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 - 20 de 42

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Antropofagia haroldiana: a reescrita como projeto literário
(Universidade Federal do Pará, 2018-08-31) SAUMA, Thaís do Socorro Pereira Pompeu; LEAL, Izabela Guimarães Guerra; http://lattes.cnpq.br/2507019514021007
The thesis aims as main objective to demonstrate the anthropophagic attitude, in the Oswaldian sense, present in the writing of Haroldo Maranhão (1927-2004). The research of bibliographical nature was based on several critical texts on the anthropophagy, the writing and literary rewriting, the critical fortune on the paraense writer, plus his works that were read entirely. The anthropophagic gesture is studied in three novels of the writer: O Tetraneto del-Rei (1982), Cabelos no coração (1990) and Memorial do fim (1991), which we call the anthropophagic triad to reference them in a more didactic way. Initially a reflection on the anthropophagy was carried out from its begining, passing through a brief history of the movement and all its unfoldings in the field of the arts and the national culture. Then the anthropophagy was studied as a way of thinking that runs through the Haroldian writing, and that can be found in other works beyond the proposed cut. Anthropophagy, in the works of Haroldo Maranhão, has several motivations of a critical nature, such as the trickery and rewriting of history, the revival of influential people, but obliterated by the dominant discourse, and also as a form of legitimation of his writing from the incorporation of canonical writers. The effort to find the presence of other texts inserted in the works under analysis made it possible for us to consider Haroldo Maranhão as an anthropophagous writer, due to the frequent rewriting procedures in his novels that coincide with the bases of the Oswaldian anthropophagic movement, such as: discursive subversion, appropriation, rewriting, deconstruction and irony as tools of betrayal of the previous text, and reversing the history of the winners. The research allowed us to conclude that Haroldo Maranhão's canibal writing proposes new meanings to the Brazilian colonization process, adds information about the life and work of historical people erased by the dominant discourse and takes advantage of the literary canon as a form of penetration and legitimation for purposes of consecration of the text. The explanation of the anthropophagic attitude in Haroldo Maranhão will never be apart from the conception that the anthropophagic writer is constructed from his position as a critical reader of the tradition, that is, the anthropophagic attitude comes from the intense habit of reading, which is articulated later as rewriting capable of promoting the erasing of the sources from the appropriation of other voices so that penetration in the dominant discourse takes place.
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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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Bruno de Menezes, Dalcídio Jurandir e De Campos Ribeiro e as territorializações afro-amazônicas urbanas (da belle époque à década de trinta)
(Universidade Federal do Pará, 2019-11-22) SANTOS, Josiclei de Souza; FURTADO, Marli Tereza; http://lattes.cnpq.br/2382303554607592
The present paper makes a reading of the profane and sacred Afro-Amazonian territorializations in the city of Belém from the nineteenth to the twentieth century, and in the first decades of it, from the works Gostosa Belém de Outrora (1965), by José de Campos Ribeiro, Belém do Grão Pará (1960), by Dalcídio Jurandir, and Batuque (1939), by Bruno de Menezes, observing how the mentioned authors, through their experiences and research, got to create works that reinserted Afro-American minority groups in the narrative of the city. Amazonian communities that had been concealed by the narrative of the majority groups of the Amazon belle époque period, which took place during the gomiferous economic cycle, and these communities were hidden from the conformation narrative of the city. In this cycle there was an enunciative agency of Euro-indigenous essentiality, fed through an artistic production committed to the State apparatus. It is interesting for this paper what the referred works have of Minor Literature, working with the signs of Afro-Amazonian territorializations in the city of Belém, erasing the origin genealogies that generate racisms and hierarchies, which diminished the African descent participation in the Amazonian history. As tools for reading the studied works will be used Comparative Studies, as well as Cultural Studies, in a transdisciplinary perspective.
