Navegando por CNPq "CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS::TEORIA LITERARIA"

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Agulhas e galhofas no romance A Família Agulha (1870) de Luís Guimarães Júnior
(Universidade Federal do Pará, 2021-07-07) BORCEM, Rogerio Pereira; QUEIROZ, Juliana Maia de; http://lattes.cnpq.br/0783166655929922; https://orcid.org/0000-0002-1741-1725
Luís Guimarães Júnior was born on February 17, 1845 in Rio de Janeiro and died on May 20, 1898 in Lisbon. The writer most often forgotten by literary stories and criticism in general was an important man of letters in the 19th century. He produced a considerable number of texts of the most diverse genres and among all this diversity of writings published mainly in the Diário do Rio de Janeiro there is the work A família da Agulha (1870). In view of the rescue of this important literary production of the 19th century, in this research we intend to carry out a critical analysis of this novel, highlighting the issues present in the work and the mechanisms of construction of the narrative itself. Moreover we intend to highlight aspects related to the author's life, his relations with the publishing market of the time, the engagiment with the reading public as well as the critical receptions about his publications in general and more specifically the novel in question. Such appreciation was consolidated mainly from the analysis of some primary sources due to the scarcity of research and studies that target both the writer and his work. Among these sources, the newspaper Diário do Rio de Janeiro from 1869 to 1872 is cited as an example, a period in which Guimarães Júnior served as the writer of this periodical.
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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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O aprender poético na obra Grande Sertão: veredas de João Guimarãres Rosa
(Universidade Federal do Pará, 2019-02-21) PALHETA, Marcos Roberto Pinho; FERRAZ, Antônio Máximo von Sohsten Gomes; http://lattes.cnpq.br/5982898787473373
The aim of the present research is to investigate the poetic learning in Grande Sertão: Veredas, book by João Guimarães Rosa. The guiding thread of this research is the meaning of thinking, like a letting ourselves be reached by the fundamental question of human as being-in-the-world, that is exposed in the way of its ontological constitution by the originary language, in the ontological construct of the character Riobaldo. In this sense, the intention is to investigate the original poetic meaning that is woven in the Guimarães Rosa masterpiece to situate it as a poetic-educative narrative: poetic because it realizes the ontological truth of being, and educative because it realizes the human being as caretaker of this truth, as a being whose essence is being-in-the-world. Not the human being, considered a formal subject of knowledge, as entifying experience within the predetermined conditions of a science, but one who can only be found in the finite situation of the crossing and that is realized as a finite transcendence. Grande Sertão: veredas should be considered a cosmogonic narrative that introduces the poetic learning as originary language and unveils, in the Riobaldo’s track, the hermeneutic crossing of learning, as the task of a questioning thinking that realizes the human being in the world. In conclusion, this study also intends to show that the rosiana narrative is poetic, because it crosses the word in instrumental use, and thus reveals the originary language as a poetic expression. Language is poetic because it makes known the very hidden in the impropriety of existence in the world. It is the expression of the poet-thinker because all language is originally poetry.
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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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Araguaia em verso e prosa: os poemas da guerrilha veiculados pelo Resistência (o jornal em defesa dos direitos humanos)
(Universidade Federal do Pará, 2018-08-30) MELO, Ivania da Silva Pereira de; SARMENTO-PANTOJA, Tânia Maria Pereira; http://lattes.cnpq.br/3707451019100958
The Araguaia guerrilla, a revolutionary movement that took place in northern Brazil during the first half of the 1970s, gained prominence in the pages of the Resistência newspaper, both in verse and in prose. In February 1979, the alternative monthly publication in Belém do Pará published, exclusively, eight poems transcribed from the Primeiras Cantigas do Araguaia leaflet, signed by Libério de Campos. In order to identify how such texts fit into the poetics of resistance, support was sought in Alfredo Bosi's approaches to resistance as a theme and as a process. As these are productions inserted in a context of political militancy, a phenomenological approach was adopted. Two other checks, carried out through observational and comparative procedures, deserve to be highlighted in the text, they are: the role played by the Resistência newspaper regarding human rights; and the similarity between the existence of the guerrilla and that of the homo sacer in the sense of “naked life”, that is, one who becomes illegal and is obliged to live in an area of indifference under the condition of a killer, legally unprotected and with the body exposed to extreme violence, comparison made based on the fundamentals of Giorgio Agamben. This work presents three surveys that relate Literature, Press and History, the latter two being important supports for the development of the study carried out on the “poems of the Araguaia guerrilla”.
