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Silas De Oliveira Granjo Universidade de Aveiro Departamento de Línguas e Culturas 2005 Silas de Oliveira DISCURSO NARRATIVO E LINHAS TEMÁTICAS NA OBRA DE Granjo MARIAN ENGEL provided by Repositório Institucional da Universidade de Aveiro View metadata, citation and similar papers at core.ac.uk CORE brought to you by ii Universidade de Aveiro Departamento de Línguas e Culturas 2005 Silas de Oliveira DISCURSO NARRATIVO E LINHAS TEMÁTICAS NA OBRA DE Granjo MARIAN ENGEL Dissertação apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Literatura, realizada sob a orientação científica do Doutor Kenneth David Callahan, Professor Agregado do Departamento de Línguas e Culturas da Universidade de Aveiro. iii iv o júri presidente Doutor João Lemos Pinto Professor Catedrático da Universidade de Aveiro Doutora Maria Aline Salgueiro de Seabra Ferreira Professora Associada da Universidade de Aveiro Doutor Kenneth David Callahan (Orientador) Professor Associado da Universidade de Aveiro Doutora Maria Salomé Figueirôa Navarro Machado Professora Auxiliar da Faculdade de Letras da Universidade de Lisboa Doutora Laura Fernanda Crisóstomo Fraga da Silva Bulger Professora Auxiliar da Universidade de Trás-os-Montes e Alto Douro Doutora Isabel Maria de Sá Nena Patim Professora Auxiliar da Universidade Fernando Pessoa v vi agradecimentos Desejo, em primeiro lugar, agradecer penhoradamente ao Professor Doutor Kenneth David Callahan pela prontidão com que aceitou dirigir esta dissertação, pelo seu continuado apoio, e pelas inúmeras sugestões ditadas pelo seu fino critério. Gostaria, também, de estender os meus agradecimentos ao Prof. Doutor Pedro Calheiros, por ter encontrado disponibilidade para ler algumas porções deste trabalho, bem como pela repetida troca de impressões que ensejou, e pelas doutas e nunca regateadas sugestões. A minha sincera gratidão vai, também, para a Doutora Kathy Garay, arquivista na McMaster University (Hamilton, Ontario) (Research and Archives Division) – onde se encontra localizado o espólio de Marian Engel – pela ajuda generosa que sempre prestou na disponibilização de cópias do arquivo, e de artigos coligidos em livros e publicações periódicas. O seu guia de pesquisa do arquivo de Marian Engel e o “Marian Engel: An Annotated Bibliography” de Annette Wengle foram de importância vital para a minha investigação. Não me posso esquecer, também, da preciosa ajuda prestada por Jacquie Hamilton, livreira em Castlegar, B.C., por todo o empenho que pôs em encontrar e fazer chegar até mim, da forma mais célere e menos dispendiosa possível, todos os livros e artigos fotocopiados que lhe foi possível, e muitos foram: bem-haja. À McMaster University Library desejo agradecer o acesso irrestrito ao Arquivo Marian Engel, e a autorização para, nesta dissertação, dele citar livremente dentro dos limites legais. Desejo, por último, manifestar o meu profundo reconhecimento à Universidade de Aveiro, por me ter permitido dedicar um semestre lectivo exclusivamente à conclusão deste trabalho. vii viii resumo A presente dissertação propõe-se divulgar a obra da romancista Marian Engel (1933-1985). O estudo inclui um panorama da teoria literária dos últimos cem anos; uma visão do romance canadiano coevo; e a análise de oito dos seus nove livros. Usando dos contributos dados por perspectivas críticas, desde o New Criticism à crítica feminista, são relevados temas e recursos estéticos que asseguram à escritora um lugar singular no panorama literário canadiano. ix x abstract This dissertation aims at revealing the work of the novelist, Marian Engel (1933-1985). It includes an outline of literary criticism theories of the last hundred years; a perspective of coeval Canadian novel; and the analysis of eight of Engel’s nine books. By using analytical tools improved by such critical theories, those themes and aesthetic resources are highlighted that ensure the writer a singular place in the literary history of Canada. xi xii xiii Índice NOTA PREAMBULAR ....................................................................................... 5 I – INTRODUÇÃO .............................................................................................. 9 I.1 BIO-BIBLIOGRAFIA ESSENCIAL .......................................................................11 I.2 ASPECTOS GERAIS DA FICÇÃO DE ENGEL...................................................... 15 I.3 O ROMANCE CANADIANO COEVO................................................................. 21 I.3.1 O Romance Rural ................................................................................. 26 I.3.1.1 Nova Scotia.................................................................................... 26 I.3.1.2 “The Prairie Novel”....................................................................... 30 I.3.1.3 Outros Romances Rurais ............................................................... 35 I.3.2 O Romance Urbano .............................................................................. 36 I.3.3 Escrita no Feminino ............................................................................. 46 I.3.4 Outros autores....................................................................................... 52 I.3.5 Conclusão de Engel .............................................................................. 53 I.3.6 Margaret Laurence ............................................................................... 56 I.3.7 Alice Munro .......................................................................................... 61 I.3.8 Margaret Atwood .................................................................................. 61 I.4 PRESSUPOSTOS DOUTRINÁRIOS..................................................................... 65 I.4.1 Formalismo Russo ................................................................................ 65 I.4.2 New Criticism ....................................................................................... 68 I.4.3 Reader-response Criticism.................................................................... 71 I.4.4 Crítica de Matriz Psicanalítica ............................................................ 78 I.4.5 A Crítica Estruturalista ........................................................................ 81 I.4.6 Crítica Semiótica .................................................................................. 85 I.4.7 A Crítica Desconstrutiva....................................................................... 90 I.4.8 Crítica feminista e de género................................................................ 97 I.4.9 Conclusão ........................................................................................... 101 II – OS ROMANCES ...................................................................................... 107 II.1. SARAH BASTARD’S NOTEBOOK (NO CLOUDS OF GLORY) ..............................117 II.1.1 Um inconsciente turbulento............................................................... 128 II.1.2 Percepções cínicas ............................................................................ 133 II.1.3 Dicotomias......................................................................................... 135 II.2. THE HONEYMAN FESTIVAL ......................................................................... 139 II.2.1 O discurso falogocêntrico ................................................................. 143 II.2.2 Uma mente perturbada...................................................................... 146 II.3. MONODROMOS (ONE WAY STREET)............................................................. 151 II.3.1 Tempo e diegese em Monodromos..................................................... 167 II.3.2 Estrutura sinfónica e montagem........................................................ 171 II.3.3 Apresentação indirecta...................................................................... 175 II.4. BEAR ......................................................................................................... 181 II.4.1 Identidade Nacional .......................................................................... 186 II.4.2 Género e Linguagem ......................................................................... 190 II.4.3 Identidade nacional e mito................................................................ 191 II.4.4 A pós-modernidade de Bear .............................................................. 192 II.4.5 Uma leitura de Bear .......................................................................... 195 II.4.5.1 Alegres Impressões Campestres ................................................. 195 II.4.5.2 Tempestade e Bonança ............................................................... 217 II.4.5.3 Crise............................................................................................ 223 II.4.5.4 Idílio, prazer e culpa................................................................... 228 II.4.5.5 Clímax, metamorfose e epílogo.................................................. 236 II.4.6 A concluir .......................................................................................... 246 II.5. THE GLASSY SEA ........................................................................................ 251 II.5.1 Tempo e diegese................................................................................. 259 II.5.2 Narração infiável .............................................................................. 263 II.5.3 Uma prosa poética............................................................................
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