The present work is dedicated to the study of the novel A Gloriosa Família: o tempo dos flamengos (1999), by the Angolan writer Pepetela. It is a reinterpretation of the seven years (1641-1648) in which Luanda remained under Dutch domination. The narrative focus is on the family of Baltazar Van Dum, a Dutch Catholic slave trader who gets involved in a series of conflicts to maintain his position during the war between Portuguese and Dutch. The entire plot is narrated by Balthazar's personal slave. The problem of the narrative voice of a slave about his owner and the fictional resources used bear witness to the master/slave relationship in a double vision. Filling the voids, converting his silence into a disguise, the slave is inserted in the game of power and language in which colonial identities are configured, which allows him to position himself as the subject of discourse in the course of the narrative. In view of this, we intend to verify how the novel fits into the framework of representation of the past and reinterpretation of historical facts, under the prism of the relations between Literature and History and from some key ideas of post-colonial theories. It also analyzes the way in which the novel highlights the consequences of slavery on individuals. The experience of colonization, the self-questioning of identity, the processes of deconstruction and resignification of notions rooted in Western culture regarding literature, the constitution of the subject and identity are taken as a presupposition. The relevance of this study is evident in the record of the symbolic mechanisms of reproduction of racism that persist to the present day. The Glorious Family is taken as a literary and theoretical reference that makes it possible, through its representation of slave societies and enslaved people, to outline the questions posed by the study of African literature in general, taking it as a comparative object for the analysis of post-colonial realities. . In addition, this study intends to comply with Law 10.639/03, amended by Law 11.645/08, which makes the teaching of Afro-Brazilian and African history and culture mandatory in all schools, public and private, from elementary school to high school. and intends to contribute to the formation of a generation more sensitive to the consequences of slavery in Brazilian society.
2
Matheus Oliveira Carvalho
Cartographies of contemporaneity in Judith Grossmann’s “Todos os Filhos da Ditadura Romance
This dissertation discusses the interconnections between autobiographical representations, fictional representations and other theoretical-critical representations in Todos os Filhos da Ditadura Romance (2011), a novel by Judith Grossmann. Therefore, the work starts from the hypothesis that the fiction of the multiple writer, the one who simultaneously performs activities as a teacher, fiction writer, theorist and literary critic, presents a hybrid configuration, due to his production taking place between these roles. The ongoing analysis seeks to understand how such intersections dilute the boundaries of traditional literary genres, namely the autobiography and the novel, and rethink the place of the subject in language. Lastly, it is argued that autofiction, as a device to boost the “writing about one’s self”” in contemporary times, is a linguistic strategy used by the writer to promote the aforementioned intersections, which leads to the perception of Todos os Filhos da Ditadura Romance as an “ essayistic-critical” fiction, in which the subject-author is textually constructed and promotes relations between his multiple alterities. The theoretical framework mobilized to support the discussion permeates reflections from the most diverse fields of human sciences, such as the texts written by Michel Foucault, Roland Barthes, Ítalo Calvino, Serge Doubrovsky, Philippe Lejeune, Silviano Santiago and intertwines with contemporary biographical criticism, based on the studies by Eneida Maria de Souza, Evelina Hoisel, Luciene Azevedo, Diana Klinger, Evando Nascimento and others. Therefore, we intend to explore the relationships between theory, fiction, criticism and biography in Judith Grossmann's novel, a theme that crosses debates involving the production of multiple writers.
3
MAYANA SOARES BORGES LEITAO
“Cara amiga,”: the practice of translation as a tool for feminist and decolonial epistemological subversion in “Unesi longue lettre” by Mariama Bâ
Among the contemporary theoretical discussions in the field of translation, which take into account its political dimension and which do not consider it an activity of disinterested mediation and disconnected from ideologies, some suggest the role of translation in the colonization process; and recognize, on the other hand, the potency of its use in the transformation of dominant epistemologies, which resists and subverts this process. In the present work, we seek to investigate these events through the discussion of possibilities in the translation of Une si longue lettre, by the Senegalese writer Mariama Bâ (1929-1981). From the still unpublished translation into Portuguese of Bâ's work, we discusse what moves the choices for translation – the theoretical orientations that are used – and what moves through them – what such choices can agency in the culture of arrival –, in search of feminist and decolonialist translation strategies; in addition to sharing reflections on the translation process and its pitfalls. Amidst the plot of (re)writing the text in Portuguese, it was found that, through the construction of meanings in the translated text that problematize authority structures and promote in the of arrival culture a divergent thinking from that established by the hegemonic order, there is the possibility of building a political-creative ethical translation. This work aims to contribute to the areas of decolonial and feminist translation, and inclusive language.
