Submitted by PPG Letras (letraspg@pucrs.br) on 2018-03-12T13:20:51Z No. of bitstreams: 1 Disserta??o_ Bianca Diniz.pdf: 716191 bytes, checksum: 1e337af72b240add4a0a1811a204dcbc (MD5) / Approved for entry into archive by Tatiana Lopes (tatiana.lopes@pucrs.br) on 2018-03-19T11:43:14Z (GMT) No. of bitstreams: 1 Disserta??o_ Bianca Diniz.pdf: 716191 bytes, checksum: 1e337af72b240add4a0a1811a204dcbc (MD5) / Made available in DSpace on 2018-03-19T11:50:59Z (GMT). No. of bitstreams: 1 Disserta??o_ Bianca Diniz.pdf: 716191 bytes, checksum: 1e337af72b240add4a0a1811a204dcbc (MD5) Previous issue date: 2018-01-11 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / Some historians agree that the terrorist attacks of September 11 marked the beginning of the 21st century. If the twentieth century was marked by two world wars, the 21st century was no better than its predecessor in terms of horror and violence. Consequently, art couldn?t fail to be contaminated by all of this. Thus the postmodern literature emerges, which resumes past tragedies in order to shed a new light on the catastrophes of the present. One of the most representative works of this new literary movement in the 21st century is Extremely loud and incredibly close, Jonathan Safran Foer? second novel, published for the first time in 2005. In order to clarify the relationship between Literature, History and traumatic events, this work aims to examine the way in which the North American author represents these facts and their subjective consequences in the novel Extremely loud and incredibly close, based on concepts of psychology, history and literary theory. / Alguns historiadores apontam que os atentados terroristas de 11 de setembro marcaram o in?cio do s?culo XXI. Se o s?culo XX foi marcado por duas guerras mundiais, o s?culo XXI n?o deixa nada a desejar em termos de horror e viol?ncia quando comparado a seu antecessor. Consequentemente, a arte n?o poderia deixar de ser contaminada por tudo isso. Assim, surge a literatura p?s-moderna, que retoma trag?dias passadas a fim de lan?ar uma nova luz nas cat?strofes do presente. Uma das obras representativas desse novo movimento liter?rio no s?culo XXI ? Extremely loud and incredibly close ? em portugu?s, Extremamente alto e incrivelmente perto ?, segundo romance do escritor Jonathan Safran Foer, publicado pela primeira vez em 2005. Com o objetivo de elucidar a rela??o entre a Literatura, a Hist?ria e os eventos traum?ticos, este trabalho busca examinar a maneira como o autor norte-americano realiza a representa??o desses acontecimentos e suas consequ?ncias subjetivas no romance Extremamente alto e incrivelmente perto, tendo como base conceitos da psicologia, da hist?ria e da teoria da literatura.

Located on the interstice between Media Studies and Literary Theory, my dissertation explores the emerging genre of photo-fiction -- literary works that incorporate photographic images into the manuscripts -- and its impact on the commemoration of traumatic historical events. I argue that the way we represent and remember historical traumas is dependent on the media in which images emanating from these events are produced and circulated; put differently, the context of these images shapes our engagement with them. By examining literary works that incorporate photographs into their printed text, I explore textual and visual representations of historical trauma (such as the two World Wars, the Balkan wars of the Nineties, and 9/11). The authors whose works I analyze (Jonathan Safran Foer, Aleksandar Hemon, W.G. Sebald) grant photography a new status: the inserted images transcend traditional “authentification strategies” and draw attention to the convergence of realism and indexicality featured by these photographs. These authors’ employment of photographs from various media (television, internet, printed press, encyclopedias and archives) questions not only the technical qualities of each medium but the veracity and accuracy of evidence. Photography’s capacity to secure and store information is put radically into question, not only because the new contexts of these images, but because of the manipulations and reconfigurations the movement between media has brought about. Drawing on Walter Benjamin’s concept of the literary montage, I suggest that literature provides an apt arena to examine the reception to images. By literary montage I mean the opening up of a new dimension in which visual and verbal elements are juxtaposed, and the disjunctions and gaps between them encourage readers to become active participants in the creation of narrative. Photo-fiction’s interplay between images and texts therefore not only sheds light on the mechanics of representation, but demand from its audience to reflect on the way we interpret and respond to historical traumas in a society saturated with images.

