Detalhes bibliográficos
| Ano de defesa: |
2009 |
| Autor(a) principal: |
Rohr, Cilene Trindade
 |
| Orientador(a): |
Oliveira, Maria Rosa Duarte de |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
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| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Literatura e Crítica Literária
|
| Departamento: |
Literatura
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| País: |
BR
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| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://tede2.pucsp.br/handle/handle/14903
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Resumo: |
Our study focused on the short story Theory of Medallion (1881), of Machado de Assis, with the aim of studying how the author articulates the use of parody understood in its double sense of parallelism and reversal in light of the theoretical foundations of Hutcheon (1995) for whom the parody is ironic "trans-contextualizing", that is, repetition with critical difference and Bakhtin (1993), which highlights the dialogical structure of parody speech: a "premeditated hybrid" between the parodied speech and the one which parodies it, without, however, destroying it. Although there are some studies in the critical fortune of this short story that go in that direction, such as: Almeida (2006) and Rego (1989), we would deal with parody under another perspective, that is, in the context of the serious-comic tradition, especially the Menippean satire, whose dialogical root is closely examined by Bakhtin as the original cell of Romanesque speech. It is under such strain which Machado was explicitly influenced by, as he has obliquely registered in a metafictional passage on Theory of Medallion: "you must not only use the irony, this movement at the corner of the mouth, full of mysteries, invented by a Greek of the decadence, contracted by Lucian, transmitted to Swift and Voltaire, common feature of the skeptical and insolent " that the subtitle "Dialogue" is materialized as a parody of a gender included in the tradition of the classical Platonic dialogues. By means of discourse analysis of the ambivalent Machadian short story, we point out the moments in which he was under a different discourse - that of The Republic of Plato - which now approached, now pushed away, in an alternate game of hiding-revealing in the manner of Machado, a reader of Lucian of Samosata. Our goal, however, was not only to unveil the parody construction within the narrative structure. We also intended, through this exemplary short story inside the short stories of the author, to reflect on the formative aspect that engenders, either at the level of gender as a hybrid of, at least, three matrices: the serious-comic of Menippean, the Platonic dialogue and the essay or "story-theory" (Bosi, 1999) or at the level of Machadian project of national literature whose cornerstone is the formation of a skillful reader capable of understanding, through an inside out reading, the critical hidden under the supposed praise of the picture of the medallion, typical successful citizen of the Brazilian society of the nineteenth century, which is nourished only of appearances |
