Dominick LaCapra argues that historians continue to interpret legal documents in a hierarchical fashion that marginalizes intellectual history, as fiction is perceived to be less viable. This dissertation analyzes contemporary literary texts in the Americas that exploit such a narrow reading of documents in order to interrogate the way official history is constructed by introducing false forms of documents into their narratives. These literary texts, or what I label "con-script," are not only historical fiction, but also historicized fiction that problematize their own historical construction. Many critics propose that the new historical novel revises historical interpretation, but there exists a gap between theory and textual practice. Adapted from E.L. Doctorow's notion of "false documents," the con-script acts as an alternative that purposefully confuses fiction and nonfiction, providing tools to critically examine the authority maintained by official narratives. By revealing the fictive nature of these constructions, the con-script alerts readers to the manipulation of documents to maintain political authority and misrepresent or silence marginalized groups. The recent revision of American Studies to include a hemispheric or Inter-American scope provides a context for applying such political claims within a transcultural framework. I compare texts from English-, Spanish-, and Portuguese America in order to identify shared strategies. After a survey of the historical novel's development across the Americas and a critical theory overview, I analyze three types of con-script. "The Art of Con-Fessing" juxtaposes texts from the three languages via Jay Cantor's The Death of Che Guevara, Augusto Roa Basto's Yo el Supremo, and Silviano Santiago's Em Liberdade. These false documents present themselves as apocryphal diaries supposedly written by revolutionary leaders or activists. The authors demythologize untouchable public figures through the gaps in their "own" personal writing. "Mediations of Media" features Ivan Ângelo's A Festa, Tomás Eloy Martínez's La novela de Perón, and Ishmael Reed's Mumbo Jumbo. These journalists interrogate the role of media and political corruption within the construction of national identity; the false documents appear as newspaper clippings, magazine articles and media images. Finally, the subjective process of archiving is examined in "Con-Centering the Archive" via Aguinaldo Silva's No País das Sombras, Francisco Simón's El informe Mancini, and Susan Daitch's L.C.

No description available.

Os romances Memorial do Convento, de José Saramago, e A gloriosa família: o tempo dos flamengos, de Pepetela, são considerados como novos romances históricos, cuja forma tem origem tanto na estrutura do romance histórico de matriz realista, teorizado por Lukács, quanto nos primeiros novos romances históricos criados em Cuba, por Alejo Carpentier, a partir de 1949, consideradas suas singulares diferenças em relação aos contextos de origem, pois confirmam diálogos com certos elementos da tradição dos romances produzidos em cada um de seus sistemas literários. Assim, por pertencerem a um subgênero que estabelece uma ruptura com o paradigma dos romances históricos produzidos no momento do Romantismo e do Realismo, essa nova forma apresenta características próprias, cujos discursos projetam tanto as ideologias dominantes de época quanto outras formas de pensamento, as quais asseguram um contradiscurso que percorre os textos, como enunciados secundários, articulados a partir de discursos primários. Os posicionamentos enunciativos, bem como a configuração de seus narradores revelam lugares sociais considerados excêntricos, assim como os discursos que veiculam em relação à história oficial, à qual procuram tanto parafrasear, estilizar quanto parodiar. E, algumas vezes, lidam com apropriações do texto histórico canônico, exatamente com o objetivo de subverter o sentido dessa escrita como um discurso bem sucedido das elites do tempo histórico-diegético, privilegiando a visão dos narradores e das personagens excêntricos. Dessa maneira, os discursos excêntricos possuem algumas temáticas que se alinham à história percebida como pesadelo, enfatizadas em ambos os romances e desveladas pelos implícitos e inferências, como a crítica aos Impérios e seus valores; crítica ao Monopólio e suas dinâmicas; à dominação de outros povos e grupos por meio da força bruta; ao caos existencial gerado pelas elites sobre as dinâmicas sócio-culturais dos grupos submetidos; à ideologia monódica, em confronto com outras formas culturais; aos prejuízos materiais e emocionais impostos pelas elites às classes subalternas: às desigualdades sociais como geradoras de exclusões, entre outras. Trazem implícitos, também, os discursos sobre a formação de identidades singulares pela constante mestiçagem ou pela exclusão racial ou social. / Memorial do Convento a novel, by José Saramago, and A gloriosa família: o tempo dos flamengos, a novel by Pepetela, are considered new historical novels, their form has its origin in the structure of the historical novel of realistic matrix theorized by Lukács, as well as in the first new historical novels written in Cuba by Alejo Carpentier, since 1949, considering their natural differences in relation to the original contexts, for they confirm dialogues with certain elements of the tradition of novels produced in each literary system. Thus, they belong to a subgenre that provides a rupture with paradigm of historical novels in Romanticism and Realism this new form has its own characteristics, whose discourses project the dominant ideologies of the time as well as other forms of thought, which provide a counter-discourse throughout the texts, as secondary enunciator, articulated from the primary discourse. The enunciation placements, as well the configuration of the narrator reveal social places considered ex-centric, similar to the speeches that propagate in relation to the official history, which intend to paraphrase, style as well as parody. Sometimes, they deal with appropriations of canonical historical text, intending to subvert the meaning of this text into a successful discourse of historical-diegetic time elites, favoring the narrators view and excentric characters. Thus, the ex-centric discourses have themes that align with history perceived as nightmares, emphasized in both novels and unveiled by implicit inferences, as a criticism of Empires and of their values; criticism of Monopoly and its dynamics, the domination of other people and groups by brute force, the existential chaos generated by elites on the social an cultural dynamics groups submitted to the monodic ideology in comparison with other cultural forms, the emotional and material damages imposed by the elites onto lower classes: social inequalities which lead to social exclusion, among others. They bring implicit discourses about a singular forming of identities caused by a constant miscegenation or by racial or social exclusion.

