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 - 12 de 12

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A concretude do silêncio nas traduções de Augusto de Campos de poemas de Rilke
(Universidade Federal do Pará, 2021-05-28) TORRES, Ana Maria Ferreira; GUIMARÃES, Mayara Ribeiro; http://lattes.cnpq.br/6834076554286321
Acesso aberto (Open Access)
A construção da identidade no conto fonsequiano: a intertextualidade e a morte como afirmação do estrangeiro
(Universidade Federal do Pará, 2017-02-22) FERREIRA, João Paulo Cordeiro; GUIMARÃES, Mayara Ribeiro; http://lattes.cnpq.br/6834076554286321
In Rubem Fonseca's tales, it is common to find several "intertextualized" discourses, with works, characters, quotations and discussions around famous Brazilian and foreign literary authors who are, in different contexts and literary constructions, placed in the fonsequiana prose, directly or indirectly. In this way, we will take an approach taking into account three important short stories of Fonseca: "Encontro no Amazonas" (from the book O Cobrador), "Romance Negro" (from Romance Negro) and "A matéria do sonho" (from the book Lúcia McCartney). The reading of these tales, in part, suggests to us that there is an intense dialogue between the national and the foreigner, in which death assumes a decisive role for the self-assertion of the foreign tradition in our literature. This dialogue also allows us to identify the relationship between the fonsequiana prose and the narratives of E.T.A. Hoffmann and Edgar A. Poe, since it is possible that some compositions of these authors have drawn a dialogue with the literary constructions of Rubem Fonseca, which in this sense made possible the re- reading of the works of Poe and Hoffmann. In this way, we also emphasize the relation of the fonsequiana prose with the Greek tragedy, relating the use of the mask to the farce and the exchange of identity in the Rubem Fonseca literature. To this end, we consider Maurice Blanchot's theories about the death of the author, Otto Rank, referring to the notion of double and Sigmund Freud, about psychoanalysis.
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Corpo, linguagem e transgressão em lavoura
(Universidade Federal do Pará, 2021-02-26) SANTOS, Elijames Moraes dos; GUIMARÃES, Mayara Ribeiro; http://lattes.cnpq.br/6834076554286321
This thesis titled Body, language and transgression in Ancient Tillage is a study on issues related to the eroticism of bodies, and the transgressions that take a place in and by the language of the novel's narrative, by Raduan Nassar, published in 1975. I proceed with the hypothesis of in Ancient Tillage, there is a conflict between instinct and reason, which are unfolded in the narrative discourses through an allegorical language. Therefore, it is through the body's instinct which the subject violates the patriarchal norm and, at the same time, reveals how desire and sexuality are forbidden. For this purpose, the theoretical path used to support this study is based on the work of Georges Bataille (2016; 2017; 2018), by Walter Benjamin (1984; 2013, b); Michel Foucault (1977; 1988) and Sigmund Freud (2006; 2011; 2013); Giorgio Agamben (2007) and Mircea Eliade (2001). I aim at in Ancient Tillage narrative is based on a language that transits an eroticized poetics, which reveals the subject's instincts and their conflicts. Indeed, there is a confrontation between reason, the world of patriarchal values, and the subversion of the son who leaves the family home and goes in search of new achievements. It is with André's departure that the problems related to the issue of forbidding desires and passions are revealed. Thus, this body carries within itself the unmeasured, which will be revealed by the fragmented form, the emptiness, and in turn by the ruin that spreads over the other members of the family. With this, from the theoretical set outlined here, it was possible to present a discussion around Raduan Nassar´s narrative regarding the presence of the body, its impulses, among other issues that are in the order of violation of the norm, the law, that is, what is forbidden by the father. I reinforce, therefore, that there were some developments through allegories inherent to the language of the corpus, which reveals the fragmentation of a body that emanates the tragic.
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O corvo, de Edgar Allan Poe: interseção de linguagens entre tradução intersemiótica, adaptação e história em quadrinhos
(Universidade Federal do Pará, 2017-03-20) SOUZA, Deynea Fabíola Ferreira de; GUIMARÃES, Mayara Ribeiro; http://lattes.cnpq.br/6834076554286321
Based on semiosis of intersemiotic translation, the presente study analyzes the language of the transposition of Edgar Allan Poe´s poem The raven, to the comic strip of the graphic artist Luciano Irrthum, from the Machado de Assis translation. Using as theorical references Julio Plaza (2010), Charles Sanders Peirce (2005), Linda Hutcheon (2013), Thierry Groesteen (2015), among others, this thesis discusses the semiosis of the relation among the crossing of the systems o signs – from the written poem to the comics – dealing with the relation among text an image, observing the specificities of the sequential art as, graphic cut, timing, frame, related to the intention of Poe for the poem exposed in his essay The philosophy of composition, in which the poet in relation to the poem an exposes the effect he intends to achieve, such as tone, rhythm, cadence. The present work also address the adaptation of the poem within the context of mass culture.
