A tecitura quadridimensional do mundo em Avalovara, de Osman Lins
Ano de defesa: | 2015 |
---|---|
Autor(a) principal: | |
Orientador(a): | |
Banca de defesa: | |
Tipo de documento: | Dissertação |
Tipo de acesso: | Acesso aberto |
Idioma: | por |
Instituição de defesa: |
Universidade Estadual da Paraíba
|
Programa de Pós-Graduação: |
Programa de Pós-Graduação em Literatura e Interculturalidade - PPGLI
|
Departamento: |
Centro de Educação - CEDUC
|
País: |
Brasil
|
Palavras-chave em Português: | |
Área do conhecimento CNPq: | |
Link de acesso: | http://tede.bc.uepb.edu.br/tede/jspui/handle/tede/2454 |
Resumo: | In this research, we have studied the world in the novel Avalovara (1973), written by the Brazilian writer Osman Lins. In order to do so, we have replaced the concept of space from topoanalytical studies, which is limited to a Cartesian view, to the concept of worldliness which was developed by Heidegger. Such concept indicates the idea of a cyclical whole structured by the being‘s everyday means of meetings and practices in the world. Considering that the literary narrative is words made and it do not represent or reproduce reality, we have adopted Foucault‘s heterotopia concept as an indicator of "spaces" that both represent and contradict reality. Such concept is relevant for the study of places in narrative and it is grounded in reality‘s shades and symbolism. As the "word" is a matter crafted by the writer in order to structure a world, we base its analysis on the similarity idea, also Foucault‘s, which argues that each work of Art is the thing represented increased by small differences. So, it is impossible to link a work of art to a source. Therefore, we arrive at a fictional world that is, contradicts and reverses reality spaces through the increase of small differences. Such world is based on meetings modes and practices experienced by the writer. S/he uses narrative to structure a world in which things and beings remain connected by strength and repulsion lines through interpretation. The narrative text, which is built on square and spiral, establishes a conversation with the reader, whose interpretation is able to add small differences in novelistic world. So, the world in Avalovara is a permanent construction by interaction in four dimensions: 1) meeting modes and uses experienced by the writer; 2) the writer‘s understanding / interpretation, which acts on number one above; 3) narrative worldliness, which unveils and alights the writer‘s circumvision; 4) the reader‘s understanding / interpretation, which acts on the basis of all three aspects previously mentioned. Thus, this research has three chapters: the first one seeks to understand Osman Lins‘ hermeneutic view and also his word concept. The second one develops worldliness, heterotopia and similarity concepts, while the third one analyzes the world in Avalovara shared into three regions composed by countless locations and environments. Such hermeneutic quadridimensionality leads us to the idea that the insubordinate fictional world is a simultaneous product of all dimensions. |
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Queiroz , Rosângela Maria Soares deAmancio , Fábio de Lima2016-08-17T17:32:24Z2015-03-06Amancio, Fábio de Lima. A tecitura quadridimensional do mundo em Avalovara, de Osman Lins. 2015. 184 p. Dissertação (Programa de Pós-Graduação em Literatura e Interculturalidade - PPGLI) - Universidade Estadual da Paraíba, Campina Grande.http://tede.bc.uepb.edu.br/tede/jspui/handle/tede/2454In this research, we have studied the world in the novel Avalovara (1973), written by the Brazilian writer Osman Lins. In order to do so, we have replaced the concept of space from topoanalytical studies, which is limited to a Cartesian view, to the concept of worldliness which was developed by Heidegger. Such concept indicates the idea of a cyclical whole structured by the being‘s everyday means of meetings and practices in the world. Considering that the literary narrative is words made and it do not represent or reproduce reality, we have adopted Foucault‘s heterotopia concept as an indicator of "spaces" that both represent and contradict reality. Such concept is relevant for the study of places in narrative and it is grounded in reality‘s shades and symbolism. As the "word" is a matter crafted by the writer in order to structure a world, we base its analysis on the similarity idea, also Foucault‘s, which argues that each work of Art is the thing represented increased by small differences. So, it is impossible to link a work of art to a source. Therefore, we arrive at a fictional world that is, contradicts and reverses reality spaces through the increase of