Teses em Letras (Doutorado) - PPGL/ILC

URI Permanente para esta coleçãohttps://repositorio.ufpa.br/handle/2011/6713

O Doutorado Acadêmico iniciou-se em 2012 e pertence ao Programa de Pós-Graduação em Letras (PPGL) do Instituto de Letras e Comunicação (ILC) da Universidade Federal do Pará (UFPA).

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Agora exibindo 1 - 7 de 7

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Das tramas do mito aos (des)caminhos da história: a travessia do herói nas literaturas cervantiana e rosiana
(Universidade Federal do Pará, 2018-08-22) COLLINGE, Márcia Denise da Rocha; JACKSON, Kenneth David; HOLANDA, Sílvio Augusto de Oliveira; http://lattes.cnpq.br/0928175455054278
The present thesis consists of comparative research whose focus is the formation of two heroes in Quixote (1605/1615), by Miguel de Cervantes (1547-1616), and Grande sertão: veredas (1956), by Guimarães Rosa (1908-1967), in order to reveal the protagonist Riobaldo as a figure analogous to the “Knight of the Sad Countenance”, by circumventing the tradition of mythical heroism. From the paradigm of the tradition of “La Mancha,” that links the chief Urutú Branco and the Knight of the Lions, resonates echoes of deities; of mythical characters and of conceptual references from classical and medieval sources. I defend the proposition that Quixote recovers mythology that reverberates as an ironic concept and acts as the genesis of the novel whose genre, especially by the recomposition of archaic roots in the creation of a hero, transforms it into a modern myth in two ways: 1) proclamation of ancient wisdom, 2) the justification and rewriting of the cultural history of a nation. Through this, I apply the presuppositions of the literary remythification, proposed by Eleazar Mielietinski (1918-2005), for the elaboration of the everyman hero in the corpora texts. Therefore, I interact with the mythical figure of the hero after the ritual of consecration in the studies of the mythology, aligned with the thought of intellectuals such as Joseph Campbell (1904-1987) and Gustav Jung (1875-1961). From the dialogue proposed between these and other interpreters, I decipher between the various faces of the hero in a historical-artistic investigation, from the myth in its classical form, such as the epic and the tragedy, to its medieval, baroque and romantic developments. In the exegesis of the works, I present the metamorphosis of the literary myth Don Quixote, whose journey leaves an indelible mark on the universal heroic mosaic — the eternal image. The depth of this study reveals how the ingenious knight stands out in the memory of Brazilian literature, ratifying the various manifestations of empowerment of Cervantine themes, especially in the work of Guimarães Rosa, who sees, in Cervantes’ genius, dimensions for a new system of the creation of different types of heroes — madmen in streaks, full of lucid intervals in the deceptive Sertão of Minas Gerais. I exhibit, through the actions of the knight Tatarana, clear and enigmatic trademarks of La Mancha, among which I emphasize: 1) mature birth 2) cycles and saga resulting from the search for adventure 3) the psychological evolution 4) the myth of the duo 5) the admiration of the lady-knight 6) Love as fantasy 7) the ambivalent battles marked by ritual 8) the return of heroes 9) mad narration 10) the disillusion of darkness and light. Through this work, I establish the idea of “Rosian Quixoticism,” an innovative approach to Rosian criticism from a quixotic reading of the novel. It is Riobaldo, heir to the lineage of Achilles, Odysseus, Oedipus, Amadis de Gaula, Palmeirim of England, Don Quixote and Roque Guinart who, in embodying contradictory values mixing chivalrous ideals and problematic conflicts in a world in absentia, establishes the message of the mythical hero, the human being, in the traversal of “the last classic”. Accordingly, I see the expansion of the Rosian critical fortune, as well as the expansion of tradition of La Mancha in Brazil through the “endless aesthetic-receptive adventure” transmuted into the veiling and unveiling of the mythical faces of these heroes, true literary metamorphoses: Don Riobaldo Manchego and the jagunço, Quixote.