Acesso aberto (Open Access)
Do desenho à pintura: o visualismo na escrita de Clarice Lispector
(Universidade Federal do Pará, 2016-02-25) ARAUJO, Elisama Fernandes; GUIMARÃES, Mayara Ribeiro; http://lattes.cnpq.br/6834076554286321
Acesso aberto (Open Access)
Ecos cinematográficos na poesia de Carlos Drummont de Andrade
(Universidade Federal do Pará, 2017-03-16) SANTOS, Glleyce Clívia Vinagre; GUIMARÃES, Mayara Ribeiro; http://lattes.cnpq.br/6834076554286321
The present dissertation develops an interpretive proposal of the changes occurred in the twentieth century, regarding human perception and its relation with a poetic language when it makes the movie of the cinema and the mark this in the poetry production of Carlos Drummond de Andrade, both in the which refers to references to cinema or to the use of a cinematographic language as a form of renewal of literary language for the influences in the formation of the drummondiano lyrical subject. Thus, divided into three chapters, poems selected from Alguma poesia (1930), "Canto ao homem do povo Charlie Chaplin", from A rosa do povo (1945), and a selection of poems from the series Boitempo (1968, 1973 and 1979). In the first chapter we see the outline of a panorama that clarifies us about a cinematographic language, such as changes in the structure of human perception when the emergence of cinema in modern man's life and his mark on Drummond's poetry. The second chapter introduces a reading of Drummond poems to investigate his profile as a poet-cinematographer and a transposition of a cinematographic language into a poetic language. In the third and last chapter are revealed some links between a drummondiana poetry and the Charlie Chaplin films, as well as some affinities between the poetic subject Carlos and the film character Carlito. Among the main theoretical and critical references taken as a basic for the writing of the chapters are Walter Benjamin (1987), with regard to the brand of cinema in human perception, Andrei Tarkovski (2010), in the treatment of cinematographic aspects, Paul Ricoeur (2007) and Henri Bergson (1999), with regard to the apprehension of memories in images, André Bazin (2006) in the study of aspects of the chapliniana work, finally, Marlene de Castro Correia (2002, 2010 and 2015), Davi Arrigucci Jr. (2002) and Antonio Candido (1989 and 1995) for the oriented study of the poetry of Carlos Drummond de Andrade.
Acesso aberto (Open Access)
Ele não compreende nossos costumes: literatura, colonização e memória na Trilogia africana, de Chinua Achebe
(Universidade Federal do Pará, 2023-12-21) CHAGAS, Alessandra Santos; GUIMARÃES, Mayara Ribeiro; http://lattes.cnpq.br/6834076554286321
Being considered one of the greatest writers within the modern African literary field, Chinua Achebe is one of great relevance nowadays because of his literary political project that joins history and literature in order to create a fiction writing made from African perspectives and experiences as a counterpoint against colonial speeches, literature and representations. Thus, this work aims to investigate how the African Trilogy, written by Achebe between 1958 and 1964, contributed to set a new way of representing traditional experiences from the perspective of those who were put aside of history and colonial speeches. Moreover, we will analyze how colonization caused social, cultural, religious and identity transformations to Igbo people. As theoretical background to this work, it was used the works of Pollack (1989; 1992), Quayson (2000), Benjamin (1987), Said (2011), Bhabha (2011), Noa (2015) as they encompass postcolonial theory and memory studies. This research also made use of some critical works of Achebe (1988, 2000, 2012a, 2012b) himself. Hence, it was observed that Achebe’s literature by being aligned to Nigerian social-politics requests tried to represent not only Igbo people experiences before colonization as a way of rescue and celebrate traditional memories, but also cultural, religious, identity and linguistic transformations that was brought by colonization.
