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)

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

CoordenaÃÃo de AperfeiÃoamento de NÃvel Superior / A busca por uma revelaÃÃo do passado, durante o romantismo, concretizou-se no romance histÃrico, o qual, mesmo tendo perdido popularidade entre os escritores com o advento da influÃncia de teorias cientificistas ao final do sÃculo XIX, nÃo foi de todo abandonado e, tomando um novo fÃlego a partir do segundo quartel do sÃculo XX, chegou aos nossos dias com variadas nomenclaturas. Essa diferenciaÃÃo entre os termos à considerada vÃlida e està sendo usada em diversas pesquisas e anÃlises de romances contemporÃneos de fundo histÃrico. O que se levanta na presente pesquisa, no entanto, pÃe em dÃvida o conceito contemporÃneo do subgÃnero, pois o questionamento de grandes verdades atravÃs da ironia jà estava em uso desde o sÃculo XIX no Brasil. Daà vem a ideia de analisar as obras e os conceitos de romance histÃrico e metaficÃÃo historiogrÃfica a partir de suas semelhanÃas e nÃo de suas diferenÃas â como enfatizam os estudos fundamentados no conceito de Linda Hutcheon â, baseando-se em observaÃÃes decorrentes de estudos anteriores, que incluem a anÃlise de As Minas de Prata (1865), do escritor Josà de Alencar, os quais indicaram serem os romances do autor brasileiro tÃo inovadores e questionadores da âverdade histÃricaâ quanto os romances de cunho historiogrÃfico ditos pÃs-modernos, que se adequam ao termo âmetaficÃÃo historiogrÃficaâ, mais precisamente para as obras surgidas a partir da dÃcada de sessenta do sÃculo XX. Intenta-se investigar, o âfazer historiogrÃficoâ de um autor do sÃculo XIX e um do sÃculo XX, sendo Josà de Alencar e Josà Saramago, respectivamente, os escolhidos para a anÃlise, atravÃs dos romances Guerra dos mascates (1958) e Memorial do convento (2011). A investigaÃÃo aborda a configuraÃÃo de romance de cada um, a construÃÃo dos personagens, a abordagem das personalidades histÃricas presentes nas obras e sua relaÃÃo com os personagens ficcionais e, por fim, a construÃÃo do mundo ficcional a partir de perspectivas tÃo distantes temporalmente / The search for a revelation of the past during Romanticism was achieved in the historical novel, which, although having lost its popularity among writers with the advent of the influence of scientific theories at the end of the nineteenth century, was not entirely abandoned and, taking a new breath from the second quarter of the twentieth century, came to our days with varied nomenclatures. This distinction among the terms is considered valid and is being used in several researches and analyzes of contemporary historical background novels. What is raised in the present research, however, calls into question the contemporary concept of the subgenre, once the questioning of great truths through irony was already in use since the nineteenth century in Brazil. Hence the idea of analyzing the works and concepts of historical novel and historiographic metafiction from their similarities and not from their differences â as emphasized by the studies based on Linda Hutcheon‟s concept â, basing itself on observations from previous studies, which include the analysis of the novel Minas de Prata (1865), by the writer Josà de Alencar, which indicated that the Brazilian author‟s novels are as innovative and questioning of âthe historical truthâ as the so-called postmodern historiographical novels that fit the term âhistoriographic metafictionâ, more precisely for the works that emerged from the sixties of the twentieth century. It is attempted to investigate, the âhistoriographical makingâ of an author of the nineteenth century and one of the twentieth century, being Josà de Alencar and Josà Saramago, respectively, the ones chosen for the analysis, through the novels Guerra dos mascates (1958) and Memorial do Convento (2011). The research deals with the novel configuration of each one, the construction of the characters, the approach of the historical personalities present in the works and its relation with the fictional characters and, finally, the construction of the fictional world from such temporarily distant perspectives.

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.

