Programa de Pós-Graduação em Letras - PPGL/ILC

URI Permanente desta comunidadehttps://repositorio.ufpa.br/handle/2011/2310

O Programa de Pós-Graduação em Letras (PPGL) do Instituto de Letras e Comunicação (ILC) da Universidade Federal do Pará (UFPA). Confere ao candidato habilitado o título de Mestre e/ou Doutor em Letras, nas Áreas de Concentração em Estudos Literários ou Estudos Linguísticos, tem como objetivos gerais e fundamentais: preparar pesquisadores capazes de desenvolver trabalhos científicos no campo dos Estudos da Linguagem; desenvolver a competência profissional e científica do graduado para que ele atue com criticidade na sua área de conhecimento; e produzir conhecimento científico relevante para o país, com ênfase, quando oportuno, para as especificidades linguísticas e literárias presentes na Região Amazônica.

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Agora exibindo 1 - 15 de 15

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O aberto na obra de Paulo Plínio Abreu
(Universidade Federal do Pará, 2018-07-05) SANTIAGO, Rúbia de Nazaré Duarte; FERRAZ, Antônio Máximo von Sohsten Gomes; http://lattes.cnpq.br/5982898787473373
This dissertation presents a study about the opening issue on the Works of the paraense poet, Paulo Plínio Abreu. Such issue is very marked in the poem “Oitava Elegia” by Rainer Maria Rilke and brought many ideas to Martin Heidegger’s philosophy. In his work Parmenides, the german philosopher shows how the Greeks understand the opening as the essence of truth and with this insight he makes a parallel with Rilke’s poem. Paulo Plínio was a translator of Rilke’s works and incorporated the opening in his own poems, in the work of truth, however in a singular way. This presented study concerns about how each of the authors cited above show the opening issue, focusing in Paulo Plínio’s works. He uses the opening issue by the hearing of night images, the travel, the angel and the death present in his work Poesia.
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O aprender poético na obra Grande Sertão: veredas de João Guimarãres Rosa
(Universidade Federal do Pará, 2019-02-21) PALHETA, Marcos Roberto Pinho; FERRAZ, Antônio Máximo von Sohsten Gomes; http://lattes.cnpq.br/5982898787473373
The aim of the present research is to investigate the poetic learning in Grande Sertão: Veredas, book by João Guimarães Rosa. The guiding thread of this research is the meaning of thinking, like a letting ourselves be reached by the fundamental question of human as being-in-the-world, that is exposed in the way of its ontological constitution by the originary language, in the ontological construct of the character Riobaldo. In this sense, the intention is to investigate the original poetic meaning that is woven in the Guimarães Rosa masterpiece to situate it as a poetic-educative narrative: poetic because it realizes the ontological truth of being, and educative because it realizes the human being as caretaker of this truth, as a being whose essence is being-in-the-world. Not the human being, considered a formal subject of knowledge, as entifying experience within the predetermined conditions of a science, but one who can only be found in the finite situation of the crossing and that is realized as a finite transcendence. Grande Sertão: veredas should be considered a cosmogonic narrative that introduces the poetic learning as originary language and unveils, in the Riobaldo’s track, the hermeneutic crossing of learning, as the task of a questioning thinking that realizes the human being in the world. In conclusion, this study also intends to show that the rosiana narrative is poetic, because it crosses the word in instrumental use, and thus reveals the originary language as a poetic expression. Language is poetic because it makes known the very hidden in the impropriety of existence in the world. It is the expression of the poet-thinker because all language is originally poetry.
