Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-08-03T13:52:33Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissert_MariaLuiza-BC.pdf: 938722 bytes, checksum: be7c46c2bd834496f171f32afa38dfc7 (MD5) / Made available in DSpace on 2016-08-03T13:52:33Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissert_MariaLuiza-BC.pdf: 938722 bytes, checksum: be7c46c2bd834496f171f32afa38dfc7 (MD5) Previous issue date: 2016-02-25 / CAPEs / Este trabalho consiste no estudo dos romances Slash (1985), da escritora okanagan Jeannette Armstrong, e Mean Spirit (1990), da chickasaw Linda Hogan, e busca examinar de que forma as autoras ficcionalizaram, nas suas obras, certos acontecimentos da história dos povos ameríndios no século XX, como os que envolveram a militância política que se fortaleceu a partir dos anos 60 na América do Norte e os assassinatos de membros da nação Osage na década de 1920. Para tanto, recorri ao conceito de metaficção historiográfica proposto por Linda Hutcheon (1988, 1989) e aos estudos em memória de Anh Hua (2005), Maurice Halbwachs (2006), Márcio Seligmann-Silva (2008), Marianne Hirsch (2008) e Aleida Assmann (2011). Considerando as obras de Armstrong e Hogan como espaços de enunciação de uma resistência cultural que vai além dos limites tribais, optei por adotar uma perspectiva cosmopolita tal qual sustentada por Arnold Krupat (2002), e que se apoia nas teorias póscoloniais segundo Mary Louise Pratt (1999), Homi Bhabha (2013), Ella Shohat (1996), Stuart Hall (2003), Kwame Anthony Appiah (1997) e Liane Schneider (2002, 2008). Ademais, foram de suma importância os diálogos com alguns nomes da crítica indígena como Graça Graúna (2013), Michael Dorris (1979), Craig S. Womack (1999), Louis Owens (1922), Simon Ortiz (2001), Winona Stevenson (1998), Paula Gunn Allen (1992) e Robert Warrior (2014). Intentei, assim, verificar como a resistência ameríndia toma corpo na escrita de Armstrong e Hogan, que constroem narrativas artisticamente complexas e de imensa relevância política. / This work consists of the study of Slash (1985), by Okanagan writer Jeannette Armstrong, and Mean Spirit (1990), by Chickasaw Linda Hogan, and it aims to examine the way in which the writers have fictionalized, in their books, certain events of the history of the American Indian peoples in the twentieth century, such as those concerning the militancy that gained strength in the 60s and the Osage murders that took place in the 20s. With that in mind, I have resorted to the concept of historiographic metafiction, proposed by Linda Hutcheon (1988, 1989) and to the memory studies by Anh Hua (2005), Maurice Halbwachs (2006), Márcio Seligmann-Silva (2008), Marianne Hirsch (2008) and Aleida Assmann (2011). Considering the works of Armstrong and Hogan as sites of enunciation of a type of cultural resistance that goes beyond tribal limits, I have chosen to adopt a cosmopolitan perspective such as sustained by Arnold Krupat (2002) and which leans on the postcolonial theories by Mary Louise Pratt (1999), Homi Bhabha (2013), Ella Shohat (1996), Stuart Hall (2003), Kwame Anthony Appiah (1997) and Liane Schneider (2002, 2008). Moreover, dialogues with the following authors of Native criticism were of the utmost importance: Graça Graúna (2013), Michael Dorris (1979), Craig S. Womack (1999), Louis Owens (1922), Simon Ortiz (2001), Winona Stevenson (1998), Paula Gunn Allen (1992) and Robert Warrior (2014). Thus, I have attempted to verify how the Amerindian resistance takes form in the writings of Armstrong and Hogan, who build narratives artistically complex and of an immense political relevance.