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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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Dalcídio Jurandir: leitor e criador de personagens-leitores no ciclo do extremo Norte
(Universidade Federal do Pará, 2019-08-30) COSTA, Regina Barbosa da; FURTADO, Marli Tereza; http://lattes.cnpq.br/2382303554607592; https://orcid.org/0000-0001-7597-7834
Acesso aberto (Open Access)
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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O discurso do Infilmável: formas de pensar a adaptação entre literatura e cinema
(Universidade Federal do Pará, 2023-09-11) LOUREIRO JUNIOR, João Pereira; SARMENTO-PANTOJA, Carlos Augusto Nascimento; http://lattes.cnpq.br/3263239932031945; https://orcid.org/0000-0003-0552-4295
This thesis reflects on the discourse of the infilmable from the representation of the impossibility in the translation process between literature and cinema, potential justification to evidence a supposed aesthetic impediment in the interartistic relationship the literary and the filmic. To discuss the ways of thinking adaptation from this perspective, we assume that the unfalmable reveals the conflictive relationship between what is proposed to be done (from mechanisms and resources built in the making of the script) and what materialized as an adapted product. This occurs through an intense process of searching for the film and finding solutions to assume the particularity of the cinematographic work, which in the filmable, is as unfalmable, because all cinematic translation is a possibility, a desire to transform aesthetic creation into a language in all its imagery potential. To analyze the constitution of the unfalmable discourses, we used several theoretical frameworks in the field of adaptation that helped us in the research. To discuss relational constructions around the game literature, cinema and translation, we used authors such as Borges (2007), Benjamin (2008), Llosa (2004), Cândido (1972), Adorno (1970), Bernardet (1985). When we discuss the unfalmable, starting from a conceptual, etymological, semantic, linguistic and historical perspective, to reach the places of speech that feed the term, we use authors such as Stam (2008), Avellar (2007), Bazin (1991). To support our readings on translation, adaptation and other related concepts, we propose a dialogue with Figueiredo (2010), Sanchez Noriega (2001), Plaza (2003), Seger (2007), Hutcheon (2013). In order to enhance our discussion, we analyzed some adaptations of films/TV series, based on Don Quixote by Miguel de Cervantes, we used as theoretical contribution scholars such as León (2015); Hidalgo and Arruda (2020), Morell (2022) Silva (2016), Johnson (2003). As a conclusive point for the discursive delimitation that we propose to investigate, this thesis demarcates its position in the field of translation/ adaptation between cinema and literature, evidencing the fragility of a discourse around the unfalmable that potentiates itself in the space of common sense, by the discursive imposition of an uncontrolled impossibility, as soon as it is confronted by the power of translation between the borders that encompass the literary and the filmic and its eternal becoming.
Acesso aberto (Open Access)
Do corpo torturador ao corpo torturado: representações da máquina ditatorial na literatura brasilieira
(Universidade Federal do Pará, 2018-09-13) ROCHA, Ana Lília Carvalho; SARMENTO-PANTOJA, Tânia Maria Pereira; http://lattes.cnpq.br/3707451019100958
Brazilian literature presents in some of its manifestations the mark of violence. The texts that fit in this aspect are usually linked to the historical cut of the military dictatorship, whose insignia is state violence. Our objective is to trace the representation of what we call the dictatorial machine and its ramifications: the torturer body and the tortured body, starting from the literary texts that report the events occurred during the years of lead in Brazil. We understand that in the midst of the dictatorial event, the "fit" of the pieces was essential for the efficient functioning of the evil machine. In raising the debate about the dictatorial machine, this thesis runs through analyzes ranging from torture and its presence in history of humanity, being sometimes camouflaged or spectacularized, passing through the figure of the perpetrator, until we reach the victim of Evil, of barbarism, that is, the tortured body. Considering that the tortured body is one of the gears resulting from dictatorial coercive power, we also intend to show that the presence of torture is one of the elements that moves the dictatorial gears as far as coercive and repressive movements are concerned. The target of torture is the body of the accused / condemned, and the texts that we propose to analyze are found in the language that manifests itself in abjection, whether in the torturer's speech or in the speech of the tortured. For the corpus of this work six literary tales and a novel were collected, being: 1. “Pelos pobres de Tegucigalpa”, of Arturo Gouveia; 2. “A casa de vidro”, by Ivan Ângelo; 3. “O jardim das oliveiras”, by Nélida Piñon; 4. “Não passarás o Jordão” and 5. “Um estranho á porta” by Luiz Fernando Emediato; 6. “O leite em pó da bondade humana” by Haroldo Maranhão and 7. “Retrato Calado” by Luiz Roberto Salinas Fortes. In order to contemplate the organization of this thesis, we divided it into four chapters that will help us in the debate proposed here. In addition, we seek a theoretical framework to structure more appropriately the hypotheses and questions raised, in this way we resort to the studies of Agamben, Calveiro, Foucault, Seligmann-Silva, Sarmento- Pantoja, Schollhammer, among others.