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Do sertão ao sertón: tradução emancipadora e análise de neologismos de grande Sertão Veredas nas traduções para o espanhol
(Universidade Federal do Pará, 2018-06-12) CARVALHO, Leomir Silva de; HOLANDA, Sílvio Augusto de Oliveira; http://lattes.cnpq.br/0928175455054278
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O leitor verá...: itinerário da obra literária de Josué de Castro
(Universidade Federal do Pará, 2019-02-25) OLIVEIRA, Thiago Azevedo Sá de; HOLANDA, Sílvio Augusto de Oliveira; http://lattes.cnpq.br/0928175455054278
The title sentence The reader will see..., originally used by the writer and critic Olivio Montenegro (1896-1962) to refer to the originality of the short stories conceived by Josué de Castro (1908-1973), is incorporated as epigraph to the present study, in the sense of pointing out the horizon of circulation and reception of the literary work produced by the aforementioned doctor and writer from Pernambuco. Nevertheless, through this analysis, it aims to intermediate some of the interpretive nuances that consolidate the multiple reading history of josuenian’s work. The social drama of starvation discusses the ontological manner by Castro, from essays, tales from Documentário do Nordeste (1937), from poetry booklet A festa das Letras (1937) published with the Cecília Meireles co-authoring, and the novel Homens e caranguejos (1967) predicted the “exploited value of narrador, in a sense translation of ethical field to the aesthetics” (BOSI, 1996, p. 13). The thesis O leitor verá… O itinerário da obra literária de Josué de Castro supports the hermeneutical process based on assumptions from Estética do efeito (ISER, 1983; 2013), the Estética da recepção (JAUSS, 1979), the Geocrítica (BERGEZ et al., 1999) and the Teoria da tradução (BENJAMIN, 2001; BERMAN, 2009; CARVALHAL, 1993) and of Artetnografia (LYRA, 2013). It sets out the “mammoth architectural activity” from the Castro’s work (MELO, 2011; 2012) against the interpretation based on its readers. Availing the comparative theory, checks on reading process of the Josué de Castro literary oeuvre the historical development and consolidation of the readership. Recognizing the interpretation that has been referred since the impressionist reading (MONTENEGRO, 1958; 1959; TOBELEM, 1974), until the recently academic crisis (CARDOSO, 2007; FARIA, 2008; SILVA, 1998; 2012). It stills asking the recognized compliment of the josuenian literary output. The reviewer’s paper on the theoretical appreciation and the appropriation integrated to readers/translators in the work’s expectations. Josué de Castro’s literary collection retains the latent and necessary revision. The necessary receiving has made since 1930, when the first Josué de Castro tales and poems movement, until the contemporaneity, since to highlight the different publications context and the work signification, underscoring decrease in academic production reviewed during the 70’s and 80’s, in function of the Brazilian military government veto in 1964 to the writer’s text. The exiled condition competed to the josuenian literary oeuvre glare. So, the recovery reading history research in the Josué de Castro work, giving the judgment constructed by the audience, responsible for the actualization and the reception resistance of the josuenian work. In a lato sensu, discussing the aspects of the translation of the novel Homens e caranguejos contributes to the contemporary reader’s reflection on how Castro’s fictional text is drawn from written experience, being re-read by music and dramaturgy.
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No escuro coração do século XX: uma proposta dialética entre Eric Hobsbawm e Guimarães Rosa
(Universidade Federal do Pará, 2017-10-31) TEIXEIRA, Everton Luís Farias; HOLANDA, Sílvio Augusto de Oliveira; http://lattes.cnpq.br/0928175455054278
This thesis proposes a comparative study of the works of João Guimarães Rosa (1908-1967) — especially the novel Grande sertão: veredas (1956) and the German ―cronicontos‖ Ave, Palavra (1970) — and the historiography of Eric Hobsbawm (1917-2012), clustered in Bandits (1969) and Age of extremes (1994). The apparent thread linking the productions of these two historical observers of the twentieth century is the concern of both with the common man over the historical facts and the demarcated geographical spaces. This survey hopes to show how Western history in the twentieth century infiltrates the particular writing of this Brazilian author, either by the cosmopolitanism of the horror forged in ―O Mau Humor de Wotan‖, or by the remote hinterland characterized as the world itself by the speech of the protagonist Riobaldo. About this work, it is stated that this topography, different from the regionalist tradition, is erected just like a metonymy of all places, therefore, far from a backcountry nostalgia. Some examples of this historical resonance abound in this novel, as the great phenomena experienced in the past century: the emancipation of women and the criticism of the liberal models, which generated social bandits in some regions of the globe, and with these a specific event in the turn of the XIX century: the emergence of the first states-parallel from rural areas caused by disasters in Europe, which led the characters of the narrative ―A Velha‖ and ―A Senhora dos Segredos‖ to believe in the illusion of freedom in Brazil. Thus, the themes of the ―new woman‖ and of social resistance movements in peripheral capitalism areas are of great importance both for Rosa‘s work, and for the work of this British intellectual, because in both the historical documentation constitutes something circumstantial in which the mythic dimensions dialogue with the ideological compositions. Having ambiguity as the keynote of human relationships and power of the twentieth century and Rosa‘s fiction, the fictional bandit now resembles the Robin Wood‘s Paladin, ideal archetype of good villain, as the common criminal, figure proscribed by the laws of the State and the acceptance of the general public. This paper analyzes — with the help of Aesthetics of Reception and critical contributions of Antonio Candido (1918-2017) — the route traced by the Western societies in the short XX century in order to find other ways to coexist amid the disintegration of the values designed by the eighteenth-century Enlightenment. By integrating these aesthetic and scientific constructions, it is possible to establish a more complete interpretation of one of the many faces of contemporary reality, time in which the perplexed globe watched crumbling empires and civility in the face of barbarism practiced in regions such as the hinterland (real or metaphorical) forgotten by the capitalism and worn government. This dialectic, on one hand, broadens the study of the theme of Hobsbawm‘s social banditry, adding to his typology the gangster figure. On the other hand, it denotes in Guimarães Rosa an exceptional attitude against the violence and barbarism seen in a period of exception, like ours, in which all the writings are configured in survival corners or requiems of freedom.
