Dissertações em Letras (Mestrado) - PPGL/ILC

URI Permanente para esta coleçãohttps://repositorio.ufpa.br/handle/2011/2311

O Mestrado Acadêmico iniciou-se em 1987 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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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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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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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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O dispositivo da delação em regimes de exceção: análise das narrativas No corpo e na alma e Soledad no Recife
(Universidade Federal do Pará, 2020-09-29) OLIVEIRA, Samantha Carolina Vieira de; SARMENTO-PANTOJA, Tânia Maria Pereira; http://lattes.cnpq.br/3707451019100958; https://orcid.org/0000-0003-1575-5679
The study analyses the reporting mechanism in narratives referring to the period of the civil and military dictatorship in Brazil. The corpus delimited to build the analysis is the testimony No corpo e na alma (2002), written by Derlei Catarina de Luca and the novel Soledad no Recife (2009), written by Urariano Mota. On the basis of the two narratives, it was possible to problematize the perspective of the reporting mechanism, proposed category to think about how reporting practices occurred and worked during the state of exception, and, mainly, how the resulting practices escaped as representations for the corpus both testimonial and literary. For this reason, through the case study, the analysis points out, while using other examples, how the protagonists of both narratives had their lives demobilized because of the reporting suffered. The delimitation of the political and historical context was fundamental, because I start from the analysis of the device concept thought up by Michel Foucault, whose assumption is that a device is a control technology that is constantly being readapted, depending on the requirements, therefore, the work understands as the reporting mechanism – that one situated in a historical and political context – as a control tactic readapted from other times and contexts. To better think about the implications and nuances of the reporting mechanism, it was necessary to systematize it from its action elements, which has made it possible to understand the practice of denunciation within the device. And beyond that, the work also needed to present the implications of literary theory with regard to the studies of testimony and testimonial content, concept thought up by Márcio Seligmann-Silva (2009), since both narratives needed to be problematized because of their literary value and the structural divergences presented between them, the first being a testimony and the second a novel with testimonial content. Taking these implications into account, this production needed to be based on categories such as Michael's Foucault (2017) device, state of exception and sovereignty of Giorgio Agamben (2004; 2010); Judith Butler’s precarious life (2018); in addition to theoretical contributions on testimony and Ceília de Luque’s testimonial content (2003), Valéria de Marco (2004), Eugênia Vilela (2012), Márcio Seligamann-Silva (2017); Tânia Sarmento-Pantoja (2018) e Augusto Sarmento-Pantoja (2019). Finally, the research takes as its methodological basis the comparative literature, in particular by considering the circulation of certain issues arising from the relationship between history and culture; and also historical materialism, especially, for analysing the emanations of barbarism in objects of culture and for betting on the perception of the past as a way of rethinking and changing structures of the present.
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Ele não compreende nossos costumes: literatura, colonização e memória na Trilogia africana, de Chinua Achebe
(Universidade Federal do Pará, 2023-12-21) CHAGAS, Alessandra Santos; GUIMARÃES, Mayara Ribeiro; http://lattes.cnpq.br/6834076554286321
Being considered one of the greatest writers within the modern African literary field, Chinua Achebe is one of great relevance nowadays because of his literary political project that joins history and literature in order to create a fiction writing made from African perspectives and experiences as a counterpoint against colonial speeches, literature and representations. Thus, this work aims to investigate how the African Trilogy, written by Achebe between 1958 and 1964, contributed to set a new way of representing traditional experiences from the perspective of those who were put aside of history and colonial speeches. Moreover, we will analyze how colonization caused social, cultural, religious and identity transformations to Igbo people. As theoretical background to this work, it was used the works of Pollack (1989; 1992), Quayson (2000), Benjamin (1987), Said (2011), Bhabha (2011), Noa (2015) as they encompass postcolonial theory and memory studies. This research also made use of some critical works of Achebe (1988, 2000, 2012a, 2012b) himself. Hence, it was observed that Achebe’s literature by being aligned to Nigerian social-politics requests tried to represent not only Igbo people experiences before colonization as a way of rescue and celebrate traditional memories, but also cultural, religious, identity and linguistic transformations that was brought by colonization.