Acesso aberto (Open Access)
Eu era dois, diversos?: o diálogo poético de Max Martins e Age de Carvalho
(Universidade Federal do Pará, 2018-05-18) SANTOS, Elizier Junior Araujo dos; GUIMARÃES, Mayara Ribeiro; http://lattes.cnpq.br/6834076554286321
This research aims at the poetic dialogue established between Max Martins and Age de Carvalho, both born in Pará, in the northern part of Brazil, through the study of the book A fala entre parêntesis (1982), written in two hands, by both of them. Also, by the dialogue present in the following books, by Max Martins: Caminho de Marahu (1983) and Colmando a Lacuna (2001), and by Age de Carvalho, Arena, Areia (1986), Pedra-um (1990) and Caveira 41 (2003). From then on, the aim is to search answers to the question proposed by the epigraphy of their book: “Eu era dois, diversos?” [Was I two, diverse?]. This question articulates the whole study and highlights the poetic relationship between the two writers, beyond any time. Initially, the reserach discusses the poetic correlation between the concepts of eroticism and melancholy in connection to the existence of a multiple poetic subject, present in A fala entre parêntesis. To discuss that, we take the position of Nunes (1982) which considers the book “a path from subjectiviy through intersubjectivity”. We also consider the thoughts of Georges Bataille (1987; 2015), Barthes (1984), Paz (1994; 2009) and Siscar (2016) in order to examine the erotic character of poetry as a bridge to transgression and tension, in the perspective of metapoetics. From then on, I discuss melancholy as a literary and philosophical activity according to the concepts proposed by Lages (2007), involving the experience of loss and silence in the process of writing. Furthermore, the research turns to the examination of the close connection between poetry and photography, taking the photograph study that accompanies the book A fala entre parêntesis, in the light of Sontag (2007), Didi-Huberman (2010) e Flusser (2011), considering this field of study, with the idea of image as a mirror and testimony of this brotherhood. At last, this research investigates the poetic adventure involving the friendship of the two poets, based on their biography and lyric identities and identifications, in poems published until 2003. I also use Agamben (2009) to debate the concept of contemporary, and the philosophy of Zen-budhism to track the meanings of this friendship and the links established between them
Acesso aberto (Open Access)
Eu intimo-me a reconhecer-me em mim-mesmo: sujeito e memória na poesia de Age de Carvalho
(Universidade Federal do Pará, 2019-06-10) VIEIRA, Jessica Daniele de Lavor; GUIMARÃES, Mayara Ribeiro; http://lattes.cnpq.br/6834076554286321
Memory is an important element in the poetry of Age de Carvalho, because, as observed in many texts that compose his critical fortune, there is a biographical reality that serves as a starting point for the construction of the poems and that, when allied to various poetic resources, shifts from his commitment to reality and becomes a matter of poetry acquiring great polysemic power. In this context, we perceive in the constant return to the past the voice of a subject, the Self that retains the memories that are associated, above all, with the search for its origin and identity, as subject that reflects its place in the world. As a theoretical contribution of the work we will resort to Blanchot (1997), in his studies on the nature of poetic language, Ricoeur (2007), Le Goff (1996) and Halbwachs (2006) on memory, Freud and Lacan (2003) , while being endowed with an unconscious aspect, in order to understand how this structure relates to memory, and consequently to poetic creation. As a corpus, eight poems were selected from the poet's last three books: Caveira 41 (2003), Trans (2011) and Ainda: em viagem (2015), since the three books have memory as an important element mainly associated with poetic themes such as friendship, travel, exile, homeland and family origin, bringing to the poem the presence of a subject linked to ontological questions.
Acesso aberto (Open Access)
Melancolia em Repertório Selvagem, de Olga Savary, e Metade cara, metade máscara, de Eliane Potiguara
(Universidade Federal do Pará, 2023-12-22) SENA, Mayara Haydée Lima; GUIMARÃES, Mayara Ribeiro; http://lattes.cnpq.br/6834076554286321
This study focuses on the images of melancholy that emerge in the context of coloniality in two of its Brazilian expressions: indigenous and Amazonian sadness. The so-called peripheral sadnesses are represented by the books Metade cara, metade máscara (2004), by Eliane Potiguara, and Repertório Selvagem (1998), by Olga Savary, which make up the corpus of this research. The aim is to identify allegorized melancholy as a fundamental theme in the poetics of Eliane Potiguara's Metade cara, metade máscara and Olga Savary's Repertório selvagem. Furthermore, the specific objectives are to discuss some relationships between the coloniality of knowledge and the silencing of peripheral, non-canonical, Brazilian and Amazonian sadness; to identify indigenous melancholy, metonymized in Eliane Potiguara's work; and to investigate images of melancholy in the shadow of the Amazonian forest in Olga Savary's book. The work recalls canonical authors of studies on melancholy, such as Sigmund Freud (2013), Julia Kristeva (1989), Giorgio Agamben (2007), Susan Sontag (2022), Jean Starobinski (2016), Susana Kampff Lages (2007), Luiz Costa Lima (2017), Maria Rita Kehl (2015), among others; dialogues with the decolonial perspective of thinkers such as Aníbal Quijano (2005), Enrique Dussel (2005), Walter Mignolo (2017), María Lugones (2014); with scholars of Amazonian issues, such as Neide Gondim (1994), Ana Pizarro (2012),Carlos Walter Porto Gonçalves (2023), Eidorfe Moreira (1958) and João de Jesus Paes Loureiro (2001); and with indigenous thinkers such as Graça Graúna (2013), Trudruá Dorrico (2017), Davi Kopenawa (2015), Jaider Esbell (2020), Ely Makuxi (2018), Ailton Krenak (2022), Olívio Jekupé (2019), Daniel Munduruku (2012), among others. Thus, there is a need for a more specific debate on the Brazilian experience of malaise, which is crossed by coloniality and therefore differs from Eurocentric understandings of sadness and its literary representations. In this sense, based on the interpretative path of the poems, it is recognized that the indigenous literature of Eliane Potiguara and the omnipresence of the Amazon rainforest in the work of Olga Savary, place other characters and territories in the repertoire of melancholy studies in contemporary times, outside the hegemonic melancholy of large European cities. The authors' poetic contributions are fundamental to making peripheral sadness visible, creating a counter-narrative that challenges the coloniality of knowledge about melancholy. In Savary's poetics, the Amazons, in terms of their phytogeographic concept (MOREIRA, 1958), are inscribed under the sign of loss; as well as in Eliane Potiguara's poetic testimony, it is revealed that coloniality cannot be thought of without the reign of sadness.
Acesso aberto (Open Access)
O poeta é sempre rapsodo: a presença da música na obra de Mário de Andrade
(Universidade Federal do Pará, 2016-02-18) FREITAS, Danilo Mercês; GUIMARÃES, Mayara Ribeiro; http://lattes.cnpq.br/6834076554286321
The literature on Mário de Andrade walks together with the music because this author privilege his sonorous choices and also use the structure of musical genders as a way of poetic creation. Besides, it's necessary to consider the constant revision whose the writer does is his work, mainly on the systematization of the modernist moviment and the comprehesion of the brazilian people identity. Thus, the present work tries to comprehend how music influences Mário's writing on three works among them all: Pauliceia Desvairada (1922), Clã do Jabuti (1927) and Lira Paulistana (1945). Many changes will be happenning on his musical choises, on the first one, the author is more interested on proclaim and divulge the modernist moviment, the art of sounds is used to consolidate the new avant-garde sources as well as to free the artist from the poetic traditionalism; on the second work chose, the author explore songs and commons brazilian popular musical genders to legitimate them on the universe of classical music, this way it contributes to the definition of the brazilian culture and identity; on Lira Paulistana the author used portuguese medieval chants and changed it in order to sing the city of São Paulo and the man whom lives there on the early XIX century. It hopes this study could contibute on researchs about the modernist writer where the comprehension of the music on the poetic writing of Mário de Andrade can promote an deeper understanding on his works. The methodology used was to work closely in the poetry and essays of Mário de Andrade, searching in this works the necessary instruments to the analysis. The present work used studies of PIVA (1990), CORREIA (2010), SOUZA (2006) and critic works written by Mário de Andrade.
Acesso aberto (Open Access)
Só as coisas rasteiras me celestam: o contemporâneo e as suas insignificâncias em Manoel de Barros
(Universidade Federal do Pará, 2017-03-16) LOPES FILHO, Antônio Augusto do Canto; GUIMARÃES, Mayara Ribeiro; http://lattes.cnpq.br/6834076554286321
This dissertation aims to explore, through categories of interpretation, poetic matters in the work of Manoel de Barros. The research begins with a discussion about crisis of the verse, one of the most substantial features of Modern Literature, which, in studying it, reveals the changing perspectives that poetry has passed from the end of 19th century to the present. Then, the use of the prefix des, so recurrent in this poetic exercise, as an autonomous construction of the words: deslimites. Finally, how the manoelinos verses fit into the contemporary; and the singular figure of the tiny, uplifting things from the ground. The study was constructed from the inquiry of the issues, above, through the works taken from the edition of Poesia Completa (2013): Matéria de Poesia (1970), O Guardador de Águas (1989), O Livro das Ignorãças (1993), Livro Sobre Nada (1996) e Retrato do Artista Quando Coisa (1998); and it is based, mainly, with the theoretical contribution of Marcos Siscar on the crisis of the verse when questioning the state of contemporary Brazilian poetry; Alberto Pucheu with the description established by him to Manoel de Barros: poet -thinker, because the origin is a constant argument in his poetry; Maurice Blanchot about the death of the nomination in Literature and Giorgio Agamben from the question of what is to be contemporary.

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