Angelina Muñiz-Huberman (1936) a développé pendant plus de quatre décennies au Mexique, son œuvre narrative, poétique et d’essai. Elle est l’introductrice du nouveau roman historique dans la littérature mexicaine, ses récits se caractérisent par l’exposition de la vraie nature humaine des personnages à travers l’introspection. Fille d’exilés républicains, son travail révèle un rapprochement avec ces événements, remportant leurs effets positifs. La recherche identitaire qui émerge depuis son enfance contrastée entre l’Espagne de ses parents et le Mexique du présent, est complétée par son exil juif du côté maternel. Par conséquent, l'exil se déroule sous toutes ses formes à travers des histoires quotidiennes, de personnages hors du commun et l'introduction du point de vue du narrateur. Le besoin d'expression expérimenté par l'auteur, appartenant à groupe des "Hispano-Mexicains", soulève un certain nombre de ruptures narratives et stylistiques au sein de son travail créatif. La réécriture de l’enfance à travers les pseudomémoires, l'utilisation innovante des signes typographiques, la reconstruction de l'histoire et une tendance marquée d'écriture féminine, font l'objet de cette étude. / Angelina Muñiz-Huberman (1936) has developed her narrative work, poetic and essayistic for over four decades in Mexico. Introducer of the new historical novel in Mexican literature, her narratives are characterized for exposing the true human nature of the characters through introspection. Daughter of Republican exiles, her work reveals reconciliation with this event, adjudging its positive effects. The search for identity that emerges from a childhood contrasted between the old Spain and Mexico's present completes with Jewish exile from the maternal family. Consequently, the exile unfolds in all its forms through everyday stories of unusual characters and the introduction of the narrator's point of view. The need for expression experienced by the writer, belonging to the "Spanish-Mexican" group, raises a number of narrative and stylistic ruptures within her creative work. The rewriting of the childhood through the seudomemorias, the innovative use of typographical signs, the reconstruction of history and a strong trend toward feminine writing, are the subject of this study.

Os romances Memorial do Convento, de José Saramago, e A gloriosa família: o tempo dos flamengos, de Pepetela, são considerados como novos romances históricos, cuja forma tem origem tanto na estrutura do romance histórico de matriz realista, teorizado por Lukács, quanto nos primeiros novos romances históricos criados em Cuba, por Alejo Carpentier, a partir de 1949, consideradas suas singulares diferenças em relação aos contextos de origem, pois confirmam diálogos com certos elementos da tradição dos romances produzidos em cada um de seus sistemas literários. Assim, por pertencerem a um subgênero que estabelece uma ruptura com o paradigma dos romances históricos produzidos no momento do Romantismo e do Realismo, essa nova forma apresenta características próprias, cujos discursos projetam tanto as ideologias dominantes de época quanto outras formas de pensamento, as quais asseguram um contradiscurso que percorre os textos, como enunciados secundários, articulados a partir de discursos primários. Os posicionamentos enunciativos, bem como a configuração de seus narradores revelam lugares sociais considerados excêntricos, assim como os discursos que veiculam em relação à história oficial, à qual procuram tanto parafrasear, estilizar quanto parodiar. E, algumas vezes, lidam com apropriações do texto histórico canônico, exatamente com o objetivo de subverter o sentido dessa escrita como um discurso bem sucedido das elites do tempo histórico-diegético, privilegiando a visão dos narradores e das personagens excêntricos. Dessa maneira, os discursos excêntricos possuem algumas temáticas que se alinham à história percebida como pesadelo, enfatizadas em ambos os romances e desveladas pelos implícitos e inferências, como a crítica aos Impérios e seus valores; crítica ao Monopólio e suas dinâmicas; à dominação de outros povos e grupos por meio da força bruta; ao caos existencial gerado pelas elites sobre as dinâmicas sócio-culturais dos grupos submetidos; à ideologia monódica, em confronto com outras formas culturais; aos prejuízos materiais e emocionais impostos pelas elites às classes subalternas: às desigualdades sociais como geradoras de exclusões, entre outras. Trazem implícitos, também, os discursos sobre a formação de identidades singulares pela constante mestiçagem ou pela exclusão racial ou social. / Memorial do Convento a novel, by José Saramago, and A gloriosa família: o tempo dos flamengos, a novel by Pepetela, are considered new historical novels, their form has its origin in the structure of the historical novel of