Dissertação(mestrado) - Universidade Federal do Rio Grande, Programa de Pós-Graduação em Letras, Instituto de Letras e Artes, 2009. / Submitted by Cristiane Silva (cristiane_gomides@hotmail.com) on 2012-11-05T11:51:42Z No. of bitstreams: 1 taisepossani.pdf: 883825 bytes, checksum: f18956565c6595cd58af0c5692ba564f (MD5) / Approved for entry into archive by Bruna Vieira(bruninha_vieira@ibest.com.br) on 2012-11-06T17:59:37Z (GMT) No. of bitstreams: 1 taisepossani.pdf: 883825 bytes, checksum: f18956565c6595cd58af0c5692ba564f (MD5) / Made available in DSpace on 2012-11-06T17:59:37Z (GMT). No. of bitstreams: 1 taisepossani.pdf: 883825 bytes, checksum: f18956565c6595cd58af0c5692ba564f (MD5) Previous issue date: 2009 / A novela Clarice (1996), de Ana Mirada, completa o conjunto de obras nas quais a narradora fabula a vida de autores do cânone literário brasileiro. Com essas ficções, Miranda enquadra-se em uma tendência da literatura contemporânea que cria biografias ficcionais de escritores ou artistas. Nesse sentido, a presente dissertação integra um comentário das obras de Miranda enquadradas no gênero metaficcional historiográfico e uma leitura interpretativa de Clarice, foco deste estudo. Para tanto, são pensadas questões relativas à literatura e sua relação com a história. Logo, apresenta-se uma visão de conjunto das narrativas de Ana Miranda que tematizam a história da literatura brasileira, aprofundando-se nos conceitos de ficção, metaficção e metaficção historiográfica. No contexto geral, relativo aos problemas de tipologia e poética narrativa, desenvolve-se a análise literária de Clarice, encaminhando a leitura para a constituição da obra, sobretudo no que tem a ver com suas estratégias intertextuais, no caso presente, a ficção de Clarice Lispector, o que motiva a reflexão em torno da escrita e da leitura literária. / The novel Clarice (1996), by Ana Miranda, completes the series of works, in which the narrator creates the authors’ of the Brazilian literary canon life. With those fictions, Miranda became part of a tendency in the contemporary literature that creates fictional biographies of writers or artists. In that sense, the present dissertation integrates a discussion of Miranda’s works included in the genre known as historiographic metafiction and also integrates an interpretative reading of Clarice, the study’s focus narrative. So, questions related to literature are thought in relationship with the history. Therefore, it shows a vision of group of Ana Miranda’s narratives that talk about the history of the Brazilian literature, being deepened in the concepts of fiction, metafiction and historiographic metafiction. In this general context, which deals with typology problems and poetic narrative, it grows Clarice’s literary analysis that directs the reading for the constitution of the work, concerning to the intertextual strategies, in this case Clarice Lispector’s fiction, which motivates the reflection around literary strategies as reading and writing.

Submitted by Leonardo Lima (leonardoperlim@gmail.com) on 2016-03-18T19:28:41Z No. of bitstreams: 2 A-construção-histórica-na-graphic-novel-V-for-Vendetta.pdf: 4920012 bytes, checksum: 70c58d499f4ef591a08bba87e551cc39 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-03-18T19:32:33Z (GMT) No. of bitstreams: 2 A-construção-histórica-na-graphic-novel-V-for-Vendetta.pdf: 4920012 bytes, checksum: 70c58d499f4ef591a08bba87e551cc39 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-03-18T19:46:50Z (GMT) No. of bitstreams: 2 A-construção-histórica-na-graphic-novel-V-for-Vendetta.pdf: 4920012 bytes, checksum: 70c58d499f4ef591a08bba87e551cc39 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-03-18T19:47:11Z (GMT). No. of bitstreams: 2 A-construção-histórica-na-graphic-novel-V-for-Vendetta.pdf: 4920012 bytes, checksum: 70c58d499f4ef591a08bba87e551cc39 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-04-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / A presente pesquisa, vinculada ao Programa de Pós-Graduação em História, da Universidade Federal de Pelotas, objetiva investigar a narrativa imagética e textual na graphic novel V for Vendetta(1982-1988), criada pelos britânicos Alan Moore e David Lloyd a partir da sua relação com aspectos do passado, mais especificamente, com a política e sociedade da Inglaterra da década de 1980. Como criação artístico-cultural, acreditamos que seu período de produção, o qual, é concomitante aos mandatos de Margareth Thatcher (1979-1990), conhecida por promover o neoliberalismo na Inglaterra, foi crucial para as referências a que a obra contém, como a tomada de posição política dos seus idealizadores. Nesse sentido, este trabalho conta, como referencial teórico metodológico os estudos de autores, como Ankersmit(2001, 2012), White(1991, 1999, 2006, 2010), Hutcheon(1991), Kellner(2001), Foucault(1996), entre outros, os quais possibilitaram vislumbrar a obra não como mera fonte, mas como uma construção histórica da década de 1980 inglesa. A proposta de análise pauta-se na versão original da obra, em entrevistas com os autores e documentários. A partir das reflexões efetuadas , percebemos que a construção histórica em V for Vendetta mantém aproximações com as narrativas historiográficas, visto que tanto nosso objeto de estudo quanto a historiografia apresentam interpretações sobre uma “realidade” passada. / This research is linked to the Graduation Program in History on Universidade Federal de Pelotas(UFPEL) and its aim is to investigate the imagetical and textual narrative in the graphic novel V for Vendetta (1982-1988)created by the British Alan Moore and David Lloyd from their relation with their past aspects, specifically with politics and society in England in the 1980s. As artistic and cultural creation, it is believed it is a production period, which is concomitant with the mandates of Margaret Thatcher(1979-1990), known to promote the neoliberalism in England, was crucial to the references to the work contains, as political statement of its creators . In this sense, this paper has as theoretical framework the study of authors, as Ankersmit (2001,2012), White (1991, 1999, 2006, 2010), Hutcheon (1991), Kellner (2001), Foucault (1996), among others, which made it possible to glimpse the work not as merely as a source, but as a historic building from the 1980s English. The propose of analysis is guided in the original version of the work, interviews with authors and documentaries. From the reflections made, was realized that the historic building in V for Vendetta maintains approximations to the historiographical narratives, since our object of historiography study presents interpretations of a "reality " last.