small differences. Such world is based on meetings modes and practices experienced by the writer. S/he uses narrative to structure a world in which things and beings remain connected by strength and repulsion lines through interpretation. The narrative text, which is built on square and spiral, establishes a conversation with the reader, whose interpretation is able to add small differences in novelistic world. So, the world in Avalovara is a permanent construction by interaction in four dimensions: 1) meeting modes and uses experienced by the writer; 2) the writer‘s understanding / interpretation, which acts on number one above; 3) narrative worldliness, which unveils and alights the writer‘s circumvision; 4) the reader‘s understanding / interpretation, which acts on the basis of all three aspects previously mentioned. Thus, this research has three chapters: the first one seeks to understand Osman Lins‘ hermeneutic view and also his word concept. The second one develops worldliness, heterotopia and similarity concepts, while the third one analyzes the world in Avalovara shared into three regions composed by countless locations and environments. Such hermeneutic quadridimensionality leads us to the idea that the insubordinate fictional world is a simultaneous product of all dimensions.Nesta pesquisa, estudamos o mundo no romance Avalovara (1973), do escritor pernambucano Osman Lins. Para tanto, substituímos o conceito de espaço dos estudos topoanalíticos, limitado à visão cartesiana, pelo conceito de mundanidade desenvolvido por Heidegger, o qual indica a ideia de uma totalidade conjuntural estruturada por modos de encontros e usos, vividos cotidianamente pelo ser-no-mundo. Sendo a narrativa literária feita de palavras que não representam ou reproduzem a realidade, adotamos o conceito de heterotopia de Foucault, indicador dos ―espaços‖ que, ao mesmo tempo, representam, contradizem e invertem a realidade, para o estudo dos lugares na narrativa, compostos por matizes de realidade e de simbologia. Sendo a ―palavra‖ a matéria trabalhada pelo escritor para estruturar um mundo, fundamentamos sua análise na ideia de similitude, também de Foucault, o qual defende que cada ―coisa‖ artística é a coisa representada acrescida por pequenas diferenças, o que impossibilita a referencialidade a uma origem. Com base nisto, chegamos a um mundo romanesco que representa, contradiz e inverte, por meio de acréscimos de pequenas diferenças, os espaços da realidade. Este mundo tem como base os modos de encontros e usos vividos pelo escritor que, por meio da interpretação, estrutura narrativamente um mundo no qual coisas e seres se mantêm ligados por linhas e nós de força e repulsão. O texto, construído com base no quadrado e na espiral, entra em conversa com o leitor, cuja interpretação acaba acrescendo pequenas diferenças no mundo romanesco. Assim, o mundo em Avalovara é uma construção permanente pela interação de quatro dimensões: 1) a dos modos de encontros e usos vividos pelo escritor; 2) a da compreensão/interpretação do escritor, que atua sobre a primeira; 3) a da mundanidade da narrativa textual, que desvela e vela a circunvisão do escritor; 4) a da compreensão/interpretação do leitor, que atua com base e sobre as anteriores. Desse modo, dividimos a pesquisa em três capítulos: o primeiro busca entender a visão hermenêutica de Osman Lins, seu conceito de palavra, de texto; o segundo desenvolve os conceitos de mundanidade, de heterotopia e de similitude; o terceiro analisa o mundo em Avalovara dividido em três regiões, compostas por incontáveis lugares e ambientes. Esta quadridimensionalidade hermenêutica conduz à ideia de que o mundo romanesco, insubordinado, é produto de todas as dimensões, simultaneamente.Submitted by Andressa Lima (andressa@uepb.edu.br) on 2016-08-12T18:42:14Z No. of bitstreams: 1 PDF - Fábio de Lima Amancio.pdf: 2899863 bytes, checksum: d6f063cde729c6034d01dd4cfbdfd347 (MD5)Approved for entry into archive by Luciana Medeiros (luciana@uepb.edu.br) on 2016-08-17T17:32:24Z (GMT) No. of bitstreams: 1 PDF - Fábio de Lima Amancio.pdf: 2899863 bytes, checksum: d6f063cde729c6034d01dd4cfbdfd347 (MD5)Made available in DSpace on 2016-08-17T17:32:24Z (GMT). No. of bitstreams: 1 PDF - Fábio de Lima Amancio.pdf: 2899863 bytes, checksum: d6f063cde729c6034d01dd4cfbdfd347 (MD5) Previous issue date: 2015-03-06application/pdfhttp://tede.bc.uepb.edu.br/jspui/retrieve/5066/PDF%20-%20F%c3%a1bio%20de%20Lima%20Amancio.pdf.jpgporUniversidade Estadual da ParaíbaPrograma de Pós-Graduação em Literatura e Interculturalidade - PPGLIUEPBBrasilCentro de Educação - CEDUCRomance Brasileiro. Espaço. Dimensão. 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dc.title.por.fl_str_mv |
