Navegando por Autor "FIGUEIREDO, Elielson de Souza"

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Identidade e história: Belém do Grão-Pará como narrativa da nacionalidade
(Universidade Federal do Pará, 2005-10-05) FIGUEIREDO, Elielson de Souza; FURTADO, Marli Tereza; http://lattes.cnpq.br/2382303554607592
This work admits the allegory concept presented by Fredric Jameson as Possibility for reading speech of the history through Brazilian poetic speech, especially the Dalcidio Jurandirs novel, Belém do Grão-Pará. The beginning of the twentieth century is read through circumstances lived by the protagonist Alfredo, starting from his move from Cachoeira do Arari to Belém. Using the Marxist dialectic premises, little by little we analyzed the meaning of anthropophagi as sort of decisive political attitude to rupture with the idea of Brazilian culture submission front to the external cultures, specifically Europes. The new dimension given to the European vanguard in cultural and esthetic Brazilian means, as well the intellectual argument between the revolutionary sections of the national art and the academic eighteenth century tradition, were essentials to the statement of a very peculiar place to Brazilian literature in Latin-American and global context, especially. Alfredo's migration, central character in the play, from country-side to the city although he finds out a Belém ruined because of the economical climax of rubber exploitation, its read, allegorically as kind of crossing between the cosmopolitan way of national elites and the cultural roots which popular sections of the country-side are linked. Instruments of this historical debate between the elites and the people, were in the movies and newspapers, also mentioned by the novel. In a glance on post-modernity and the appearance of global society, under the tutelage of cultural industry, It insists on the possibility of a Brazilian national identity despite of strong differences among areas, social classes and ethnic.
Acesso aberto (Open Access)
Testemunho e responsabilidade: o dizer de Semprún sob a ética de Lévinas
(Universidade Federal do Pará, 2019-02) FIGUEIREDO, Elielson de Souza; SARMENTO-PANTOJA, Tânia Maria Pereira; http://lattes.cnpq.br/3707451019100958
This doctoral thesis concentrates efforts to bring philosophical thinking closer to Emmanuel Lévinas (Kaunas, Lithuania, 1906) of the theoretical categories of analysis of the Witness Literature produced from the surviving Shoah. With order to prove that the philosophy of otherness of Lévinas offers a valuable theoretical set for the studies about the Testimony as a point of intersection between Memory, Fiction and History, the thesis focuses in the autofictional writing of Jorge Semprún (Madrid, Spain, 1923), particularly about the novels A grande Viagem and A escrita ou a vida.The central argument defended here states that the self-production produced by Semprún can be understood in the conceptual key of what Lévinas calls Responsibility, that is, as the survivor's response to the unjustified suffering under which millions of people imprisoned and murdered in the camps suffered and died forced labor and extermination, maintained during the German nazi regime. Starting from the hypothesis that testimony is to assume the ethical task of resisting the banalization of murder, the thesis investigates a small conceptual group that, along the philosophical thought of Lévinas, is linked to responsibility: election, convocation, face, passivity and ethical subjectivity form the basis of argument defended here. Through alternate quotes and comments that allow us to read the criticism with the Testimony through the reflections of Lévinas, besides allowing us to read the philosophy of otherness through the words of figures like Seligmann-Silva, Gagnebin, Agamben, Rosani Umbach and Tania Sarmento - Pantoja, this thesis intends to create an important theoretical discussion for this same critic of this philosophy. About Jorge Semprún, his work of autofiction is read here in the theoretical key of Tell and taken as an ethical gesture of desubjectivation insofar as in re-elaborating his experiences in the forced labor camp of Buchenwald, where he was a political prisoner between 1943 and 1945, the writer uses the artifice to fictionally recreate facts and characters of his survival during the prison, in order to produce an ambiguity between history, autobiography and fiction. Thus, supported by theoreticians such as Philippe Lejeune, Ángel Loureiro, Leonor Arfuch and Manuel Alberca, this thesis demonstrates how Semprun's autofiction intends the possibilities of language exposing the conscience or ethical subjectivity of the survivor who, even in the face of the limits imposed on the task of Tell the excess of traumatic events, does not shy away from exposing the insufficiency of his writing and thus attends to the Responsibility of the convocation to witness.