Esta tese busca refletir sobre a configuração fragmentária da produção do escritor Franz Kafka (1883-1924). Procura-se mostrar como a partir do final de 1916 ocorre na produção kafkiana uma inflexão formal decorrente de uma mudança no modo do escritor conceber o caráter danificado de sua escrita. / This thesis reflects upon the fragmentary configuration of Franz Kafka´s production. It aims to show how, from the end of 1916, occurs an formal inflection in the Kafkaesque production due to a change in the way the writer conceives the \"damaged\" character of his writing.

Submitted by Aline Batista (alinehb.ufpel@gmail.com) on 2016-06-28T21:06:26Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Entre literatura e história - questões de representação em Mongólia e O filho da mãe, de Bernardo Carvalho.pdf: 1098806 bytes, checksum: af295e9291b2b8b7d5c6042ca0c07a5f (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-06-30T20:23:15Z (GMT) No. of bitstreams: 2 Entre literatura e história - questões de representação em Mongólia e O filho da mãe, de Bernardo Carvalho.pdf: 1098806 bytes, checksum: af295e9291b2b8b7d5c6042ca0c07a5f (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-06-30T20:24:05Z (GMT). No. of bitstreams: 2 Entre literatura e história - questões de representação em Mongólia e O filho da mãe, de Bernardo Carvalho.pdf: 1098806 bytes, checksum: af295e9291b2b8b7d5c6042ca0c07a5f (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-02-29 / Fundação de Amparo à Pesquisa do Estado do Rio Grande do Sul - FAPERGS / O presente estudo tem por objetivo verificar, por meio da Literatura Comparada, de que forma se dá a relação entre Literatura e História nas obras Mongólia (2003) e O filho da mãe (2009), de Bernardo Carvalho, bem como as questões de representação que resultam dela. A relevância da pesquisa deve-se às experiências que as narrativas propiciam ao leitor brasileiro, visto que tratam de realidades geográfico-culturais que são diferentes das dele e que, de outro modo, talvez não lhe chegassem às mãos. A fundamentação teórica está baseada, principalmente, nos estudos de Luiz Costa Lima (2006), Maria Aparecida Baccega (2011), Regina Dalcastagnè (2008), Paul Ricoeur (2012) e Walter Mignolo (2001). A análise dos textos literários está baseada nos conceitos trazidos por estes teóricos, considerando-se tanto a História quanto a Literatura narrativas que apresentam características específicas em seus discursos, mas se complementam e, por vezes, se entrecruzam. O estudo fundamenta-se em uma pesquisa bibliográfica nos textos literários e nos textos teóricos supracitados. Assim, em Mongólia problematiza-se a visão ocidental contaminada de estereótipos e preconceitos sobre o povo mongol. Em O filho da mãe, problematiza-se a história de amor entre dois rapazes que, por motivos diferentes, não sobrevivem ao contexto socio-cultural em que estão inseridos, na cidade de São Petersburgo em meio à guerra da Tchetchênia. Considerando-se o destaque atual dado aos temas sobre diversidade, estudar diferenças tais como as que são representadas nas duas narrativas pode proporcionar um importante material para a pesquisa acadêmica. Deste modo, entrecruzar literatura e história num texto literário com o intuito de fazer ver com outros olhos um mesmo fato possibilita uma visão de mundo mais rica ao leitor. / This study aims to verify, through comparative literature, how the relation between Literature and History is shaped in the novels Mongólia (2003) and O filho da mãe (2009), written by Bernardo Carvalho, as well as the problems of representation that result from this relation. The relevance of the research is due to the experiences that these narratives provide to the Brazilian reader, since these texts deal with geographical and cultural realities that are different from the reader’s and that, otherwise, might not arrive their hands. The theoretical assumptions are based, principally, in the researches of Luiz Costa Lima (2006), Maria Aparecida Baccega (2011), Regina Dalcastagnè (2008), Paul Ricoeur (2012) and Walter Mignolo (2001). The analyses of the literary texts are based on the concepts brought by these theorists, taking in consideration both the history and the literature – narratives that have specific features in their discourses, but that complement themselves and, sometimes, are interlaced. The study is based on a bibliographical research in the literary texts abovementioned. Thus, in Mongólia the western view contaminated by stereotypes and prejudices about the Mongolian people is discussed. In O filho da mãe is problematized the story of love between two men which, for different motives, do not survive to the socio-cultural context in which they are inserted, in the city of Saint Petersburg in middle of a war in Chechnya. Given the current emphasis on themes of diversity, study differences such as those represented in the two narratives, this study can provide an important material for academic research. Accordingly, literature and history intersect a literary text in order to view the same with other eyes enabling the reader to have a richer view of the world.

