As casas de vidro em nós: panóptico e contranarrativa nas obras de Ievguêny Zamiátin, Ivan Ângelo e Rubem Fonseca
Autor(a) principal: | |
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Data de Publicação: | 2023 |
Tipo de documento: | Tese |
Idioma: | por |
Título da fonte: | Biblioteca Digital de Teses e Dissertações da UFPB |
Texto Completo: | https://repositorio.ufpb.br/jspui/handle/123456789/29819 |
Resumo: | The Brazilian dystopian narratives released in the 20th and 21st centuries have resonances of the Russian dystopia We (2017 [1924]), by Ievguêni Zamyátin, and a closer look at these productions is necessary, in structural and thematic aspects. Among the many common features in dystopian works, while this thesis analyzes the dystopian characteristics in the text, it emphasizes two main points: first, the idea of Jeremy Bentham's panopticon (2019) represented in the instruments of control, oppression and repression of the population in dystopias and what are the implications of this excessive surveillance; second, Raffaella Baccolini's (1995) concept of counter-narrative in the stories analyzed in this final work. The main book analyzed in this thesis is We (2017 [1924]), a dystopian novel written in the early 1920s, but released only in 1924, in New York City (USA) and in English, because USSR censorship prohibited the publication of works like that in the country. The Russian narrative is told in the form of diary entries, in which the engineer and mathematician D-503, a proud member of the One State (new system of world government), discusses his new world, the society which, for the “numbers” (or unifs) is the most perfect in history, and also about the opposing elements that try to rise up against the Well-Doer, the head of the nation. We (2017 [1924]) influenced important dystopian narratives, such as Brave New World (2014 [1932]), by Huxley, and 1984 (2009 [1949]), by Orwell, among others. Zamyatin's reverberation in Brazilian dystopian works is perceptible in the analysis, like the aspects which are compared: the use of brute force to repress riots; spatial and social changes; the centralization of power; advanced technologies, the lack of social harmony and the strong presence of the glass, in all its symbology. The thesis, whose research was bibliographical, qualitative and explanatory, begins by presenting the review of criticism of the authors mentioned in the study, on literary and comparative studies, such as Nitrini (2001), Eagleton (2003), Samuel (2007), Castello (2012), Carvalhal (2006). Next, it discusses the theoretical perspectives of narrative, according to Todorov (2013), Genette (2015; 2017), Reuter (2004); and it also debates the counter-narrative as a discourse of resistance, according to Baccolini (1995). Subsequently, this final work addresses panopticism, according to Bentham (2019), in which case the studies of Foucault (2014) are also essential. Further on, the thesis presents the book We (2017 [1924]), by Zamiátin, in its dystopian aspects, and, in order to perform this, the theoretical precepts of Booker (1994), Baccolini (1995), Claeys (2010), Vieira (2010) and Moylan (2016) are fundamental. Finally, this work presents the analysis of Zamiátin's work compared to the study of the short stories "O quarto selo (fragmento)" (1987 [1969]), by Rubem Fonseca, and "A casa de Vidro" (1979), by Ivan Ângelo, seeking to establish similarities and distinctions between the narratives of the corpus, according to studies by Carvalhal (1986) on comparative literature. This final work seeks to encourage comparative studies between Brazilian and Russian dystopias, due to the relevance and originality of Zamyatin's work and to the remarkable influence of the Russian writer on literature. |
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As casas de vidro em nós: panóptico e contranarrativa nas obras de Ievguêny Zamiátin, Ivan Ângelo e Rubem FonsecaGêneros literários - Análise comparadaDistopiaPanópticoContranarrativaTradição e modernidadeIntertextualidadeLiterary genres - Comparative analysisDystopiaPanopticonCounter-narrativeTradition and modernityIntertextualityCNPQ::LINGUISTICA, LETRAS E ARTES::LETRASThe Brazilian dystopian narratives released in the 20th and 21st centuries have resonances of the Russian dystopia We (2017 [1924]), by Ievguêni Zamyátin, and a closer look at these productions is necessary, in structural and thematic aspects. Among the many common features in dystopian works, while this thesis analyzes the dystopian characteristics in the text, it emphasizes two main points: first, the idea of Jeremy Bentham's panopticon (2019) represented in the instruments of control, oppression and repression of the population in dystopias and what are the