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A presença inglesa no Brasil e sua influência nas obras de escritores brasileiros do século XIX
(Universidade Federal do Pará, 2005-08-31) PEREIRA, Rosamaria Reo; SALES, Germana Maria Araújo; http://lattes.cnpq.br/8723885160615840
This thesis has the main objective to investigate the presence of the English writers on the works of the Brazilian writers of the XIX century. The English novelists who were important at that time were Daniel Defoe, Samuel Richardson and Henry Fielding. They contributed to the rising and consolidation of the novel as a literary genre. In Brasil, the novel developed itself with a greater freedom and attracted the public reader. The new public started to read the novels which re-created the cities, the streets and the lives of the people who were emerging from a social class called: bourgeoisie. The new genre which appears in England increased business, with the proliferation of magazines and newspapers of popular and literary topics. The Brazilian writers such as José de Alencar and Machado de Assis were influenced by these English writers; however, this influence was not only reflected on the novels of those writers, but also on business, on culture and on the social life in Brazil. Some narratives, written by José de Alencar, show in a subtle way, the British influence, their habits and customs over the economic, political and cultural life of Brazil of the XIX century. Some other examples of this presence are reveled on the works of Machado de Assis through quotations, references and allusions. Machado de Assis in his novels does some references to English writers either from the XVI and XVIII century or from the XIX century, such as Shakespeare, Swift, Fielding, Sterne, Lamb and Dickens, among other English writers.
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A crise da palavra no centro do drama: uma leitura de Eu sei que vou te amar de Arnaldo Jabor
(Universidade Federal do Pará, 2012) MATOS, Bruno Sérvulo da Silva; MARTINS, Benedita Afonso; http://lattes.cnpq.br/6379814397024971
Literature and cinema are two distinct fields of sign production whose relationship may become possible because of visuality present in both languages. It is not today that the film makes use of other languages and/or other signs to the construction, reconstruction, creation and recreation film, causing thus the emergence of a hybrid material. However, at present, this process of influence/exchange also occurs in the opposite way: if before the film is worth of literature as hipotexto this time, the literature can make use of cinema for its creation narrative-verbal. The corpus of analysis will be the film and novel by I KNOW THAT I WILL LOVE YOU filmmaker, writer, journalist and critic whose works explore Arnaldo Jabor language cinematic art form and can also, at the same time developing his literary and poetic nature, thus demonstrating that literature can be influenced by the cinema. The references are included for analysis in semiotic studies that permeate the film and literary theory. Far will, therefore, analysis of language (literary and filmic) employed by the director/writer and his final artistic product.
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O erotismo revisitado na poética de Herberto Helder
(Universidade Federal do Pará, 2015-03-02) FERNANDEZ, Rafaella Diaz; LEAL, Izabela Guimarães Guerra; http://lattes.cnpq.br/2507019514021007
The Herberto Helder’s writings are very extensive and include works of poetry and translation. It is noticeable in his way of writing a close relationship between them. Both emerge displaying an erotic potence which plays a fundamental role in the Herbert’s creation. The translation is intrinsically related to creation, the peculiar manner the poet names this work poems changed to Portuguese” itself, reveals it. Poetry and translation also promote violence against the language, both of them deform it, moving it from a place of meaning to another applying the power of the empty on it. The word meaning deconstruction is what makes poetic creation possible. The Herbert’s writing is related to the body and sexual organs images, blood, sperm and spittle aim at the deconstructed body now thought in energetic parts, and it is from the deformation that emerges the whole for the poetic act. It is intended to think about the importance of eroticism as a vector of poetic construction. In this respect, the Georges Bataille’s reflections are fundamental to guide the eroticism and relate it to the Herberto Helder’s writings. In this way, the hypotheses launched here is that eroticism imposes a violence against the word and the body which is necessary for the work of creation. In this sense, our seek is for the presence of eroticism in the poetry and translation of Herberto Helder, privileging the texts where the image of the creation are found.
