Navegando por Assunto "Literatura - História e crítica"

Agora exibindo 1 - 7 de 7

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O aberto na obra de Paulo Plínio Abreu
(Universidade Federal do Pará, 2018-07-05) SANTIAGO, Rúbia de Nazaré Duarte; FERRAZ, Antônio Máximo von Sohsten Gomes; http://lattes.cnpq.br/5982898787473373
This dissertation presents a study about the opening issue on the Works of the paraense poet, Paulo Plínio Abreu. Such issue is very marked in the poem “Oitava Elegia” by Rainer Maria Rilke and brought many ideas to Martin Heidegger’s philosophy. In his work Parmenides, the german philosopher shows how the Greeks understand the opening as the essence of truth and with this insight he makes a parallel with Rilke’s poem. Paulo Plínio was a translator of Rilke’s works and incorporated the opening in his own poems, in the work of truth, however in a singular way. This presented study concerns about how each of the authors cited above show the opening issue, focusing in Paulo Plínio’s works. He uses the opening issue by the hearing of night images, the travel, the angel and the death present in his work Poesia.
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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 figuração da mulher em Dalcídio Jurandir: entre o desamparo, a opressão e a transgressão
(Universidade Federal do Pará, 2018-05-24) SANTOS, Alinnie Oliveira Andrade; FURTADO, Marli Tereza; http://lattes.cnpq.br/2382303554607592
Dalcídio Jurandir (1909-1979), Brazilian writer, published eleven novels, ten of which make it part of the called Ciclo do Extremo Norte: Chove nos campos de Cachoeira (1941), Marajó (1947), Três casas e um rio (1958), Belém do Grão Pará (1960), Passagem dos Inocentes (1963), Primeira manhã (1967), Ponte do Galo (1971), Os Habitantes (1976), Chão dos Lobos (1976) and Ribanceira (1978) that thematize about man and the Amazon region customs. Even though in these novels men occupy the position of protagonists, it impresses the great number of female characters that collaborate for the development of the narratives, contributing in a hard way to the construction of the plots and the dramas present in the work. This thesis, therefore, it aims to analyze the female characters of the called Cycle, grouping them according to the social situation in which they are. Futhermore, we create the following categories of analysis: helplessness, oppression and transgression, which are not mutually exclusive, but we argue in this work that the characters pass between these three categories. For that, we used as reference the works of BRAIT (2006), ROSENFELD (2011), CANDIDO (2011), WOOD (2011), REIS (2015) to reflect on the fictional character; CASTELO BRANCO and BRANDÃO (1989), BRANDÃO (2006), ZOLIN (2009) and ZINANI (2013), thinking about the relation between woman and literature and the studies of RAGO (2011), SAFFIOTI (2013), ALAMBERT (2004), LENIN (1979), BEAUVOIR (2009), which enabled us to understand the issues of women as well as gender relations. From the sixteen women characters analyzed, six, predominantly, are in the category of helplessness, of which they stand out: Orminda, D. Inacia and Lucíola; three are in oppression, and Felicia and seven of them are in the transgression, of which stand out: Alaíde, D. Amélia and Isaura.Investigating, therefore, the female character of the novels produced by Dalcídio Jurandir, which have a strong social denunciation aspect, helps us to care for Brazilian society at the beginning of the last century, as well as how this society was portrayed in Brazilian literature.
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Lavoura arcaica: diálogos entre literatura e cinema e outras interfaces
(Universidade Federal do Pará, 2013-02-28) LIMA, José Augusto Pachêco de; PANTOJA, Tânia Maria Pereira Sarmento; http://lattes.cnpq.br/3707451019100958; CASTILO, Luís Heleno Montoril del; http://lattes.cnpq.br/3519128535996125
The focus of this work is the novel Lavoura arcaica (To the Left of the Father), from the writer Raduan Nassar, and its adaptation to the cinema by the film director Luiz Fernando Carvalho. It analyses the possible interpretations in the adaptation process as recreation of the novel, and discussing themes like the family, the forbidden passions and the tragedy. This analysis is based on the common point of view of the authors like Freud, Bataille, Marcuse, Bakhtin and Nietzsche, which references make easier the secular comprehension of interdict, prohibition, and transgression, all these aspects founded in Raduan’s novel.
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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.
Acesso aberto (Open Access)
O prazer estético diante das atrocidades narradas por Erich Remarque e Guimarães Rosa
(Universidade Federal do Pará, 2018-02-28) SILVA, Leonardo Castro da; HOLANDA, Sílvio Augusto de Oliveira; http://lattes.cnpq.br/0928175455054278
This dissertation selects as corpora the novel All Quiet on the Western Front (1929) by Erich Maria Remarque (1898-1970) and the chronicles “O mau humor de Wotan”, “A velha”, and “A senhora dos segredos” in Ave, palavra (1970) by Guimarães Rosa (1908-1967). For the reading of the German novel whose subject revolves around the First World War, and the rosianos texts molded by the context of the Second World War, it is proposed to apply the theorists Márcio Seligmann-Silva (1964) in O local da diferença (2005), Zygmunt Bauman (1925) in Modernity and the Holocaust (1998), and Hannah Arendt on Eichmann in Jerusalem (1906-1975) (1963), and The Origins of Totalitarianism (1951). It aims to discuss the corpora from different perspectives on the war in order to understand how literary narratives can contribute or even cause tensions for theory. The central approach of this thesis is the examination of the corpora under the reception-aesthetic method formulated by Hans Robert Jauss (1921-1997), and the Hermeneutic defined by Benedito Nunes (1929-2011) in Hermenêutica e poesia (1999), as well as the German theorist dialogues with his master Hans Georg Gadamer (1900-2002) and Martin Heidegger (1889-1976). Thereby, it focuses attention on the transcendental historicity and the state of being. According to the theories about the war from the Brazilian theorist, it will elapse two moments in this research, the first will be the application of the psychoanalytic principles of trauma, shock, war neurosis, among others, while the second will be the questioning of the location of the difference on its proposal of overlap of the ethical over the aesthetic. In relation to the Polish sociologist, beyond the treatment of these literary works under his understanding, we will consider through the aesthetics of All Quiet on the Western Front the possibility of point out elements that can lead to ask for the lesson of reason against emotion, which according to Bauman is only noticeable in the Holocaust. However, bringing closer Remarque and Guimarães, it will be observed by means of aesthetic elements, obviously different from sociology, that this notion can be reversed to show that the most notorious relation between reason against emotion is in the German novel than in rosianas chronicles. In the case of the German thinker, it will examine how the novel All Quiet on the Western Front offers analyzable images by the theory of Arendt, as well as shows complex characters that consent to trivialize evil, after think and judge questioning the power of the State and, at last, becoming indifferent to each other again. By examining the corpus according to the conception of Jauss and Hermeneutic studies, taking into consideration the theoretical premises about the war, this thesis will show how the current reader can have an aesthetic experience of pleasure in face of the terror inflicted by the man in the 20th century. Therefore the context of the Holocaust it can be interpreted as a violence more moderate than shown in the mainstream media and in the theories about the war, since the receiver will have a first contact with the First World War by the remarqueano novel.
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.