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Eu intimo-me a reconhecer-me em mim-mesmo: sujeito e memória na poesia de Age de Carvalho
(Universidade Federal do Pará, 2019-06-10) VIEIRA, Jessica Daniele de Lavor; GUIMARÃES, Mayara Ribeiro; http://lattes.cnpq.br/6834076554286321
Memory is an important element in the poetry of Age de Carvalho, because, as observed in many texts that compose his critical fortune, there is a biographical reality that serves as a starting point for the construction of the poems and that, when allied to various poetic resources, shifts from his commitment to reality and becomes a matter of poetry acquiring great polysemic power. In this context, we perceive in the constant return to the past the voice of a subject, the Self that retains the memories that are associated, above all, with the search for its origin and identity, as subject that reflects its place in the world. As a theoretical contribution of the work we will resort to Blanchot (1997), in his studies on the nature of poetic language, Ricoeur (2007), Le Goff (1996) and Halbwachs (2006) on memory, Freud and Lacan (2003) , while being endowed with an unconscious aspect, in order to understand how this structure relates to memory, and consequently to poetic creation. As a corpus, eight poems were selected from the poet's last three books: Caveira 41 (2003), Trans (2011) and Ainda: em viagem (2015), since the three books have memory as an important element mainly associated with poetic themes such as friendship, travel, exile, homeland and family origin, bringing to the poem the presence of a subject linked to ontological questions.
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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.
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Hibisco Roxo, de Chimamanda Ngozi Adichie: um Bildungsroman Ex-cêntrico
(Universidade Federal do Pará, 2020-08-31) AZEVEDO, Maria Tereza Costa de; SARMENTO-PANTOJA, Tânia Maria Pereira; http://lattes.cnpq.br/3707451019100958; https://orcid.org/0000-0003-1575-5679
This research’s starting point is the analysis of Chimamanda Ngozi Adichie’s novel Purple Hibiscus, based on the Bildungsroman (formation novel) paradigm, however, there are also aspects that transcend this romance subgenre. In order to contemplate the trajectory that consists the research problem, this work is structured under four different sections. The first one contains the introduction, in which the central hypothesis of the research is presented: the assumption that it is possible to conceive a Bildungsroman transgressive characterization, identified after reading the novel and dialoging with its critical breadth. The second section relies on the studies regarding Bildung and Bildungsroman in order to revisit the history of both categories and their original mainly characteristics as well as the changes on the literary model throughout time. In the third section, the literary model transgressions are presented and evidenced in the contemporary reception of the paradigm, especially due to the concept of ex-centricity as it is proposed by Linda Hutchoen in Poetics of Post Modernity and might be identified in Chimamanda’s work. The fourth section recaptures the classical Bildungsroman principles, this time, applied to the analysis of Purple Hibiscus, aiming to analyze the Bildung trajectory of the protagonist, looking to highlight the aspects that escape to the classical paradigm of Bildungsroman and also discuss if enlightenment and emancipation are categories capable of providing visibility to the transformation that the protagonist went through and, as a consequence, the paradigm went through as well, constituting the mainly attributions of that which will be called ex-centric Bildungsroman at the end of the study. To support the discussions presented in this study, apart from the elucidations about the relations of ex-centric literature and Linda Hutcheon’s poetics of postmodernity, this work is also based on the concepts developed by Mikhail Bakhtin, Cristina Ferreira Pinto e Wilma Maas regarding the origin and the trajectory of Bildungsroman; on the enlightenment and the consequent emancipation that is provided by this concept the fundaments consist on the works of Immanuel Kant and Theodor Adorno, respectively.