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Escritas que convergem: a ressonância poética entre Haroldo de Campos e Herberto Helder
(Universidade Federal do Pará, 2015-02-02) GUIMARÃES, Geovanna Marcela da Silva; LEAL, Izabela Guimarães Guerra; http://lattes.cnpq.br/2507019514021007
The objective is to demonstrate how the writings of Herbert Helder and Haroldo de Campos converge and resonate with each other both historically and poetically. The historic convergence of Haroldo de Campos and Herbert Helder occurs, more precisely, in the historical contexts of the Brazilian Concrete Poetry and Experimental Portuguese Poetry, between the fifties, sixties and seventies. In this context, are important references the magazines Poesia Experimental: 1º caderno antológico (1964), Poesia Experimental: 2º caderno antológico (1966) and the book Antologia da Poesia Concreta em Portugal (1977), in which are poems published of both Haroldo de Campos - a book fragment of Galáxias (1984), "começo aqui" - and Herbert Helder - the poem " Ascenção dos Hipopótamos " and a book fragment of A máquina de emaranhar paisagens (1963). From this cut, we will take as analysis objects the books Galáxias, from Haroldo de Campos, and A máquina de emaranhar paisagens, from Herberto Helder. The writing of the first fragment of Galáxias date from 1963, which is the same year A máquina de emaranhar paisagens was published. Thus, the poetic convergence occurs in the relation between Translation and Anthropophagy designed as equivalent processes of appropriation and devouring of one, in the poetic and translational works of both authors.
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A fissão no paradigma distópico: 1984 e Verde vagomundo
(Universidade Federal do Pará, 2018-10-11) COSTA, Alline Araújo; SARMENTO-PANTOJA, Tânia Maria Pereira; http://lattes.cnpq.br/3707451019100958
The dissertation analyzes, in the first instance, the catastrophic and dramatic context identified in the narratives, the representative forms of the appeals to the historical contexts that these have manifested, since it had been realized that such historical episodes are fundamental for the observation of the corpus. This perception makes us consider the tense and oppressive climate present in societies as important points for the proposed research, and that the narratives converge on the same principles of state of exception. In this way, the mentioned literary productions separated for analysis are Nineteen Eighty-Four (1949), of George Orwell, acclimated in London and Verde Vagomundo, of Benedicto Monteiro, set in Alenquer. The works keep the memory of remarkable episodes in the history of the world, such as World War II and the Cold War, and closer to the national reality of Brazil, with the Military Dictatorship of 64. In this way, Miguel, the devil-goddess, is presented as resistant to any kind of authoritarian system, in addition, to the dictatorial impositions that reached his quiet city surrounded by Amazonian rivers and forests, it is then realized that the memories contribute crucially to the stance of resistance adopted by the protagonists. Winston, on the other hand, has constant memories and sensations of a different London of the one that is experiencing. Accompanying this small panorama of works, we will see in this text the state of exception as a dystopian structure of the narrative, a social condition that presses the characters to silence themselves before repression and their unconformity. Thus, it is necessary to say, since then, that the analysis is comparative in the scope of childhood and the production of resistance from the memories of the two characters, within their particularities. For that reason, we will cover some topics that we consider pertinent to the research, such themes are present in the motto of approach proposed by Walter Benjamin; Giorgio Agamben; Michel Foucault; Aleda Assmann; Roberto Esposito; Alfredo Bosi, among others. Topics such as: Memory; Docilização; Silencing; Killable Man.
Acesso aberto (Open Access)
A melancolia como provocação à resistência em Tristessa e Nove noites
(Universidade Federal do Pará, 2014-03-31) MARTINS FILHO, Neuton Vieira; SARMENTO-PANTOJA, Tânia Maria Pereira; http://lattes.cnpq.br/3707451019100958
The main object in this study is analyze as narrative of resistance, the novels Tristessa by Jack Kerouac and Nove Noites by Bernardo Carvalho. It hypothesized that both form narratives of resistance innate to writing (BOSI, 2012), when the resistance is not the theme of work, but manifested in the construction of the characters and the unfolding of the plot. In this case, the element used as a way to express resistance is melancholy. It intended to verify through a case study, how both novels work representations of the subject in its relation to death based on melancholic process and how melancholy is connected to an attitude of resistance prevalent in writing. Thus, it examines the melancholy as pathology (FREUD, 2005) and aesthetic element, as well as the process of narrative resistance merges ethics and aesthetics. For this, it considered the social contexts in which narratives were written and how they indicate that each novel does a social criticism to an oppressive force at the time of their publication. During this study, through comparative analysis, it certified that themes as the loss, the death, the melancholy remoteness, the social marginalization and the real transience are common to both novels.