Located on the interstice between Media Studies and Literary Theory, my dissertation explores the emerging genre of photo-fiction -- literary works that incorporate photographic images into the manuscripts -- and its impact on the commemoration of traumatic historical events. I argue that the way we represent and remember historical traumas is dependent on the media in which images emanating from these events are produced and circulated; put differently, the context of these images shapes our engagement with them. By examining literary works that incorporate photographs into their printed text, I explore textual and visual representations of historical trauma (such as the two World Wars, the Balkan wars of the Nineties, and 9/11). The authors whose works I analyze (Jonathan Safran Foer, Aleksandar Hemon, W.G. Sebald) grant photography a new status: the inserted images transcend traditional “authentification strategies” and draw attention to the convergence of realism and indexicality featured by these photographs. These authors’ employment of photographs from various media (television, internet, printed press, encyclopedias and archives) questions not only the technical qualities of each medium but the veracity and accuracy of evidence. Photography’s capacity to secure and store information is put radically into question, not only because the new contexts of these images, but because of the manipulations and reconfigurations the movement between media has brought about. Drawing on Walter Benjamin’s concept of the literary montage, I suggest that literature provides an apt arena to examine the reception to images. By literary montage I mean the opening up of a new dimension in which visual and verbal elements are juxtaposed, and the disjunctions and gaps between them encourage readers to become active participants in the creation of narrative. Photo-fiction’s interplay between images and texts therefore not only sheds light on the mechanics of representation, but demand from its audience to reflect on the way we interpret and respond to historical traumas in a society saturated with images.

Jonathan Safran Foer’s novel Extremely Loud and Incredibly Close stands out from the nationalistic-toned American “9/11 novels”. It depicts the story of a young boy and his grandparents who are left with the aftermath of losing a loved one in the attack on the twin towers. However, the complexity of the three main characters and the depth of their individual and common traumas make the novel go beyond the usual nationalistic 9/11 narrative and focus on the personal and, consequently, the national trauma.  This essay analyses the possibility of coping with and recovering from trauma through communication. Dominick LaCapra’s trauma theory notions of “working through” and “acting out”, as well as other traumatic memory research highlight the necessity of utterance in order to overcome trauma and to attempt an existence beyond it. In the instance of the three traumatized characters of the novel, the confessional language is entangled, broken and sometimes muted. This makes the recovery difficult in the case of the grandparents, almost impossible for the character of Grandpa. When it comes to the young boy, Oskar Schell, a more successful communication seems to open up the possibility of mental healing. These personal traumas are a reflection of a broader American trauma where an obsessive “rememoration” of the September 11 events and one-sided, revenge loaded public discourse do not seem to facilitate the national healing process. On all these levels, personal and community, the need and the difficult attempt to communicate the trauma of 9/11 does not necessarily grant recovery from it, but it facilitates a desired “working though” process.