implications of this excessive surveillance; second, Raffaella Baccolini's (1995) concept of counter-narrative in the stories analyzed in this final work. The main book analyzed in this thesis is We (2017 [1924]), a dystopian novel written in the early 1920s, but released only in 1924, in New York City (USA) and in English, because USSR censorship prohibited the publication of works like that in the country. The Russian narrative is told in the form of diary entries, in which the engineer and mathematician D-503, a proud member of the One State (new system of world government), discusses his new world, the society which, for the “numbers” (or unifs) is the most perfect in history, and also about the opposing elements that try to rise up against the Well-Doer, the head of the nation. We (2017 [1924]) influenced important dystopian narratives, such as Brave New World (2014 [1932]), by Huxley, and 1984 (2009 [1949]), by Orwell, among others. Zamyatin's reverberation in Brazilian dystopian works is perceptible in the analysis, like the aspects which are compared: the use of brute force to repress riots; spatial and social changes; the centralization of power; advanced technologies, the lack of social harmony and the strong presence of the glass, in all its symbology. The thesis, whose research was bibliographical, qualitative and explanatory, begins by presenting the review of criticism of the authors mentioned in the study, on literary and comparative studies, such as Nitrini (2001), Eagleton (2003), Samuel (2007), Castello (2012), Carvalhal (2006). Next, it discusses the theoretical perspectives of narrative, according to Todorov (2013), Genette (2015; 2017), Reuter (2004); and it also debates the counter-narrative as a discourse of resistance, according to Baccolini (1995). Subsequently, this final work addresses panopticism, according to Bentham (2019), in which case the studies of Foucault (2014) are also essential. Further on, the thesis presents the book We (2017 [1924]), by Zamiátin, in its dystopian aspects, and, in order to perform this, the theoretical precepts of Booker (1994), Baccolini (1995), Claeys (2010), Vieira (2010) and Moylan (2016) are fundamental. Finally, this work presents the analysis of Zamiátin's work compared to the study of the short stories "O quarto selo (fragmento)" (1987 [1969]), by Rubem Fonseca, and "A casa de Vidro" (1979), by Ivan Ângelo, seeking to establish similarities and distinctions between the narratives of the corpus, according to studies by Carvalhal (1986) on comparative literature. This final work seeks to encourage comparative studies between Brazilian and Russian dystopias, due to the relevance and originality of Zamyatin's work and to the remarkable influence of the Russian writer on literature.NenhumaAs narrativas distópicas brasileiras dos séculos XX e XXI possuem ressonâncias da distopia russa Nós (2017 [1924]), de Ievguêni Zamiátin, e é necessário um olhar mais atento sobre essas produções, em aspectos estruturais e temáticos. Nesta tese, entre os vários traços em comum nas obras distópicas, enquanto analiso as características distópicas no texto, ressalto dois pontos primordiais: primeiro, a ideia do panóptico de Jeremy Bentham (2019) representada nas ferramentas de controle, opressão e repressão populacional nas distopias e quais são as implicações dessa vigilância excessiva; segundo, o conceito de contranarrativa de Raffaella Baccolini (1995) nas narrativas analisadas neste trabalho. A principal obra analisada nesta tese é Nós (2017), romance distópico escrito no início da década de 1920, mas lançado apenas em 1924, na cidade de Nova Iorque (EUA) e em língua inglesa, porque a censura na U.R.S.S. vetava a publicação de obras como aquela no seu país de origem. A narrativa russa é construída em forma de entradas de um diário, no qual o engenheiro e matemático D-503, membro orgulhoso do Estado Único (novo sistema de governo mundial), discute sobre o seu novo mundo, a sociedade que, para os “números” (ou unifs) é a mais perfeita da história, e também sobre os elementos opositores que tentam levantar-se contra o regime do Benfeitor, o chefe da nação. Nós (2017 [1924]) influenciou importantes narrativas distópicas, como Admirável Mundo Novo (2014 [1932]), de Huxley, e 1984 (2009 [1949]), de Orwell, entre outras; o reflexo de Zamiátin nas obras distópicas é perceptível na análise, a exemplo dos aspectos comparados: o uso da força bruta para reprimir movimentos; as transformações espaciais e sociais; a centralização de poder; as tecnologias avançadas, na falta de harmonia social e na forte presença do vidro, em toda a sua simbologia. A tese, que tem suporte em uma pesquisa bibliográfica, qualitativa e explicativa, parte da apresentação da fortuna crítica dos