Navegando por Assunto "Distopia"

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Acesso aberto (Open Access)
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 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.