Acesso aberto (Open Access)
Necronarrativas em três romances contemporâneos brasileiros
(Universidade Federal do Pará, 2021-07-30) AUTIELLO, Sheila Lopes Maués; RUSSO, Vincenzo; http://lattes.cnpq.br/4108882812232683; CASTILO, Luís Heleno Montoril del; http://lattes.cnpq.br/3519128535996125; https://orcid.org/0000-0002-2507-5346
This thesis deals with the occurrence of necronarratives in Contemporary Brazilian Literature from the novels Pssica (2015), by Edyr Augusto; Enterre seus mortos (2018), by Ana Paula Maia and A Morte e o Meteoro (2019) by Joca Reiners Terron. The objective is to analyze, from an analytical-comparative approach, how the narratives fictionalize the necropolitical processes of Brazilian society in the last five years. The research proposes the analysis of the novels from three critical axes: the first corresponds to the expendable bodies, which will be based on the concepts of naked life, by Giorgio Agamben (2002) and precarious life, by Judith Butler (2019); the second, concerns the predatory presence of "Gore" businesses, which is based on the studies on "Gore" Capitalism, by Sayak Valencia (2010) and, finally, the third, which relates to the recurrence of the image of the undead or zombie, having as its reading key the studies of Deleuze and Guattari (2010) and Leo Barros (2020). The study focuses on the thematic analysis of the works, despite making brief incursions into other narrative elements. It is concluded that the novels studied are part of a structuring force of Romanesque composition, which aesthetically represents the Brazilian necropolitical processes, which I called necronarrative. Therefore, it is understood that the works analyzed, are part of an excerpt from the Brazilian novel that is concerned with aesthetically problematizing life starting from the necropolitics (MBEMBE, 2018). The characterization of necronarratives occurs, above all, by the representations of the precariousness of contemporary bodies; the emergence of criminal markets that flourish in groups subjected to deadly conditions and the initiation of symbolic processes of social zombification. It is, however, a study that identifies a trend and not a generalization.
Acesso aberto (Open Access)
O negro na literatura sob a perspectiva filosófico-literária de Friedrich Nietzsche e Bruno de Menezes: civilização, religião e corpo
(Universidade Federal do Pará, 2011-10-26) LEAL, Julie Christie Damasceno; FERNANDES, José Guilherme dos Santos; http://lattes.cnpq.br/7023812449790431
The theme of black literature has occupied more space in the discussions and debates around the issue of valuation of black culture in Brazil, especially in regard to aspects such as the unmasking of certain stereotypes have long grounded, but above all has assumed particular importance the role of black resistance, which is analyzed from the perspective of a social bent, crossing approaches historical, religious and cultural. Each of these approaches adds a different importance to the black presence in the poetry of Bruno de Menezes, the object of our investigation, hence it is possible to deduce what we believe is of fundamental importance, we do not subtract any of the approaches highlighted. The work is titled now analyze is Batuque, above the poet, the work is responsible for signing in the context of Amazonian literature, and more than that within the culture of national stamp, a new chapter, this is a new perspective on the condition of the black in Brazilian society. Allying themselves with these perspectives, we will add the views of German philosopher Friedrich Nietzsche, as the theoretical framework for contextualizing we intend to raise in the text. This study aimed to investigate the influence of the European civilizing process on the black and fenced off (cultural / religious) under this influence, as well as the negative consequences that will focus on the prospect that blacks have about his own body and place in culture, many of them also from the Christian worldview imposed on them.
Acesso aberto (Open Access)
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.
Acesso aberto (Open Access)
A reconstrução histórica da cabanagem em “Lealdade” e da guerra civil moçambicana em “As Duas sombras do rio”
(Universidade Federal do Pará, 2015) BARROS, Liliane Batista; PADILHA, Laura Cavalcante; http://lattes.cnpq.br/0119590982312606; SARMENTO-PANTOJA, Tânia Maria Pereira; http://lattes.cnpq.br/3707451019100958
In this thesis, we aim at comparatively analyzing the historical reconstruction of Cabanagem and the Mozambican Civil War in the novels Lealdade (1997), by Márcio Souza and As duas sombras do rio (2003), by João Paulo Borges Coelho. In order to do so, we present a brief historical background of Brazilian and Mozambican colonization, as well as, the periods of independence and post-independence, besides the theoretical route on historical novels, resistance, memory, and the theory of space, in this case, the river , which we use as an analytical tool. In the work of Borges Coelho, the analysis was made from the crossing of the characters by rivers that were triggered by the arrival of civil war. We focus our reading in Leonidas Ntsato, a character that metaphorizes Mozambique divided in two by civil war and we highlight the role of the narrator in this novel. In the narrative of Márcio de Souza we follow the trips of Fernando, the narrator of the novel, which has its biography interconnected with events that would trigger the Cabanagem, years later. Each one at his own style, the two novelists revisit the hardships of the two wars that have as a scenery Northern Brazil and Mozambique which are peripheral spaces since colonial times.