autores mencionados no trabalho, nos estudos literários e comparados, com Nitrini (2001), Eagleton (2003), Samuel (2007), Castello (2012), Carvalhal (2006); na sequência, aborda as perspectivas teóricas da narrativa segundo Todorov (2013), Genette (2015; 2017), Reuter (2004); e também debate a contranarrativa como um discurso de resistência, segundo Baccolini (1995). Posteriormente, aborda o panoptismo, segundo Bentham (2019), caso em que são essenciais também os estudos de Foucault (2014). Adiante, a tese apresenta a obra Nós (2017 [1924]), de Zamiátin, em seus traços distópicos, e, para isto, são fundamentais os preceitos teóricos de Booker (1994), Baccolini (1995), Claeys (2010), Vieira (2010) e Moylan (2016). Por fim, este trabalho apresenta a análise da obra de Zamiátin, mais o estudo dos contos “O quarto selo (fragmento)” (1987 [1969]), de Rubem Fonseca, e “A casa de vidro” (1979), de Ivan Ângelo, de modo a estabelecer semelhanças e distinções entre as obras do corpus. Esta pesquisa buscou incentivar os estudos comparativos entre a distopia brasileira e a russa, pela relevância e originalidade da obra de Zamiátin, e pela influência notável do escritor russo sobre autores da literatura universal.Universidade Federal da ParaíbaBrasilLetrasPrograma de Pós-Graduação em LetrasUFPBSantos, Luciane Alveshttp://lattes.cnpq.br/4298723741829457Lira, Thaíse Gomes2024-03-11T10:16:50Z2023-09-142024-03-11T10:16:50Z2023-02-27info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesishttps://repositorio.ufpb.br/jspui/handle/123456789/29819porAttribution-NoDerivs 3.0 Brazilhttp://creativecommons.org/licenses/by-nd/3.0/br/info:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da UFPBinstname:Universidade Federal da Paraíba (UFPB)instacron:UFPB2024-03-12T06:07:20Zoai:repositorio.ufpb.br:123456789/29819Biblioteca Digital de Teses e Dissertaçõeshttps://repositorio.ufpb.br/PUBhttp://tede.biblioteca.ufpb.br:8080/oai/requestdiretoria@ufpb.br|| diretoria@ufpb.bropendoar:2024-03-12T06:07:20Biblioteca Digital de Teses e Dissertações da UFPB - Universidade Federal da Paraíba (UFPB)false |
dc.title.none.fl_str_mv |
As casas de vidro em nós: panóptico e contranarrativa nas obras de Ievguêny Zamiátin, Ivan Ângelo e Rubem Fonseca |
title |
As casas de vidro em nós: panóptico e contranarrativa nas obras de Ievguêny Zamiátin, Ivan Ângelo e Rubem Fonseca |
spellingShingle |
As casas de vidro em nós: panóptico e contranarrativa nas obras de Ievguêny Zamiátin, Ivan Ângelo e Rubem Fonseca Lira, Thaíse Gomes Gêneros literários - Análise comparada Distopia Panóptico Contranarrativa Tradição e modernidade Intertextualidade Literary genres - Comparative analysis Dystopia Panopticon Counter-narrative Tradition and modernity Intertextuality CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS |
title_short |
As casas de vidro em nós: panóptico e contranarrativa nas obras de Ievguêny Zamiátin, Ivan Ângelo e Rubem Fonseca |
title_full |
As casas de vidro em nós: panóptico e contranarrativa nas obras de Ievguêny Zamiátin, Ivan Ângelo e Rubem Fonseca |
title_fullStr |
As casas de vidro em nós: panóptico e contranarrativa nas obras de Ievguêny Zamiátin, Ivan Ângelo e Rubem Fonseca |
title_full_unstemmed |
As casas de vidro em nós: panóptico e contranarrativa nas obras de Ievguêny Zamiátin, Ivan Ângelo e Rubem Fonseca |
title_sort |
As casas de vidro em nós: panóptico e contranarrativa nas obras de Ievguêny Zamiátin, Ivan Ângelo e Rubem Fonseca |
author |
Lira, Thaíse Gomes |
author_facet |
Lira, Thaíse Gomes |
author_role |
author |
dc.contributor.none.fl_str_mv |
Santos, Luciane Alves http://lattes.cnpq.br/4298723741829457 |
dc.contributor.author.fl_str_mv |
Lira, Thaíse Gomes |
dc.subject.por.fl_str_mv |
Gêneros literários - Análise comparada Distopia Panóptico Contranarrativa Tradição e modernidade Intertextualidade Literary genres - Comparative analysis Dystopia Panopticon Counter-narrative Tradition and modernity Intertextuality CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS |
topic |
Gêneros literários - Análise comparada Distopia Panóptico Contranarrativa Tradição e modernidade Intertextualidade Literary genres - Comparative analysis Dystopia Panopticon Counter-narrative Tradition and modernity Intertextuality CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS |
description |