Ma thèse examine quatre romans de l`époque post-1960 qui s’appuient sur le genre de la littérature prolétarienne du début du vingtième siècle. Se basant sur les recherches récentes sur la littérature de la classe ouvrière, je propose que Pynchon, Doctorow, Ondaatje et Sweatman mettent en lumière les thèmes souvent négligés de cette classe tout en restant esthétiquement progressiste et pertinents. Afin d’explorer les aspects politiques et formels de ces romans, j’utilise la « midfiction », le concept d’Allen Wilde. Ce concept vise les textes qui utilisent les techniques postmodernes et qui acceptent la primauté de la surface, mais qui néanmoins essaient d’être référentiels et d’établir des vérités. Le premier chapitre de ma thèse propose que les romans prolétariens contemporains que j’ai choisis utilisent des stratégies narratives généralement associées avec le postmodernisme, telles que la métafiction, l’ironie et une voix narrative « incohérente », afin de contester l’autorité des discours dominants, notamment les histoires officielles qui ont tendance à minimiser l’importance des mouvements ouvriers. Le deuxième chapitre examine comment les romanciers utilisent des stratégies mimétiques afin de réaliser un facteur de crédibilité qui permet de lier les récits aux des réalités historiques concrètes. Me référant à mon argument du premier chapitre, j’explique que ces romanciers utilisent la référentialité et les voix narratives « peu fiables » et « incohérentes », afin de politiser à nouveau la lutte des classes de la fin du dix-neuvième et des premières décennies du vingtième siècles et de remettre en cause un sens strict de l’histoire empirique. Se basant sur les théories évolutionnistes de la sympathie, le troisième chapitre propose que les représentations des personnages de la classe dirigeante riche illustrent que les structures sociales de l’époque suscitent un sentiment de droit et un manque de sympathie chez les élites qui les font adopter une attitude quasi-coloniale vis-à-vis de la classe ouvrière. Le quatrième chapitre aborde la façon dont les romans en considération négocient les relations entre les classes sociales, la subjectivité et l’espace. Cette section analyse comment, d’un côté, la représentation de l’espace montre que le pouvoir se manifeste au bénéfice de la classe dirigeante, et de l’autre, comment cet espace est récupéré par les ouvriers radicaux et militants afin d’avancer leurs intérêts. Le cinquième chapitre explore comment les romans néo-prolétariens subvertissent ironiquement les tropes du genre prolétarien précédent, ce qui exprimerait l’ambivalence politique et le cynisme généralisé de la fin du vingtième siècle. / My dissertation project examines post-1960s novels that draw on the genre of proletarian fiction of the early twentieth century. Building upon current research focused on working-class literature, as well as pertinent literary theory, I argue that Pynchon, Doctorow, Ondaatje, and Sweatman bring to light often neglected working-class themes while remaining aesthetically progressive and relevant. In order to explore these novels in their political and formal aspects I employ Allen Wilde’s concept midfiction. This concept refers to texts that use postmodern techniques and accept the primacy of surface, but nonetheless try to be referential and establish truths. The first chapter of my dissertation argues that the contemporary proletarian novels that I have selected employ narrative strategies commonly associated with postmodernism, such as metafiction, irony, and an “incoherent” narrative voice, to challenge the authority of dominant discourses, including the official histories that tend to downplay labour movements. The second chapter examines how the novelists employ mimetic strategies in tandem with more experimental techniques in order to achieve a believability factor that helps to connect the narratives to concrete historical realities. Referring to my argument in chapter one, I explain that the novelists ultimately use these two modes, referentiality and “unreliable”, “incoherent” narrative voices, in order to both re-politicize the class struggle of the late nineteenth and early decades of the twentieth century as well as to undermine a strict sense of empirical history. The third chapter draws on evolutionist theories of sympathy to argue that the depictions of wealthy ruling class characters illustrate that social structures at the time fostered a sense of entitlement and lack of sympathy in the elites that caused them to adopt a colonial-like attitude towards the working class. The fourth chapter addresses how the novels under consideration mediate the relationships between social classes, subjectivity and space. This section analyses how, on the one hand, representations of space show how power is manifested to benefit the ruling class, and on the other hand, how space was co-opted by radicals and militant workers in order to further their interests. The fifth chapter explores how the neo-proletarian novels ironically subvert tropes from the earlier proletarian genre which, I argue, expresses the political ambivalence and cynicism of the late twentieth century.