4
Joanne Silva Nascimento
Firefly life: resistance and production of life in Clarice Lispector
Turning to Clarice Lispector's writing, the study focuses on the author's last novel. Since its publication, in 1977, A hora da estrela defied the literary criticism, which tended to highlight, in the protagonist Macabéa – a poor northeastern woman who migrates to Rio de Janeiro – signs of suffering and helplessness. With the aim of displacing this vision, another perspective is presented here that sets, alongside the undeniable oppression, a vital force asserting itself, insisting on resisting, without letting itself be slaughtered or co-opted. Taking a distance from the readings carried out by most of Lispector's critical fortune, this study highlights the small escapes that lead Macabéa to frequently meet joy, despite any oppression. The analysis is concentrated on the character's actions, a strategy still little explored in Clarice studies. They are dialogues between the fiction of Clarice Lispector and the considerations that Georges Didi-Huberman (2011) made about the reflection constructed by Pier Paolo Pasolini, for whom, human beings, when they resist the coercion that operate as attacks on vitality, can be called of fireflies. In the speeches of the Italian thinker and the French philosopher, the small insect serves as an image for a certain type of resistance, because, although minimal, it does not fail to produce its brightness, even when threatened by large lights. Macabéa, as shown in this study, has the same power of resistance attributed to the firefly.
5
Luciano Santos Xavier
Oral poetics of samba chula sertanejo: o Grupo Pinote and its cultural identities between transits and borders
This dissertation aims to analyze the oral poetics of samba chula sertanejo by Grupo Pinote, from Serrolândia/BA, considering the aesthetic, discursive, and performative elements concerned it, to understand how the processes of construction of the cultural identities of the group and its operation in the surveillance of transits and borders in these identities. In the meantime of these movements, the adopted methodological approach starts from the qualitative approach, following the paths of critical Ethnoresearch, in the perspective of Macedo (2010) and Santos (2017), having as data construction methods: Grupo Pinote presentations observation, questionnaire application, and a discussion. The theoretical framework that supports this research relies on: Brasil (2006), Döring (2016a; 2016b), Exdell (2017; 2018), Vasconcelos (2012), Moreira (2018), Bhabha (1998), Anderson (2008), Halbwachs (2003), Hall (2003), Zumthor (2010, 2014), Glissant (2021), among others, to discuss samba de roda, samba chula, backlands of Bahia, oral poetics, cultural identities, and popular cultures. Through this work, I try to problematize the (non) place of samba practiced in the backlands of Bahia, which several times was placed on the margins of the identity and musical discourse of Bahia that is markedly, and almost exclusively, directed to the Salvador-Recôncavo axis and part of the coast. I involve this theoretical-critical proposal in the conception of sertanidades (VASCONCELOS, 2012), aiming to think about these backlands and their multiple identities, geographies, and cultures inserted in the intersemiotic game articulated to the cosmo-perceptions of the semi-arid region. Thus, I stress the analytical operator samba sertanejo as a theoretical-critical proposal to designate the samba de roda practiced in the backlands, instead of the already known term “samba rural” (BRASIL, 2006; DÖRING, 2016b), in whose the aesthetics differ from that expressed in the Recôncavo Baiano, by the way, a territory also marked by rurality. I propose the name samba sertanejo as a way of categorically inscribing the backlands in the identity and musical discourse of samba in Bahia and erasing the essentialisms and stigmas forged around this territory, going beyond the countryside, the unknown, the archaic, given the transformations occurred in the semi-arid region in recent times. In the poetic scope of this research, I seek to reflect on the aesthetic and stylistic procedures used in the chulas, in the configuration of a poetic language that takes literariness as its fulcrum at the service of an insurgent discursive construction. In that sense, I conjecture the identities of Grupo Pinote’s sambadores as moving backlands, marked by adjacent elements, although placed on the borders of globalization, converging and diverging between the local and global, in multiple transits that corroborate these “contemporary backlands” (MOREIRA, 2018), allocated in other social scenes, cultural and identity policies to the backlands and sertanejos of Bahia.
