Dom Quixote em Nova York: uma trilogia peripatética

• Autor(a) principal: Amaral, Gloria Regina Alves de Carvalho
• Data de Publicação: 2016
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UERJ
• Texto Completo: http://www.bdtd.uerj.br/handle/1/6150
• topic: Don Quixote; Comparative literature; Mimesis; Enunciation; Auster, Paul, 1947- - Crítica e interpretação; Auster, Paul, 1947-. A trilogia de Nova York; Cervantes Saavedra, Miguel de, 1547-1616 - Crítica e interpretação; Cervantes Saavedra, Miguel de, 1547-1616. Dom Quixote; Literatura comparada - Americana e espanhola; Literatura comparada - Espanhola e americana; Mimese na literatura; Paul Auster; Enunciação; Dom Quixote; CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS::LITERATURA COMPARADA

This thesis presented a literary question raised by the approximation of the readings of the works "The New York trilogy " by Paul Auster and "Don Quixote". Starting from the attestation that the presence of "Don Quixote" throughout the trilogy, among other works, marks the site of the actual literary enunciation (the pernicious influence of books, fables, myths, etc.), the proposal was to scale in the works studied the very literary instability, recognized as a matter of words and anonymous voice (ie the enunciation). Therefore, the notion of "Khora" (third gender, presented by Plato, between the Intelligible and Sensitive) was used, taken as "typographical theater" (as an "appropriation" of reading the essay "Typography" by Philippe Lacoue-Labarthe). Originating from the understanding that the works studied present in the foreground devices and narrative resources as a way of revealing language in its fabulous, literary, poetic radicalism, the thesis pursued the question respecting the "theater" proposed in the works.The supporting theory of was also presented so as to actively participate as part of the text itself. All the issues raised were worked from the narrative dramatization of what was conveyed as three word-figures (recollected) from the works: madness, lies and heritage. The writing was intended to be an essayistic reading seeking to approximate the terms and artistic situations found, which put the works studied in circular motion, spinning around and returning to the word-figures that supported the presentation of ideas. In a style intended to reflect the methodology of the reading and the research, the nuances of the issue were addressed as themes and unfolded into three parts. In the first chapter, the first word-figure was addressed, lies, understanding that the question of truth as a lie or falsehood as truth goes back to the archaic human genesis, but that in the manner they were worked inside the typographic theater of the texts, they corroborate to the non-fixing of concepts, the transience of certainties and the relativization of the readings.The mythical language and the appearance of philosophical, theoretical, historical speeches" meeting and losing themselves in the literary writing as devices for destabilization.The second word-figure, madness, was developed in Chapter 2, which pursued the same path of destabilization in the very form of writing, both in "Don Quixote" as in "The New York trilogy " and therefore in the "theater" of this essayistic reading, so as to address madness as something proper of the mimesis, as something pertaining to the act of reading as well. In chapter 3, the word-picture "heritage" was addressed, seeking to rehearse the trajectory of Auster s text in face of whatever is this new literature may be, the literature of the "new continent" which drinks of its European origin (Cervantes), but which writes its own fortune. The thesis presented a disconclusion that sought to account for the trajectory of its own writing