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Apropriar-se: o acontecimento poético em contos de Clarice Lispector: (...à beira do abismo, estamos)
(Universidade Federal do Pará, 2019-09-04) ATAÍDE, Luciana de Barros; FERRAZ, Antônio Máximo von Sohsten Gomes; http://lattes.cnpq.br/5982898787473373
The present research intends to identify the relationship between Being, language and thought in narratives of Clarice Lispector, having as reference, mainly, stories that the writer produced throughout the life, from the "First stories" - narratives produced in the decade of 1940 - until the "Last Stories" - produced in the 1970s. In all, twenty one narratives will be studied in which the Being is in force as a matter. However, excerpts from other narratives will also be present, since the approach will be permeated by the search for the appropriative poetic event (Ereignis) through the problematization of the notions of writing and thinking, technique and art, being-alone and being-with, finitude and singularization, I and World. The intention is to show the intertwining ser-man-language-truth under the labyrinth of the question of origin. In Clarice's narratives emerges the investigative project that aims to unfold the essence of man that happens as language - since it is the home of Being and in his dwelling man lives - being a work of listening, understanding and interpretation of the Inherent Questions to the human condition. Thus, starting from the phenomenological-hermeneutic contribution, it will be possible to establish a relationship between Clarice Lispector's literature with thinkers such as Martin Heidegger (especially), Merleau-Ponty, Gaston Bachelard and Manuel Antônio de Castro, among others of great relevance for this study. Another reference of great importance that will support this study is the work The second sex (1980) of the thinker Simone de Beauvoir within the line of 'becoming' with regard to the human condition in possibilities and also with regard to the relation asymmetric gender that tends to reduce female freedom within society. Clarice not only worked as the word, but also with the thought that provides the perception of the velar and unveiling of the man, enabling him to the appropriation of himself, since it is a poetic saying that shows itself as the founding dimension of the condition human, revealed by overwhelming force for engendering a new worldview that lies beyond everyday superficiality. It is, therefore, in this study, narratives (tales) that expose Clarice's artistic-literary work in which poetry dwells in the proximity of thought by constructing a saying that evokes the essence of language.
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O desvelar do processo de criação: a questão da autoria em Um Sopro de Vida, de Clarice Lispector
(Universidade Federal do Pará, 2020-12-02) RIBEIRO, Merissa Ferreira; FERRAZ, Antônio Máximo von Sohsten Gomes; http://lattes.cnpq.br/5982898787473373
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O heroismo trágico de Aquiles e Augusto Matraga: um estudo de herói grego e do herói cristão, em Homero e Guimarães Rosa
(Universidade Federal do Pará, 2018-12-20) SILVA, Adriely Cristina Duarte da; FERRAZ, Antônio Máximo von Sohsten Gomes; http://lattes.cnpq.br/5982898787473373
In the present paper, we will discuss how the tragic heroism occurs, specifically in Homero's The Iliada, in dialogue with the tale “The Time and the Time of Augusto Matraga”, of Guimarães Rosa. The aim of this study is to think of the tragic hero in literature, analyzing ontological questions of the human, such as anguish and his fear in the phenomenon of finitude, where auscultation of the sacred occurs in the voices of the gods, in time and in the world. The tragic will be an essential point to be presented here, because the hero is one who, even in the face of terror, where normally the heart is possessed by human anguish and despair, stands before finitude. In this way, we perceive Aquiles as a classic Greek hero who is characterized as tragic as he faces himself in the abyss of death, and Augusto Matraga as a tragic christian hero, for he is the one who walks on the path of conversion and in this path does not fear losing the very life. In this path we contemplate a hatch of conflicts, values and poetic events. This paper dialogues with authors who discuss in an ontological perspective the hero, the tragic, the finitude as Campbell (1949), Heidegger (2010), Kierkegaard (1979), Staiger (1977), Szondi (2004) and others.
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O interlúdio de Eros e Thánatos na poesia de Max Martins
(Universidade Federal do Pará, 2017-02-17) RIBEIRO, Natália Lima; FERRAZ, Antônio Máximo von Sohsten Gomes; http://lattes.cnpq.br/5982898787473373
This study aims to find which way Eros and Thánatos appear in the poetic work of Max Martins, on the assumption that these ontological experiences articulate in interlude (a game in between). Thus, this search intend to embraces new ways of thinking Love and Death out of a metaphysical tradition, or out of the paradigms which form used to these phenomenons that exceed the man in the work of the martiniana poetry. In the work of Max Martins, we can see a break with the metaphysical constructions that happen in modernity, given that his poetry is permeated by the constant question, from a thought about the events surrounding the existence. For the poet, the man is that one who takes care of things, makes his existential trajectory by questioning, experiencing Love and Death originating, not categorizes them into segments. In other words, in the work of Max Martins human being travels the existence in the ontological game Eros and Thánatos. In his works, both phenomenons appear in different forms and ways, as Max Martins is not related to an expression, but his experiences in poetic language of Eros and Thánatos all over nearly fifty years of poetry. In this sense, through a hermeneutic approach, the proposal presented here raises the development of an interpretive route around the poetics of Max Martins in the works include the collection Poemas Reunidos 1952 - 2001 and Para ter onde ir, with authors dialogue as Martin Heidegger, Octavio Paz, Manuel Antônio Castro, George Bataille and Plato, in order to foster discussion about the relationship between Love and Death diverges opposition usually employed in our time, but there is a match between these two instances that guiding life.
