Em Tutaméia, Guimarães Rosa propõe e experimenta um recorte muito peculiar do cômico, cuja função não seria a de causar o riso, mas a de dar acesso a \"novos sistemas de pensamento\". A natureza e os mecanismos do cômico são discutidos no primeiro prefácio e valorizados por sua capacidade de desfazer estereótipos, abrindo espaço para outras possibilidades, para o inédito (sentido primordial de anedota), por exemplo. A própria obra incorpora formas e estruturas do cômico: seus quatro prefácios retomam em nova configuração elementos da comédia clássica, principalmente a parábase; assinalamos várias estórias organizadas segundo as formas cômicas debatidas no prefácio; até mesmo na composição de frases ou vocábulos percebe-se princípios próprios do cômico. A perspectiva cômica, infiltrada em vários planos da obra, cumpre inúmeras funções. Uma delas seria a de revelar o engano de raciocínios e valores viciados, já que alarga as possibilidades de representação ao incorporar \"outras lógicas\", normalmente banidas do pensamento sério, como no caso do louco, da criança, do criminoso, do palhaço, do velho esclerosado etc. Alguns procedimentos cômicos discutidos - seria o caso do \"processo de niilificação\" e da \"definição por extração\" - e também observados em estórias seriam modos de se acessar o \"nada\", tema amplamente recorrente e que faz parte inclusive do título: Tutaméia é \"ninharia\", \"quase nada\". A comicidade, ainda, contribuiria para ampliar o próprio idioma; ao desfazer clichês possibilita apreender a realidade não atingida pelo senso comum ou por formas convencionais. Note-se que Tutaméia não é uma obra cômica, mas foi composta a partir da perspectiva cômica, o que parece corresponder a uma vertente do pensamento moderno que valoriza o cômico por permitir a liberação do censurado, por dar acesso a tudo o que é excluído como \"não oficial\", \"não sério\", e que no entanto participa da totalidade (Dasein). A questão da comicidade ganha extraordinária complexidade na obra, confundindo-se muitas vezes com outros procedimentos (o estranhamento, a ironia, o grotesco) e sugerindo a dissolução das formas: há elementos trágicos, épicos, míticos, dramáticos, fantásticos, cinematográficos; além do minimalismo das estórias, do desdobramento cubista de perspectivas, da sondagem subjetiva etc. Enfim, o manejo do cômico em Tutaméia culmina num sistema de pluralidade e simultaneidade de perspectivas. / In his Tutaméia, Guimarães Rosa proposes and experiments with a very peculiar approach to the comical, whose purpose, rather than cause laughter, is to lead to new systems of thought. The main subject of the first preface of Tutaméia is the nature and procedures of the comical, whose importance is attributed to its ability to unmake stereotypes, opening up room for new possilibilities, for the \'unexpected\' (etymological meaning of the Portuguese word \"anedota\" - joke). Elements of the comic can be found throughout the whole of Tutaméia: its four prefaces retake, in a special way, the parabasis, an exclusive part of the classical comedy; many of its stories are structured according to the comical forms (the same ones discussed in the first preface); even in the composition of sentences or words, the comical process seems to be the guideline. The comical point of view in this work of Rosa fulfills many functions. One of them woud be to disclose the mistakes of commonplace reasoning and values, since it widens the possibilities of representation when it incorporates other \"kinds of logic\", usually banished from the realm of what is considered serious thought, as is the case of the reasoning of the insane, the child, the criminal, the clown and the such. Some comical procedures discussed - it would be the case of the \"process of niilificação\" and of the \"definition from extration\" - and also perceived in stories, would be ways of accessing the \"nothing\", widely recurrent subject which is also part of the title: Tutaméia means \"almost nothing\". The comical, still, would contribute to extend the range of reach of language itself: on unmaking clichés, it allows the apprehension of reality not grasped by common sense or conventional thought. Lastly, Tutaméia is not a comedy in itself, but it was composed from the comical perspective, what seems to correspond to the modern philosophical thought that values the comical for allowing the release of censured contents, for allowing access to what is excluded as \"not official\", \"not serious\", and that however participates in the totality (Dasein). The question of the comical gains extraordinary complexity in Tutaméia, confusing itself many times with other procedures (such as the strangeness, the irony, the grotesque) and allowing the dissolution of the forms: it has tragic, epic, mythical, dramatical, cinematographic elements; beyong the minimalism of the stories, the cubist unfolding of perspectives, the subjective sounding. The handling of the comical in Tutaméia culminates in a system of plurality and concurrence of perspectives.