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Eles muitos cavalos e pssica: a literatura brasileira contemporânea imersa no caleidoscópio citadino
(Universidade Federal do Pará, 2025-02-11) COELHO, Luana da Silva; PEREIRA, Helena Bonito Couto; http://lattes.cnpq.br/9240687015870539
Based on the assumption of the complexity of life in urban centers, which causes social and psychological impacts on the individuals who constitute this reality, this work seeks to analyze how this space is being represented in contemporary Brazilian literature, focusing on the novels Eles eram muitos cavalos (2001) by Luiz Ruffato from Minas Gerais and Pssica (2015) by Edyr Augusto from Pará. With the help of bibliographical research method and comparative literature, the aim is therefore to analyze the city as a space-character in the aforementioned novels, guided by the marks of Romanesque fragmentation, discussed by authors such as Sá (2007), Hossne (2007), Ricciardi (2007) and Macedo (2007); the forms of contemporary realism, based mainly on Schøllhammer (2009; 2012; 2013), the influences of cinematographic montagem techniques, elaborated by Eisenstein (1990), Leone & Mourão (1993), Stam (2000) and Carone (1973) and traces of the detective novel, theorized by Reimão (1983) and Massi (2011). In view of this, since the city is a theme that permeates the history of Brazilian literature, it can be inferred that its recurrent presence in contemporary writing is notable, since it is the locus that brings together a set of social ills. This theme has captured the attention of writers in today's context, being treated in different ways and represented through writing techniques that permeate the simultaneity of events occurring in big metropolises and influenced by the chronotope in which each author and work are inserted – from São Paulo, as in Ruffato's novel, to Belém and the Amazon region, as in Edyr's case.
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Entidades e identidades no diálogo entre seres fantásticos das narrativas orais tradicionais da Amazônia e dos RPGS
(Universidade Federal do Pará, 2021-05-04) MUINHOS, Breno Pauxis; SIMÕES, Maria do Perpétuo Socorro Galvão; http://lattes.cnpq.br/0672011058049782; https://orcid.org/0000-0002-1365-6258
The Amazon, besides being a geographic region, is a space of traditional civilizations and their cultures. Several societies flourished and developed in this space, and came in contact with others from other parts of the world, and in this place they came to create another variety of thoughts that are concretized in narratives that continue today. In Literature, it has become a setting for the most diverse manifestations of literary art, and in History it constitutes a framework rich in the phenomena of humanity. Role-playing games, RPGs, are part of a genre that emerged in the late sixties in the USA, which presents in its vast material reflections of different historical and literary moments. His contributions are noticeable in several printed materials aimed at practitioners of this narrative activity and other medias. The present thesis aims to trace the dialogues that the RPG printed texts have with some oral narratives collected by the IFNOPAP Project, which aims to expose the resistant imagery in the local identity about what they understand as mythological reality. The focus of the work is on the texts that report fantastic creatures present in the testimonies of several subjects that were questioned by the researchers. The reports are placed in comparison with the texts coming from books of narrative games, something that aims to present how traditional popular narratives still resist time and are absorbed by a genre proper to modernity. For a complete perception, an outline of the course of studies of oral narratives in Brazil and other parts of the world, relevant to the objectives of the thesis, will be drawn. In addition to presenting the context of how role-playing games emerged, it will also be presented how the narratives present in the works can be perceived as appropriate literary texts for interpretation and analysis proper to Literary Theory. From these premises, it will be confirmed that fictional entities will be at the side of the construction of the identity of these peoples, based on the material of the authors who contributed to the IFNOPAP Project. Finally, in annex, the thesis will present a proposal that presents examples of how traditional oral narratives can be adapted for use as RPG scenarios, which will have their own characteristics to be used as a form of resistance and Amazonian expression.