Acesso aberto (Open Access)
Vêm de Belém e vêm da Grécia! Metamorfoses: fronteiras entre narrativas orais e os mitos
(Universidade Federal do Pará, 2013-02-25) ALMEIDA, Natasha de Queiroz; SIMÕES, Maria do Perpétuo Socorro Galvão; http://lattes.cnpq.br/0672011058049782
According to Jean Chavelier and Alan Gheerbrant, the metamorphoses is defined in this study as the physical and/or behavior transformation of a being to another, without the loss of identity and science of the first one. This transformation is a recursive phenomenon in many mythologies and cultures. This work aims to establish a comparative approach between correlations and differences among the recurrent theme of metamorphosis in Greek myths related by Homero, in his Odyssey, the Greek myths described by the Latin poet PubliusOvidiusNaso, known as Ovídio, in his work Metamorphoses, the first five books, and between the oral narratives that refer cases of metamorphosis occurred in the city of Belém do Pará, scheduled from 1994 to 2004. Odyssey and Metamorfoses were the considered ones because both, respectively, are exponents of western literature from Greece of VIII-VII centuries (b.C.) and the Greece of first century (a.C.) portrayed by the Latin poet Ovid, and they carry the theme of metamorphosis.This is why the previous study ratifies the formation of mythical indexes, not only in the narratives of Greek mythology but also in cases of metamorphoses from Belém. In both narratives is noted the space and temporal configuration as entities that consolidate and organize the mythical world, linking these two dimensions to representations in the physical and spiritual world. However, the metamorphose theme is shaped differently, according to the historical and cultural context of each narrative which is reflected in the variety of symbols and meanings persecuted for each narrative. In order to enrich the study of symbols and historical and geographical context of the Greek myths discussed before, the manuals of Junito Brandão are used as a complementary source, that is, the work Mythology by Junito Brandão, in Volumes I, II and III, as well as the two volumes of the Mythic-Etymological Dictionary of Greek Mythology. For a better comparative analysis, it was necessary to search beyond the study of contextual study of production and representation of the underlying codes in each narrative, in the Ernest Cassirer words, the myth is tried in consciousness, but is above it. The man lives the myth, so the myth comes before the man, since he realizes the conscience of his existence and the relations that weaves with the world. The man relies on the myth to establish relations of value and meaning, as well as representations to individualize his experiences. So, it is about a philosophical question of vital importance, that’s why to this literary, narrative and logical study was sought the fundamentals of the philosophy of mythology along with considerations of a cultural anthropology, connected to the contextual and historical survey of the cosmos that forms each narrative, in order to launch clarifier bases about the man relations with his world as from certain transformations. So, with this prior research on the narratives that will be analyzed, it was noticed that the metamorphoses had higher occurrences when: 1) Symbolized evil in the figure of metamorphosed ones; 2) Had motivations of sexual nature and 3) consisted in explanations for events in the physical and spiritual world. It’s about a methodological division that aims to enable the organization and visualization of the compared study. The conclusion, then, is that besides of enable the reading and the knowledge of Greek myths and the reports of Amazon by the symbols constituted in mythical consciousness, this study can serve as a basis for verification of literary exercise of creative language through the action of narrate, as well as magnify the understanding of what is and what makes human consciousness as support for the spread of behaviors and beliefs shared by the individual in society.
Acesso aberto (Open Access)
Videoescritura: um objeto-quase...
(Universidade Federal do Pará, 2012-03-28) CASTRO, Jacksonilson dos Santos; SAMPAIO, Valzeli Figueira; http://lattes.cnpq.br/6142863342585522
This present master thesis brings as its research object artistic vídeos by means of concepts of philosophy and literary studies, taking the concept of writing as a procedure of the video. Videowriting, writing power of the video, presents the interlacement of electronic signs of the video with the notions of writing, text, textuality, originally from the literary studies in authors like Roland Barthes, Leyla Perrone-Moisés, Neiva Pitta Kadota, Julia Kristeva and others, as well as the present notions of writing and difference in the philosophy, specially in authors like Jacques Derrida, Gilles Deleuze, between others. The language of the video is boarded from Arlindo Machado, Christine Mello, Philippe Dubois and others that are brought to bring near different fields of the knowledge, but that operate with common codes of expression. From a transdisciplinar gaze , these different fields are joined to project a quasi-object, dynamic and hybrid object and what talks to different languages (literature, cinema, philosophy, etc.) forming a different body and always in dislocation: the videowriting.