realistic matrix theorized by Lukács, as well as in the first new historical novels written in Cuba by Alejo Carpentier, since 1949, considering their natural differences in relation to the original contexts, for they confirm dialogues with certain elements of the tradition of novels produced in each literary system. Thus, they belong to a subgenre that provides a rupture with paradigm of historical novels in Romanticism and Realism this new form has its own characteristics, whose discourses project the dominant ideologies of the time as well as other forms of thought, which provide a counter-discourse throughout the texts, as secondary enunciator, articulated from the primary discourse. The enunciation placements, as well the configuration of the narrator reveal social places considered ex-centric, similar to the speeches that propagate in relation to the official history, which intend to paraphrase, style as well as parody. Sometimes, they deal with appropriations of canonical historical text, intending to subvert the meaning of this text into a successful discourse of historical-diegetic time elites, favoring the narrators view and excentric characters. Thus, the ex-centric discourses have themes that align with history perceived as nightmares, emphasized in both novels and unveiled by implicit inferences, as a criticism of Empires and of their values; criticism of Monopoly and its dynamics, the domination of other people and groups by brute force, the existential chaos generated by elites on the social an cultural dynamics groups submitted to the monodic ideology in comparison with other cultural forms, the emotional and material damages imposed by the elites onto lower classes: social inequalities which lead to social exclusion, among others. They bring implicit discourses about a singular forming of identities caused by a constant miscegenation or by racial or social exclusion.

Ce mémoire propose une analyse du roman historique La Carthagénoise (Germán Espinosa, 1982). Ce roman porte sur l’échange des idées entre l’Amérique coloniale et l’Europe éclairée. L’invasion française au port caraïbe de Carthagène d’Indes en 1697 est l’événement historique qui déclenche sa trame. Cette œuvre littéraire effectue un parcours à travers deux espaces et périodes historiques – l’Amérique sous domination espagnole et l’Europe des Lumières – dans lesquels s’entrecroisent des personnages réels et fictionnels. L’analyse que propose le présent travail aborde en premier lieu les antécédents du roman historique en Amérique latine. Dans une deuxième partie, il se penche sur les stratégies narratives utilisées dans le roman d’Espinosa et sur l’impact éventuel de ces procédés sur la facette critique de l’œuvre. L’hypothèse centrale de ce travail est que la fiction historique contribue à une vision critique de l’histoire officielle et qu’elle propose une réflexion sur les causes de la stagnation épistémologique en Amérique latine ainsi que des processus historiques inachevés tels que la libération épistémologique et la consolidation des épistémologies émergentes suggérées par la théorie postcoloniale et la pensée décoloniale. Le roman montre également la naissance, la mise en œuvre et l’échec de ce projet de libération épistémologique mené par un personnage féminin. Ce projet vise à finir avec la marginalisation du savoir latino-américain plutôt qu’à sa décolonisation. Parmi les conclusions tirées par ce mémoire, il y a l’idée qu’en raison de la causalité historique de l’Amérique latine, telle que montrée par le roman, le moment n’est pas encore venu de l’avènement d’une libération culturelle qui permette la consolidation des épistémologies émergentes, dans la ligne de ce que suggèrent les études postcoloniales et la décolonialité. Une autre conclusion importante à mentionner est que l’évolution des idées est un processus historique dans lequel les courants idéologiques ne sont pas absolus et sont assujettis aux conjonctures sociales qui déterminent leur existence et permanence. / This dissertation proposes an analysis of the historical novel The Weaver of Crowns (Germán Espinosa, 1982). This novel deals with the exchange of ideas between colonial Latin America and the Europe of the Enlightenment. The French invasion of the Caribbean port of Cartagena de Indias in 1697 is the historical event that triggers the plot. The novel covers two geographical spaces and two historical periods – America under Spanish domination and Enlightened Europe – in which real and fictional characters interact. In a first step, this dissertation undertakes an analysis of the roots of the historic novel in Latin America. In a second step it examines narrative strategies used in Espinosa’s novel and the way they may influence the critical side of this work. The central hypothesis suggested by this dissertation