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No subsolo do Nilismo: literatura e filosofia em Memórias Póstumas de Brás Cubas
(Universidade Federal do Pará, 2016-03-28) LEAL, Mauro Lopes; BARROS, Roberto de Almeida Pereira de; http://lattes.cnpq.br/4521253027948817; FERRAZ, Antônio Máximo von Sohsten Gomes; http://lattes.cnpq.br/5982898787473373
Machado de Assis is, rightly, a great Brazilian writer not only for their creativity and writing, but mostly for his ideas, his attitude toward the values that often are questioned in his works, which could represent a position that far to be just pessimistic, it is geared more to a nihilist pattern of thought and worldview. Question does not always mean destroy. But if the destruction is inevitable if there is to reset other values. Death is not always configured as an end, but can clearly represent the beginning of a new existence. In this work, it will be subject to the issue of nihilism in The Posthumous Memoirs of Bras Cubas, triggering philosophers like Nietzsche, to put them in dialogue with other writers like Dostoevsky, demonstrating that nihilism can not be considered a regional phenomenon, but worldwide, demonstrating that in Brás Cubas, such nihilism converges to other standards and the possibility of resistance through humor, laughter, joy.
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A poética do corpo na obra Linha-d'-água de Olga Savary
(Universidade Federal do Pará, 2014-12-21) LEITÃO, Andréa Jamilly Rodrigues; FERRAZ, Antônio Máximo von Sohsten Gomes; http://lattes.cnpq.br/5982898787473373
This paper is an interpretation of the body and its interrelationships with eroticism and love, from a dialogue with the book Linha-d’Água (1987), by Olga Savary (1933). The hypothesis this research articulates the poetic transfiguration of the body under the symbolic element of water as a poetic-ontological staging of the principle of unity between man and nature. Through a hermeneutic approach (RICOEUR, 1990), it is perceived in the poems a opening for textual articulation of a being in the world (being-there), with respect to the dynamics of human existence. The work of art operates a poetic recreation of bodies in the prevailing presence of the water, so that the loving communion establishes an approximation of the human being with its origin as a possibility of reconciliation with nature (PAZ, 1994). To compose this dialogue, we oppose a ecofeminism reading, which understands this operation as a poetic expression of subjectivities related to issues of gender or social roles (SOARES, 1999). Through the erotic impetus, human bodies are compared to a donation of nature, understood as unveiling of what the Greeks called phýsis (HEIDEGGER, 1999). The verses of Linha-d'Água articulate a movement that breaks with the conceptual legacy of Platonic metaphysics, which established a division, that has deepened in the modernity, between man and his carnal condition, between man and the reality. Amid the incessant cyclical dynamics of phýsis, Man must recognize itself in the liquidity of your body the return to primordial basis; on the other hand, he also must assume its condition of being released on the incessant temporal flow. In Savary's work, the human horizon is reinserted, through bodily experience, in reconciliation with that original impulse of nature and, at the same time, with the own living nature of lovers.
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A superação da tradição mimética em A Rainha dos Cárceres da Grécia, de Osman Lins
(Universidade Federal do Pará, 2022-12-22) TANCREDO, Rogério Alan; FERRAZ, Antônio Máximo von Sohsten Gomes; http://lattes.cnpq.br/5982898787473373
In the passage from the 19th to the 20th century, the contemporary narrative suffers a rupture caused by experiments on the works of authors such as Franz Kafka, Marcel Proust, James Joyce and Virginia Woolf. From then on, the novel will never be the same, because the narrative, rather than representing reality in its rich details, now brings to the surface the act of creation and the narrative’s own reality. This work consists in a research project that will say about the revision of the mimetic tradition in the book A Rainha dos Cárceres da Grécia (1976), written by Osman Lins, that focuses the process of writing of a novel dressed as an essay, that is to say, of a novel that focuses on itself; and it has as theoretical basis the thought of Giorgio Agamben with reference to contemporaneity and the Outside’s concept, by Maurice Blanchot, which can help to clarify and understand the transformations he has undergone, as well as the current position of the contemporary novel. For this, we will bring narrators who transformed and innovated the act of narrating to dialogue as the Lins’s narrator, who we believe has pointed to a new trend from the fusion of the romance genre with the essay genre, specifically in the book mentioned above, exploring the multiple possibilities of the creation and writing process.