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Atonia e degradação em personagens de Dalcídio Jurandir
(Universidade Federal do Pará, 2018-08-30) FERNANDES, Jonathan Pires; FURTADO, Marli Tereza; http://lattes.cnpq.br/2382303554607592
The present work proposes a study about the following fictional characters in Dalcídio Jurandir’s literary work: Eutanázio in Chove nos campos de Cachoeira (1941); Edmundo Meneses, in Três casas e um rio (1958); and Virgílio Alcântara, in Belém do Grão Pará (1960). It discusses the three characters based on two themes that, according to what this research proposes, are present in the composition of each one: atony and degradation. It is herein argued that these two themes are related to one of the main lines of interpretation of Dalcídio Jurandir’s literary work according to which most of the author’s fictional universe comprises negative and disillusioned heroes who travel through a discouraging and decadent scenario. In this context, they manifest negative traits such as atony and degradation. These traits can be understood as passions that rule the characters’ mental lives. Among the main works that theoretically support this research, we highlight the following ones: Berman (1982), Candido (1964), Candido (1968), Descartes (1649), Furtado (2002), Lebrun (2009), Lukács (1920) and Marx & Engels (1848).
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Autores brasileiros no Jornal do Pará (1867-1878)
(Universidade Federal do Pará, 2017-02-16) MENDES, Juliana Yeska Torres; SALES, Germana Maria Araújo; http://lattes.cnpq.br/8723885160615840
The daily sheet Jornal do Pará, a periodical active in Belém, there was space for numerous political, news and literary publications, in addition to maintaining dialogue with journals from other provinces of the country, with the purpose of sharing sliced fictional narratives — the famous way to publish prose fiction at the nineteenth century. Given the range of texts published in Pará’s newspaper, and the favorable condition for national authors to disclose their productions, this work aims to recover the works of Brazilian authors that circulated in the journal while it was circulating, emphasizing the way these authors are represented in the Brazilian Literary History, in addition to analyze the theme of these narratives, considering the historical and cultural space in which they were produced. Thus, we intend to emphasize the importance of the literature inside the newspapers in the nineteenth century, as this kind of work allows us to contribute to the record of the history of Brazilian literature.
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Booktubers no campo editorial brasileiro: estudo de caso de oito canais literários (2016-2018)
(Universidade Federal do Pará, 2020-07-10) SILVA, Daniel Prestes da; AUGUSTI, Valéria; http://lattes.cnpq.br/6970953321235328
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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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O cavalo desembestado do pensamento: fluxo de consciência como condutor da narrativa em Afonso Contínuo, Santo de altar, de Lindanor Celina
(Universidade Federal do Pará, 2020-06-30) REIS, Gleice do Socorro Bittencourt dos; CASTILO, Luís Heleno Montoril del; : http://lattes.cnpq.br/3519128535996125; https://orcid.org/0000-0002-2507-5346
This dissertation analyzes the novel "Afonso Contínuo, Santo de Altar" (1986), by Lindanor Celina, which is an inexhaustible source of interesting and important topics from a literary and social point of view, as it addresses controversial issues that provoke fertile and necessary debates. The relevance of a study like this is in the appreciation of our Amazonian authors who, even when [just] talking about their homeland, developed extremely universal subjects in their works. The general objective of this work is to analyze the construction of the novel's narrative from the flow of consciousness' perspective, aiming to understand the meanings that can be extracted in this process. The specific objectives are: to identify which techniques are used for the composition of the flow of consciousness; delimit the narrative focus used in the novel; and list and analyze the topics discussed. This research will address the "flow of consciousness", concept absorbed from Psychological studies, to define writings that have, as a major characteristic, the construction of the narrative through the psychological aspects of the characters. To understand the building of this technique, it is also necessary to identify and analyze the point of view or the narrative focus, since the study of focusing also allows the possibility of to delimit certain understandings about life and the world around.