is that historical fiction contributes a critical view of the official historiography of Latin America by showing its hidden or silenced sides. It offers a reflection on the causes of the epistemological stagnation in Latin America as well as the unresolved historical processes in Latin America such as its epistemological liberation and the consolidation of its emerging epistemologies as described by the postcolonial theory cited in this work. The novel also shows the emergence, development and failure of an epistemological liberation project undertaken by a female character. This liberation project is aimed at putting an end to the marginalization of the Latin American knowledge rather than decolonizing it. Among the conclusions drawn by this dissertation is the idea that because of the historical causality of Latin America, as presented by the novel, the moment has not yet arrived for a cultural and epistemological liberation. This pending process would allow the consolidation of the emerging epistemologies along the lines proposed by the postcolonial and decoloniality studies. Another conclusion of note is that the evolution of ideas is a historical process in which the ideological currents are not absolute but subjected to the social situations that determine their existence as well as their continuity. / La memoria propone un análisis de la novela histórica La tejedora de coronas (Germán Espinosa, 1982). Esta novela trata del intercambio de ideas entre la América colonial y la Europa del Iluminismo y desarrolla su trama a partir del asedio francés al puerto caribeño de Cartagena de Indias acaecido en el año 1697. La novela hace un recorrido por dos períodos históricos, – la América española y la Europa de las luces –, en los que entrelaza personajes reales y de ficción. Este trabajo plantea un análisis que aborda en primer lugar los antecedentes de la novela histórica en América Latina, propone seguidamente una aproximación a algunas estrategias narrativas utilizadas en la novela y su posible injerencia en la faceta crítica de la misma. La hipótesis central que se defiende es que la ficción histórica propone una visión crítica de la historia oficial y una reflexión sobre la dialéctica histórica de las causas del estancamiento epistemológico de América Latina. Igualmente, señala los procesos históricos inconclusos en América, como su liberación epistemológica y la consolidación de sus epistemologías emergentes de las cuales hablan el postcolonialismo y el pensamiento descolonial. De igual modo, la novela muestra el surgimiento, la puesta en obra y el fracaso de un proyecto de liberación epistemológica, llevado a cabo por un personaje femenino. Este proyecto apunta más a una desmarginalización que a una descolonización del saber americano. Entre las conclusiones que arroja el trabajo se podrían mencionar, entre otras, que, debido a la causalidad histórica de América Latina planteada por la novela, está pendiente por realizarse una liberación cultural, que permita la consolidación de las epistemologías emergentes tal como lo señalan los estudios postcoloniales y la decolonialidad. Otra conclusión significativa obtenida es que la novela defiende la posición según la cual la evolución de las ideas es un proceso histórico en el cual las corrientes ideológicas no son absolutas y están sujetas a las coyunturas sociales que determinan su vigencia y permanencia.

Made available in DSpace on 2014-07-29T16:19:07Z (GMT). No. of bitstreams: 1 Canedo_ Rogerio Max - pre textual.pdf: 515807 bytes, checksum: f1220fe240c8f804d2ceae85ffa0c315 (MD5) Previous issue date: 2011-08-15 / In this work, I intend to analyze how the poet, the short story writer and the novelist Bernardo Élis makes use of the History of Goiás in order to rebuild, trough fiction, the economic, political and social scenery of this place, in the beginner of nineteenth century. In his novel Chegou o Governador, published in 1987, the author esthetically presents a realm that drives the reader to a specific historical period of Goiás which are the years between 1804 and 1809. These years correspond to the events of the arrival and departure of D. Francisco de Assis Mascarenhas, a distinguished political character of the Portuguese colonial company, who masterfully led the captaincy of Goiás during these years, according to the local historiography which were considered by Bernardo Élis in his novel. It can be observed the novel establishes an explicit dialogue to the historical studies, that is why, in this research we have proposed, it was necessary to analyze the historiographical records that have mapped the central regions of Brazil during the nineteenth century, moreover, to find the notes that were responsible to notice the events of Goiás during the beginning of the nineteenth century. For that