Acesso aberto (Open Access)
Entre críticas e aplausos: os caminhos da consagração dos contos machadianos
(Universidade Federal do Pará, 2018-04-06) CASTRO, Valdiney Valente Lobato de; SALES, Germana Maria Araújo; http://lattes.cnpq.br/8723885160615840
Newspaper was the main means through where literature was conducted in the second half of nineteenth century, reaching, as locomotive, diverse readers in different spaces. Great part of these individuals was highly educated and would follow avidly the literary production conveyed in pamphlets. Machadian short-stories are among these compositions. Even though specialized critics appreciated this type of work as an eclipsed form of other successful genres, the production has toured newspapers’ pages for almost half century and helped consecrate Machado de Assis’ name much before the edition of his first novel. In 1870, with more than thirty written short stories, the author began to gather these narratives in collectanea and publish them, reaching a significant amount of printing and sale to editors at expressive values, resulting in seven anthologies: Contos Fluminenses (1870), Histórias da Meia Noite (1873), Papéis Avulsos (1882), Histórias sem Data (1884), Várias Histórias (1896), Páginas Recolhidas (1899) and Relíquias da Casa Velha (1906). When these selections won the streets, public papers of Rio de Janeiro released disclosure notes, comments of readers, advertisements, and critics, what reveals great attention of reception. To analyze such writings is the main aim of this study. As well as comparing to the judgment built for decades upon the short stories that currently results in an estimable critical fortune. However, many times primary sources such as contracts, manuscripts, letters, and newspapers themselves where the short stories were originally edited have been underestimated. Considering these collections for organizing collectanea is also the aim of this thesis, once Machado, when selecting them, would concern about the representation he wanted to build on readers, as prefaces and letters to his editors well reveal. The reading of texts published in the Brazilian gazette through the launching of short-stories volumes might help framing the understanding Machado had about his readers as to conceive the reception’s judgment criteria of readers in relation to the author’s publishing.
Acesso aberto (Open Access)
O exílio no testemunho da segunda geração: elementos para um paradigma narrativo
(Universidade Federal do Pará, 2021-02-26) LOBATO, Ladyana dos Santos; SARMENTO-PANTOJA, Tânia Maria Pereira; http://lattes.cnpq.br/3707451019100958; https://orcid.org/0000-0003-1575-5679
In this research, we analyze the testimony of the children of the persecuted, disappeared and political dead of the 1964 Military Dictatorship, which refers to the childhood experience in exile and the way this experience is presented in literary and cinematographic production. For this, we selected two research corpora. The first consists of testimonial narratives published in 2014 in the book Infância Roubada, among which we selected the narratives entitled: “O exílio do meu pai foi a nossa despedida”, by Suely Coqueiro; “Por que você é tão tristinha?” by Marta Nehring; and “Adotados pela Revolução Cubana”, by Virgílio Gomes da Silva Filho. The second corpora consist of the novel entitled Meninos sem Pátria, by Luiz Puntel, published in 1988, by the Vaga-Lume series; the novel titled A Resistencia, published in 2015, by Brazilian writer Julián Fuks, son of parents exiled from the dictatorship in Argentina; and the film entitled Diário de uma Busca, released in 2010, by Flávia Castro, daughter of persecuted politicians from the Dictatorship in Brazil. The thesis dialogues with concepts from the field of migration studies (CAVALCANTI, 2017; OIM, 2009, SAYAD, 1998), among which we highlight the concept of exile (AGAMBEN, 1996; SAID, 2003; VIÑAR and VIÑAR, 1992; ROLLEMBERG, 1999, 2007). The thesis also dialogues with studies on narratives of exile (ADORNO, 1999; CORTÁZAR, 2001; VIDAL, 2004; FIGUEIREDO, 2017), state of exception (AGAMBEN, 2004); testimony (SELIGMANN-SILVA, 2003, 2005, 2013; VILELA, 2000; SALGUEIRO, 2012); literature and testimony (DE MARCO, 2004; LUQUE, 2003); memory (SARLO, 2007; BASILE, 2019; FANDIÑO, 2016); survival (PELBART, 2008, 2013) and utopia (SZACHI, 1972). The study has as its central theoretical approach the studies on exile, testimony and memory of the second generation. However, we found that the testimonial narratives are crossed, as well as the concept of utopia, as there is, in these texts, a personal desire of the children to understand their own identities, which points to the paradigm of an ad infinitum present of the traumatized experience of the event historic. Faced with this reality, an alternative emerges, namely, the desire to carry out a collective project that strives for another form of relationship between the population and the State. Is this the utopia for a way of life not marked by state violence? The utopia of the subject's integrity? This utopian proposal is, at the same time, paradoxical, due to its impossibility, considering that, once physical, psychological or moral integrity is violated, it can never be recovered. To respond to this issue, we propose a common analytical tool for testimonial narratives that report childhood experiences in exile. In this process, we consider the presence of 4 (four) analysis categories. They are: 1) Motivation (for the trip); 2) The Trip; 3) The Stay; 4) The Return. In the analysis of the narratives of the research corpora, from the four proposed categories, we verified that the exile experience of the second generation is linked to a set of elements that point to the way in which the dictatorial state constituted itself as a promoter of violation of fundamental rights of children and that, therefore, utopia is, in the same measure, an unrealizable project. Thus, this study is of fundamental importance for us to present our theoretical contribution to exile studies, as well as to propose an analysis instrument that could be used by other researchers in similar research bodies.