This dissertation examines the representation of ethnic origins in Antonio Skármeta’s fiction. My hypothesis is that exile in Europe and return to Chile led the author to rethink his Dalmatian-Croatian roots and his sense of self in response to prevailing discourses of national identity. I assess Chile’s immigration history as well as the development of the idea of a homogeneous national identity. Blending concepts of ethnic narrative with theories of memory, identity, and literature, I trace Skármeta’s literary shift towards reclaiming his roots and initiating a critical dialogue with established notions of Chilean identity. I further argue that he grounds himself in literary tradition to inscribe immigrant stories into two major foundational genres, the historical novel and the family romance. I also show that, instead of accepting the truth-telling claims of historical fiction, Skármeta employs historiographic metafiction and intertextuality to emphasize the literary nature of fictional discourse and the role of literary figures in inventing the nation. Finally, I contend that these narratives constitute literary lieux de mémoire (Pierre Nora), which incorporate a subjective memory into the evolving discourses on Chilean identity, thereby recognizing pluralism and fostering mutual understanding.

My dissertation focuses on an analysis of postmodern narrative strategies in Milan Kundera's The Unbearable Lightness of Being (ULB) and The Book of Laughter and Forgetting ( BLF) . By analysing the postmodern ab/use of narrative strategies, I argue that postmodern fiction marks a decided shift from both classical realism and modernism. My dissertation has predominantly been motivated through my contention that postmodern fiction is not elitist as it has been perceived to be. Rather, I suggest that postmodern fiction ab/uses narrative strategies to deconstruct the ontological boundaries between the political and private and fiction and 'fact'. Consequently, postmodern fiction interrogates the contrived intelligibility of History. A further argument that I raise is that postmodern fiction through its (re) appropriation, subversion and use of parodic structures creates.narrative space for the Other. In order not to canonize Kundera's texts, I situate both ULB and BLF as 'nodes' within a diffuse network of intertextual discourse. My analyses of the postmodern narrative strategies in ULB and BLF, attempt to interrogate the diffuse 'nature' of postmodern fiction which resists both authorative analysis and closure. In exploring the relationship between recuperation and postmodern narrative strategies in ULB and BLF and other works and/or texts of fiction, I argue that postmodern fiction does not revel in its narrativity, it constitutes, instead, a political strategy / Afrikaans and Theory of Literature / M.A. (Theory of Literature)