reason, the first step I have taken was to take notes about what the History could tell. After that, it was necessary and approach on the amount of Bernardo Élis‟s works, all of them published in a period of more than four decades, in order to perceive the novelist‟s line of thought, related to the social and historical representation. This step let us explore another frequent discussion, the border limit between Literature and History through the reflection done by scholars and important representatives of both fields of knowledge. After that, the research focuses the discussion of the novel as the structure of artistic creation which gets closer to the problematized social events. It is known that this plural narrative has the History‟s features in its foundation and it is able to make use of this feature as the helm to the fictional work. When we bring out these questions, we are in the main purpose of this research: understanding in which theoretical base the Bernardo Élis‟ novel is established, whether in the principles of classic historical novel, theorized by Georg Lukács (1966), or in the operating modes of the new historical novel, discussed by Fernando Ainsa (1991), or if the novel moves among the both models, and if it does, how it happens. Finally, Chegou o governador is analytically seen in the bases of the theoretical principle mentioned. It is possible to verify how Bernardo Élis made use of the history of his people to illustrate it and problematize it through fiction getting a broader and more complex sense of the events that could demonstrate the local historical movement. By doing this, Élis complies with what we believe is the artist's role: show what is not said, sharpening the critical awareness of the reader about the controversial and contradictory progress of the History. / Neste trabalho proponho averiguar como o poeta, contista e romancista Bernardo Élis se apropria da história goiana para reconstruir, pelas vias da ficção, o cenário econômico, político e social próprio desse lugar, no início do século XIX. Em seu romance Chegou o governador, publicado em 1987, o autor apresenta, esteticamente, uma atmosfera que transporta o leitor para um determinado momento histórico de Goiás, a saber, os anos entre 1804 e 1809, correspondentes aos episódios de chegada e saída de D. Francisco de Assis Mascarenhas, ilustre figura política da empresa colonial portuguesa que governou magistralmente a Capitania de Goiás nos anos citados, segundo nos apresenta a historiografia local de que se vale nosso autor da ficção. Percebe-se assim, que a obra romanceada estabelece diálogo explícito com as ciências históricas, por isso mesmo, na pesquisa que propusemos, foi necessário analisar os registros historiográficos que mapearam as regiões centrais do Brasil durante o século XIX, mais especificamente, encontrar os apontamentos que deram conta dos fatos ocorridos em Goiás durante os primeiros anos do mencionado século. Por isso mesmo, o primeiro passo aqui foi anotar o que a história pôde contar. Em seguida, fez-se importante a abordagem sobre o conjunto de obras do autor da ficção, publicado em um período superior a quatro décadas, para perceber uma linha de força inerente ao romancista, a saber, a da representação social, por decorrência, histórica. Esse passo nos permitiu explorar outra discussão ainda hoje muito em voga, a relação entre literatura e história e o limite da fronteira entre as duas áreas, fazendo uso da reflexão de teóricos e importantes representantes dos dois campos. Posteriormente, a pesquisa enfoca a discussão do gênero romance como estrutura de criação artística que melhor se aproxima dos extratos sociais problematizados. É sabido que essa narrativa plural tem em sua fundação as marcas próprias da história, e por esse aspecto, apta a captá-las como mote para a elaboração ficcional. Ao discutir essas questões, chega-se ao fundamento maior dessa pesquisa, compreender sob qual base teórica o romance de Bernardo Élis está balizado: se nos princípios do romance histórico clássico, teorizados por Georg Lukács (1966); ou, se nos modos operacionais do novo romance histórico, discutidos por Fernando Ainsa (1991), ou, ainda, se a obra cotejada transita entre os modelos propostos e, se transita, de que maneira o faz. Por fim, Chegou o governador é visto, analiticamente, com base nas premissas teóricas apresentadas acima. É possível verificar como Bernardo Élis se valeu da história de seu povo para ilustrá-la e problematizá-la através da ficção, obtendo assim um sentido mais amplo e complexo dos fatos, que desse a ver o próprio movimento histórico local. Ao fazê-lo, Élis cumpre com aquilo que acreditamos ser o papel do artista: evidenciar o que não está dito, aguçando a consciência crítica do leitor sobre o andamento controverso e contraditório da história.

