A escrita palimpséstica de Ondjaki: estratégias inter e intratextuais em E se amanhã o medo

• Autor(a) principal: Tosi, Gabriela Raizaro
• Data de Publicação: 2017
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da PUC_SP
• Texto Completo: https://tede2.pucsp.br/handle/handle/20472
• topic: Literatura angolana; Ondjaki [1977- ] - Crítica e interpretação; Intertextualidade; E se amanhã o medo; Angolan literature; Intertextuality; CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS::TEORIA LITERARIA

The present research aims to highlight the inter and intratextual relations established by Ondjaki in the elaboration of his short story book E se amanhã o medo (2010), as well as to discuss the importance and the role of recurrence to these strategies in the contemporary context. For this purpose, the study - exploratory, descriptive and essentially bibliographical - is organized in three chapters. In the first, we draw a brief overview of Angolan literature and the importance that orality has in this scenario, as well as presenting the life and work of the author. For the construction of this panorama, we have recourse, in particular, to the considerations of Carlos Ervedosa, Rita Chaves and Tânia Macêdo. The second chapter begins with a study on intertextuality from the reflections undertaken by Julia Kristeva, Gérard Genette, Roland Barthes, Laurent Jenny and Leyla Perrone-Moisés. Next, we propose the analysis of some selected short stories of E se amanhã o medo, identifying and analyzing the intertextual and also intratextual strategies that are observed in them. The third chapter, in turn, undertakes the discussion of critical hypotheses about the recurrence of inter and intratextual strategies in contemporary literature, especially in the short stories under study, but not restricting them, using, mainly, the discussions undertaken by Borges, Harold Bloom and Leyla Perrone-Moses. It is confirmed in this research the hypothesis that Ondjaki, appealing to inter and intratextual strategies in the elaboration of his stories, rather than aiming to become part of the canon, seems to recognize and wish to insert himself as an element of a "Globalized", in which the liquefied borders point to an approximation - and even almost indistinction - between national literatures