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2016-04-12T14:16:17Z No. of bitstreams: 1 TES_FERNANDA_BORGES_PINTO_COMPLETO.pdf: 15638701 bytes, checksum: 5dadbe6edaac495026cdbf2bffb36b93 (MD5) / Made available in DSpace on 2016-04-12T14:16:17Z (GMT). No. of bitstreams: 1 TES_FERNANDA_BORGES_PINTO_COMPLETO.pdf: 15638701 bytes, checksum: 5dadbe6edaac495026cdbf2bffb36b93 (MD5) Previous issue date: 2016-02-29 / This thesis studies the works of Brazilian author Val?ncio Xavier and North American author Jonathan Safran Foer, both of which, through narratives composed by newspaper articles, drawings, photographs, maps, flip books and by a peculiar textual disposition, transcend the traditional notion of romance mostly by incorporating other artistic manifestations, which allows them to be denominated as hybrid and interartistic narratives. Discussing these authors? works consists on using alternative and current theories in order to analyze the intersection between word and image. Such contemporary and profane narratives, if they are considered through the concepts of Giorgio Agambem, subvert and illuminate the book as object and support, restoring the playful aspect of reading and the pleasure of the unexpected in each page. Hence, the aforementioned texts are analyzed as representatives of a narrative that is contemporary because it profanes themes and supports and, consequently, analyzed through questions related to visual narratives and interartistic poetics, to fictional games and intertextual collage and still, and through the reflection on the themes shared by them: the re-elaboration of memory as well as the joys and sorrows of childhood and old age. The narratives Minha m?e morrendo e o menino mentido, Meu s?timo dia: uma novella r?bus, ?Rremembran?as de menina de rua morta nua?, ?Maciste no inferno? and ?Mist?rio m?gico?, written by Val?ncio Xavier and the novels Everything is illuminated and Extremely loud & incredibly close, the unclassifiable Tree of Codes and the short story ?If the Aging Magician Should Begin to Believe?, by Jonathan Safran Foer are discussed in order to highlight their similarities in terms of formal composition strategies. Just as much as Val?ncio Xavier and Jonathan Safran Foer profane themes and supports, the present thesis also aims to subvert the subjectile it deals with in a certain way, playing and interacting with the works and authors, since, as Roland Barthes once said, there?s no other way of dealing with authors and their works other than writing with them. / Esta tese estuda as obras do autor brasileiro Val?ncio Xavier e do autor estadunidense Jonathan Safran Foer, que, a partir de narrativas compostas por artigos de jornal, desenhos, fotografias, mapas, flip books e por uma disposi??o textual peculiar ultrapassam a concep??o tradicional do que se entende como romance ao incorporarem, sobretudo, outras manifesta??es art?sticas, o que permite que sejam denominadas como narrativas h?bridas e interart?sticas. Discutir as obras de Val?ncio Xavier e as de Jonathan Safran Foer consiste na utiliza??o de teorias tradicionais e contempor?neas para a an?lise da intersec??o entre palavra e imagem. Tais narrativas contempor?neas e profanadoras, se pensadas a partir de conceitos de Giorgio Agamben, subvertem e iluminam o livro enquanto objeto e suporte, restituindo o aspecto l?dico ? leitura e o prazer do inesperado a cada p?gina. Desse modo, os textos desses escritores s?o analisados aqui como representantes de uma literatura que ? contempor?nea por ser profanadora de temas e de suportes e, consequentemente, analisadas a partir de quest?es relacionadas ?s narrativas visuais e ?s po?ticas interart?sticas, aos jogos ficcionais e da colagem intertextual e, ainda, a partir da reflex?o sobre os temas que compartilham: a reelabora??o da mem?ria, as alegrias e tristezas infantis e senis. As narrativas Minha m?e morrendo e o menino mentido, Meu s?timo dia: uma novella r?bus, ?Rremembran?as de menina de rua morta nua?, ?Maciste no inferno? e ?Mist?rio m?gico?, de Val?ncio Xavier, e os romances Everything is illuminated e Extremely loud & incredibly close, o inclassific?vel Tree of Codes e o conto ?If the Aging Magician Should Begin to Believe?, de Jonathan Safran Foer, s?o discutidos a fim de se evidenciar as suas semelhan?as nas estrat?gias formais de composi??o. Assim como Val?ncio Xavier e Jonathan Safran Foer profanam temas e suportes, esta tese tamb?m objetiva subverter em certa medida o subj?til com que lida, jogando e dialogando com as obras e os autores estudados, pois, como afirma Roland Barthes, n?o h? como se tratar de obras e de autores sem escrever com eles.