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I dwell in possibility: a tradução poética de Emily Dickinson por Mário Faustino
(Universidade Federal do Pará, 2022-03-21) OLIVEIRA, Filipe Brito de; LEAL, Izabela Guimarães Guerra; http://lattes.cnpq.br/2507019514021007
Emily Dickinson is one of the most celebrated American poets of all time. Dickinson’s poetry has been read by successive generations, who find in their poems reflections on the spectacle of things, nature and life. It is not for nothing that her poetry has been translated along almost a century in Brazil by great names in our literature. The purpose of this dissertation is to study the translations made by the poet and literary critic Mário Faustino (1930 - 1962), published in the Supplemental Dominical (Sunday Supplement) of Jornal do Brasil on the page Poesia-Experiência. In this regard, the work was divided into three chapters. The first discusses the life and work of Emily Dickinson, as well as the elements that constitute the writer’s poetics. The second chapter presents Mário Faustino and the conditions for the production and circulation of the translations he carried out. The third chapter analyzes the poems selected by Faustino and his translations, in order to observe the strategies adopted by him in order to recreate the poems in our language. To support this research, the works of Berman (2002), D’Hulst (2001), Martin (2007), among other authors, were used. We can affirm that Faustino's translations have great formative value for the readers and writers generation throughout the 50's, either because of the reach that the literary supplement had, or because of the role played by Faustino in the presentation and criticism of authors who used experimentation of words as an instrument for poetic production.
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A memória das representações de morte e AIDS no conto e no cinema na década de 80
(Universidade Federal do Pará, 2018-08-23) ARAÚJO, Francisco José Corrêa de; SARMENTO-PANTOJA, Carlos Augusto Nascimento; http://lattes.cnpq.br/3263239932031945
The present dissertation entitled "The Memory of Representations of Death and SIDA in the 80's in the Short story and Cinema" analyzes how the memory of the representations of death and aids in the contisio of Caio Fernando Abreu and in the cinematographic production of the end of the decade was constituted. 80. Therefore, in this process we resort to literary, historical, sociological, philosophical and artistics contributions regarding the relations between memory, death and SIDA. The 1980s were marked by the discovery of SIDA and this discovery generated worldwide fear because of the high levels of disease lethality. We can say that the discovery of the HIV virus "immobilized" science, because it was responsible for provoking a set of traumatic situations, which involved silencing, prejudice and entanglement. Therefore, we seek to identify the memory-building process in the history of death and SIDA representations in Brazil, to recognize how Caio Fernando Abreu, in The Dragons do not know paradise (1988), represents death by relating it to SIDA using a literary language of resistance, and reflect on the testimonial content of the film: Crossroads (Directed by Rob Epstein, USA / 1989). The research proposed here follows a methodology of bibliographic study in which we conclude that the memory of SIDA in the 80s reveals a representation of catastrophic death and silencer, marked by prejudice and inefficiency of public policies, but also witnesses the resistance of social movements for the conquest of rights. Thus, the existence of a collective memory that represented the historical reality of SIDA enables us to hope for better days where the human being is more harmoniously related to death, where there is greater understanding of the difference between living with HIV and dying of SIDA. And in this textual construction literature still has much to contribute to breaking the silences that surround the temporality of existing.