6
ELENILZA SANTANA DOS SANTOS
JAMAIS O FOGO NUNCA AND THE SUBVERSION OF THE WOMAN'S BODY AS A FORM OF RESISTANCE TO THE CHILEAN MILITARY DICTATORSHIP
This master's thesis is the result of a study in the field of theory and literary criticism and aims to observe and discuss the representation of the place occupied by women in resistance movements against the Chilean military dictatorship in the work Jamais o Fogo Nunca (2017) , by Diamela Eltit. In order to promote debates that are inserted in different fields of knowledge, this research was constituted from the contemporary narrative of the Chilean writer, reinforcing, in this case, the intrinsic relationship established between the literary field and the fields of historiography, of the discussions about gender (BUTLER, 2021), as well as symbolic practices regarding sexism in the field of politics that permeate not only the narrative context of the work, but also the current socio-political context (ZANELLO, 2018). From a literary production that highlights the voices historically silenced due to the position of subordination (SPIVAK, 2020), the character of Nunca o Fogo Nunca (2017) as a political act resists the imposed silencing. Through the narrator-character, it is proposed to rescue the memory of invisible bodies and is constructed as a political gesture of resistance that raises the struggles of social groups, which, although it seems individual in the narrative, emphasizes collective stories (ASSMANN, 2018 ).
7
JULIA PEREIRA FRAGA
THE SHAKESPEARIAN REPRESENTATION IN SCIENCE FICTION: SHAKESPEARE IN DOCTOR WHO
The act of telling a story carries within itself the echoes of other stories told before and, at the same time, it is a redefinition of the voices which sang, recited, incarnated or declaimed stanzas, paragraphs or paraphrases of what was said a long time ago. Through cinema, music and technology, and so many and diverse art forms, the classics have been re-signified and translated into modern languages thus attracting various interlocutors. Within the fantastic universe and science fiction of Doctor Who, the recount of William Shakespeare was present and is the object of study of this work. In it, the aim is to analyze, through the reading steming from the deconstructivist and post-structuralist theory of Jacques Derrida and Linda Hutcheon, the translation and adaptation of the Shakespearean biography and work in two episodes of the TV series. Through this view, the analysis demonstrates that the classic survives through multiple retellings by being supplemented by visions, techniques and voices.
8
Felipe Muniz Mariani Wanderley
Blood and molasses: violence, solidarity and subalternized and subalternizing identities in Commandeur du sucre, by Raphaël Confiant.
This research has as its central theme the relationship between the phenomena of violence and solidarity and the processes of construction of subalternized and subalternizing identities present in the fictional environment presented in the novel Commandeur du sucre, by the Martinican writer Raphaël Confiant. Our objective is to identify in what way the phenomena of violence and solidarity dialogue, in Commandeur du sucre, with the processes of construction of subalternized and subalternizing identities represented in its plot. For the elaboration of this work, interlocutions were made with theoreticians who reflect about violence, solidarity, subalternity, coloniality, decoloniality, and Creoleness. It was possible to verify that, in the novel Commandeur du sucre, the issue of subalternity is directly linked to the white/non-white dichotomy of colonial origin. We identified, in this way, that although subalternized identities are associated with non-white rural workers and subalternizing identities with white Martinicans, the subalternized/subalternizing dichotomy clashes when analyzing the non-white mixed-race foreman Firmin Léandor, who figures in Commandeur du sucre as a point of intersection between the experience of dominating and that of being dominated.
9
João Vitor Dias da Cruz
CRUZ, João Vitor Dias da. Agency in A brief history of seven killings: Bob Marley, politics and revolution in Marlon James jamaican novel. 100f. Dissertation (Master in Literature and Culture) – Institute of Letters, Federal University of Bahia: Salvador, 2023.