This study examines how themes, conventions and concepts in Gothic discourses are remediated or developed in selected works of contemporary interactive fiction. These works, which are wholly text-based and proceed via command line input from a player, include Nevermore, by Nate Cull (2000), Anchorhead, by Michael S. Gentry (1998), Madam Spider’s Web, by Sara Dee (2006) and Slouching Towards Bedlam, by Star C. Foster and Daniel Ravipinto (2003). The interactive fictions are examined using a media-specific, in-depth analytical approach. Gothic fiction explores the threats which profoundly challenge narrative subjects, and so may be described as concerned with epistemological, ideological and ontological boundaries. In the interactive fictions these boundaries are explored dually through the player’s traversal (that is, progress through a work) and the narrative(s) produced as a result of that traversal. The first three works in this study explore the vulnerabilities related to conceptions of human subjectivity. As an adaptation of Edgar Allan Poe’s famous poem “The Raven,” Nevermore, examined in chapter one, is a work in which self-reflexivity extends to the remediated use of the Gothic conventions of ‘the unspeakable’ and ‘live burial’ which function in Poe’s poem. In chapter two, postmodern indeterminacy, especially with regard to the tensions between spaces and subjective boundaries, is apparent in the means through which the trope of the labyrinth is redesigned in Anchorhead, a work loosely based on H. P. Lovecraft’s terror fiction. In the fragmented narratives produced via traversal of Madam Spider’s Web, considered in chapter three, the player character’s self-fragmentation, indicated by the poetics of the uncanny as well as of the Gothic-grotesque, illustrates a destabilized conception of the human subject which reveals a hidden monster within, both for the player character and the player. Finally, traversal of Slouching Towards Bedlam, analyzed in chapter four, produces a series of narratives which function in a postmodern, recursive fashion to implicate the player in the viral infection which threatens the decidedly posthuman player character. This viral entity is metaphorically linked to Bram Stoker’s vampire, Dracula. As it is the only work in the study to present a conception of posthuman subjectivity, Slouching Towards Bedlam more specifically aligns with the subgenre ‘cybergothic,’ and provides an illuminating contrast to the other three interactive fictions. In the order in which I examine them, these works exemplify a postmodern development of the Gothic which increasingly marries fictional indeterminacy to explicit formal effects, both during interaction and in the narratives produced.

Made available in DSpace on 2016-08-10T11:06:55Z (GMT). No. of bitstreams: 1 CAROLINA MACHADO MOREIRA.pdf: 664639 bytes, checksum: eb5fb2440160ebfb1149b9e9d9700861 (MD5) Previous issue date: 2013-12-13 / This presents research is a study of the novelistic metamorphosis in A Força do Destino (1977), by Nélida Piñon. Its goal is to verify the narrative techniques employed in this novel, to establish correlations reflections on intercultural and discussing possible conclusions about the art of storytelling. The methodology applied is the theoretical research of qualitative nature. As to the means of investigation, it is a descriptive-explanatory literature since the work under consideration is an artistic expression and analysis explains how the development of the novel within the novel itself, typical case of historiographical metafiction occurs. The method used is deductive, and start from the premise that Nelida Piñon, to rescue the opera La Forza del Destino, by Giuseppe Verdi, reworks it in a parody way from the perspective of the chronicler Nélida, the narrator-character, do either A Força do Destino as simple mimesis. She breaks with the traditional Brazilian narrative and therefore intensifies, selectively, certain trends in the post- modernism. / Esta dissertação apresenta um estudo acerca da metamorfose romanesca em A Força do Destino (1977), de Nélida Piñon. O objetivo é verificar e analisar as principais técnicas narrativas empregadas nesse romance, para, em seguida, estabelecer reflexões sobre as correlações interculturais e discorrer sobre possíveis conclusões a respeito da própria arte de narrar. A metodologia empregada é a pesquisa teórica de natureza qualitativa. Quanto ao meio de investigação, trata-se de uma pesquisa bibliográfica descritiva-explicativa, uma vez que a obra em estudo é uma manifestação artística e sua análise explica como ocorre a elaboração do romance no interior do próprio romance, típico caso de metaficção historiográfica. O método adotado é o dedutivo, pois parte da premissa de que Nélida Piñon, ao resgatar a ópera La Forza del Destino, de Giuseppe Verdi, reelabora-a parodicamente a partir da perspectiva da cronista Nélida, a narradora-personagem, pois não quer A Força do Destino como simples mimesis. Ela rompe com a narrativa tradicional brasileira e, por conseguinte, intensifica, seletivamente, certas tendências presentes no pós-modernismo.