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Memória e história em el país de la canela, de William Ospina
(Universidade Federal do Pará, 2018-12-08) ABREU, Francelina Barreto de; ALMEIDA, Carlos Henrique Lopes de; http://lattes.cnpq.br/9511564560016368
Acesso aberto (Open Access)
Memória e poder em narrativas do imaginário amazônico
(Universidade Federal do Pará, 2016-08-31) SOUSA, Alex Dax de; SIMÕES, Maria do Perpétuo Socorro Galvão; http://lattes.cnpq.br/0672011058049782
The social sciences from an early age, occupied in studying the social relations of power. Seek to understand the functioning of the regulatory systems of domination and resistance manifestations to this system boosts several studies in the academic field. This dissertation is concerned at the attempt to recognize the power relations, as mechanisms exercised capillary in particular discourse of memory, arranged in oral narratives of Pará Amazon. Located in studies of oral literature, research that is intended runs an interpretative reflection on the social construction of the imaginary, from Michel Maffesoli on collective symbolic imagery in line with Paes Loureiro, about the poetic imagination in the Amazon. To situate the conceptual discussion in memory, used to text Ecléa Bosi and Paul Ricoeur, on the relationship memory/society and memory/power, respectively. The debate about the power relations sitteth in the proposals by Michel Foucault, in defense of an analytical forms of power engendered in society to exert domination of some over others. The Amazonian myth button serve as a central pillar to develop an interpretation of these power relations, based on phallocentric paradigms aimed at the maintenance of male domination. Thus, the reading of the work is oriented in the survey as the imaginary symbolizes a relationship of power, especially phallic, and how this power reaches the memory and there is installed, and you can see them pormeio of Amazonian oral narratives.
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Narrares ancestrais e testemunhais na escrita desaldeada de Eliane Potiguara e Daniel Munduruku
(Universidade Federal do Pará, 2024-02-29) ALBUQUERQUE, Rosalia dos Santos; SARMENTO-PANTOJA, Tânia Maria Pereira; http://lattes.cnpq.br/3707451019100958; https://orcid.org/0000-0003-1575-5679
Acesso aberto (Open Access)
A natureza do feminino decolonial no romance latino-americano: representações ecofeministas em Eva Luna e tropical sol da liberdade
(Universidade Federal do Pará, 2021-01-28) LARANJEIRA, Jéssika Vales; ALMEIDA, Carlos Henrique Lopes de; //lattes.cnpq.br/9511564560016368
In the latin american literature, especially those created by women, there is a curious succession of narratives that relate, somehow, women and Nature explorations. This perception evidences a need to articulation several critical perspectives to expand the delecolonial ecofeminist criticism scope. Thereby, this work aims to identify ecofeminist representations as mechanisms of resistance to coloniality in the novels Eva Luna (1987), by chilean Isabel Allende, and Tropical Sol da Liberdade (1988), by brazilian Ana Maria Machado. For this, this research was developed under a qualitative deductive approach of a theoretical nature based on two analysis categories: the care relationships and the sensitive perceptions about the Nature. In theoretical corpus, the following stand out: Zinani (2013) and Navarro (1995) about women in literature; Perrot (2017) about the historicity of women as a social category; Quijano (2005 and 2008) and Lugones (2008 and 2010) about Latin American decoloniality; Kheel (1993) and Shiva (2001, 2003 and 2018) about ecofeminist philosophy and Candau (2016), Bosi (1994) and Sarlo (2007) about memory, identity and resistance, themes that frequently involve the analyzed narratives. As comparative results between the novels, two similarities of ecofeminist resistance and subversion to coloniality were identified: the valorization/resignification of feminized care work and writing as a way to become marginalized female perspectives visible.
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A personagem Michele da série 3%: ambiguidades, patriacardo e branquitudes na construção do seu perfil
(Universidade Federal do Pará, 2024-05-29) SANTOS, Rayza Carolina Rosa dos; SARMENTO-PANTOJA, Carlos Augusto Nascimento; http://lattes.cnpq.br/3263239932031945; https://orcid.org/0000-0003-0552-4295
In 2008, the children's dystopia The Hunger Games by Suzanne Collins was released, a work that would influence a literary and audiovisual trend of dystopias produced for a mostly young audience, mostly starring women. And in cinema, more specifically, by white women. In this work, it is in this specific context that we analyze the protagonist Michele (Bianca Comparato), from the Brazilian series 3% (2016-2020). We analyzed the construction of its profile, highlighting the marks of patriarchal precepts and their relationships with the representation of resistance movements. The work was chosen because it was the first entirely Brazilian production by the streaming company Netflix and, consequently, because of its wide audience. The series is being studied from its production and launch context – with occasional comparisons with other dystopias and the female profiles of its protagonists – based on feminist gender theories, especially those of bell hooks (2019) and Audre Lorde (2019) and other contemporary authors. Finally, we analyze the work from the perspective of theoretical studies on whiteness and its mechanisms for maintaining power, by authors such as Linda Alcoff (2015), Cida Bento (2022), Lia Vainer (2012) and Françoise Vergès (2019) , because in this study it was possible to notice that audiovisual dystopias starring female and, mainly, white figures, have gained strength in recent years as a trend in productions made for large circulation and commercialization, being marked by representations of less radical resistance. Therefore, the work presented here will seek to highlight that despite the context of representation of resistance, the maintenance of certain aspects of the status quo is still noticeable in the narrative.
