Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-10-11T20:26:15Z
No. of bitstreams: 1
PedroFernandesDeOliveiraNeto_TESE.pdf: 2584466 bytes, checksum: 9e347c2e43df7f46c48bb2fb7b9db69d (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-10-13T20:53:57Z (GMT) No. of bitstreams: 1
PedroFernandesDeOliveiraNeto_TESE.pdf: 2584466 bytes, checksum: 9e347c2e43df7f46c48bb2fb7b9db69d (MD5) / Made available in DSpace on 2016-10-13T20:53:57Z (GMT). No. of bitstreams: 1
PedroFernandesDeOliveiraNeto_TESE.pdf: 2584466 bytes, checksum: 9e347c2e43df7f46c48bb2fb7b9db69d (MD5)
Previous issue date: 2016-02-15 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES) / Entre as diversas quest?es sobre o sujeito e suas incid?ncias no texto liter?rio, este estudo prefere a de perscrutar acerca de como o tema ? figurado no romance; isto ?, como se constitui e se apresenta entre as aporias do romanesco, que rela??o mant?m com o externo ao texto (a hist?ria, a sociedade), no que interfere na constru??o da narrativa e na forma do romance, quais quest?es suscitam, s?o algumas proposi??es envolvidas numa leitura que compreende Todos os nomes, de Jos? Saramago e N?o entres t?o depressa nessa noite escura, de Ant?nio Lobo Antunes. Esses romances foram elegidos porque se relacionam, respectivamente, a duas das principais correntes da forma romanesca: um mais integrado ao vi?s objetivo e outro ? tradi??o subjetiva. Sem abolir especificidades, mas ciente que essa n?o ? uma rela??o dicot?mica por compreender que o hiato entre as duas formas se resume basicamente a uma maneira de percep??o diversa do romancista sobre a realidade, este estudo se alimenta das duas posi??es no intuito de lidar com especificidades igualmente diversas de figura??o do sujeito no romance. Assim, este estudo dividiu-se nos tr?s momentos ora designados: (1) revisar sobre como o romance tem constru?do uma concep??o de sujeito desde a ruptura mantida com a epopeia. Essa revis?o privilegia tr?s momentos da hist?ria do romance: a epopeia, a verve realista do s?culo XIX e o romance impulsionado pelas novas formas dos anos 1920. Esse exerc?cio ? intermediado pelas leituras de Krysinski (2007), Luc?ks (2009), Z?raffa (2010), Candido (2007), Rosenfeld (1996), Adorno (2003), Benjamin (2012) entre outros; (2) ler Todos os nomes e perscrutar o exerc?cio das personagens centrais do romance - o Sr. Jos?, a mulher desconhecida, o conservador, a senhora do r?s-do-ch?o direito e o espa?o da Conservat?ria por compreend?-la coadjuvante nesse universo; (3) a partir desse mesmo exerc?cio, a leitura de N?o entres t?o depressa nessa noite escura perscruta as figuras de Lu?s Filipe, Margarida, Am?lia, Ana Maria e Maria Clara. Entre as interse??es alcan?adas na rela??o entre as duas obras est? a compreens?o de que o romance se exercita como artefato de conhecimento sobre sujeito e usa a personagem como figura??o sobre suas posi??es ocupadas na contemporaneidade; s?o obras que compreendem a imin?ncia do fim de uma civiliza??o pela forma avariada de coletividade e vida tornada repeti??o invari?vel. E exp?e ao menos duas formas de ruptura dessa condi??o catastr?fica: o sujeito ? a??o e deve sair para o mundo (Jos? Saramago); a desordem n?o apenas social ? individual e o sujeito ? espera enquanto remenda situa??es poss?veis de compreender o est?gio de degrada??o do homem (Ant?nio Lobo Antunes). S?o obras respons?veis por reafirmar o interesse do romance nas exist?ncias mais arredias e silenciosas por entenderem que nelas esconde-se uma capacidade de reanima??o da exist?ncia e ? tarefa do romancista revel?-la. / Among the several questions about the subject and its occurrences in the literary text, the present study intends to search how this theme is represented in the novel; that is, how it is built and represented in the aporias of the romanesque, the relationships it maintains with what is external to the text (history, society), in what it interferes in the narrative construction and in the form of the novel and which questions they arise, are some of the propositions involved in a reading of All the Names, by Jos? Saramago and N?o entres t?o depressa nessa noite escura, by Ant?nio Lobo Antunes. These novels have been chosen because they are related, respectively, to two of the main trends about the form of the novel: one more integrated to an objective view and a second one more integrated to a subjective tradition. Without abolishing the specificities, but aware that the relationship between the subjective and the objective is not a dichotomy because the gap between these two forms is basically the novelist?s distinct way of perception about reality, these two different positions are considered in order to deal with equally diverse specificities of the figuration of the subject in the novel. Thus, this thesis is divided in three following parts: (1) a review of how the novel has built a conception of subject since the rupture with the epic. This review privileges three different moments in the history of the novel: the epic, the realist verve of the 19th Century and the novel moved by the 1920s new forms. This exercise is helped by the readings of Krysinski (2007), Luc?ks (2009), Z?raffa (2010), Candido (2007), Rosenfeld (1996), Adorno (2003), Benjamin (2012) among others; (2) reading All the Names and peering into the main characters of the novel ? Senhor Jos?, the unknown woman, the registrar, the right ground floor lady and the space of the Central Registry that is taken as a support in this universe; (3) considering the aforementioned exercise, the reading of N?o entres t?o depressa nessa noite escura peers into the characters Lu?s Filipe, Margarida, Am?lia, Ana Maria e Maria Clara. Among the intersections between the two books, there is the understanding that the novel is an artifact of knowledge about the subject as a figuration of its positions occupied in the contemporary world; both books understand the imminent end of a civilization by the damaged collectivity and life becoming invariable repetition. At least two other different means of rupture with this catastrophic condition are exposed: the subject is action and has to face the world (Jos? Saramago); the non-exclusively social disarray is individual and the subject is the waiting while he mends the possible situations to understand human degradation (Ant?nio Lobo Antunes). Both books are responsible for reaffirming the interest of the novel in the most reluctant and silent existences, once they understand these existences hide an ability of reanimation whose revelation is a task of the novelist.
| Identifer | oai:union.ndltd.org:IBICT/oai:repositorio.ufrn.br:123456789/21411 |
| Date | 15 February 2016 |
| Creators | Oliveira Neto, Pedro Fernandes de |
| Contributors | 65158598487, http://lattes.cnpq.br/8615666365895204, Marcolino, Francisco F?bio Vieira, 78974755491, http://lattes.cnpq.br/1149178004899236, Silva, F?bio M?rio da, 03102326439, http://lattes.cnpq.br/4329315558816516, Costa, Maria Aparecida da, 76037959668, Gon?alves, Marta Aparecida Garcia, 54460662949, http://lattes.cnpq.br/1240776467735498, Santos, Derivaldo dos |
| Publisher | PROGRAMA DE P?S-GRADUA??O EM ESTUDOS DA LINGUAGEM, UFRN, Brasil |
| Source Sets | IBICT Brazilian ETDs |
| Language | Portuguese |
| Detected Language | English |
| Type | info:eu-repo/semantics/publishedVersion, info:eu-repo/semantics/doctoralThesis |
| Source | reponame:Repositório Institucional da UFRN, instname:Universidade Federal do Rio Grande do Norte, instacron:UFRN |
| Rights | info:eu-repo/semantics/openAccess |
Page generated in 0.0025 seconds