture that dialogue each other as true and lie. By comparing these authors, we will think the relationship between the man with the unusual and the postmodern condition as an important element, if not vital, to the very meaning of empirical reality

A proposta deste trabalho é analisar a forma como se estabelecem as relações de construção de sujeitos ficcionais em alguns romances selecionados. Embora saibamos que haja diversas reflexões que poderiam ser extraídas quando tratamos a respeito de assuntos como literatura, ficção, sujeito, e alteridade e as egoescritas (as escritas de si), optamos pelo recorte que abarca os mecanismos de construção dos sujeitos ficcionais e as interpenetrações dos conceitos literários aplicados a estes dentro de determinados romances nomeadamente, Trilogia de Nova York, O filho eterno, Nove noites e A morte em Veneza , sem, contudo, ignorar esse mesmo recorte quando se refere à poesia e até mesmo ao ensaio, esses últimos tendo Fernando Pessoa como índice máximo da alterpoesia através do heterônimo António Mora. Abordaremos as formas de representação desse sujeito que se constitui a partir da ficção, deixando "rastros" que apontam para a figura do autor do romance, expondo ao leitor os labirintos e interseções entre a literatura e a ficção, a autobiografia, a autoficção, entre outras discussões / The purpose of this paper is to examine how relationships are established construction of subjects in some fictional novels selected. Although we know that there are several considerations that could be drawn about when dealing with subjects such as literature, fiction, subject and otherness and "egoescritas" (the "written itself"), we decided to cut that includes mechanisms for construction of subjects interpenetration of fiction and literary concepts applied to those within certain novels - notably New York Trilogy, The eternal Son, Nine nights and Death in Venice - without, however, ignore that same cut when it comes to poetry and even in the same assay, the latter having Fernando Pessoa as maximum index of "alterpoesia" through heteronym Antonio Mora. We will discuss the forms of representation of this subject that is constituted from fiction, leaving "footprints" that point to the figure of the author of the novel, making the reader raises questions about labyrinths and intersections between literature and fiction, autobiography, self-fiction, among other discussions

Made available in DSpace on 2014-06-11T19:29:50Z (GMT). No. of bitstreams: 0 Previous issue date: 2003-01-24Bitstream added on 2014-06-13T20:27:11Z : No. of bitstreams: 1 correa_lc_me_assis.pdf: 339857 bytes, checksum: 1a1fadedb4cb10a14da1064120896af4 (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / O presente estudo pretende realizar uma classificação das personagens nos contos de João Antônio, já que constituem um dos elementos estruturais dos textos ao lado do foco narrativo, responsável pela transformação na maneira de apresentar as figuras que permeiam a ficção desse autor. Para a realização do trabalho, tomamos como ponto de partida os seus dois primeiros livros, Malagueta, Perus e Bacanaço (1963) e Leão-de-chácara (1975), nos quais encontramos quatro grupos distintos de personagens. Aos malandros e otários que habitam as páginas da primeira obra, adicionamos as figuras de um bandido e um merduncho na observação dos seres da segunda publicação. / This dissertation is aimed at the classification of the characters in João Antônio's short stories, since they are one of the text structural elements together with the narrative focus, responsible for the transformation in the way of presenting these characters. The starting point of this research was Malagueta, Perus e Bacanaço (1963) and Leão-de-chácara (1975), which show four distinct groups of characters. To the malandros (roguish) and otários (suckers) that inhabit the pages of the first book, the figures of a bandido (bandit) and a merduncho (poor common people) of the second book were added.

The growth and development of worldwide products and services containing fictional characters has been exponential due to development, among others, of technology. This article examines the protection of fictional characters through copyright and reflects on its legal treatment. / El crecimiento y desarrollo de productos y servicios a nivel mundial de obras que contienen personajes de ficción ha sido exponencial, debido al desarrollo, entre otros factores, de la tecnología. El presente artículo examina la protección de los personajes de ficción a través del derecho de autor y reflexiona sobre su tratamiento legal.