Luigi Pirandello: Tensões e Conflitos em um, Nenhum e Cem Mil

• Ano de defesa: 2011
• Autor(a) principal: Peres, Terezinha Marta de Paula
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: http://www.teses.ufc.br
• Palavras-chave em Português: Letras; Campo Literário; Leitura; Desleitura; Superação; Poética; Pirandello,Luigi,1867-1936.Um,nenhum e cem mil - Crítica e Interpretação; Pirandello,Luigi,1867-1936 - Livros e Leitura; Influência(Literária,artística,etc.); Literary Field; Reading; Desreading; Overcoming; Poetry
• Link de acesso: http://www.repositorio.ufc.br/handle/riufc/3469

The present research, entitled Luigi Pirandello, the tensions and conflicts in Um, nenhum e cem mil (1926), aims at discussing how the Italian writer Luigi Pirandello (1867 -1936) took part in the social tensions of his time, how his geographic moves occurred, moves which imply in relating the author to the historic process of his time as well as his intellectual formation and how his search for a place in the intellectual world happened. For carrying on this investigation, we counted on the help of Pierre Bourdieu in his The rules of the art (1996) and Dominique Maingueneau in O contexto da obra literária (1991) in order to understand the circumstances in which Pirandello did his work. We also intend to investigate the author’s interactive relationship with the society of his time in what concerns the customs, beliefs, traditions and, above all, his interaction with the traditional literature, his position as a reader, how much he absorbed influences from it, and to what extent he interpreted and recreated them in his literary work. For a clearer view of the author’s relations to tradition, we will discuss the concepts of “influence” and “desreading” under the theoretical support of Harold Bloom in his Anguish of influence (1991) as well as Sandra Nitrini’s Compared Literature (2010). As a conclusion of this research, we analyze Pirandello’s position from his Um, nenhum e cem mil (1926), how he overcame his predecessors and how he elaborated a new work where a brand-new literary style is clearly viewed. For such analysis, we counted on the theoretical support of Roland Barthes’s Zero degree in whiting (1993) and Harold Bloom’s A map of desleitura (1995) and Arcangelo Leone de Castris’s Storia di Pirandello (1978), among others. We herein discussed the paths through which Pirandello wandered, using for such the analytical, descriptive, interpretative and comparative methods in the pursuit of a better understanding of his building process of a new poetry, which confers to Luigi Pirandello a different voice in the twentieth-century western literature.