On the silent night of December 3, 1976, in Jamaica, Bob Marley and his family were surprised by the invasion of seven armed men to try to assassinate them (WHITE, 2012), in the mansion of the then artist located in greater Kingston. The attempt failed, the Jamaican singer and his family survive and the artist, two days after the attack, takes the stage of Smile Jamaica to perform his musical concert, in order to unite his people who found themselves in fissures (STONE, 1976), all due to the parliamentary dispute that took place on the island that same year. From this war framework, Marlon James opens up the political period of the island, taking as a starting point the assassination attempt that Bob Marley and his family suffered. In his novel A brief history of seven killings (2017), the Jamaican author uses the voices of his dozens of narrators to discuss the political formation of the island, as well as aspects of the neocolonization of Jamaica, the political and economic interference of the United States and, above all, the subversive persona of Bob Marley who, in addition to being an artist, used his art to be a political agent in his land, in the 1970s. Bob Marley's art followed the principles of the Rastafarian political movement (RABELO, 2006; BEZERRA, 2012) who also preached the love and union of black peoples. Analyzing these issues, this dissertation criticizes the political period in Jamaica, in the 1970s, exposed in the polyphonic novel and, at the same time, understands the subversive performance of Bob Marley, all of this from the theoretical operator of agency of the French philosophers Gilles Deleuze and Félix Guattari (2017a; 2017b; 1995). The operator, which I take as an analysis in this dissertation, aims to be the premise of a novel, that is, a symbolic artifact to which, through it, the author creates existing ways of life, amplifies the voices of his characters and is interested in to hold responsible the contents they enunciate. The deleuze-guattarian assemblage is thought of in its collective enunciation aspect (2017a; 2017b) and in the machining aspect (2017b; 1995). In view of this, although thought from the writings of the Czech author Franz Kafka, I realize that there are, in the creative process of the jaminian novel, similarities that make me resort to theorists and use their concepts of agency in this text. Keywords: A brief history of seven killings; Jamaican Literature; Deleuze-Guattarian agency; Marlon James.
10
GABRIEL REIS SANTOS ALVES
Sampling Micropolitics of Pirraça in Baco Exu do Blues
This dissertation presents discussions and reflections for the broadening of conceptions about the black Brazilian historical-cultural and literary fields, in the search for dialogues permeated by the importance of sung orality for the identity construction of Afro-Brazilian literature in contemporary times through the musicality set by rap production -literary, especially in the potency of a pirraça in movement in the songs of the Bahian singer Baco Exu do Blues. From his albums Esú released in 2017, Bluesman from 2018, and the audiovisual productions related to the records, proposals for identity maintenance were identified in his artistic articulations that proposed everyday actions, raised by micropolitics of pirraça. In this way, through his work, the singer operates critically in the relations between subalternity and insurrection caught by the musical and audiovisual arts, revealing autonomous experiences to the hegemonies of power, which are placed beyond Afro-diasporic oral productions, taking place through the intersectional interruptibility of the rap-literary multimodal productions, in the Search for the repositioning of the black body as a producer of discourses erased by the principles validated to writing as a scientific source, with a view to restructuring the organizational orders of the world, opposing the necropolitical processes to the elusive actions of creation and the updating of the diaspora black, delegating to artistic movements an expansion of the historical mechanisms of cultural continuity and black literary writing in Brazil. In this way, this study will cover identity debates about the experiences and writings of the current self in the peripheral sphere, proposing an expansion towards the gaze, as highlighted by bell hooks (2019). With this, to elucidate the micropolitics of pirraça, theorists such as Deleuze and Guatarri (1974), Butler (2019), Martins (2003), Silva (2020) will be raised.