Ma thèse propose une analyse attentive de la ré-écriture de l'histoire articulée dans trois romans du collectif d'écrivains italiens publiant sous le pseudonyme Wu Ming: "Q", "54" et "Manituana". Partant du pamphlet publié par les Wu Ming en 2008 sur leur conception du roman historique et de l’écriture romanesque en général, the New Italian Epic (NIE), je propose deux angles d’approche pour mettre en évidence la relecture de l’histoire se dessinant dans les romans cités ci-dessus: la notion du regard oblique (qui est mentionnée dans le NIE); et le concept de multitude. La technique du regard oblique implique une réflexivité de la narration, une mise en abîme du processus narratif qui est effectuéé par le biais d’un point de vue insolite. Ce dernier peut provenir d'un animal, d’un objet animé, ou même d’un objet mystérieux comme le flux immatériel. Cette technique a déjà des précédents littéraires dans l’oeuvre d’écrivains tels que Italo Calvino ou Thomas Pynchon, mais dans la nouvelle forme qu’elle acquiert dans les textes des Wu Ming, elle permet l’articulation d’une relecture transversale de l’histoire. Cette relecture transversale émergeant dans les romans des Wu Ming est analysée dans la première partie de la thèse. La conceptualisation du regard oblique que je développe dans cette partie se base sur la théorie de l'anamorphose de Jacques Lacan, ainsi que sur le concept de la "troisième personne" proposé récemment par le philosophe Roberto Esposito. La seconde partie de la thèse aborde la problématique de la confrontation de l'écriture des Wu Ming à la situation socio-politique internationale contemporaine, soit comment leur ré-écriture de l'histoire s'insère dans la situation biopolitique globale. Dans les romans des Wu Ming on voit surgir une interprétation de cette situation globale qui dépasse les notions classiques de l'État et du citoyen. Le concept du biopolitique se prête à diverses interprétations: dans ses écrits des années 1970, Michel Foucault, qui est un des théoriciens majeurs du biopouvoir et de la biopolitique, ne parvient pas à proposer une interprétation unique et précise de ce dernier concept. Plusieurs philosophes italiens ont repris ce discours en le développant chacun à sa manière. Certains, comme Paolo Virno et, un peu plus tard Toni Negri, voient dans la notion de la Multitude une possibilité pour équilibrer le rapport pouvoir/personne et par conséquent pour développer de nouvelles possibilités révolutionnaires pour la déconstruction du biopouvoir. Les Wu Ming semblent suivre la voie positive de la multitude, qui selon leur conception correspond plus à une interprétation néo-marxiste de l’histoire. / My thesis presents an attentive analysis of the rewriting of history, articulated in three novels of the group of Italian authors publishing under the pseudonym Wu Ming: "Q", "54" and "Manituana". Starting from the pamphlet published by the Wu Ming in 2008, on their conception of the historical novel and the romantic writing in general, the New Italian Epic (NIE), I propose two ways to put in evidence the review of History that emerges from the novels mentioned above: the notion of the oblique gaze (mentioned in the NIE); and the concept of the multitude. The technique of the oblique gaze implies a reflexion on the narration, a "mise en abyme" of the narrative process which is made by the way of an unusual point of view. This technique already has some litterary precedents in the works of writers such as Italo Calvino or Thomas Pynchon,*but in the new form that it aquires in the texts of the Wu MIng, it allows the articulation of a transversal review of history. This transversal review emerging from the novels of the Wu Ming is analysed in the first part of the thesis. The conceptualization of the oblique gaze that I develop in this section is based on the theory of the Anamorphosis of Jacques Lacan, in addition to the concept of the "Third person" suggested recently by the philosopher Roberto Esposito. The second part of the thesis focuses on Wu Ming’s analysis and interpretation of the contemporary socio-political situation, namely how their re-writing of history is inserted in the global biopolitical situation. In the novels of the Wu Ming we observe the emergence of an interpretation of this global situation which subverts the classical notions of the State and the citizen. The concept of biopolitics lends itself to different interpretations: in his writings of the 1970's, Michel Foucault, who is one of the major theorists of biopower and biopolitics, does not succeed in suggesting a unique and precise interpretation of this concept. Many Italian philosophers have worked on this notion, each one of them developping it in her own way. Some, such as Paolo Virno and, some time later Toni Negri, see in the concept of the multitude a possibility to balance the rapport power/people and therefore to develop new revolutionary possibilities for the deconstruction of the biopower. The Wu MIng seem to follow the positive reading of the multitude, which according to their conception, corresponds more to a neo-marxist interpretation of History. / Nella mia tesi esamino l’emergenza di una riscrittura della Storia proposta dai tre romanzi: Q, 54 e Manituana, del collettivo di scrittori italiani che pubblicano sotto lo pseudonimo Wu Ming, i quali, attraverso una nuova proposta di romanzo storico e lo sguardo della Moltitudine, rimettono in questione la struttura del biopotere. Da un’attenta analisi dei testi sopracitati fuoriescono le peculiarità di un nuovo modo di