Made available in DSpace on 2015-09-25T12:23:41Z (GMT). No. of bitstreams: 1 Ivon Rabelo Rodrigues.pdf: 663816 bytes, checksum: 1fb6091061264073f23dfbbc409a500d (MD5) Previous issue date: 2010-04-05 / The short stories Lucas, Naim (1977) and Rútilo NADA (1993), written by Hilda Hilst (1930-2004) are placed side by side in order to articulate a set of glaring evidence of a distinction which violates common sense. In these texts, mature men fall in love for younger men and they accept humiliation and brutal death the price paid for refusing the moral up. We seek to think about the ego's reaction to the denial of passion and the consequent acceptance of self-destructive instincts and how does it affects the behavior of the characters, focusing on how psychoanalysis theoretically cut the death instincts. This approach considers all human behavior motivated by escape from pain and the pursuit of pleasure. Sigmund Freud (1856-1939) argued that this relationship is influenced by innate energy that overwhelm the body to a discharge, describing them as two antagonistic: the instinct of a sexual nature with a tendency to preservation of life (Eros) and its antagonist (Thanatos), a instinct that leads to the segregation of all that is alive. Both never act in isolation, because they are always working together. This research enabled us to know the author s mechanisms that rework and update the concept of life instinct symmetry in the destructive instinct. Through a procedural line of comparative perspective, using theoretical assumptions that reveal and prioritize the textuality, it became evident relations discourse about the events of Death and Love as thematic elements of the texts approximated. The scope of our contribution in this procedure is the major premise of intratextuality: how we developed certain themes that are unfold in Lucas, Naim and reconfigured in Rútilo NADA. / Os contos Lucas, Naim (1977) e Rútilo NADA (1993), escritos pela paulista Hilda Hilst (1930-2004) são postos lado a lado a fim de articularem um conjunto de evidências flagrantes de uma distinção que fere o senso comum. Nesses textos, homens maduros se apaixonam por homens mais jovens e terminam aceitando com humilhação e morte brutais o preço pago pela recusa à moral instituída. Intentamos refletir em que medida a reação do ego à negação da paixão e à consequente aceitação da pulsão autodestrutiva interfere no comportamento dos personagens, enfocando o modo como a Psicanálise teoricamente recorta a pulsão de morte. A abordagem freudiana considera todo comportamento humano motivado pela fuga da dor e pela busca do prazer. Sigmund Freud (1856-1939) argumentou que essa relação é influenciada por energias inatas que pressionam o organismo para uma descarga, descrevendo duas delas como antagônicas: a pulsão de natureza sexual com tendência à preservação da vida (Eros) e o seu antagônico (Tanatos), uma pulsão que leva à segregação de tudo que é vivo. Ambas nunca agem de forma isolada, pois que estão sempre atuando em conjunto. Este trabalho possibilitou-nos conhecer os mecanismos pelos quais a instância autoral reelabora e atualiza o conceito de pulsão de vida em simetria às pulsões destrutivas. Através de uma linha procedimental de perspectiva comparada, utilizando pressupostos teóricos que revelam e priorizam a textualidade, evidenciaram-se as relações discursivas acerca das manifestações da Morte e do Amor como elementos temáticos dos textos aproximados. O alcance de nossa contribuição neste procedimento é premissa maior da intratextualidade: deflagramos o modo como determinadas temáticas aventadas em Lucas, Naim estão desdobradas e reconfiguradas em Rútilo NADA.