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A perspectiva labiríntica na memória do narrador em Verde Vagomundo, de Benedito Monteiro
(Universidade Federal do Pará, 2018-09-13) MORAES, Nayana Regina de; SIMÕES, Maria do Perpétuo Socorro Galvão; http://lattes.cnpq.br/0672011058049782; https://orcid.org/0000-0002-1365-6258
This study addresses the perspective of the memory of the narrator-character in the novel Verde Vagomundo (1972), by Benedicto Monteiro. The research starts from narrative overlays observed from elements that constitute the individual and collective memory of the major character Antônio, who upon returning to his hometown, is faced with the imagery of memories of the riverside Amazon. Major's memory transits memories of a distant past from urban daily life, as, when confronted with the images of his homeland, the narrator character re-elaborates the place of childhood, approaching narratives linked to oral tradition . It also seeks to understand the context in which Benedicto Monteiro's work is inserted, given the interaction of the referred literary prose with the political atmosphere of the Brazilian military dictatorship. Ahead, the relevance of the theories of the contemporary narrator is evaluated, whose study here interprets memory as a bifurcation of subjective experiences of modern, urban and fragmented man. Upon returning to his hometown, the narrator of Verde Vagomundo conceives in the narrative the experience of man's tension in the world. The theoretical basis of the discussion comprises the studies of Walter Benjamin (1987), Theodor Adorno (2003), Silviano Santiago (1989), Cândido (1989) (2007), Henri Bergson (1999), Maurice Halbawachs (2003) and Jacques Le Goff (2014).
Acesso aberto (Open Access)
Realismo traumático na novela Na colônia penal
(Universidade Federal do Pará, 2018-08-31) DIAS, Êrlan Queiroz; SARMENTO-PANTOJA, Carlos Augusto Nascimento; CV: http://lattes.cnpq.br/3263239932031945
This dissertation will address traumatic realism focusing on the fictional prose novel entitled In the Penal Colony, published in 1919, by Franz Kafka and the graphic novel, published in 2011, by Sylvain Ricard and Maël. This analysis seeks to compare the objects of study to understand how traumatic realism is expressed in these novels. This is produced by the manifestation of violence by the authoritarian and oppressive figure (Official) and is directed to the martyred character (Condemned), through the presence of a sentence that will lead him to violence, oppression, torture, trauma and death. The analysis will go beyond the text and the graphic novel, which enhances the perception of the characteristics of traumatic realism. For this, we consider some theoretical approaches about graphic novels and realisms: traumatic and abject, from the studies of Hal Foster (2017), Karl Erik Schøllhammer (2013) and Julia Kristeva (1982). And regarding the relation of graphic novel with the themes of trauma and shock, we use the conceptions of Gina Ross (2014), Sigmund Freud (1980) and Walter Benjamin (1986).