O nome de Walter Scott é repetidamente mencionado na obra de Balzac, sobretudo em seus textos críticos. Esta dissertação visa expor, para além da admiração patente do escritor, a penetração analítica de Balzac acerca do romance scottiano, o que lhe sugeriu um fundamento essencial para a formulação de sua Comédia Humana. Tendo como objeto de estudo a leitura dos textos críticos de Walter Scott e Balzac - seus prefácios principalmente -, procuramos demonstrar como o uso da História pelo romance tornou-se o elemento fundamental na aproximação entre os autores. Nossa intenção é deslindar, na fatura do romance, como se articula o entrecruzamento entre História e literatura. / Walter Scotts name is repeatedly mentioned in the works of Balzac, mostly in his critical writings. This dissertation aims to show, beyond the writers patent admiration, Balzacs penetrating criticism of the Scottian novel which disclosed to him a sound basis for the composition of his Comédie Humaine. Having Scotts and Balzacs critical writings as our object of study mainly their prefaces - we intend to demonstrate how the incorporation of History by the novel became the essential element in this comparative study of the two writers. Our purpose is to elucidate how this intersection between history and literature is articulated in the narrative.

O nome de Walter Scott é repetidamente mencionado na obra de Balzac, sobretudo em seus textos críticos. Esta dissertação visa expor, para além da admiração patente do escritor, a penetração analítica de Balzac acerca do romance scottiano, o que lhe sugeriu um fundamento essencial para a formulação de sua Comédia Humana. Tendo como objeto de estudo a leitura dos textos críticos de Walter Scott e Balzac - seus prefácios principalmente -, procuramos demonstrar como o uso da História pelo romance tornou-se o elemento fundamental na aproximação entre os autores. Nossa intenção é deslindar, na fatura do romance, como se articula o entrecruzamento entre História e literatura. / Walter Scotts name is repeatedly mentioned in the works of Balzac, mostly in his critical writings. This dissertation aims to show, beyond the writers patent admiration, Balzacs penetrating criticism of the Scottian novel which disclosed to him a sound basis for the composition of his Comédie Humaine. Having Scotts and Balzacs critical writings as our object of study mainly their prefaces - we intend to demonstrate how the incorporation of History by the novel became the essential element in this comparative study of the two writers. Our purpose is to elucidate how this intersection between history and literature is articulated in the narrative.

No description available.

Throughout history, there have been playful prefaces to literature (or in classical oratory, before display pieces). But German examples written by authors around 1800 to their own works, together with contemporary, self-authored prefaces to speculative philosophy, constitute a peculiarly paradoxical text type. Once literature was conceived as an autonomous domain rather than as a branch of general learning; as a popular book market took hold; and once systematic philosophy competed with literature’s broad acclaim as well as intellectual independence, the preface became not only a pragmatic, but also a creative and conceptual problem. Hence the preface became complicated as a form, in a broadly Romantic tradition of thought in which every act of genuine reflection was understood to expose epistemological contradiction. After my general, theoretical Preface and my comparative, historical Introduction, I focus on three preface paradoxes and three case studies of remarkably complex textuality: on Goethe, Jean Paul and Hegel. Most notable among their prefatory texts are the prefaces to Werther (1774), to a fictive second edition of Quintus Fixlein (1797) and to Phänomenologie des Geistes (1807). This trajectory is a story that begins with literary creativity and moves towards greater philosophical intricacy. The significance of my study is threefold. First and foremost, considering prefaces in this period of German literature and philosophy complements and augments the negative, subjective Early German Romantic idea of irony, Romantic textual fragmentation, as well as Jean Paul’s and Hegel’s literary and philosophically informed attempts to render both concepts and their manifestation on the page more positive and objective. Fragments are conventionally conceived as additive pieces, fortifying or undermining works. This conception can hold true for prefaces, including those by Goethe, Jean Paul and Hegel. At the end of the eighteenth and the beginning of the nineteenth century, though, a number of writers of fragments argued that their works should be understood as wholes. Precisely some prefaces by Goethe, Jean Paul and Hegel can be read so paradoxically: as unifying, wholesome (in a Sentimental sense) and systematic fragments respectively. Second and third, I show the wider importance of the German preface at the turn of the nineteenth century. Authors around 1800 not only displayed, but discovered and debated a prefatory paradoxicality that we encounter in post-Romantic, post-Structuralist and post-modern literature, theory and philosophy, too. Moreover, I demonstrate the ways in which prefaces by particularly Jean Paul and Hegel influenced especially Kierkegaard, Heidegger and Derrida.