concepire il romanzo storico in cui, fra le varie caratteristiche emerge quella dello “sguardo obliquo”, tecnica basata nell’esporre al lettore la narrazione facendola provenire da un punto di vista che non è quello che solitamente ci si attende, ma piuttosto un punto di vista insolito che può provenire da animali, oggetti animati, o addirittura da oggetti misteriosi come flussi immateriali. Questa tecnica ha già visto alcuni illustri precedenti letterari nelle sperimentazioni di scrittori quali Italo Calvino o Thomas Pynchon, ma nella nuova forma che fuoriesce dalla scrittura dei Wu Ming acquista la particolare capacità di leggere la storia in un contesto che si accosta in modo accentuato alle problematiche del contemporaneo. L’analisi di questa lettura trasversale, che copre la prima parte della tesi, è stata effettuata con l’aiuto di alcune teorie come quelle dell’Anamorfosi di Jacques Lacan, ma è attraverso il concetto della “terza persona”, riproposto recentemente da Roberto Esposito, che ho inquadrato lo sguardo obliquo come essenza estranea al rapporto dialogico io/tu. Nella seconda parte della tesi affronto la problematica dell’allineamento della scrittura dei Wu Ming alla situazione socio-politica internazionale contemporanea; detta in altre parole cerco di far emergere come la loro riscrittura della storia si inserisca nella situazione biopolitica globale. Nei romanzi dei Wu Ming, infatti, si scorge un’interpretazione del contemporaneo che sorpassa le categorie classiche di Stato e cittadino in favore di un’idea di egemonia universale esercitante un bio-potere globale. Il concetto di biopolitica si apre a varie interpretazioni. Già dalle prime iniziative negli anni Settanta Michel Foucault si era trovato in una situazione di ambigua difficoltà nel poter dare un’interpretazione unica e precisa dei concetti da lui stesso proposti. Vari filosofi italiani hanno ripreso questo discorso incompiuto sviluppandogli intorno una parte importante del proprio pensiero, ognuno però scegliendo una propria strada. Alcuni di loro come Paolo Virno e, successivamente, Toni Negri vedono nella categoria della “Moltitudine” una possibile via per equilibrare il rapporto Potere/persona e quindi ottenere nuove possibilità rivoluzionarie per poter decostruire il biopotere. I Wu Ming sembrano seguire la strada positivista della moltitudine, la quale si allinea alla loro natura marxiana.

The present work is focused on interpretation of the novel Daimón, written by Argentinian writer Abel Posse. It indicates the context of the "Latin America's new historical novel", comments the historical background of the story, touches the concept of time in the novel. Then the work analyses in detail the composition of the novel which is structured as a Tarot cards reading, explains the importance of the Tarot not only for interpretation of the Daimón novel, but also for understanding the World in general. Key words: Tarot, Lope de Aguirre, Abel Posse, new historical Latin America's new historical novel, dialogism, parody, heteroglossia, spiritual path, Toltec, Toltec shamanism, Carlos Castaneda, concept of cyclical time, contradictions, realization.

Ma thèse propose une analyse attentive de la ré-écriture de l'histoire articulée dans trois romans du collectif d'écrivains italiens publiant sous le pseudonyme Wu Ming: "Q", "54" et "Manituana". Partant du pamphlet publié par les Wu Ming en 2008 sur leur conception du roman historique et de l’écriture romanesque en général, the New Italian Epic (NIE), je propose deux angles d’approche pour mettre en évidence la relecture de l’histoire se dessinant dans les romans cités ci-dessus: la notion du regard oblique (qui est mentionnée dans le NIE); et le concept de multitude. La technique du regard oblique implique une réflexivité de la narration, une mise en abîme du processus narratif qui est effectuéé par le biais d’un point de vue insolite. Ce dernier peut provenir d'un animal, d’un objet animé, ou même d’un objet mystérieux comme le flux immatériel. Cette technique a déjà des précédents littéraires dans l’oeuvre d’écrivains tels que Italo Calvino ou Thomas Pynchon, mais dans la nouvelle forme qu’elle acquiert dans les textes des Wu Ming, elle permet l’articulation d’une relecture transversale de l’histoire. Cette relecture transversale émergeant dans les romans des Wu Ming est analysée dans la première partie de la thèse. La conceptualisation du regard oblique que je développe dans cette partie se base sur la théorie de l'anamorphose de Jacques Lacan, ainsi que sur le concept de la "troisième personne" proposé récemment par le philosophe Roberto Esposito. La seconde partie de la thèse aborde la problématique de la confrontation de l'écriture des Wu Ming à la situation socio-politique internationale contemporaine, soit comment leur ré-écriture de l'histoire s'insère dans la situation biopolitique globale. Dans les romans des Wu Ming on voit surgir une interprétation de cette situation globale qui dépasse les notions classiques de l'État et du citoyen. Le concept du biopolitique se prête à diverses interprétations: dans ses écrits des années 1970, Michel Foucault, qui est un des théoriciens majeurs du biopouvoir et de la biopolitique, ne parvient pas à proposer une interprétation unique et précise de ce dernier concept. Plusieurs philosophes italiens ont repris ce discours en le développant chacun à sa manière. Certains, comme Paolo Virno et, un peu plus tard Toni Negri, voient dans la notion de la Multitude une possibilité pour équilibrer le rapport pouvoir/personne et