Acesso aberto (Open Access)
Tempo e memória em o Cacaulista e o coronel sangrado, de Inglês de Sousa
(Universidade Federal do Pará, 2018-01-19) GONÇALVES, Messias Lisboa; FERRAZ, Antônio Máximo von Sohsten Gomes; http://lattes.cnpq.br/5982898787473373
Inglês de Sousa was born in the city of the interior of Óbidos, located in the state of Pará, in 28 of december of 1853, and died in Rio de Janeiro, in 6 of september of 1918. The writer spent most of his life outside the hometown, but it was in the Amazon region that he was inspired to compose his literary works: História de um Pescador (1876), O Cacaulista (1876), O Coronel Sangrado (1877), O Missionário (1891) e Contos Amazônicos (1893). It is possible to consider that the appreciation, only, of the socio-political-historical documentary texture by the critics was responsible for instituting the obscuration of the aesthetic ballast of the novels O Cacaulista e O Coronel Sangrado. However, it is precisely the aesthetic ballast that keeps them alive. Thus, this research aims to study the issues of time and memory put into work by these novels. Faced with this, it is necessary thought and perform a literary criticism while listening to poetic questions. For further understanding and deepening, this research was limited to the reflection of the protagonist character Miguel Faria, who migrates from one novel to another. Thus, it is understood that this character-question lives an experience with time, which escapes the clock-clocked or even that thought by science, and in his time experience human and poetic time. To make this attempt, dialogue especially with Henri Bergson (1859-1941), Martin Heidegger (1889-1976), Benedito Nunes (1929-2011) e Manuel Antônio de Castro (1941-) to think poetically listening to the questions in those inglesianos novels.
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Tempo e narrativa: interseções entre filosofia e relato de um certo oriente, de Milton Hatoum
(Universidade Federal do Pará, 2019-10-29) JESUS, Stélio Rafael Azevedo de; CASTILO, Luís Heleno Montoril del; http://lattes.cnpq.br/3519128535996125; https://orcid.org/0000-0002-2507-5346
This dissertation discusses about time and narrative, focusing on the intersections between philosophy and Relato de um certo Oriente, by Milton Hatoum. It uses Paul Ricoeur's Temps et Récits as a fundamental guide in the analysis of the proposed dyad. Moreover, the phenomenological character of time provides a key to a qualitative study of the analysis of time in Relato, at the same time a study of narrative, passing through Aristotle's Poetics as an important element for the development of the notion of triple mimese and narrative theory, present in the theoretical work in question. Thinking about the phenomenon of time and its essential aspects for the fabulation of writing is a fundamental element that results in the observation of the experience of writing temporality. In this sense, the writing of this temporality in the account of a certain East re-forms the human experience in time and its forms of producing signs and abstracting meanings, by transposing the artistic recreation of image-time into the world of language. Keywords:
Acesso aberto (Open Access)
O testemunho Arbiter, o auricular caminho da memória: o ouvir e reproduzir em maus de art Spiegelman e em I was a child of holocaust survivors de Bernice e Eisenstein
(Universidade Federal do Pará, 2023-08-02) GONÇALVES, Gustavo Reis; SILVA, Alessandra Fabrícia Conde da; http://lattes.cnpq.br/8747999892547499; https://orcid.org/0000-0003-2731-8708; SARMENTO-PANTOJA, Carlos Augusto Nascimento; http://lattes.cnpq.br/3263239932031945
World War II ended and the liberation of prisoners to concentration camps, the people with trauma, the survivors talked about their own experiences in the camps whatever were a direct testimony of these historical events. Nevertheless, the post generations do not stop talking about practical experiences linked with the shoah to demonstrate this research uses Maus by Art Spiegelman, and I was a child of holocaust survivors by Bernice Eisenstein they did not participate in concentration camps as their parents, but the author has been using the listening experience. It links with the arbiter theory of testimonies and will be analyzed in both because these works have a relationship with listened memory of shoah. This is bibliographical research and uses the author of memory, testimony, and representation as Le Goff (1996), Assman (2011), Agamben (2008), Sarmento-Pantoja (2019), Benveniste (2016), and many others. This research demonstrates how the arbiter testimony features that had demonstrated in both books, the literary genres, and the relations to talk. Finally, we discussed the importance of listening to witnesses in testimony theory.