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Tempo e memória em o Cacaulista e o coronel sangrado, de Inglês de Sousa
(Universidade Federal do Pará, 2018-01-19) GONÇALVES, Messias Lisboa; FERRAZ, Antônio Máximo von Sohsten Gomes; http://lattes.cnpq.br/5982898787473373
Inglês de Sousa was born in the city of the interior of Óbidos, located in the state of Pará, in 28 of december of 1853, and died in Rio de Janeiro, in 6 of september of 1918. The writer spent most of his life outside the hometown, but it was in the Amazon region that he was inspired to compose his literary works: História de um Pescador (1876), O Cacaulista (1876), O Coronel Sangrado (1877), O Missionário (1891) e Contos Amazônicos (1893). It is possible to consider that the appreciation, only, of the socio-political-historical documentary texture by the critics was responsible for instituting the obscuration of the aesthetic ballast of the novels O Cacaulista e O Coronel Sangrado. However, it is precisely the aesthetic ballast that keeps them alive. Thus, this research aims to study the issues of time and memory put into work by these novels. Faced with this, it is necessary thought and perform a literary criticism while listening to poetic questions. For further understanding and deepening, this research was limited to the reflection of the protagonist character Miguel Faria, who migrates from one novel to another. Thus, it is understood that this character-question lives an experience with time, which escapes the clock-clocked or even that thought by science, and in his time experience human and poetic time. To make this attempt, dialogue especially with Henri Bergson (1859-1941), Martin Heidegger (1889-1976), Benedito Nunes (1929-2011) e Manuel Antônio de Castro (1941-) to think poetically listening to the questions in those inglesianos novels.
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Tornar-se: uma apredizagem poética pelos romances de Clarice Lispector
(Universidade Federal do Pará, 2021-09-14) DOLZANE, Harley Farias; FERRAZ, Antônio Máximo von Sohsten Gomes; http://lattes.cnpq.br/5982898787473373
"The most pressing need for a human being was to become a human being." The observation that is found in Uma aprendizagem ou O livro dos prazeres (1969), brings us to the question that guides this dialogue with Clarice Lispector's novel: the need to “become a human being”. It is possible to interpret this need to become what one is as the search that moves the entire gesture of the Brazilian author's writing. In that search, there is tension and the texture weaving of an original dialogue that the entirety of Lispector's work, especially through her novels, establishes with the roots of Western and Eastern thought. It is from this dialogue that the present work is designed, intending to interpret each of Clarice Lispector's novels as a manifestation of Poetic Learning, that is, as a possible path that the reader has at his or her disposal to understand himself ou herself into the question of the meaning of being. In this way, the work articulates an ontology that sets itself the search for the meaning of being as a creative movement that enables openings from/to other possibilities of achievement. At the same time, in the rehearsal of a hermeneutic and fictional plot that permeates each of the author's novels, the perception of the way in which such dynamic is intended for each human being (reader) is provided as an invitation to self-realization searches through language (logos).
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Travessia poética: o pacto entre crítica e escuta em "Grande Sertão Veredas"
(Universidade Federal do Pará, 2017-02-17) CARVALHO, Taís Salbé; FERRAZ, Antônio Máximo von Sohsten Gomes; http://lattes.cnpq.br/5982898787473373
The research proposes an exercise in literary criticism that focuses on the dialogical pact between critique and listening, in Grande Sertão: Veredas, novel by Guimarães Rosa, published in 1956, from a deconstruction of the metaphysical tradition, which thinks that art as mere representation of reality, and no longer as a staging of issues of the real. Therefore, we dialogue with a type of hermeneutics that questions the concepts of representative criticism that, in our view, imprison the literary work, since it analyzes it from predetermined theories, and we give ourselves to the exercise of criticism as listening originating from the questions put into work by the literary work. In this exercise we are called to think the unthought of thought, letting the work itself claim its theory, summoning us to critical listening. In order to do so, it was necessary to question the original questions manifested in Rosa's novel, such as: Language, Art, Truth (unveiling), Being, Being-in-the-World, Crossing, Dialogue and Pact with the Devil. In this sense, the essential relation between art and truth, in which this is the very dynamic of veiling-unveiling-veiling of the being of things, of physis. The work of art is nothing more than this dynamic and in them and through them we seek to traverse our poetic crossing, questioning us from the questions that are manifesting, and of which we are also bestowal, in search of our poetic learning.