A obra de Lídia Jorge, iniciada em 1980, com a publicação de O dia dos prodígios, constitui um dos mais significativos e relevantes conjuntos de escritos da literatura portuguesa contemporânea. Entre coletâneas de contos, peças de teatro, poemas e textos da literatura infantil, seus dez romances, publicados até 2011, versam sobre diversos aspectos da natureza humana e da vida portuguesa, especialmente no tocante aos fatos ocorridos após a Revolução dos Cravos (1974), compondo um dos mais importantes panoramas da evolução sociopolítica em Portugal desde então. O projeto de pesquisa que deu origem a esta tese buscou contemplar quais aspectos desse panorama aparecem com maior consistência ao longo de sua escrita romanesca e qual sua relação com os fatos Históricos do país, em sua fase democrática. Aliada a isso, a escrita de Lídia Jorge apresenta, ao longo dos dez romances, uma reflexão sobre o próprio ato de escrever e sobre a relação entre a História e sua representação na ficção contemporânea portuguesa. Assim, sob a perspectiva da metaficção historiográfica, conforme a definem Hutcheon (1991) e White (1995), esta tese faz uma leitura dessas dez obras, buscando compreender o projeto estético-ideológico da autora, como ele se consubstancia e de que maneira se desdobra, desde O dia dos prodígios até A noite das mulheres cantoras (2011). Este trabalho propõe que os romances de Lídia Jorge constituam, até agora, três diferentes fases: o percurso inicial, formado pelos quatro primeiros romances O dia dos prodígios (1980), O cais das merendas (1982), Notícia da cidade silvestre (1984) e A costa dos murmúrios (1988); a segunda fase, de que fazem parte A última dona (1992), O jardim sem limites (1995) e O vale da paixão (1998); e a terceira fase, constituída pelos romances O vento assobiando nas gruas (2002), Combateremos a sombra (2007) e A noite das mulheres cantoras (2011). Serviu como espinha dorsal para a construção deste estudo a imagem do bordado como técnica para a construção de imagens, as quais, em conjunto e por si sós, constituem um painel representativo de um povo, de sua História e de sua relação com sua própria identidade. Em suma, este trabalho busca caracterizar quem é e como escreve um dos mais importantes nomes da literatura portuguesa contemporânea. / Lídia Jorges work, started in 1980 with the novel O dia dos prodígios, forms one of the most significant and relevant sets of literary pieces produced in the Portuguese contemporary literature. Among short stories, plays, poems, and books for children, her ten novels so far, published between 1980 and 2011, evolve around several aspects of human nature and of the Portuguese life, especially the ones occurred after the Carnation Revolution (1974) building one of the most important overviews of the Portuguese sociopolitical evolution since then. The research project which originated this dissertation aimed to comprehend which aspects of that overview show more consistently in her novelistic writing, as well as its relation with the historical events of the country, in its democratic period (after 1974). In addition, Lidia Jorges writing presents, throughout her so-far ten novels, a reflection upon the act of writing itself and its relation with History and how it is represented in Portuguese contemporary fiction. Therefore, under the perspective of historiographic metafiction, as defined by Hutcheon (1991) and White (1995), this dissertation provides an analysis of her so-far ten novels, aiming at understanding the writers aesthetic and ideological project, how it consubstantiates and how it develops, since O dia dos prodígios and A noite das mulheres cantoras (2011). This work proposes that Lidia Jorges novels be divided into three different moments: the initial phase, made up of her first novels O dia dos prodígios (1980), O cais das merendas (1982), Notícia da cidade Silvestre (1984), and A costa dos murmúrios (1988); the second moment, in which belong A última dona (1992), O jardim sem limites (1995), and O vale da paixão (1998); and the third moment, which includes O vento assobiando nas gruas (2002), Combateremos a sombra (2007), and A noite das mulheres cantoras (2011). As foundation for developing this study, it was used the image of the needlework as metaphor for building imagery which, as a set and each one by itself, constitute a representative panel of a people, their History, and their relation with their own identity. In short, this work aims to characterize who one of the most important of the Portuguese contemporary literature is and writes.