[pt] O objetivo desta dissertação é realizar um estudo intra e intertextual centrado nos romances Tempo de amar e Ópera dos fantoches, de Autran Dourado. Tendo como base o conceito de intertextualidade criado por Kristeva, a polifonia de Bakhtin, a noção barthesiana de que a leitura gera uma escritura, a idéia de abertura da obra de arte e alguns contos de Borges, é possível ver o escritor mineiro e seus personagens como leitores. Partindo da análise da construção de Tempo de amar, verifica-se como Autran o relê em Ópera dos fantoches, continuando-o e transformando-o numa ópera bufa e de forma barroca, que dialoga não só com o romance escrito em 1952, mas também com seus próprios romances O risco do bordado e Ópera dos mortos. A seguir, estuda-se como em Tempo de amar e Ópera dos fantoches, Autran e suas criaturas dialogam com a Bíblia e escritores da literatura brasileira e mundial como Oswald, Machado, Drummond, Flaubert, Virgílio, Camilo Castelo Branco, Pessoa, Bernardim Ribeiro, Dante, Calderón de La Barca, Skakespeare, Dostoievski e Tolstoi e discutem questões como o psicologismo no romance, a personagem, a autoria, a relação entre o romance e o real e a questão da verdade (com base em Nietzsche), ampliando a rede intra e intertextual na reescritura. / [en] This thesis is an intra- and intertextual study focusing on Autran Dourado`s novels Tempo de amar and Ópera dos fantoches. On the basis of Kristeva s concept of intertextuality, Bakhtin s polyphony, Barthes`s idea that reading generates writing, the notion of open work and some of Borgess 1952 novel but also with his other works O risco do bordado and Ópera dos mortos. Then it is shown that Dourado and his characters dialogue with the Bible and other writers, Brazilian or foreign, such as Oswald de Andrade, Machado de Assis, Carlos Drummond de Andrade, Flaubert, Virgil, Camilo Castelo Branco, Fernando Pessoa, Bernardim Ribeiro, Dante, Calderón de La Barca, Shakespeare, Dostoevsky and Tolstoy, and discuss such issues as psychology in the novel, character, authorship, the relationship between fiction and reality, and the question of truth (as stated by Nietzsche), casting an ever wider intra- and intrertextual net in the rewriting.

A presente dissertação consiste em um estudo do romance Deuses americanos de Neil Gaiman levando em consideração suas conexões a outros textos bem como inserções de diversos textos provenientes de outros trabalhos na prosa do romance. A proposta de leitura do texto de Gaiman segundo este trabalho utiliza os conceitos de intertextualidade e arquétipos de forma a analisar a relação entre a trama de Deuses americanos às várias utilizações de textos cuja escrita “original” não é atribuída ao autor do livro inseridos (ou referenciados) na prosa do romance. Embora o objeto de estudo seja comumente visto como um livro difícil de ser categorizado dentre de um certo gênero, a proposta desta dissertação é demonstrar que o movimento e o fluxo contínuo de discursos (textos) e estilos na prosa do romance remonta a uma visão de um estrangeiro sobre os Estados Unidos e como o país foi criado: ou seja, que ele é não somente um ponto geográfico de confluência de muitos povos, mas também de muitas crenças e culturas que, de um modo ou outro, trouxeram os seus deuses consigo. A análise do uso de intertextos, intratextos e arquétipos no romance está estruturada em três capítulos centrais: o primeiro contextualiza os mitos que aparecem no romance e discute a questão de gênero literário do livro, além do conceito de América no texto de Gaiman. O segundo capítulo examina o uso de mitos por Gaiman em relação a outros trabalhos, tanto os manuscritos antigos de crenças pagãs quanto instâncias mais modernas de mito e alegoria, além de estudar as conexões entre Deuses americanos e outros textos escritos por Gaiman de acordo com o conceito de intratextualidade proposto por Affonso de Sant’Anna. Por fim, o terceiro capítulo se concentra no uso pontual de intertextos no romance, organizando-os entre alusões literárias, referências à cultura pop, além de estudar o conflito entre a era digital e o antigo reinado da fé religiosa, sem deixar de investigar o uso de arquétipos e apropriação na prosa do romance. O trabalho, assim, tem como objetivo verificar a alegação de que a qualidade intertextual do romance é essencial tendo em vista sua trama e cenário, bem como a afirmação de que ele redefine o conceito da América do final dos anos 90 como um espaço multicultural, dinâmico e mítico. / This thesis consists of a study of Neil Gaiman’s American Gods in the light of its connections to other texts as well as the punctual insertions of various texts from other works in the novel’s prose. The proposed reading of Gaiman’s text employs the concepts of intertextuality and archetypes in order to further analyze the relation of the plot of American Gods to the various uses of texts - that were not originally written by the book’s author – which are inserted (or alluded to) in the novel’s prose. Although the object of study is generally seen as a book that is hard to brand within a certain genre, this thesis’ approach to the novel demonstrates that movement and the continuous flow of speeches (texts) and styles in the novel’s prose comprises an outsider’s view of America and how the country came into existence – that is, that it is the geographical conflux not only of many peoples, but also of many beliefs and cultures, which in some way or other brought their gods with