Acesso aberto (Open Access)
A expressão do poder na produção literária de Bruno de Menezes
(Universidade Federal do Pará, 2020-09-21) PEREIRA, Edvaldo Santos; SIMÕES, Maria do Perpétuo Socorro Galvão; http://lattes.cnpq.br/0672011058049782
From the perspective that the composition of literary narratives, the development of the action from power relations is frequent, the hypothesis was formulated that relationships of this nature stand out as aesthetic components of the action in these works. Although without any concerns regarding philosophical concepts, Michel Foucault’s principles on power are used as basis for this research, mainly addressed in the book Microphysics of Power. In addition, Karl Marx’s concept of the power manifested in labor relations in the production process of society will also be considered. In this sense, a relationship is established with the study of the structures that make up the social environment, through microphysics, the principle of which includes issues related to the struggle for social equality in labor, as well as to the molecular formation of society. These concepts are based on a power manifested on the most varied levels and different aspects of a social network. In these circumstances, the scope of the literary work extends with the reproduction of these relations in the narrative action, through the appropriation of this resource in the composition of its characters. To support this thesis, the works of writer Bruno de Menezes, from the state of Pará, were taken as literary object. Divided into four sections, the first addresses manifestation of power from reality to fiction; the second, forms of power manifestation as a practice of the different levels of society transposed to literary work; the third, biographical aspects of the author, with emphasis on his life trajectory, as a person who is attentive to social problems, engaged in union and cooperative movements, and who brought this experience to his work; finally, the fourth section will focus in the author’s literary works, focusing on the power relations manifested in his poetic work and in his fictional narrative.
Acesso aberto (Open Access)
A figuração da mulher em Dalcídio Jurandir: entre o desamparo, a opressão e a transgressão
(Universidade Federal do Pará, 2018-05-24) SANTOS, Alinnie Oliveira Andrade; FURTADO, Marli Tereza; http://lattes.cnpq.br/2382303554607592
Dalcídio Jurandir (1909-1979), Brazilian writer, published eleven novels, ten of which make it part of the called Ciclo do Extremo Norte: Chove nos campos de Cachoeira (1941), Marajó (1947), Três casas e um rio (1958), Belém do Grão Pará (1960), Passagem dos Inocentes (1963), Primeira manhã (1967), Ponte do Galo (1971), Os Habitantes (1976), Chão dos Lobos (1976) and Ribanceira (1978) that thematize about man and the Amazon region customs. Even though in these novels men occupy the position of protagonists, it impresses the great number of female characters that collaborate for the development of the narratives, contributing in a hard way to the construction of the plots and the dramas present in the work. This thesis, therefore, it aims to analyze the female characters of the called Cycle, grouping them according to the social situation in which they are. Futhermore, we create the following categories of analysis: helplessness, oppression and transgression, which are not mutually exclusive, but we argue in this work that the characters pass between these three categories. For that, we used as reference the works of BRAIT (2006), ROSENFELD (2011), CANDIDO (2011), WOOD (2011), REIS (2015) to reflect on the fictional character; CASTELO BRANCO and BRANDÃO (1989), BRANDÃO (2006), ZOLIN (2009) and ZINANI (2013), thinking about the relation between woman and literature and the studies of RAGO (2011), SAFFIOTI (2013), ALAMBERT (2004), LENIN (1979), BEAUVOIR (2009), which enabled us to understand the issues of women as well as gender relations. From the sixteen women characters analyzed, six, predominantly, are in the category of helplessness, of which they stand out: Orminda, D. Inacia and Lucíola; three are in oppression, and Felicia and seven of them are in the transgression, of which stand out: Alaíde, D. Amélia and Isaura.Investigating, therefore, the female character of the novels produced by Dalcídio Jurandir, which have a strong social denunciation aspect, helps us to care for Brazilian society at the beginning of the last century, as well as how this society was portrayed in Brazilian literature.