Este trabalho realiza um diálogo entre as obras dos autores Ruth Rocha, escritora brasileira, e José Cardoso Pires, escritor português. De Ruth Rocha utilizamos: O reizinho mandão, O sapo-vira-rei-vira-sapo, O rei que não sabia de nada, O que os olhos não vêem; e de Cardoso Pires: Dinossauro excelentíssimo. Ao trabalhar com esses livros, pretendemos mostrar a relação da ficção com a realidade dos países envolvidos. Partimos da hipótese de que essas obras, escritas durante o período militar brasileiro e o Salazarismo, colaboraram para o reconhecimento da importância de um regime político democrático para trazer a liberdade às nações brasileira e portuguesa. Nosso objetivo é também demonstrar como os autores denunciaram as situações históricas dos dois países, por meio da paródia, da alegoria e da carnavalização. As obras analisadas são destinadas tanto aos leitores mirins como aos adultos. Nossa pesquisa ampara-se em obras de Literatura Comparada, Literatura Infantil e Juvenil, História Política e Social do Brasil e de Portugal. / This work consists to dialogue the works of writer Ruth Rocha, Brazilian writer, and Jose Cardoso Pires, a Portuguese writer. From Ruth Rocha are used: O reizinho mandão, O sapo-vira-rei-vira-sapo ou o retorno do reizinho mandão, O rei que não sabia de nada, O que os olhos não veem; and from Cardoso Pires is used: Dinossauro excelentíssimo. We intend to show the relationship between fiction and reality in the countries involved working with these books. We started from the hypothesis that these works, written during the Brazilian military and Salazarism, contributed to the recognition of the importance of a democratic political system to bring freedom to the Brazilian and Portuguese nations. Our objective is also to demonstrate how the writers denounced the historical situations of the two countries, through the parody, the allegory and the carnivalization. The works analyzed are appropriate for junior readers as adult readers. Our research supports in works of Comparative Literature, Children and Youth Literature, Social and Political History of Brazil and Portugal.

The aim of this dissertation is to study postmodern historical novels, which are labeled &ldquo / historiographic metafictions&rdquo / (Hutcheon 1989: 92), in terms of their allowing for different voices and alternative, plural histories by subverting the historical documents and events that they refer to. The study analyzes texts from feminist and postcolonial literature, Jeanette Winterson&rsquo / s The Passion and Sexing the Cherry, and Salman Rushdie&rsquo / s Midnight&rsquo / s Children and Shame as examples in which the transgression of boundaries between fact and fiction is achieved. Basing its arguments on postmodern understanding of history, the thesis puts forward that historiography not only represents past events but it also gives meaning to them, as it is a signifying system, and turns historical events into historical facts. Historiography, while constructing historical facts, singles out certain past events while omitting others, for ideological reasons. This inevitably leads to the fact that marginalized groups are denied an official voice by hegemonic ideologies. Therefore, history is regarded as monologic, representing the dominant discourse. The thesis will analyze four novels by Winterson and Rushdie as double-voiced discourses where the dominant voice of history is refracted through subversion and gives way to other voices that have been suppressed. While analyzing the novels themselves, the thesis will look for the metafictional elements of the texts, stressing self-reflexivity, non-linear narrative, and parodic intention to pinpoint the refraction and the co-existence of plural voices. As a result, historiographic metafiction is proved to be a liberating genre, for feminist and postcolonial writers, that enables other histories to be verbalized.

In the Time of the Butterflies é um romance da escritora dominicana-americana Julia Alvarez sobre a vida e a morte das Borboletas, Las Mariposas, codinome das irmãs Mirabal, membros de um movimento clandestino contra o regime ditatorial de Rafael Leonidas Trujillo na República Dominicana, que se tornaram símbolos da luta contra o Trujillato depois de serem assassinadas a mando do ditador. Essa dissertação tem como objetivo expor como forma literária e contexto social estão diretamente relacionados nesse romance. Ela defende a ideia de que o borramento de três gêneros literários distintos metaficção historiográfica, autobiografia e bildungsroman reflete o questionamento das fronteiras entre o privado e o público, o pessoal e o político, o eu e o outro, o individual e o coletivo, a literatura e a história, fato e ficção e história e subjetividade. Ela também tenta mostrar como a problematização dessas dicotomias implica na contestação de noções pré-concebidas de identidade, história e nação / In the Time of the Butterflies is a novel by the Dominican-American writer Julia Alvarez on the life and death of the Butterflies, Las Mariposas, codename of the Mirabal sisters in the national underground movement that fought against the dictatorial regime of Rafael Leonidas Trujillo in the Dominican Republic. The novel is an attempt to re-member the sisters assassination under the dictators orders, a story that has never been officially told. This dissertation aims to expose how literary form and political content are related in this novel. It argues that the blurring of three distinct literary genres historiographic metafiction, autobiography and the bildungsroman reflects the questioning of the boundaries between private and public, personal and political, self and other, individual and collective, literature and history, fact and fiction as well as history and subjectivity. It also tries to show how the problematizing of these dichotomies de-naturalizes received notions of identity, history and nation