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Viajar e existir em Primeiras Estórias, de João Guimarães Rosa
(Universidade Federal do Pará, 2022-01-10) CARVALHO, Taís Salbé; FERRAZ, Antônio Máximo von Sohsten Gomes; http://lattes.cnpq.br/5982898787473373
Traveling and existing are original issues that launch us in search of ourselves, and manifest themselves as a demand for the word in search of knowing ourselves while in between. These questions are in dialogue with one of João Guimarães Rosa's most original and original works, Primeiras Estórias, in which he expresses the primary questions in which human beings inhabit, and which prevail as a language through plot-question, characters-question , question-images that lead the reader to ask himself about the meaning of being and life, in crossing, as poetic learning, towards unraveling the mystery-question of the book: “Did you come to exist? This study was born with the aim of researching how the issues of travel and existence are manifested in First Stories, having as hypothesis that, through the dialogue with the literary work, in which a narrative is perceived that projects the reader into and through the search of its being, we are launched on the crossing to seek a poetic education that leads us to the clearing of questioning, in which the mystery between all knowing and not knowing dwells, in search of what is our own — our humanity, and, for that reason , do we come to exist? The method — méta (between) hodós (path) — to be followed while choosing the theoretical paths to be taken is unveiled along the way. A possible route for this learning to happen was the poetic education that makes use of hermeneutic circularity as a reading-listening process of the literary work in which, when dialoguing with the work and questioning it, the reader becomes questioned by it, trying to fulfill his destiny: to become human in crossing: to exist. This research trip is justified, considering that in all of the search, there is a dialogue between the tension — a fold between being and non-being — and the texture — in force in a specific way in which the questions are unveiled in the being that is intended for each human — from an original dialogue that the work of Guimarães Rosa establishes with the roots of Western thought, in which, in its narratives, the travel-reading manifests itself in existing, and vice-versa, as a process ontological by which each human being is taken beyond the limits, inhabiting the dialectic between being-and-thinking. In "Porto de Arriving", I welcome the trip and welcome myself as a poetic experience of crossing, realizing that it is through the loving reading of First Stories that we show the ascension path of the human as a poetic-existential project of this grandiose work by Guimarães Rosa: our poetic learning that leads us to exist.
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O voo da criação literária: procura, verdade e ser / ser, verdade e procura em Alvorada de Osman Lins
(Universidade Federal do Pará, 2013) DOLZANE, Harley Farias; FERRAZ, Antônio Máximo von Sohsten Gomes; http://lattes.cnpq.br/5982898787473373
The research seeks an opening to understand the meaning of the literary imbricated in the mystery of artistic creation from its figurations in Avalvara (1973), by Osman Lins. Amid the interpretation of the novel, it is intended to go through fundamental issues that underlie the conceptual coating established along the literary modernity. In Avalovara, the reader is forwarded to an originating thought that rescues the poetic instance of prose, and designs the artistic on a mythic dimension that is the Language happening in its silence. This is only possible by developing a narrative that no longer represents, but stages issues, performing them in the fabric of its elements. The novel begins to search for meaning to reality, questioning the mimetic tradition - a corollary of essentialist metaphysics and subjectivism - and, in its seek, it is revealed its sense of being, its being-artwork. In this sense, the essential reference between art and truth is revived,. In this reference, the truth is the dynamic re-velation of the real retracting its reality in all that manifests. The artwork corresponds to this dynamic (which is the being of things), them and for them, the work of art and truth, is that the search takes place in Avalovara, step by step, gradually revealing itself in every word. Searching for the truth, man, things between things, can be reintegrated with the reality of being; Abel, the human, the artist, the writer can rejoin the paradise by exercising full love that is in care for things in their silence , the silence of the language that welcomes not only the creative power of literature but also of human existence.
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A voz do silêncio na poesia de Max Martins
(Universidade Federal do Pará, 2014-03-17) BARBOSA, Thiago de Melo; FERRAZ, Antônio Máximo von Sohsten Gomes; http://lattes.cnpq.br/5982898787473373
This paper interprets the poetry of Max Martins, focusing, mainly, the opening that it offers to happen the silent of language. It is thought here in the silence as a question that speaks, and is confused with the question of the essence of language and therefore also with the essence of the poetic. Thus, the dissertation unfolds in poetic-philosophical discussions, articulating these two creative spheres in various dimensions in which the work Martiniana manifests the silence: in language, in dialogue with Eastern thought and poetry, eroticism and verbivocovisuality. Search up listening to the "voice of silence", as it appears in the title of the work. In this journey, important to say, reflections implemented by the German philosopher Martin Heidegger on language, as well as his ideas about poetic hermeneutics, are of great value. Indeed, beyond Heidegger, there are other thinkers whose names echo through this work, but the German is noteworthy, because the comprehension of the essence of language as silent speech finds shelter both in his philosophy as in the poetic work of Max Martins. Doing a dialogue between poetry and philosophy on what they have in common — the thought of questions —, here was not applied a previous theory to the happening of art. It was attempted, instead, take along this interpretive journey the listening of poetic that the martinianos texts puts in work.

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