A tecitura quadridimensional do mundo em Avalovara, de Osman Lins |
title |
A tecitura quadridimensional do mundo em Avalovara, de Osman Lins |
spellingShingle |
A tecitura quadridimensional do mundo em Avalovara, de Osman Lins Amancio , Fábio de Lima Romance Brasileiro. Espaço. Dimensão. Mundo. CIENCIAS SOCIAIS APLICADAS |
title_short |
A tecitura quadridimensional do mundo em Avalovara, de Osman Lins |
title_full |
A tecitura quadridimensional do mundo em Avalovara, de Osman Lins |
title_fullStr |
A tecitura quadridimensional do mundo em Avalovara, de Osman Lins |
title_full_unstemmed |
A tecitura quadridimensional do mundo em Avalovara, de Osman Lins |
title_sort |
A tecitura quadridimensional do mundo em Avalovara, de Osman Lins |
author |
Amancio , Fábio de Lima |
author_facet |
Amancio , Fábio de Lima |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Queiroz , Rosângela Maria Soares de |
dc.contributor.author.fl_str_mv |
Amancio , Fábio de Lima |
contributor_str_mv |
Queiroz , Rosângela Maria Soares de |
dc.subject.por.fl_str_mv |
Romance Brasileiro. Espaço. Dimensão. Mundo. |
topic |
Romance Brasileiro. Espaço. Dimensão. Mundo. CIENCIAS SOCIAIS APLICADAS |
dc.subject.cnpq.fl_str_mv |
CIENCIAS SOCIAIS APLICADAS |
description |
In this research, we have studied the world in the novel Avalovara (1973), written by the Brazilian writer Osman Lins. In order to do so, we have replaced the concept of space from topoanalytical studies, which is limited to a Cartesian view, to the concept of worldliness which was developed by Heidegger. Such concept indicates the idea of a cyclical whole structured by the being‘s everyday means of meetings and practices in the world. Considering that the literary narrative is words made and it do not represent or reproduce reality, we have adopted Foucault‘s heterotopia concept as an indicator of "spaces" that both represent and contradict reality. Such concept is relevant for the study of places in narrative and it is grounded in reality‘s shades and symbolism. As the "word" is a matter crafted by the writer in order to structure a world, we base its analysis on the similarity idea, also Foucault‘s, which argues that each work of Art is the thing represented increased by small differences. So, it is impossible to link a work of art to a source. Therefore, we arrive at a fictional world that is, contradicts and reverses reality spaces through the increase of small differences. Such world is based on meetings modes and practices experienced by the writer. S/he uses narrative to structure a world in which things and beings remain connected by strength and repulsion lines through interpretation. The narrative text, which is built on square and spiral, establishes a conversation with the reader, whose interpretation is able to add small differences in novelistic world. So, the world in Avalovara is a permanent construction by interaction in four dimensions: 1) meeting modes and uses experienced by the writer; 2) the writer‘s understanding / interpretation, which acts on number one above; 3) narrative worldliness, which unveils and alights the writer‘s circumvision; 4) the reader‘s understanding / interpretation, which acts on the basis of all three aspects previously mentioned. Thus, this research has three chapters: the first one seeks to understand Osman Lins‘ hermeneutic view and also his word concept. The second one develops worldliness, heterotopia and similarity concepts, while the third one analyzes the world in Avalovara shared into three regions composed by countless locations and environments. Such hermeneutic quadridimensionality leads us to the idea that the insubordinate fictional world is a simultaneous product of all dimensions. |
publishDate |
2015 |
dc.date.issued.fl_str_mv |
2015-03-06 |
dc.date.accessioned.fl_str_mv |
2016-08-17T17:32:24Z |
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dc.identifier.citation.fl_str_mv |
Amancio, Fábio de Lima. A tecitura quadridimensional do mundo em Avalovara, de Osman Lins. 2015. 184 p. Dissertação (Programa de Pós-Graduação em Literatura e Interculturalidade - PPGLI) - Universidade Estadual da Paraíba, Campina Grande. |
dc.identifier.uri.fl_str_mv |
http://tede.bc.uepb.edu.br/tede/jspui/handle/tede/2454 |
identifier_str_mv |
Amancio, Fábio de Lima. A tecitura quadridimensional do mundo em Avalovara, de Osman Lins. 2015. 184 p. Dissertação (Programa de Pós-Graduação em Literatura e Interculturalidade - PPGLI) - Universidade Estadual da Paraíba, Campina Grande. |
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http://tede.bc.uepb.edu.br/tede/jspui/handle/tede/2454 |
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