them. This examination of the use of intertexts, intratexts and archetypes in the novel is structured in three main chapters: The first chapter contextualizes the myths that appear in the novel and discusses the issues of genre and the concept of America in Gaiman’s text. The second chapter analyzes Gaiman’s use of myths in relation to other works – the original manuscripts of ancient beliefs as well as modern instances of myth and allegory – along with the connections between American Gods and Gaiman’s other works according to Affonso de Sant’Anna’s concept of intratextuality. Finally, the third chapter focuses on the punctual uses of intertexts in the novel, breaking them down into literary allusions, references to pop culture and the conflict between the digital era and the age of religious faith, and the use of archetypes and appropriation in the novel’s prose. At the end of the work, I aim to assert my belief that the intertextual nature of the novel is essential to its plot and setting, and re-defines the concept of late-90’s/early 2000’s America as a multicultural, dynamic mythical space.

A presente dissertação consiste em um estudo do romance Deuses americanos de Neil Gaiman levando em consideração suas conexões a outros textos bem como inserções de diversos textos provenientes de outros trabalhos na prosa do romance. A proposta de leitura do texto de Gaiman segundo este trabalho utiliza os conceitos de intertextualidade e arquétipos de forma a analisar a relação entre a trama de Deuses americanos às várias utilizações de textos cuja escrita “original” não é atribuída ao autor do livro inseridos (ou referenciados) na prosa do romance. Embora o objeto de estudo seja comumente visto como um livro difícil de ser categorizado dentre de um certo gênero, a proposta desta dissertação é demonstrar que o movimento e o fluxo contínuo de discursos (textos) e estilos na prosa do romance remonta a uma visão de um estrangeiro sobre os Estados Unidos e como o país foi criado: ou seja, que ele é não somente um ponto geográfico de confluência de muitos povos, mas também de muitas crenças e culturas que, de um modo ou outro, trouxeram os seus deuses consigo. A análise do uso de intertextos, intratextos e arquétipos no romance está estruturada em três capítulos centrais: o primeiro contextualiza os mitos que aparecem no romance e discute a questão de gênero literário do livro, além do conceito de América no texto de Gaiman. O segundo capítulo examina o uso de mitos por Gaiman em relação a outros trabalhos, tanto os manuscritos antigos de crenças pagãs quanto instâncias mais modernas de mito e alegoria, além de estudar as conexões entre Deuses americanos e outros textos escritos por Gaiman de acordo com o conceito de intratextualidade proposto por Affonso de Sant’Anna. Por fim, o terceiro capítulo se concentra no uso pontual de intertextos no romance, organizando-os entre alusões literárias, referências à cultura pop, além de estudar o conflito entre a era digital e o antigo reinado da fé religiosa, sem deixar de investigar o uso de arquétipos e apropriação na prosa do romance. O trabalho, assim, tem como objetivo verificar a alegação de que a qualidade intertextual do romance é essencial tendo em vista sua trama e cenário, bem como a afirmação de que ele redefine o conceito da América do final dos anos 90 como um espaço multicultural, dinâmico e mítico. / This thesis consists of a study of Neil Gaiman’s American Gods in the light of its connections to other texts as well as the punctual insertions of various texts from other works in the novel’s prose. The proposed reading of Gaiman’s text employs the concepts of intertextuality and archetypes in order to further analyze the relation of the plot of American Gods to the various uses of texts - that were not originally written by the book’s author – which are inserted (or alluded to) in the novel’s prose. Although the object of study is generally seen as a book that is hard to brand within a certain genre, this thesis’ approach to the novel demonstrates that movement and the continuous flow of speeches (texts) and styles in the novel’s prose comprises an outsider’s view of America and how the country came into existence – that is, that it is the geographical conflux not only of many peoples, but also of many beliefs and cultures, which in some way or other brought their gods with them. This examination of the use of intertexts, intratexts and archetypes in the novel is structured in three main chapters: The first chapter contextualizes the myths that appear in the novel and discusses the issues of genre and the concept of America in Gaiman’s text. The second chapter analyzes Gaiman’s use of myths in relation to other works – the original manuscripts of ancient beliefs as well as modern instances of myth and allegory – along with the connections between American Gods and Gaiman’s other works according to Affonso de Sant’Anna’s concept of intratextuality. Finally, the third chapter focuses on the punctual uses of intertexts in the novel, breaking them down into literary allusions, references to pop culture and the conflict between the digital era and the age of religious faith, and the use of archetypes and appropriation in the novel’s prose. At the end of the work, I aim to assert my belief that the intertextual nature of the novel is essential to its plot and setting, and re-defines the concept of late-90’s/early 2000’s America as a multicultural, dynamic mythical space.