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A cidade personagem de Belém do Grão-Pará
(Universidade Federal do Pará, 2018-11-29) BRASIL, Clara Alice da Silva Guimarães; FURTADO, Marli Tereza; http://lattes.cnpq.br/2382303554607592
A city establishes important meanings for Literature. Thus, many studies show the relevance seeking to understand the relationship between Literature and literary work. In "Belém do Grão-Pará" (1960) by Dalcídio Jurandir, this is no different, since the city becomes a crucial figure for the novel's plot; because of that, many scholars such as, Nunes (2006), Linhares (1987), Furtado (2010), Ornela (2003), Castilo (2007), emphasized the role that the city means in the narrative, more specifically, showing the current personification in the romantic lines. Considering this perspective, the initiative of this study is based on the necessity to extend this indication. To that end, the aim is to interpret Belém city as a character in the work "Belém do Grão-Pará". However, to reach this purpose it intends to note the limits between character and space in the narrative; understanding how configuring the city can establish it as a character; and, at the same time, inspecting how the city dialogues with other characters. To that end, proceeds the bibliographic research on a range of definitions of space, characters and cities in literature. Texts by Osman Lins (1976), Candido (2011), Santos e Oliveira (2001), Dimas (1985), Dias (1986), Briesemeister (1998), Freitag (1998) Mesquita (1986), Borges Filho (2007; 2009), Barbieri (2009), among others, were essential for the reflection of this purpose. Therefore, it is observed that the bounds between space and character are subtle and, mainly, they contribute to build the profile of the city, in concluding that it is a character in "Belém do Grão-Pará".
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Cinzas do Norte, de Milton Hatoum, um romance de formação
(Universidade Federal do Pará, 2018-12-13) PINHEIRO, Lucilia Lúbia de Sousa; PRESSLER, Gunter Karl; http://lattes.cnpq.br/0100053541433805
The present study shows the novel Cinzas do Norte (2005), from the writer Milton Hatoum, according to the Bildungsroman concept.Firstly, this work is foccussed on what R.Selbmann (1994) considers the ―obrigatory instance‖ of a Bildungsroman such as the presence of the formation(scholar or professional). To include the reader into this discussion the studies produced in Brazil and into the Amazon context are approached, taking novels characterized as Bildungsroman in therms of formation or education. In the second place the study is about the structural form of the novel related to narrator,plot, time and space. Brings the possibility of lecture of the Hatoum‘s novel starting with the point of formation. This study brings also the reception of the novel, emphasizing the memorialistic aspect point by the critic.
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A concretude do silêncio nas traduções de Augusto de Campos de poemas de Rilke
(Universidade Federal do Pará, 2021-05-28) TORRES, Ana Maria Ferreira; GUIMARÃES, Mayara Ribeiro; http://lattes.cnpq.br/6834076554286321
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A construção da identidade no conto fonsequiano: a intertextualidade e a morte como afirmação do estrangeiro
(Universidade Federal do Pará, 2017-02-22) FERREIRA, João Paulo Cordeiro; GUIMARÃES, Mayara Ribeiro; http://lattes.cnpq.br/6834076554286321
In Rubem Fonseca's tales, it is common to find several "intertextualized" discourses, with works, characters, quotations and discussions around famous Brazilian and foreign literary authors who are, in different contexts and literary constructions, placed in the fonsequiana prose, directly or indirectly. In this way, we will take an approach taking into account three important short stories of Fonseca: "Encontro no Amazonas" (from the book O Cobrador), "Romance Negro" (from Romance Negro) and "A matéria do sonho" (from the book Lúcia McCartney). The reading of these tales, in part, suggests to us that there is an intense dialogue between the national and the foreigner, in which death assumes a decisive role for the self-assertion of the foreign tradition in our literature. This dialogue also allows us to identify the relationship between the fonsequiana prose and the narratives of E.T.A. Hoffmann and Edgar A. Poe, since it is possible that some compositions of these authors have drawn a dialogue with the literary constructions of Rubem Fonseca, which in this sense made possible the re- reading of the works of Poe and Hoffmann. In this way, we also emphasize the relation of the fonsequiana prose with the Greek tragedy, relating the use of the mask to the farce and the exchange of identity in the Rubem Fonseca literature. To this end, we consider Maurice Blanchot's theories about the death of the author, Otto Rank, referring to the notion of double and Sigmund Freud, about psychoanalysis.