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Futurosos e futuristas: uma história pelo avesso da arte moderna no Pará
(Universidade Federal do Pará, 2018-12-14) QUEIROZ, José Francisco da Silva; PRESSLER, Gunter Karl; http://lattes.cnpq.br/0100053541433805
This work of literary history focuses on the cultural and literary ambience of the city of Belém, capital of the state of Pará, during the 1920s. Historical and chronological extrapolations that overcoming this decade, both before or after, were necessary to emphasize some positions esthetic and affirmations made according to the Modernism Canon instituted. Starting from a narratological approach (SCHMID, 2010; DOLEZEL, 2010), assisted by notions of the Aesthetic of Reception (JAUSS, 1994, 2010); some theoretical tools and critical reflections were transmigrated from these branches of research to employ them in the composition of a historiographic narrative based on the “literary archives” configured in the journalistic media. In this narratological scope were made some critical assumptions in the evaluation of some literary works published in this period, as well as the contestation of the canonized history about the supposed Modernism of Pará. In these terms we present a different perspective on the events that moved the cultural ambience of Pará during the first decades of the twentieth century. The subjects explored here bear the poetic and narrative tradition created by authors from Pará or settled in the State; presents the culture of civic celebrations and the associative commitment of the intellectuals; (Dadaism, Cubism, Futurism…); which were openly criticized by the great majority of intellectuals (journalists, poets, story teller…) “News” or “Elders”. If the most known historiographical works about the 1920s affirm the “triumph of the modernist idea” in Brazil (GOUVEIA, 2013), this research will demonstrate a narrative in which the appreciation of the poetic tradition, telluric writings and historical patriotism were the concepts fundamental that unified artist and “local” intellectuals and not the propounded history of an “adhesion” to Paulista Modernism.
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Gulliver´s Travels na perspectiva adaptada de Clarice Lispector: o leitor infantojuvenilem em questão
(Universidade Federal do Pará, 2021-03-10) AMORIM, Thaís Fernandes; PRESSLER, Gunter Karl; http://lattes.cnpq.br/0100053541433805
This work aims to investigate the moralizing and satirical content present in the Jonathan Swift’s Gulliver’s Travels (1735) in the adapted perspective of Clarice Lispector (1973-2008), showing the treatment that the writer gives to these elements and how a child and youth audience would give account these contexts. Recognizing the narratives, historical or literary, they build a representation about reality and this representation materializes in the text, we try to understand the reception of these texts from the adapted text of Lispector, understanding that this is an intermediate instance between the author, the adapter and the reader. For that, we will approach some theoretical questions that deal with the interpretation and reception of the literary text (JAUSS, 1979), the reader's participation in the construction of the text (ISER, 1999), therefore retextualized by the adaptation, from the unveiling of the metaphors (LAKOFF & JONSON, 2002) and the interpretation of signs, icons and symbols (PIERCE, 2005), since the children's text deals with many images; as well as a translational practice based on dynamic equivalence principle (KADE, 1968), since the translator recreates the function that words may have in the source text situation. Such incursion is necessary, since Lispector retextualizes certain passages in a metaphorical way and does not use illustrations in her work (a recurring feature in works applied to children and adolescents). Knowing then that the text depends on the reader's availability to gather all that is offered and contributes to the constitution of meanings, an investigation will be made in the research of children's literature to discuss who these readers are, as well as in the studies of translation/adaptation of children's literature (LATHEY, 2006; OITTINEN, 2006; VENUTI, 1995), considering that it is this translated and adapted text that the children's reader will have access to.