11
Hilário Mariano dos Santos Zeferino
The black and the song, the song and the black: a study of Rico Dalasam’s gay rap
This research is dedicated to analyze the songs of rapper Rico Dalasam. Through a historiographical journey of Brazilian rap, we promote reflections on the relationships between rap, Brazilian culture, masculinities, and the other voices in rap that inhabit contemporaneity. Rap, as part of the hip-hop movement, is a musical genre that emerges with racial and social markings (TEPERMAN, 2015) and gained prominence in Brazil in the 1990s as part of black counterculture with remarkable cultural impacts (OLIVEIRA, 2015; 2020). Furthermore, there are criticisms of the rhythm from those who are marginalized within it (LI, 2019; SANTOS, 2016). Thus, we investigate Rico Dalasam, a gay rapper who is recognized as an exponent of LGBTQIAPN+ rap, and we dedicate ourselves to observing the other tensions he brings to the rap scene in contemporaneity, consequently to the hip-hop movement, as we understand that LGBTQIAPN+ rap has brought different gestures to the critical management of battle arenas that are so common in black sociability, which is rap (AZEVEDO; SILVA, 1999; SOUZA, 2011). We map, in Dalasam's poetry, four major gestures that we understand to be part of what he has produced so far: alliances, where we articulate his relationship with other people mentioned in his songs or musical collaborations; the body, where we investigate his performances; the wakabake, where his flow is analyzed as part of an aesthetic that goes beyond the meaning of words; and love, where we observe the ways in which the rapper addresses the theme throughout his productions.
12
Bruno Ferreira Vicente
Tra le vie, vicoli ed incroci dell'identità: la relazione tra memoria, corpo e spazio in "La mia casa è dove sono", di Igiaba Scego
Questa dissertazione nasce da una confluenza di voci e testi che si intrecciano nel intento di promuovere una lettura del opera “La mia casa è dove sono”, di Igiaba Scego, scrittrice e ricercatrice italiana di origine somala. Il testo viene presentato in un formato hipermedia e è stato construito attraverso note teoriche, letterarie e personali, oltre alla presenza di hiperlinks che portano ad altri testi, permettendo alle lettrici e ai lettori possibilità di letture dei varie testi. Per tanto, ho seguito un approccio metodologico sperimentale, il quale ho cercato di dialogare di modo affetivo l’opera di Igiaba Scego con delle produzioni artistiche, teoriche, audiovisuali, e culturali brasiliani o del Sud Globale. Così, ho diviso questo lavoro in 6 parti: i due primi testi, Notas par abrir caminho e Os primeiros passos presentano la ricerca e la situano nel spazio- temporalmente; il testo Nos caminhos da História e das memórias: notas históricas, literárias e sobre a sala de aula de língua italiana presenta un percorso storico dell’Itala che è attraversato da note letterarie e sul insegnamento di lingua; nel testo Que corpo é esse que brada em meio a selva de pedra? presento alcuni questioni relative ai rifugiati e immigrati e alla violenza razziale in Italia; in As encruzilhadas da identidade em “Minha casa é onde estou” faccio una lettura di Igiaba Scego e del opera studiata in questa ricerca; alla fine, concludo con il testo O fim de um percurso: não um “adeus”, mas um “até mais tarde”, che sono note de conclusioni del lavoro qui presentato.
13
Emille Morgana Santos Mattos
DRAMATURGY BY CHICO RIBEIRO NETO: PHILOLOGICAL SCENES FROM "EM TEMPO" NO PALCO
This work is developed in the study field of Philology in a dialogue with other areas of knowledge, with the purpose of studying the dramaturgy of Chico Ribeiro Neto. Taking as sources the material documentary that makes up the Chico Ribeiro Neto Collection (Acervo Chico Ribeiro Neto - ACRN), which is part of the Censored Theatrical Texts Archive (Arquivo Textos Teatrais Censurados - ATTC), we present the textual tradition of the three theater texts that form such collection, Branca de Neve e os sete anões, Prova Final and “Em Tempo” no palco, examining the processes of transmission and circulation of such texts within the scope of censorship. Facsimile editions of the testimonies of the three texts were developed, with an interpretative edition being proposed in digital media only for “Em Tempo” no palco. A critical-philological study of the same text was executed, focusing on the intertextual relations presented in the dramatic text in comparison with articles from the newspaper Em Tempo, which were the basis for its writing, through the synoptic confrontation between the dramatic and journalistic texts. We seek to place, in time and space, the aforementioned press vehicle, considering the contents and nature of the ideology propagated in its pages, to bring the social contexts, cultural history of production, transmission and reception of the text of the theatrical play, highlighting the work of the playwright when selecting excerpts from the editions of the referred periodical to compose his text, reading, in a philological perspective, in the fabric of the textual fabric, the moment lived by the society of that time in the period of the military dictatorship. The censored extracts present in the theatrical text will also be analyzed, based on the justifications of the reviewers and studies on press censorship and censorship of public entertainment. The texts will be taken as testimonies of the historical period in which they were written.