Made available in DSpace on 2016-08-10T11:06:50Z (GMT). No. of bitstreams: 1 ADRIANA GOMES BEZERRA.pdf: 4632340 bytes, checksum: 89bdc9aefd4c5bf2d1e8e725ef121659 (MD5) Previous issue date: 2009-03-05 / The proposal that this work developed was guided in a reading of Edla Pacheco s workmanship like a hybrid text, which is possible the confluence between history, fiction and memory, in seeking to revise the past to the understanding the present, its became a significant document for analysis of this. In proposing an analysis of interdiscurses that composed the work, literature is used as an important means for the knowledge construction. The Edla Pacheco s whole workmanship establishes a dialogue between history and fiction that incite the reader participate actively at the building of the sense of the text from their experiences. Her work reveal the problems, the habits and customs of a goiana typically society in the end of the nineteenth century, and teased the precarious survival conditions in those time. Selected for this work the novels Zaca and Paredes Cinzentas with the primary objective to demonstrate the importance of literature as a way of reconstructing the pass and even the social world, in particular apply this knowledge to the regional reality, in order to contribute to the understanding of some aspects of goiana society. The readers of the research that follows should sustain the assertions that Edla Pacheco is not intended to prove anything, your project is mimetic, and she pretend to compose the man actions panel in a time a that between the test and history are memoris interference and multiple their relationship is inseparable and intrinsic. The study that follows is an analysis focus on the historical extraction narrative. / A proposta que este trabalho desenvolveu esteve orientada na leitura da obra de Edla Pacheco, como texto híbrido, no qual se encontra a possibilidade de confluência da história, ficção e memória, na busca de revisão do passado para a compreensão do presente, tornando-se um significativo documento de análise. Ao propor uma análise dos interdiscursos que compõem a referida obra, literatura é utilizada como um importante meio para a construção do conhecimento. A obra reunida de Edla Pacheco estabelece um diálogo entre a história e a ficção que instiga o leitor a dar a estas um novo sentido em seu presente. Essa é a tarefa do leitor: participar ativamente da construção do sentido do texto a partir de suas experiências. Tais obras revelam as mazelas, os usos e costumes de uma sociedade tipicamente goiana do final do século XIX, e esmiúça as condições de sobrevivência precária da época. Selecionou-se para este trabalho as obras Zaca e Paredes Cinzentas tendo como principal objetivo demonstrar a importância da literatura como forma de reconstrução do passado e até mesmo do mundo social, sobretudo, aplicar esse conhecimento à realidade regional, de forma a contribuir para o entendimento de alguns aspectos da sociedade goiana. Os leitores desta pesquisa devem se amparar nas afirmações de que Edla Pacheco não pretende provar nada, seu projeto é mimético. Ela se atém a compor um painel das ações do homem de uma época uma vez que entre o texto memorialístico e a história existem interferências múltiplas e suas relações são inseparáveis e intrínsecas. O estudo que se segue é uma análise que se centra na narrativa de extração histórica.

Made available in DSpace on 2016-08-10T11:06:51Z (GMT). No. of bitstreams: 1 CRISTIANO ALVES FERREIRA.pdf: 1019514 bytes, checksum: 70635d886c364b330586799c54b4b7fa (MD5) Previous issue date: 2012-09-27 / The purpose of this research is to analyze the thin lines that create a rupture in the plans of the narrative, both in the historical process (literary historiography) as its marginal position (historiographic metafiction) in Memorial do Convento of José Saramago. The discourse is ordered in order to consider what was in Memorial do Convento as a means to record the speech itself or the ideological expression of the ruling power, in view of the periodicity of historical fact and measured the impact that such actions resonated with the Portuguese Crown. The establishment of the narrow limits of historical appearance, whose statement reflects more than a simple plot, overcomes the essence of the analysis, assuming a comprehensive study under the conditions of construction of historical discourse, be it on the triad of power in historiography, or the margin metafictional utterances in this constitution. So are characterizations of "beings" discourse tied the dynamics of a historical era, an exhibition of the history; beyond that differentiate these subtle concepts for fiction / reality. Mankind is not exempt from its historical constitution because their brands are indelibly recorded in the literary, as this is in itself a representation of customs, ideas and thoughts, also, the philosophical expression of an era. The theoretical discourse and the weights will give under the