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A infância desvalida em Dalcídio Jurandir: um bulício de crianças, picado de risos e gritos
(Universidade Federal do Pará, 2019-02-27) VELOSO, Ivone dos Santos; FURTADO, Marli Tereza; http://lattes.cnpq.br/2382303554607592; https://orcid.org/0000-0001-7597-7834
The thesis proposes an analytic–interpretative reading that aims to demonstrate that the childhoood category has a prominet role in the literary proction of Dalcídio Jurandir and especially, in the ethical and aesthetic dimension of the construction of his literary project that became known as the Extreme - North. This study, with a qualitative bibliographical approach, focuses mainly on the first five novels of the Dalcidian cycle, namely: Chove nos Campos de Cachoeira (1941), Marajó (1947), Três casas e um rio (1958), Belém do Grão-Pará (1960) e Passagem dos Inocentes (1963). The analytic-interpretative approach is based on the thematic and discursive technique, which allows us to observe the ideological formations of the discursive construction of the marajoara writer, and the way in which the figuration of childhood and the child collaborate with the social tone of his aesthetic project. From this point of view, the fundamental axes that guide this reading are the relations between Literature and Society and Literature and Memory so that we revise authors that fall within this theoretical scope, as well as those that give treatment to the theme of childhood and the Dalcidian work. The research has shown, among other things, that the childhood universe that emerges from the Dalcidian narratives is not restricted to the presence of children's characters, or that they recall this stage of life, but also comes to light through the representation of the child's imagination, and, by insertion into the narrative structure itself, through the incorporation and often re-elaboration of fairy tales, myths, or other signs of popular and erudite culture that somehow approach the world of childishness. These strategies, in turn, are aligned with the ethical and aesthetic commitment of Dalcídio Jurandir, whose novels combine social commitment and awareness of literary work.
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José Veríssimo: seus anos de formação (1877-1891)
(Universidade Federal do Pará, 2021-08-30) SILVA, Aline Costa da; PRESSLER, Gunter Karl; http://lattes.cnpq.br/0100053541433805
The work, “José Veríssimo: His formative years (1877 to 1891)”, is about the intellectual production of this Amazonian thinker in his years in Pará, from 1877 to 1891. It aims to comprehend the critic’s thought – how he introduces and integrates the Amazon in the intellectual setting of the time, based on ethnographic, literary and educational themes that started in the Belenian press and which culminated in works that marked the first expressions of his thought. Using a qualitative bibliographic research method, the thesis was based on studies of hermeneutics by Friedrich Schleiermacher (1999), on the aesthetics of reception by Hans Robert Jauss (1979), on the paratextuality presented by Gerard Genette (1982), on the history of book by Roger Laufer (1980[1972]) and Robert Darnton (1995), the narratological studies by Wolf Schmid (2010) and the reception of pragmatic texts by Karlheinz Stierle (1979). Regarding the reception of José Veríssimo's anthology, the reading of Franklin Távora (1883), Silvio Romero (1980), Machado de Assis (1899), Francisco Prisco (1937), João Alexandre Barbosa (1974) and Felipe Tavares de Moraes (2018). Data analysis revealed that in the three themes in which the Obidense intellectual moved - Ethnographic, Literary and Educational - the critic brought to the debate issues of popular culture, politics, art, women, mestizaje, the indigenous, the black, from the working class, religion, housing, language, folklore, economy, among others, introducing, as an Amazonian thinker, a need for representation and interest in the building of a national intellectual project. It was noticed, in turn, that the reception of works is organized in several fields of knowledge, through which readers update the works and seek to understand the historical roots of the country and the formation of the critical language of the author of Scenes from Amazonian Life (1886).
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Laços luso-paraense na imprensa oitocentista
(Universidade Federal do Pará, 2019-05-31) TAVARES, Maria Lucilena Gonzaga Costa; BARBOSA, Socorro de Fátima Pacífico; http://lattes.cnpq.br/1775931802554481; SALES, Germana Maria Araújo; http://lattes.cnpq.br/8723885160615840
Almost two centuries of the independence of Brazil, some ties still linger in Pará, beyond the language and the political and cultural history left by the Portuguese colonizers. Thus, it was up to the newspaper to archive part of this important story that, in some Brazilian provinces, also witnessed harsh prospects of what intended Brazilians, as happened in Grand Pará Province, whose peculiarity focuses even before his "adherence" to independence in 1823. Therefore, we investigated some newspapers of Pará from the nineteenth century, in particular, those of the 1840s - respectively the end of Cabanagem - the 1880, the decline of Romanticism, in order to show from the perspective of literary history, such as the Grand Province - witnessed in adverse direction of the other, the lusophilia and permanence of Portuguese culture. We propose as the source the journals from Pará cataloged in the microfilm sector from Arthur Viana library, located in the Cultural Foundation of Pará, in which we find record keeping existing literary ties between Brazil and Portugal in the nineteenth century. This research will serve as a bibliographic source to those interested in historical and cultural relationship between Pará and Portugal, given that mosto of the newspapers investigated is located solely in the said Para state library, which certainly favors the little publicity about this historiographical content, besides placing Pará among the important Brazilian provinces of the nineteenth century.
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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.