14
DANILO FERREIRA GOMES
Pastor Martin Luther King Jr.'s Pharmacy: Politics of Love as Healing Gestures for Racial Wounds
The intellectual investment that I make in this research is a discussion about the love policies of Pastor Martin Luther King Jr. I point out how the reverend's militancy is based on the prophetic and libertarian tradition of the American black church, which, in turn, was forged by Africans in the North American diaspora who began to confess the Christian faith, making recodings typical of the heterogeneity of Afro-diasporic identities. I think of the public personality of Pastor King from the triangulation of activist, poet and black prophet and inform how his ethical-philosophical and methodological choice for non-violent resistance in the civil rights movement of the African-American community is based theoretically and tactically, above all, in the satyagraha of Indian leader Mahatma Gandhi. Starting from a brief historical remission of direct actions of non-violent resistance by blacks in the United States, I seek to point out how non-violent resistance is feasible within black militancy. In view of the ambiguity and ambivalence of politics of love, I invest in a reading of such policies from the notion of phármakon (DERRIDA, 2005), trying to show how such policies, imbued with this pharmacological character, can mobilize a healing movement in our world racially fractured. I also try to point out that there is a black Brazilian church that, although drinking from the sources of the church and black American theology, needs to forge its own theology and public agenda, due to the challenges and endogenous peculiarities. Finally, I point to the irruption of a black insurgency within the Brazilian evangelical church, pointing out its possible contributions to the contemporary black movement. To epistemologically subsidize this research venture, I use, in an interdisciplinary braid, the theoretical contribution of several intellectuals from the fields of Theory of Literature, Cultural Criticism, Theology, Philosophy and Human, Political and Social Sciences. Considering the imperativeness of the vocalization of black subjects, in the face of the silencing to which they are socially subjected, which also occurs in the academic field with its alleged neutrality, I speak, throughout the dissertation, in an essayistic way, in the first person.
15
Juliana de Andrade Marreiros
BLACK WOMEN TENSION THE MODERN BORDERS OF NATION A poetic cartography of the Black Atlantic between Brazil and Uruguay
This dissertation aims to examine the poetic enunciations of black women in the works um corpo negro, by Lubi Prates, and in the anthology Tinta: poetas afrodescendientes as a subjective elaboration of the afrodiasporic body as an enunciative territory that builds a cartography of presences in the Black Atlantic. Therefore, I carry out this study from three categories of analysis, which serve as topos for the sedimentation of this rhizomatic territory, namely, 1) Afro-Atlantic crossing and its extension through the Latin American territory, with special attention to Brazil and Uruguay, from which the aforementioned works are enunciated, respectively; 2) Amefricanity, political-cultural category coined by Lélia Gonzalez (2020), verifiable in this female poetic corpus as a subjective production of the body that configures itself as a rhizome identity in terms of É. Glissant (2005); 3) Escrevivência, as a theoretical operator of collective agency of voices (SOUZA, 2018) and creative locus of imagination of presences forged from the literary enunciation of black women, according to Conceição Evaristo (2017a). In this way, one contemplates in such black feminine poetics an enunciative body that causes tensions and fissures to the modern borders of nations from the enunciative irruption that puts in check the single root of the colonial matrix as a structuring of these national territories, recovering memory, history and ancestry from contemporary presences recomposed by the body-letter (EVARISTO, 2017b) inscribed from Amefrican prefaces to the Black Atlantic.
16
KELVIN OLIVEIRA DO PRADO
THE REPRESENTATION OF SUBALTERNITY IN "WHAT TIME DOES SHE COME BACK?"
This dissertation aims to analyze the representations of subalternity scenarios in the Brazilian film Que Horas Ela Volta? (2015). For this, the social relations in the filmic diegesis are observed, which are centered in a house located in the Morumbi neighborhood in São Paulo. It will be analyzed, thus, the dynamics that run through the plot to understand the relationships between the characters along with the elements present in the dialogues and scenarios that build the subalternization. The dissertation has as theoretical and critical contributions the cultural, post-colonial and decolonial studies that, together, reveal the complexity of the concept of subalternity. The film analysed is an artistic object which represents the figure of the housemaid, as well as other subjects, and which, through art, potentiates a decolonization of the subject, in the ways of feeling, of seeing, of acting and of perceiving oneself in the world. It is observed a policy and a praxis that can be interpreted as decolonial, that is: of the protagonism of the subalternized, of transformations of hegemonic practices and the possibility of changes, establishing a praxis that challenges the regimes of representation and hegemonic visual identification.
