Navegando por Autor "MOREIRA, Alex Santos"

Agora exibindo 1 - 2 de 2

Acesso aberto (Open Access)
A crítica literária aos romances “Chove nos Campos de cachoeira”, “Marajó” e “Três casas e um rio” na imprensa do Rio de Janeiro
(Universidade Federal do Pará, 2015-03-11) MOREIRA, Alex Santos; FURTADO, Marli Tereza; http://lattes.cnpq.br/2382303554607592
Discredited as a critical model, impressionistic criticism until the first half of the twentieth century dominated the literary debate in Brazil and its performance was hegemonic in the literary supplements of newspapers, magazines and weeklies. It is known that for a long time, it was the main source of readers’ guidance, revealing reading keys, clearing plots, playing characters and most of all it was also the living bond responsible for the link between the work and the reader and between literature and everyday life. Thus, this paper studies the literary criticism in the press of the city of Rio de Janeiro on the first three novels of Pará Dalcídio Jurandir writer (1909-1979). Show how Chove nos Campos de Cachoeira (1941), Marajó (1947) and Três Casas e um Rio (1958), in its immediate context of publication, were read by critics considered Impressionist. We intend to recognize how consolidated the meanings of these books, elucidate the critical procedures of the first assessors Dalcídio Jurandir and raise new hypotheses that help the new readings of these novels to go beyond what is laid by the current critical system.
Acesso aberto (Open Access)
Narradores do extremo norte: o ciclo romanesco de Dalcídio Jurandir
(Universidade Federal do Pará, 2021-04-18) MOREIRA, Alex Santos; FURTADO, Marli Tereza; http://lattes.cnpq.br/2382303554607592
The main objective of this thesis is to study the narrator and the narrative focus in the novels Chove no Campos de Cachoeira (1941), Marajó (1947), Passagem dos inocentes (1963), Primeira Manhã (1967) and Ribanceira (1978). These works are part of the fictional saga of the Extreme North cycle created by the novelista from Pará, Dalcídio Jurandir (1909-1979). The cycle, entirely composed of ten books, chronicles the life of women, men, children and the elderly from the countryside of the Brazilian Amazon at the beginning of the 20th century, featuring young Alfredo as the main character (except in Marajó), whose life trajectory connects to the social and personal dramas of the other characters. As for its narrative construction, the Jurandir saga presents a recurring oscillation in the focus of the narrated events manifesting, that way, different levels of narrative focus and narration. In order to analyze the constitution of this category in the works mentioned above, the main theories relevant to the point of view in fiction were used. Therefore, we opted for the use of the narrative typology proposed by Norman Friedman (1967 [2002]) correlating it with the studies of Pedro Maligo (1992), Marlí Tereza Furtado (2002 [2010]), Benedito Nunes (2004) and other fiction researchers of Dalcídio Jurandir. In addition, in order to better understand the perspective (s) endowed in Jurandir's narrative process, the novels that make up the corpus of this study were separated into three narrative cores: the marajoara, the narrated events occur on the island of Marajó ; the Belenense, the action is predominantly concentrated in the city of Belém and the Amazonian-Paraense, composed only by Ribanceira, the last book of the cycle that shows a third phase of Alfredo's life. The Dalcidian saga is woven by an omniscient third-person global narrator, who alternates his stance between neutrality, intrusion and the use of multiple points of view, causing the narrative to collapse. When this resource is overexploited, the central narrator distances itself significantly from the narrated matter, giving other characters the status of narrator, thus creating the categories of character-narrators. This category is divided into two types: the first, type I, assumes the status of narrator giving progression to the narrated matter, the second, type II, tells stories embedded in the main plot, also presenting a subdivision of popular narrators who tell , orally, narratives permeated by elements of the Amazonian imaginary. Thus, the mediation between the reader and the narrated story is eliminated, because not only the focus but the narrative enunciation itself becomes the responsibility of these characters-narrators. It is considered that when giving voice to women, fishermen, cowboys, farmers and other characters, Dalcidian fiction denounces the tragic forms of violence (social, political, economic and mythical-regilitary) perpetrated in the extreme north of Brazil.