Text has abstracts in English, Afrikaans and isiZulu / Translators give us access to texts written in other languages, yet they remain mostly invisible to us. The translator’s preface therefore becomes the most important paratext where their voices are heard and where the text is identified as a translation. Research on South African paratexts is scarce and the study contributes to filling this gap. The aim of this study was to explore the nature of South African translatorial prefaces by determining the characteristics, content and functions of the prefaces and describing how translators are visible in their prefaces. A qualitative study was done where Genette’s (1997) conceptual framework was fitted into the overarching theory of Descriptive Translation Studies, making use of thematic analysis as described by Braun and Clarke (2013) to analyse the data. The data consisted of 65 South African literary texts with translatorial prefaces, published between 1945 and 2016 in the official South African languages. The study found that South African translators are mostly invisible through the absence of translatorial prefaces, but when they do write prefaces, they become highly visible and write about a wide variety of topics that make their prefaces a rich documentary source of valuable information for readers, translation studies students and scholars. The study provides a foundation for further research on South African translatorial prefaces. Translatorial prefaces should be included in the curricula for Translation Studies students and in a multilingual country like South Africa, no translation should be without a preface. Translators are encouraged to write comprehensive prefaces that will increase their visibility and situate translations in the polysystem of South African literature. / Vertalers gee ons toegang tot tekste wat in ander tale geskryf is, maar tog bly hulle meestal onsigbaar vir ons. Die vertalersvoorwoord word dus die belangrikste teks waar hul stemme gehoor kan word en waar die teks as ’n vertaling geïdentifiseer kan word. Navorsing oor Suid-Afrikaanse parateks is skaars en die studie dra daartoe by om hierdie leemte te vul. Die doel van die studie was om die aard van Suid-Afrikaanse vertalersvoorwoorde te ondersoek deur die kenmerke, inhoud en funksies van die voorwoorde te bepaal en te beskryf hoe vertalers sigbaar is in hulle voorwoorde. ’n Kwalitatiewe studie is gedoen waar die konseptuele raamwerk van Genette (1997) in die oorkoepelende teorie van Beskrywende Vertaalstudies toegepas is, met behulp van tematiese analise soos beskryf deur Braun en Clarke (2013) om die data te ontleed. Die data bestaan uit 65 Suid-Afrikaanse letterkundige tekste met vertalersvoorwoorde, wat tussen 1945 en 2016 in die amptelike Suid-Afrikaanse landstale gepubliseer is. Die studie het bevind dat Suid-Afrikaanse vertalers hoofsaaklik onsigbaar is deur die afwesigheid van vertalersvoorwoorde, maar wanneer hulle wel voorwoorde skryf, word hulle hoogs sigbaar en skryf hulle oor ’n wye verskeidenheid van onderwerpe wat hul voorwoorde ’n ryk dokumentêre bron van inligting vir lesers, studente in vertaalstudies en vakkundiges maak. Die studie bied ’n basis vir verdere navorsing oor Suid-Afrikaanse vertalersvoorwoorde. Vertalersvoorwoorde behoort opgeneem te word in die kurrikula van vertaalstudie studente en in ’n veeltalige land soos Suid-Afrika behoort geen vertaling sonder ’n vertalersvoorwoord te wees nie. Vertalers word aangemoedig om omvattende voorwoorde te skryf wat hul sigbaarheid sal verbeter en hul vertalings in die polisisteem van Suid-Afrikaanse letterkunde sal plaas. / Abaguquli beelwimi basenza sikwazi ukufikelela kwiimbalo ezifumaneka ngezinye iilwimi, kodwa bahlala befihlakele kuthi. Iimbulambethe zabaguli zilwimi ngoko ke ziba yingcaciso ebaluleke kakhulu ethi ibaveze ivakalise amazwi abo, kwaye yenza iimbalo ezo zibe nokuphawulwa okanye zichazwe njengeenguqulelo. Uphando malunga neembulambethe okanye iingabulazigcawu eMzantsi Afrika lunqabile kungoko olu phando lunegalelo ekuvaleni esi sikhewu. Injongo yolu phando kukuphonononga ubume beembulambethe zeenguqulelo ezifumaneka eMzantsi Afrika ngokufumanisa iimpawu zazo, umxholo kunye nemisebenzi yeembulambethe, kwakunye nokuchaza indlela abazibonakalisa ngayo abaguquli kwiimbulambethe zabo. Kwenziwe uphando lohlobo oluchazayo (qualitative), apho kuysetyenziswe inkqubosikhokelo yengqiqo kaGenette (1997) ndawonye nethiyori esisikhokelo yeziFundo zoGuqulo loLwimi eziChazayo (Descriptive Translation Studies), nolusebenzisa uhlahlelo lwethematiki njengoko luchaziwe nguBraun noClarke (2013) ekuhlalutyeni idatha. Idatha iqulathe iimbalo zoncwadi ezingama-65 zaseMzantsi Afrika ezineembulambethe zeenguqulelo ezapapashwa phakathi konyaka ka-1945 no-2016 ngeelwimi ezisemthethweni eMzantsi Afrika. Olu phando lufumanise ukuba abaguquli beelwimi ikakhulu, ababonakali ngenxa yokungabikho kweembulambethe zezi nguqulelo, kodwa xa bathe bazibhala iimbulambethe, bayabonakala kakhulu kunjalonje batsho babhale ngenqwaba yezihloko ezahlukeneyo nezenza iimbulambethe zabo zibe ngamaxwebhu angoovimba abaqulethe ubutyebi bolwazi olubalulekileyo kubafundi zincwadi, abafundi bezifundo zoguqulo kunye nezifundiswa. Olu phando lwakha isiseko solunye uphando olunokwenziwa ngeembulambethe zeenguqulelo zaseMzantsi Afrika. Ngolu phando kuhlatyw’ ikhwelo lokuba iimbulambethe zeenguqulelo zibe yinxalenye yekharityhulam yabafundi beziFundo zoGuqulo kananjalo, kwilizwe elineelwimi ngeelwimi njengoMzantsi Afrika, makungabikho nguqulelo ingenambulambethe. Abaguquli bayakhuthazwa ukuba babhale iimbulambethe ezityebileyo eziya kubatyhila ngakumbi babonakale kubafundi neziya kubeka iinguqulelo kwisixokelelwano soluhlu loncwadi lwaseMzantsi Afrika. / Linguistics and Modern Languages / M.A. (Linguistics)

Orientador: Eric Mitchell Sabinson / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T20:21:09Z (GMT). No. of bitstreams: 1 Mariano_FabioRoberto_M.pdf: 721675 bytes, checksum: 0863ae488f30abc0a8c4cbb050955f56 (MD5) Previous issue date: 2015 / Resumo: O objetivo deste trabalho é compreender a recepção de Faulkner na França a partir de uma contextualização da literatura francesa nos anos 1930 e da leitura detalhada dos referidos prefácios. O que está em primeiro plano não é uma leitura crítica do autor, e sim uma organização de leituras críticas anteriores. Ao fim do texto, é esboçada uma proposição acerca do apelo específico que Faulkner teve na França. Dos seis livros de Faulkner publicados durante os anos 30, cinco trazem prefácios. Esses textos são de autoria de figuras de grande influência no ambiente literário francês: os tradutores Maurice-Edgar Coindreau e René-Noël Raimbault, o crítico e escritor Valery Larbaud e o escritor, político e jornalista André Malraux. A partir das leituras propostas nesses prefácios, é possível tentar estabelecer uma relação entre o ambiente cultural da França e a obra de William Faulkner. Para estabelecer tal relação, este trabalho se divide em três partes, cada qual correspondendo a um de seus capítulos. Em primeiro lugar, faz-se uma análise do ambiente histórico e literário da França. Em segundo, uma leitura atenta dos prefácios é feita, levando-se em consideração também quem são seus autores. Por fim, o terceiro capítulo é um movimento de interpretação dos prefácios à luz da análise feita no primeiro capítulo / Abstract: The present dissertation aims at an understanding of the reader response to Faulkner in France. It is based both on a study of the mentioned prefaces and on an attempt to describe the literary and critical standards of the time. The main point here is not exactly a critical reading of the author's work in itself, but an effort of organizing earlier readings. This study is closed by a hypothesis about Faulkner's specific appeal to French readers. Five out of the six of Faulkner's books published during that time are prefaced, all of them by Frenchmen: translators Maurice-Edgar Coindreau and René-Noël Raimbault, literary critic and writer Valery Larbaud and politician, journalist and novelist André Malraux. A detailed analysis of these prefaces may be an effective strategy to establish a connection between Faulkner's work and the French cultural environment in which he is read. In order to effectively make such a connection, this dissertation has been divided in three parts, each of which corresponds to one of its chapters. In the first one, the literary and historical context of France is analyzed. In the second, a close reading of each of the prefaces is made, taking into account not only their words and references, but also their authors. In the third and last chapter, the prefaces are interpreted according to what had been exposed in the first chapter / Mestrado / Historia e Historiografia Literaria / Mestre em Teoria e História Literária