Saffron crocus (Crocus sativus) is a male-sterile, triploid flower crop, and source of the spice and colorant saffron. For over three millennia, it was cultivated across the Mediterranean, including ancient Greece, Persia, and other cultures, later spreading all over the world. Despite saffron crocus’ early omnipresence, its origin has been the matter of a century-old debate, in terms of area and time as well as parental species contribution. While remnants of the ancient arts, crafts, and texts still provide hints on its origin, modern genetics has the potential to efficiently follow these leads, thus shedding light on new possible lines of descent. In this review, we follow ancient arts and recent genetics to trace the evolutionary origin of saffron crocus. We focus on the place and time of saffron domestication and cultivation, and address its presumed autopolyploid origin involving cytotypes of wild Crocus cartwrightianus. Both ancient arts from Greece, Iran, and Mesopotamia as well as recent cytogenetic and comparative next-generation sequencing approaches point to saffron’s emergence and domestication in ancient Greece, showing how both disciplines converge in tracing its origin.

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La pregunta sobre com s’ha de representar l’Holocaust és i ha estat una qüestió problemàtica i essencial en els Estudis de l’Holocaust. Certs acadèmics i intel•lectuals han negat la possibilitat de representació de l’horror del genocidi dels jueus europeus, i en especial, s’ha negat l’ús de la ficció literària i cinematogràfica. Aquesta tesi analitza les tres etapes de recepció de l’Holocaust i els seus discursos acadèmics predominants. L’inicial silenci i la invisibilitat social del genocidi, en la que es formula el dictum adornià sobre la irrepresentabilitat del genocidi dels jueus europeus. Més endavant, l’Holocaust es fa socialment visible, i l’aparició d’obres de ficció controvertides obliguen a plantejar-se certs “límits de representació”. I contemporàniament, quan la ficció sobre l’Holocaust s’ha popularitzat i globalitzat, arribant a formar part de l’entreteniment i del consum mediàtic. En aquest context, en el que les representacions de ficció del genocidi dels jueus europeus ja formen part de la nostra cultura, l’estudi de cas es centra en l’anàlisi narratològica del llibre Everything is Illuminated (2002) de Jonathan Safran Foer, amb l’objectiu de presentar una opció de ficció de l’Holocaust. / La pregunta sobre cómo se debe representar el Holocausto es y ha sido una cuestión problemática y esencial en los Estudios del Holocausto. Ciertos académicos e intelectuales han negado la posibilidad de representación del horror del genocidio de los judíos europeos, y en especial, se ha negado el uso de la ficción literaria y cinematográfica. Esta tesis analiza las tres etapas de recepción del Holocausto y sus discursos académicos predominantes. El inicial silencio e invisibilidad social del genocidio, en el que se formula el dictum adorniano sobre la irrepresentabilidad del genocidio de los judíos europeos. Más adelante, el Holocausto se hace socialmente visible, y la aparición de obras de ficción controvertidas obligan a plantearse ciertos “límites de representación”. Y contemporáneamente, cuando la ficción sobre Holocausto se ha popularizado y globalizado, llegando a formar parte del entretenimiento y del consumo mediático. En este contexto, en el que las representaciones de ficción del genocidio de los judíos europeos ya forman parte de nuestra cultura, el caso de estudio se centra en el análisis narratológico del libro Everything is Illuminated (2002) de Jonathan Safran Foer, con el objetivo de presentar una opción de ficción del Holocausto. / The question of how the Holocaust should be represented is and has been a problematic and essential question in Holocaust Studies. Certain academics and intellectuals have denied the possibility of representation, and very specially, have denied the use of literary and cinematographic fiction. This thesis analyses the three stages of reception of the Holocaust and their predominant academic discourses. The initial silence and social invisibility of the genocide, in which the Adornian dictum is formulated on the unrepresentability of the genocide of European Jews. Later, the Holocaust is made socially visible, and the emergence of controversial works of fiction force us to consider the option of certain “limits of representation”. And, recently, in which fiction about the Holocaust has become popularized and globalized, and become part of the entertainment and consumer mass media. In this context, in which fictional representations of the genocide of European Jews are now part of our culture, this case study focuses on the narratological analysis of the book, Everything is Illuminated (2002), by Jonathan Safran Foer, in order to present a fictional choice of the Holocaust.

Made available in DSpace on 2015-04-09T12:28:30Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-01-20Bitstream added on 2015-04-09T12:47:17Z : No. of bitstreams: 1 000812898_20151231.pdf: 92770 bytes, checksum: 0df57f7179ed95ec8efbafd81fe6d5d8 (MD5) Bitstreams deleted on 2016-01-04T10:26:42Z: 000812898_20151231.pdf,. Added 1 bitstream(s) on 2016-01-04T10:28:33Z : No. of bitstreams: 1 000812898.pdf: 1511298 bytes, checksum: 9d02e9cf06fbfd1a1e72871704b47797 (MD5) / Este trabalho investiga as estratégias narrativas utilizadas por Jonathan Safran Foer no romance Extremely Loud & Incredibly Close (2005), a fim de verificar como o autor avalia o episódio dos ataques terroristas de 11 de setembro. A tragédia representa o início de um novo período da História dos Estados Unidos e tem sido tema de publicações em diversas áreas. Este estudo examina, por meio da jornada empreendida pelo menino Oskar, de apenas nove anos, cujo pai foi vítima dos atentados, a forma como os acontecimentos do passado são transformados em fatos históricos relevantes, os sistemas que permitem a abordagem da História por meio de várias perspectivas, e a presença do trauma como elemento de ligação entre História e Literatura. Focalizando primordialmente o narrador, o pequeno Oskar, a análise perseguirá sua jornada em Nova York à procura de respostas para a morte de seu pai naquele dia catastrófico, tratado por Oskar como the worst day. Serão também analisados os usos de imagens, espaços em branco, as escritas com sobreposição e o diálogo com a tecnologia e mensagens codificadas, como SMS, que estão presentes no romance. A fundamentação teórica desta discussão será baseada em textos de McHale (1992), Lyotard (1990), Jameson (2007), Santiago (2002), Connor (2000), White (1994), Le Goff (2003), e Hutcheon (1991) / This thesis investigates the narrative strategies used by Jonathan Safran Foer in Extremely Loud & Incredibly Close (2005) in order to verify how the author evaluates the episode of the terrorist attacks of 9/11. The tragedy is the beginning of a new period in the history of the United States and has been the subject of publications in several fields. This study examines, through the journey taken by the nine-year-old boy Oskar, whose father was a victim of the 9/11 attacks, how the events of the past are transformed into relevant historical facts, systems that allow the treatment of History through multiple perspectives, and the presence of trauma as a conection between History and Literature. Primarily focusing on the narrator, little Oskar, the analysis will pursue his journey in New York looking for answers to the death of his father on that catastrophic day, treated by Oskar as “the worst day”. The use of images, blanks, written with overlapping and dialogue with technology and coded messages such as SMS, which are present in the novel, will also be analyzed. The theoretical basis of this discussion includes texts by McHale (1992), Lyotard (1990), Jameson (2007), Santiago (2002), Connor (2000), White (1994), Le Goff (2003) and Hutcheon (1991)

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