foundations of Mikhail Bakthin (2010), Terry Eagleton (2001), Jean-Maurice Lefebve (1980), André Trouche (2006), Maurice Halbwachs (2006), Peter Burke (1992), and Linda Hutcheon (1991). Thus, history is written, narrated, and recreated based on fact. This way, you can have the conviction that past data that have come to us because they are not the facts themselves but representations of events that occurred from the perspective of the statement of a "being" discursive. / A finalidade desta pesquisa é analisar as tênues linhas que geram a ruptura nos planos da narrativa, tanto no processo histórico (historiografia literária), quanto a sua posição marginal (metaficção historiográfica) em Memorial do Convento de José Saramago. A discursividade ordena-se no intuito de ponderar o que se constituiu em Memorial do Convento como meio de registro do próprio discurso ou da expressão ideológica do poder vigente, tendo em vista a periodicidade do fato histórico mensurado e os impactos que tais ações repercutiram junto à Coroa portuguesa. O estabelecimento dos estreitos limites da aparência histórica, cujo enunciado reflete mais que um simples enredo, supera a essência da análise, pressupondo um estudo amplo sob as condições de construção do discurso histórico, seja ele diante da tríade do poder na historiografia, ou à margem desta constituição em enunciações metaficcionais. Assim, são caracterizações de seres discursivos atrelados as dinâmicas de uma época histórica, a uma exposição da própria história; isto além de estes se diferenciarem por sutis conceitos de ficção/realidade. A humanidade não se exime de sua constituição histórica, pois suas marcas estão indelevelmente registradas no âmbito literário, pois esta é em si uma representação de costumes, ideias e pensamentos, igualmente, a expressão filosófica de uma época. A discursividade e as ponderações teóricas dar-se-ão sob as bases de Mikhail Bakhtin (2010), Terry Eagleton (2001), Maurice-Jean Lefebve (1980), André Trouche (2006), Maurice Halbwachs (2006), Peter Burke (1992), e Linda Hutcheon (1991). Assim, a história é escrita, narrada, recriada e baseada em um fato. Desta forma, pode-se ter a convicção de que os dados passados que chegaram até nós, já não são os próprios fatos concretos e sim representações de fatos ocorridos sob a perspectiva do enunciado de um ser discursivo.

Made available in DSpace on 2016-03-15T19:47:20Z (GMT). No. of bitstreams: 1 Jeane Lucas.pdf: 868815 bytes, checksum: 28a75baf27ad1a2c184ef9d159a851d1 (MD5) Previous issue date: 2010-12-06 / Literary production of the nineties and the early years of the twenty-first century is characterized the release of some literary genres, specifically what Literary Theory defined as being a novel, which do not fit the standards of Classical Literature or the peculiarities of the so-called Best Sellers. Therefore, this thesis has as its object of study the book Leopardos de Kafka, by Moacyr Scliar, which is part of the collection of detective novels Literature and Death, released by the publisher Companhia das Letras. This study aims to show the narrative resources and how they were used in the novel aforementioned, so that we can show that they break the existing boundaries between Classical Literature and Best Sellers and the standards of the traditional detective novel. For this objective to be achieved, the theoretical foundation of this thesis was based, mainly, on studies of the detective novel, done by Boileau and Narcejac (1991), Albuquerque (1979), Reimão (1983, 2005) and others; in researches on Best Sellers, done by Sodré (1978), Caldas (2000) among others and on studies of Historiographic Metafiction, postmodernism and narcissistic narrative, made by Hutcheon (1984, 2002). / O panorama da produção literária da década de noventa e dos primeiros anos do século XXI é marcado pelo lançamento de alguns gêneros literários, especificamente o que a Teoria Literária definiu como sendo romance, que não se ajustam nem às regras da Literatura Culta nem às peculiaridades do que se convencionou chamar de Literatura de Massa. Por isso, esta tese tem como objeto de estudo o livro Leopardos de Kafka, de Moacyr Scliar, pertencente à coleção de romances policiais Literatura ou Morte, lançada pela editora Companhia das Letras. O presente estudo objetiva mostrar os recursos narrativos e o modo como estes foram empregados, no romance citado, a fim de que se possa evidenciar que eles rompem com as fronteiras existentes entre a Literatura Culta e a Literatura de Massa e com as regras do romance policial tradicional. Para que esse objetivo fosse alcançado, a fundamentação teórica desta tese foi baseada, principalmente, nos estudos sobre o romance policial, feitos por Narcejac (1991), Albuquerque (1979), Reimão (1983, 2005) e outros; nas pesquisas sobre Literatura de Massa, realizadas por Sodré (1978), Caldas (2000) e outros e nos estudos sobre Metaficção Historiográfica, pós-modernismo e narrativa narcísica, realizados por Hutcheon (1984, 2002).