Made available in DSpace on 2014-08-20T14:24:49Z (GMT). No. of bitstreams: 1 Dissertacao Marisel.pdf: 1004544 bytes, checksum: b07e88f9d4c8ba9cdb3bb45f64db5064 (MD5) Previous issue date: 2013-05-22 / This research aims to investigate the "testimonial tenor" of the novel A costa dos murmúrios (1988), by the Portuguese writer Lídia Jorge. The research focuses on the relationship between experiences of historical catastrophe and its manifestation in literary language. For this it was necessary a brief recovery of the theory about the relation between literature and history to highlight the configuration of a historic event in a literary text. The study has the testimony notion as theoretical contribution, including: Beatriz Sarlo and Seligmann-Silva. In A costa dos murmúrios the political transience of the narrative voice reconfigures its historical experience in order to show a part of Colonial War that concerns the extermination of black Mozambican civilians by Portuguese soldiers during the colonial policy of Estado Novo dictatorship. Testimony in A costa dos murmúrios concerns the own discussion about setting an aesthetic representation that assumes its relation with reality by understanding that passage to the literary form undertakes an ambiguous recovery process whose tenor of truth is in the form how reality is understood, developed and communicated. The study contributes to the comprehension that fictional way may include a form of testimony that can help in processing traumatic historical events. / Esta dissertação tem por objetivo investigar o "teor testemunhal" do romance A costa dos murmúrios (1988), da escritora portuguesa Lídia Jorge. A investigação centra-se na relação entre as experiências de catástrofes históricas e sua manifestação na linguagem literária. Para tanto, fez-se necessário uma breve retomada da teoria sobre a relação entre literatura e história para destacar a configuração de um evento histórico em um texto literário. Conta-se com o aporte teórico do conceito de testemunho a partir das formulações, sobretudo, de Beatriz Sarlo e Seligmann-Silva. Em A costa dos murmúrios a transitoriedade política da voz narrativa reconfigura sua experiência histórica para trazer à cena um recorte da Guerra Colonial que diz respeito ao extermínio da população negra civil moçambicana por soldados portugueses durante a política colonial da ditadura do Estado Novo. No romance, o testemunho se inscreve na própria discussão sobre a configuração de uma representação estética que assuma sua relação com a realidade através da compreensão de que a passagem para o literário empreende um processo de recuperação ambíguo cujo teor de verdade se dá pela forma com que essa realidade é apreendida, elaborada e comunicada. O estudo colabora com a compreensão de que a via ficcional pode comportar uma forma de manifestação do testemunho que atua na elaboração dos traumas decorrentes de eventos históricos.

In House of Leaves, Mark Z. Danielewski has produced a text which epitomises the traits and concerns of postmodernist literature. Through his attention to aspects such as metafiction, intertextuality and parody, Danielewski develops a narrative structure which is best understood as a literary labyrinth. It is a structure intended to reflect the social conditions of the twenty-first century and comment on the experience of people living at this time. Some of the meaning-making strategies within the book’s labyrinthine structure are thus discussed in detail in order to demonstrate the relevance and importance of House of Leaves as social commentary. House of Leaves is an exemplary postmodernist text, but it is also one that seeks to guide the reader beyond the intellectual impasse of the postmodernist paradigm toward a renewed ethical and political engagement with the world. One of the most important goals of both Danielewski’s novel and this thesis is to attempt to redefine the postmodernist perspective in such a way as to insist on the necessity of what I call a new realism. This is founded upon an awareness of the pervasiveness of the self-perpetuating ideology of capitalism, even in the perspective of postmodernism (which purports to subvert all authoritative ideologies). Playing a crucial role in perpetuating the status quo of capitalism is the growth of entertainment culture, which works to sideline crucial political issues by replacing information with infotainment. The result is an intensification of the processes of commodification. Such an intensification, it is argued, may be countered by a radical scepticism which draws upon the methods and insights of contemporary science.

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The vast corpus of testimonial literature that has been produced in Latin America since the 1960s, reaches a peak in the 1970s and continues to the present day. The dissertation investigates this phenomenon in Chile, Argentina and Uruguay, through the examination of a group of literary works that range from personal testimonies to documentary novels. This genre is defined by a pact of truth established with the reader in relation to the experience that is being narrated. The first chapter describes testimony as a collective discourse that responds to a counter-hegemonic cultural project which opposes the doctrine of “National Security” that prevailed in the region during that period. Chapter II presents the guidelines that will frame the dissertation, preparing a synthesis of several existing models based upon diverse criteria: social, semantic, syntactic and functional. In establishing the relationship between narration, history and testimony, the thesis emphasizes that narrative techniques are needed in order to tell any story, even those which were not developed with a literary purpose. Testimony is not an exception, because it transforms experience into stories, applying to remembrances the structure of a plot. The texts are organized accordingly, taking into account the types of narrativization employed, and this taxonomy is connected with the reception theory and the contributions of the social criticism, in order to provide a comprehensive understanding of the genre. Chapters III, IV and V examine various works from the three countries mentioned above, establishing a connection between the historic-social situation, the collective symbols, the artistic production of that period, and testimonies. The conclusion suggests that the return of Latin American literature to its hybrid origins implies transformations such as the democratization of writing and the disappearance of the author as the centre of the literary production. It also claims that this corpus provokes a change in the direction of contemporary writing in those countries, generating a necessary catharsis and a new elaboration of a fragmented collective identity. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

While many riddles exist in the Anglo-Saxon Exeter Book containing female characters, both as actual human females and personified objects and aspects of nature, few scholars have discussed how the anthropomorphized “females” of the riddles challenge and broaden more conventional portrayals of what it meant to be “female” in Anglo-Saxon literature. True understanding of these riddles, however, comes only with this broader view of female, a view including a mixture of ferocity and nobility of purpose and character very reminiscent of the valkyrie (OE wælcyrige), a figure mentioned only slightly in Anglo-Saxon literature, but one who deserves more prominence, particularly when evaluating the riddles of the Exeter Book and two poems textually close to the riddles, The Wife's Lament and Wulf and Eadwacer, the only two poems with a female voice in the entire Old English corpus. Riddles represent culture from a unique angle. Because of their heavy dependence upon metaphor as a vehicle or disguise for the true subject of the riddle, the poet must employ a metaphor with similar characteristics to the true riddle subject, or the tenor of the riddle. As the riddle progresses, similarities between the vehicle and the tenor are listed for the reader. Within these similarities lie the common ground between the two objects, but the riddle changes course at some point and presents a characteristic the vehicle and tenor do not have in common, which creates a gap. This gap of similarities must be wide enough for the true solution to appear, but not so wide so that the reader cannot hope to solve the mental puzzle. Because many of the riddles of the Exeter Book involve women and portrayal of objects as “female,” it is important to analyze the use of “female” as a vehicle to see what similarities arise.

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