The study vacillates between the text, the reader and the author. Examining biography and such socio-cultural factors as marriage and cosmology, the reader is equipped with sufficient background which illuminates the ideology behind the text. The cosmological conceptions of the Northern Sotho shed some light on the poet's views on the child's first cry. These assumptions lay a foundation for the religious views expressed in his texts. The contradictions between African religion and Christianity help us comprehend the frustrations of secular and religious lives in our country. These also serve as linchpins towards understanding the pursuit of religious pluralism. The concept 'intertextuality' is explored. Cases of intratextuality and intertextuality which dispute the absolutist view in meaning composition highlight the interrelatedness of texts and how each relationship impacts on meaning. / African Languages / M.A. (African Languages)

Le nombre d’auteurs contemporains qui écrit pour les adultes et pour les enfants va croissant, à tel point que la critique anglophone a forgé le terme de crosswriters pour les désigner. Ce travail se propose d’observer ces va-et-vient entre L’école des loisirs et les Éditions de l’Olivier de 1991 à 2011. Ces circulations répondent à d’importants enjeux éditoriaux et témoignent du rôle crucial des éditeurs dans l’accompagnement des écrivains. Cette thèse s’intéresse plus particulièrement à Christophe Honoré et Manuela Draeger (un des hétéronymes d’Antoine Volodine). Tous deux usent singulièrement du crosswriting puisque certains de leurs textes pour enfants et de leurs textes pour adultes se répondent au point qu’un inter-dit peut siéger dans le blanc qui sépare ces deux corpus. Ce phénomène d’intratextualité, adossé à un geste de polyadresse, remet en cause l’intransitivité supposée de la littérature car pour être décrypté, ce dit en suspens appelle un lecteur transgénérationnel. Cet inter-dit est le lieu où se jouent des transitions d’un âge vers un autre, des transmissions d’une génération à une autre... Mais c’est aussi le lieu de ce qui ne passe pas et vient trouer l’œuvre pour faire écho au trauma individuel ou collectif. Et si c’est toujours le texte pour adultes qui délègue au texte pour enfants ce qui ne peut être articulé dans une langue adultocentrée, ces transferts ne viennent jamais suturer la béance du dispositif intratextuel mais explorent en littérature jeunesse d’autres rapports à la langue et disent quelque chose de l’être de langage que nous sommes. / The number of contemporary authors who write both for adults and children keeps rising, so much so that anglophone criticism has coined the term crosswriters to label the phenomenon. This work proposes to observe back-and-forth crossings between L’école des loisirs and Éditions de l’Olivier between 1991 and 2011. What motivate these crossings are important editorial stakes that attest to the crucial role played by publishers in guiding their authors. This dissertation will look more specifically to Christophe Honoré and Manuela Draeger (one of Antoine Volodine’s heteronyms). Both writers resort to crosswriting in singular ways as some of their children’s books and books for adults respond to one another to such an extent that what I call an “inter-diction” lodges itself in the interstice that divides their respective corpuses. This phenomenon of intratextuality, supported by a gesture of polyaddress, calls into question literature’s supposed intransitivity given that, in order to be decrypted, this suspended diction calls for a transgenerational reader. This inter-diction is the stage where are performed transitions from one age to another and where occur transmissions from one generation to the next. But it is also the site of what does not pass, of what punctures the work in an echo to individual or collective trauma. And if it is always the texts written for an adult readership that devolve to those for children what cannot be articulated in an adultocentered language, these transfers never seek to suture the abyss opened by intratextuality but rather explore through children’s literature alternative relations to language, thereby teaching us something about the linguistic beings that we are.

