LLA - Alemão

This study aims to discuss the reception potential of Clarice Lispector's work in Germany. Therefore, it is based on the ideas of translation emerged in the 1970’s, especially on the Polysystem Theory by Itamar Even-Zohar, the translation norms by Gideon Toury, and the concepts of rewriting and patronage by André Lefevere. In combination with these translational principles the work of Gérard Genette, Paratexts, supports the systemization of the functions and particularities of the corpus of this study, namely, the paratexts that present and comment the German translations of Lispector’s books: blurbs, literary reviews, newspaper articles, among others. By means of describing and analyzing these textual elements this work aims at mapping out the role and the influence of instances and agents such as e.g. publishers and journalists on the dissemination of this writer in the German literary system. Thus, new tinges in the reception of Brazilian literature translated in Germany become evident, as the image associated with Lispector's work is uncoupled from certain stereotypes related to Brazil and aligned with the tradition of Western literature.

This research is devoted to Herman Broch’s trilogy The sleepwalkers. The focus of our interest lies on the historical and constructive aspects of the novels Pasenow the romantic,Esch the anarchist and Huguenau the realist. The study is divided in two parts. The first one contains a discussion on the literary and historical context, on the author’s thought and on theoretical questions about the novel as a genre. In our view, the trilogy offers a unique commentary upon the crisis of the novel around 1930. Moreover, we take Broch’s ideas as an ethics of totality and we propose a realist and metaphysical rhetoric as a key device of the text of The sleepwalkers. The second part consists of observations on the narrative composition, in which we analyze the dynamics of similarities and differences among the three titles. Our aim is to provide a framework for the understanding of the trilogy’s literary place and specificity. “Impatience of knowledge” in Broch means poetry capable of anticipating science, novel being able to anticipate philosophy.

Published in 1929, Berlin Alexanderplatz, a novel by Alfred Döblin, was considered – since its first reviews – a landmark in German literature. Its novelty resided above all in the use of the techniques of collage and montage, the use of which made possible that fragments collected in the metropolis could be inserted in the novel as its own formal matter. What Döblin has tried to do with that was to displace the position usually afforded to the metropolis, from object of representation to subject of enunciation. This dissertation engages in an analysis of the narrative formal composition in order to understand what this new position – conquered by the metropolis in Berlin Alexanderplatz – implies to the genre. This problem is in constant dialogue with the very important “crises of the novel” issue, which supported much of the literary debate of the time and has a corresponding development in Döblin’s own theoretical production from 1910 to 1930. Contrasting Berlin Alexanderplatz to the questions posed in these theoretical texts makes the relationship of the novel with its own time even more explicit. Moreover there is a strict coincidence between the importance of objectivity in a good deal of Döblin’s theory and the presuppositions of the most characteristic artistic movement of the Weimar Republic, the Neue Sachlichkeit. To examine this convergence helps us cast some light on the problems of a narrative that dialectically oscillates between the representation of an individual destiny and the search for a realist montage/image of the metropolis. All this dialogues, besides the confrontation with the novel tradition, help us glimpse some of the elements that headed towards the configuration of this, in Döblin’s own words, “epic of modernity”. 

This work deals with the comparison of the first autobiographical volume of the Austrian writer Thomas Bernhard, Die Ursache. Eine Andeutung (1975), with his novel Auslöschung.
Ein Zerfall (1986), which has some characteristics of the autobiographical genre. The comparison intends to show how the same themes are configured in both cases and how the differences can be related to the different intentions and different moments of writing. Being noted as fiction allows the author more freedom to experiment formally and to intensify the attack he developed against his origins, while in the autobiography, although it also has a strong critical aspect, he puts his arguments in a restrained way, dealing with issues of verisimilitude and authenticity, which are typical for this genre. Furthermore, this text will try to analyse how the novel, written in the same context as the autobiography, completes it and functions like a kind of remark to the autobiographical work.