par conséquent pour développer de nouvelles possibilités révolutionnaires pour la déconstruction du biopouvoir. Les Wu Ming semblent suivre la voie positive de la multitude, qui selon leur conception correspond plus à une interprétation néo-marxiste de l’histoire. / My thesis presents an attentive analysis of the rewriting of history, articulated in three novels of the group of Italian authors publishing under the pseudonym Wu Ming: "Q", "54" and "Manituana". Starting from the pamphlet published by the Wu Ming in 2008, on their conception of the historical novel and the romantic writing in general, the New Italian Epic (NIE), I propose two ways to put in evidence the review of History that emerges from the novels mentioned above: the notion of the oblique gaze (mentioned in the NIE); and the concept of the multitude. The technique of the oblique gaze implies a reflexion on the narration, a "mise en abyme" of the narrative process which is made by the way of an unusual point of view. This technique already has some litterary precedents in the works of writers such as Italo Calvino or Thomas Pynchon,*but in the new form that it aquires in the texts of the Wu MIng, it allows the articulation of a transversal review of history. This transversal review emerging from the novels of the Wu Ming is analysed in the first part of the thesis. The conceptualization of the oblique gaze that I develop in this section is based on the theory of the Anamorphosis of Jacques Lacan, in addition to the concept of the "Third person" suggested recently by the philosopher Roberto Esposito. The second part of the thesis focuses on Wu Ming’s analysis and interpretation of the contemporary socio-political situation, namely how their re-writing of history is inserted in the global biopolitical situation. In the novels of the Wu Ming we observe the emergence of an interpretation of this global situation which subverts the classical notions of the State and the citizen. The concept of biopolitics lends itself to different interpretations: in his writings of the 1970's, Michel Foucault, who is one of the major theorists of biopower and biopolitics, does not succeed in suggesting a unique and precise interpretation of this concept. Many Italian philosophers have worked on this notion, each one of them developping it in her own way. Some, such as Paolo Virno and, some time later Toni Negri, see in the concept of the multitude a possibility to balance the rapport power/people and therefore to develop new revolutionary possibilities for the deconstruction of the biopower. The Wu MIng seem to follow the positive reading of the multitude, which according to their conception, corresponds more to a neo-marxist interpretation of History. / Nella mia tesi esamino l’emergenza di una riscrittura della Storia proposta dai tre romanzi: Q, 54 e Manituana, del collettivo di scrittori italiani che pubblicano sotto lo pseudonimo Wu Ming, i quali, attraverso una nuova proposta di romanzo storico e lo sguardo della Moltitudine, rimettono in questione la struttura del biopotere. Da un’attenta analisi dei testi sopracitati fuoriescono le peculiarità di un nuovo modo di concepire il romanzo storico in cui, fra le varie caratteristiche emerge quella dello “sguardo obliquo”, tecnica basata nell’esporre al lettore la narrazione facendola provenire da un punto di vista che non è quello che solitamente ci si attende, ma piuttosto un punto di vista insolito che può provenire da animali, oggetti animati, o addirittura da oggetti misteriosi come flussi immateriali. Questa tecnica ha già visto alcuni illustri precedenti letterari nelle sperimentazioni di scrittori quali Italo Calvino o Thomas Pynchon, ma nella nuova forma che fuoriesce dalla scrittura dei Wu Ming acquista la particolare capacità di leggere la storia in un contesto che si accosta in modo accentuato alle problematiche del contemporaneo. L’analisi di questa lettura trasversale, che copre la prima parte della tesi, è stata effettuata con l’aiuto di alcune teorie come quelle dell’Anamorfosi di Jacques Lacan, ma è attraverso il concetto della “terza persona”, riproposto recentemente da Roberto Esposito, che ho inquadrato lo sguardo obliquo come essenza estranea al rapporto dialogico io/tu. Nella seconda parte della tesi affronto la problematica dell’allineamento della scrittura dei Wu Ming alla situazione socio-politica internazionale contemporanea; detta in altre parole cerco di far emergere come la loro riscrittura della storia si inserisca nella situazione biopolitica globale. Nei romanzi dei Wu Ming, infatti, si scorge un’interpretazione del contemporaneo che sorpassa le categorie classiche di Stato e cittadino in favore di un’idea di egemonia universale esercitante un bio-potere globale. Il concetto di biopolitica si apre a varie interpretazioni. Già dalle prime iniziative negli anni Settanta Michel Foucault si era trovato in una situazione di ambigua difficoltà nel poter dare un’interpretazione unica e precisa dei concetti da lui stesso proposti. Vari filosofi italiani hanno ripreso questo discorso incompiuto sviluppandogli intorno una parte importante del proprio pensiero, ognuno però scegliendo una propria strada. Alcuni di loro come Paolo Virno e, successivamente, Toni Negri vedono nella categoria della “Moltitudine” una possibile via per equilibrare il rapporto Potere/persona e quindi ottenere nuove possibilità rivoluzionarie per poter decostruire il biopotere. I Wu Ming sembrano seguire la strada positivista della moltitudine, la quale si allinea alla loro natura marxiana.