Notre recherche examine du point de vue théorique et critique l’herméneutique contemporaine et montre que toute compréhension d’un texte n’est pas nécessairement une interprétation. Notre étude modélise ensuite une approche textuelle non-herméneutique et le concept novateur de sens littéral, puis propose une méthodologie rationnelle dite Analyse Littérale du Coran permettant la résolution intratextuelle dudit sens littéral dans le Coran par le Coran. Cet algorithme prend en compte la totalité des éléments sémantiques et des rapports intratextuels et intertextuels ainsi que les limites de la mise en jeu de ces derniers. Nous avons alors réalisé l’analyse exhaustive des termes-clefs dîn et islâm dans le Coran. Les résultats obtenus diffèrent radicalement des productions connues et, outre les implications sur l’histoire du Coran et de ses liens réels avec l’Islam, ils mettent en évidence d’inédits paradigmes d’une théologie coranique inclusive et de nouvelles perspectives exégétiques. / Our research examines from a theoretical and critical point of view the contemporary hermeneutics and shows that all comprehension of a text is not necessarily an interpretation. Our study then models a textual non-hermeneutic approach and the innovative concept of the literal meaning and then proposes a rational methodology called The Literal Analysis of the Qur’ân allowing the intratextual resolution of this literal meaning in Qur’ân by the Qur’ân. This algorithm takes into account the totality of the semantic elements and the intratextual and intertextual relations as well as the limits of involving the latter. We have then made a comprehensive analysis of the key terms dîn and islâm in the Qur’ân. The results radically differ from known productions and, besides the implications on the history of the Qur’ân and its real ties with Islam, they reveal novel paradigms of an inclusive qur’anic theology and a new exegetical perspective.

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The study vacillates between the text, the reader and the author. Examining biography and such socio-cultural factors as marriage and cosmology, the reader is equipped with sufficient background which illuminates the ideology behind the text. The cosmological conceptions of the Northern Sotho shed some light on the poet's views on the child's first cry. These assumptions lay a foundation for the religious views expressed in his texts. The contradictions between African religion and Christianity help us comprehend the frustrations of secular and religious lives in our country. These also serve as linchpins towards understanding the pursuit of religious pluralism. The concept 'intertextuality' is explored. Cases of intratextuality and intertextuality which dispute the absolutist view in meaning composition highlight the interrelatedness of texts and how each relationship impacts on meaning. / African Languages / M.A. (African Languages)

This dissertation examines three novels by the author and critic A.S. Byatt, namely Possession (1990), Babel Tower (1996) and The Biographer’s Tale (2000), using a hermeneutic method of analysis. The investigation pays specific attention to the structure of the novels and how this compares to the structure of the ancient palimpsest. Theoretical information on the palimpsest as model is based on relevant writings by Thomas Carlyle (1830, 1833), Thomas De Quincey (1845) through to Josephine McDonagh (1987), Gérard Genette (1997) and Sarah Dillon (2007). The ensuing argument is that Byatt’s use of postmodernist pseudo-intertextuality and intertextuality cause her novels to have a palimpsestic structure of various layers, with the effect that textual boundaries are transgressed. Ultimately Byatt’s writing strategies result in ontological uncertainty for the reader. / MA (English), North-West University, Potchefstroom Campus, 2014.