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A contística das águas como escrita do desastre e da catástrofe: vidas viradas pelo avesso na Pan-Amazônia
(Universidade Federal do Pará, 2021-01-22) SOUZA, Irisvaldo Laurindo de; SARMENTO-PANTOJA, Tânia Maria Pereira; http://lattes.cnpq.br/3707451019100958; https://orcid.org/0000-0003-1575-5679
This master's thesis is the result of a research that investigated the representation of waters in the Amazonian literature, focusing on contouring that has as its leitmotiv the typical hydrological disasters of the region. Among them the Andean "llocllada", the fallen lands, the floods and the fluviomarine tide known as pororoca. The corpus consists of six short stories by four authors: "Terra caída", by Alberto Rangel (2008), part of the book Inferno Verde; "La llocllada" and "Sob as primeiras estrelas" [Cielo sin nubes], by the Peruvian writer Francisco Izquierdo Ríos (1975; 2010); "A flood", by the Amazonian writer Arthur Engrácio (1995); and "Poraquê" and “Mamí tinha razão", by the Paulista writer living in Pará João Meirelles Filho (2017). This research adopts the comparative method and its approach is qualitative, based on bibliography. The main hypothesis was to observe how water disruption impacts the Amazonian subject's experience both on his direct relationship with nature and on his relations with the prevailing social order. The theoretical axis that guides the investigation is the concept of catastrophe, taken from contemporary philosophical thought but directly articulated with the Aristotelian doctrine of human power. The second theoretical key used is the concept of disaster, brought from sociological thought and also epistemologically linked to the power of the natural act in Aristotle's doctrine. With this instrumental, the analytical reading of water contouring is undertaken as an allegorization of the Amazonian man's modus vivendi and of his problematic and sometimes traumatic exposure to the powers that govern the actions of Nature and the facts of Culture. The critical interpretation of literary texts by authors from different periods and aesthetic affiliations thus provides a reflection on the fractures that water disasters cause in daily life and in the experience of individual and collective subjects in the Pan-Amazon, as well as on the traumas imposed on them in late Modernity as a result of the advance of the capital's civilization on the Amazonian border.
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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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O corvo, de Edgar Allan Poe: interseção de linguagens entre tradução intersemiótica, adaptação e história em quadrinhos
(Universidade Federal do Pará, 2017-03-20) SOUZA, Deynea Fabíola Ferreira de; GUIMARÃES, Mayara Ribeiro; http://lattes.cnpq.br/6834076554286321
Based on semiosis of intersemiotic translation, the presente study analyzes the language of the transposition of Edgar Allan Poe´s poem The raven, to the comic strip of the graphic artist Luciano Irrthum, from the Machado de Assis translation. Using as theorical references Julio Plaza (2010), Charles Sanders Peirce (2005), Linda Hutcheon (2013), Thierry Groesteen (2015), among others, this thesis discusses the semiosis of the relation among the crossing of the systems o signs – from the written poem to the comics – dealing with the relation among text an image, observing the specificities of the sequential art as, graphic cut, timing, frame, related to the intention of Poe for the poem exposed in his essay The philosophy of composition, in which the poet in relation to the poem an exposes the effect he intends to achieve, such as tone, rhythm, cadence. The present work also address the adaptation of the poem within the context of mass culture.
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Crônicas portuguesas em jornais paraenses na segunda metade do século XIX (1860-1870)
(Universidade Federal do Pará, 2008-10-14) RODRIGUES, Almir Pantoja; SALES, Germana Maria Araújo; http://lattes.cnpq.br/8723885160615840
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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
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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.