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O prazer estético diante das atrocidades narradas por Erich Remarque e Guimarães Rosa
(Universidade Federal do Pará, 2018-02-28) SILVA, Leonardo Castro da; HOLANDA, Sílvio Augusto de Oliveira; http://lattes.cnpq.br/0928175455054278
This dissertation selects as corpora the novel All Quiet on the Western Front (1929) by Erich Maria Remarque (1898-1970) and the chronicles “O mau humor de Wotan”, “A velha”, and “A senhora dos segredos” in Ave, palavra (1970) by Guimarães Rosa (1908-1967). For the reading of the German novel whose subject revolves around the First World War, and the rosianos texts molded by the context of the Second World War, it is proposed to apply the theorists Márcio Seligmann-Silva (1964) in O local da diferença (2005), Zygmunt Bauman (1925) in Modernity and the Holocaust (1998), and Hannah Arendt on Eichmann in Jerusalem (1906-1975) (1963), and The Origins of Totalitarianism (1951). It aims to discuss the corpora from different perspectives on the war in order to understand how literary narratives can contribute or even cause tensions for theory. The central approach of this thesis is the examination of the corpora under the reception-aesthetic method formulated by Hans Robert Jauss (1921-1997), and the Hermeneutic defined by Benedito Nunes (1929-2011) in Hermenêutica e poesia (1999), as well as the German theorist dialogues with his master Hans Georg Gadamer (1900-2002) and Martin Heidegger (1889-1976). Thereby, it focuses attention on the transcendental historicity and the state of being. According to the theories about the war from the Brazilian theorist, it will elapse two moments in this research, the first will be the application of the psychoanalytic principles of trauma, shock, war neurosis, among others, while the second will be the questioning of the location of the difference on its proposal of overlap of the ethical over the aesthetic. In relation to the Polish sociologist, beyond the treatment of these literary works under his understanding, we will consider through the aesthetics of All Quiet on the Western Front the possibility of point out elements that can lead to ask for the lesson of reason against emotion, which according to Bauman is only noticeable in the Holocaust. However, bringing closer Remarque and Guimarães, it will be observed by means of aesthetic elements, obviously different from sociology, that this notion can be reversed to show that the most notorious relation between reason against emotion is in the German novel than in rosianas chronicles. In the case of the German thinker, it will examine how the novel All Quiet on the Western Front offers analyzable images by the theory of Arendt, as well as shows complex characters that consent to trivialize evil, after think and judge questioning the power of the State and, at last, becoming indifferent to each other again. By examining the corpus according to the conception of Jauss and Hermeneutic studies, taking into consideration the theoretical premises about the war, this thesis will show how the current reader can have an aesthetic experience of pleasure in face of the terror inflicted by the man in the 20th century. Therefore the context of the Holocaust it can be interpreted as a violence more moderate than shown in the mainstream media and in the theories about the war, since the receiver will have a first contact with the First World War by the remarqueano novel.
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A recepção latino-americana da obra de João Guimarães Rosa
(Universidade Federal do Pará, 2019-02-28) VITAL, Marcellus da Silva; HOLANDA, Sílvio Augusto de Oliveira; http://lattes.cnpq.br/0928175455054278
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Representações de uma modernidade na produção literária de Milton Hatoum
(Universidade Federal do Pará, 2019-12-17) OLIVEIRA, Jean Marcos Torres de; HOLANDA, Sílvio Augusto de Oliveira; http://lattes.cnpq.br/0928175455054278