The Brazilian dystopian narratives released in the 20th and 21st centuries have resonances of the Russian dystopia We (2017 [1924]), by Ievguêni Zamyátin, and a closer look at these productions is necessary, in structural and thematic aspects. Among the many common features in dystopian works, while this thesis analyzes the dystopian characteristics in the text, it emphasizes two main points: first, the idea of Jeremy Bentham's panopticon (2019) represented in the instruments of control, oppression and repression of the population in dystopias and what are the implications of this excessive surveillance; second, Raffaella Baccolini's (1995) concept of counter-narrative in the stories analyzed in this final work. The main book analyzed in this thesis is We (2017 [1924]), a dystopian novel written in the early 1920s, but released only in 1924, in New York City (USA) and in English, because USSR censorship prohibited the publication of works like that in the country. The Russian narrative is told in the form of diary entries, in which the engineer and mathematician D-503, a proud member of the One State (new system of world government), discusses his new world, the society which, for the “numbers” (or unifs) is the most perfect in history, and also about the opposing elements that try to rise up against the Well-Doer, the head of the nation. We (2017 [1924]) influenced important dystopian narratives, such as Brave New World (2014 [1932]), by Huxley, and 1984 (2009 [1949]), by Orwell, among others. Zamyatin's reverberation in Brazilian dystopian works is perceptible in the analysis, like the aspects which are compared: the use of brute force to repress riots; spatial and social changes; the centralization of power; advanced technologies, the lack of social harmony and the strong presence of the glass, in all its symbology. The thesis, whose research was bibliographical, qualitative and explanatory, begins by presenting the review of criticism of the authors mentioned in the study, on literary and comparative studies, such as Nitrini (2001), Eagleton (2003), Samuel (2007), Castello (2012), Carvalhal (2006). Next, it discusses the theoretical perspectives of narrative, according to Todorov (2013), Genette (2015; 2017), Reuter (2004); and it also debates the counter-narrative as a discourse of resistance, according to Baccolini (1995). Subsequently, this final work addresses panopticism, according to Bentham (2019), in which case the studies of Foucault (2014) are also essential. Further on, the thesis presents the book We (2017 [1924]), by Zamiátin, in its dystopian aspects, and, in order to perform this, the theoretical precepts of Booker (1994), Baccolini (1995), Claeys (2010), Vieira (2010) and Moylan (2016) are fundamental. Finally, this work presents the analysis of Zamiátin's work compared to the study of the short stories "O quarto selo (fragmento)" (1987 [1969]), by Rubem Fonseca, and "A casa de Vidro" (1979), by Ivan Ângelo, seeking to establish similarities and distinctions between the narratives of the corpus, according to studies by Carvalhal (1986) on comparative literature. This final work seeks to encourage comparative studies between Brazilian and Russian dystopias, due to the relevance and originality of Zamyatin's work and to the remarkable influence of the Russian writer on literature. |
publishDate |
2023 |
dc.date.none.fl_str_mv |
2023-09-14 2023-02-27 2024-03-11T10:16:50Z 2024-03-11T10:16:50Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
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info:eu-repo/semantics/doctoralThesis |
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doctoralThesis |
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https://repositorio.ufpb.br/jspui/handle/123456789/29819 |
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https://repositorio.ufpb.br/jspui/handle/123456789/29819 |
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por |
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Attribution-NoDerivs 3.0 Brazil http://creativecommons.org/licenses/by-nd/3.0/br/ info:eu-repo/semantics/openAccess |
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Attribution-NoDerivs 3.0 Brazil http://creativecommons.org/licenses/by-nd/3.0/br/ |
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openAccess |
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Universidade Federal da Paraíba Brasil Letras Programa de Pós-Graduação em Letras UFPB |
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Universidade Federal da Paraíba Brasil Letras Programa de Pós-Graduação em Letras UFPB |
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Universidade Federal da Paraíba (UFPB) |
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Biblioteca Digital de Teses e Dissertações da UFPB |
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Biblioteca Digital de Teses e Dissertações da UFPB |
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Biblioteca Digital de Teses e Dissertações da UFPB - Universidade Federal da Paraíba (UFPB) |
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diretoria@ufpb.br|| diretoria@ufpb.br |
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