Submitted by Ricardo Cedraz Duque Moliterno (ricardo.moliterno@uefs.br) on 2015-09-15T00:08:32Z No. of bitstreams: 1 Disserta??o completa.pdf: 952706 bytes, checksum: dbfb5dc1aeed460dc95bc5485e87bf85 (MD5) / Made available in DSpace on 2015-09-15T00:08:32Z (GMT). No. of bitstreams: 1 Disserta??o completa.pdf: 952706 bytes, checksum: dbfb5dc1aeed460dc95bc5485e87bf85 (MD5) Previous issue date: 2013-08-01 / Funda??o de Amparo ? Pesquisa do Estado da Bahia - FAPEB / This document aims at comprehending the formation process of the national awareness as well as the Brazilian identity in Ana Miranda?s works, focusing on the novel Desmundo (1996). To do so, it is taken into account the relevance of the important post-modern concept of ?presenting of the past? in the literary and contemporary texts and the way this concept introduces issues related to the process of construction of the national identity in the novels of historiographic metafiction. Therefore, based upon a descriptive and analytical bibliographical methodology, it is presented theoretical and methodological discussions raised by scholars of post-modernity, formation of awareness and national identity such as: Hutcheon (1991), Baudrillard (1991; 2001), Jameson (2002; 2006), White (2001), Renan (1997), Anderson (2008), Santos (1997), Guibernau (1997), Bhabha (1997; 1998), Hall (2003), Bauman (2005), and so forth. In the analysis of Miranda?s works it is discussed the formation of the Brazilian nation and the national awareness since its genesis ? the colonial period - , which is, broadly speaking, based on transgression, prejudice and discrimination, in a taken-as ?rigorous? classes structure and power abuse. Furthermore, it is examined the parody presence of the foundational myth, as well as the origin of the nation and the Brazilian identity, emphasizing the importance of the individual acknowledgement. To sum up, it can be noticed that the protagonist of the novel can be taken as a standard of representation of this process of identity acknowledgement. Such process is, at the same time, a plural, multifaceted and decentralized one. / O principal objetivo nesta disserta??o ? a compreens?o do processo de forma??o da consci?ncia nacional e da identidade brasileira na prosa da escritora Ana Miranda, com ?nfase no romance Desmundo (1996). Para tanto, considera-se a relev?ncia do importante conceito p?s-moderno de ?presentifica??o do passado? nos textos liter?rios contempor?neos, e nos modos como esse conceito introduz quest?es relativas ao processo de constru??o da na??o e da identidade nacional nos romances de metafic??o historiogr?fica. Portanto, apoiando-se numa metodologia bibliogr?fica, de cunho descritivo-anal?tica, s?o apresentadas discuss?es te?rico-metodol?gicas de estudiosos dos temas da p?s-modernidade, da forma??o da consci?ncia e da identidade nacional, a saber: Hutcheon (1991), Baudrillard (1991; 2001), Jameson (2002; 2006), White (2001), Renan (1997), Anderson (2008), Santos (1997), Guibernau (1997), Bhabha (1997; 1998), Hall (2003), Bauman (2005), dentre outros. Na an?lise da prosa mirandina, discute-se a forma??o da na??o brasileira e da consci?ncia nacional a partir de sua g?nese ? o Brasil Col?nia ?, que ?, em s?ntese, baseada na transgress?o, no preconceito e na discrimina??o, numa pseudo ?rigorosa? estrutura de classes e no abuso de poder. Examina-se, ainda, a presen?a par?dica do mito fundacional e de origem da na??o e da identidade do povo brasileiro, em que se enfatiza a import?ncia do autoconhecimento do indiv?duo. Observa-se, em suma, que a protagonista do romance pode ser considerada um modelo de representa??o desse processo de autoconhecimento identit?rio. Tal processo ?, ao mesmo tempo, plural, multifacetado e descentralizado.