17
DANIELA SOUZA SILVA
CORDEL LITERATURE: BODY, SOUL AND MOVEMENT An analysis of working with oral literature in the final years of Elementary School as a motivating reading practice at Escola do Campo
After all, what is literature? What results would we have if the literary reading practices promoted in Rural Schools focused on the student and not the author of the text? These were questions that guided the present research, whose objective is to reflect on the place of orality in literature – until now, very tied to writing and other issues that involve markers such as gender and class – and literary literacy in Escola do Campo. Encouraging reading and writing is an emerging issue in schools, especially public schools. However, the lack of motivation and engagement on the part of rural students is noticeable when the purpose of the class is reading books. It is also quite evident the difficulty that most people feel when faced with certain literary texts, as it seems somewhat complex for a reader who is still beginning their training process, as a reader of literary texts, to understand a reality and a language that, in At no point, talk to yours. In view of this, working with oral literature in the final years of Elementary School appears to be a successful proposal, especially in the initial and consolidation stage of students' literary training, which requires, during reading moments, mediation work and the provision of texts that are capable of “seducing” and enchanting readers who are still in the process of construction. Understanding that, in order to truly promote literary literacy, actions are necessary that go far beyond simple access to books, cordel literature, with the strength of orality and body movement driven by the rhythm of the metric, shows becomes an important ally in stimulating this enchantment process that also permeates identity and identification with what is being read. Because, analyzing cordel poetry, far from this reductionist vision and the stigmas that permeate popular literature, it is possible to see how rich this poetry is, which has voice, body and movement. Thus, the present work proposes to reflect on literature and the process of literary formation of students at Escola do Campo based on cordel literature, understanding it as a fruitful path for the formation of these unfinished subjects. The research was theoretically situated within the scope of Literary and Literacy Studies, for this purpose, the apparatus of Eagleton (2006), Durão and Cechinel (2022), Candido (2011), Cruz (2012), Cosson (2019, 2020) and Colomer (2007); as well as cordel literature, based on the conception of Cascudo (2006), Abreu (1999), Zumthor (2018), Haurélio (2013), Marinho and Pinheiro (2012), among others.
18
VICTÓRIA LANE FERREIRA SILVA
MORRISON, TRAORÉ AND NÓS: black feminist translations
This dissertation aims to analyze and translate from English to Brazilian Portuguese scenes five, eight, and nine of the play Desdemona, written by Toni Morrison with song lyrics by Rokia Traoré. In Desdemona, characters from "Othello, the Moor of Venice" meet again in an afterl ife and talk about their childhoods, family relationships, and hidden stories in the Shakespearean play. In partnership with Traoré, Morrison presents a black feminist translation of the dramatic text, already recognized as canon, based on a revisionist ch aracter, and with ethical and aesthetic choices that highlight Afrodiasporic traits, thus creating other stories for the characters. In the first section, we discuss these traits, such as writing in partnership, the creation of a space time that distances itself from the Western conception of time, and the resonance of previously silenced female voices. The scenes of encounters between the female characters are translated in section two with comments on the writers' aesthetic choices and how they are reflec ted in our translation choices. In section three, we present a deeper analysis of the female characters' dialogues and the tensions in their relationships using intersectionality as an analytical tool. Our analysis and translation are based on theoretical premises from African diaspora researchers such as Leda Maria Martins, Lélia Gonzalez, Conceição Evaristo, and translators from the Black Atlantic such as Denise Carrascosa, Geri Augusto, and Tiganá Santana.
19
MATHEUS AUGUSTO DE SANTANA MARQUES
“A BRAZIL FOR BRAZILIANS”: the intellectual project of Carolina Maria de Jesus
Carolina Maria de Jesus was a black Brazilian writer who expressed her intellectual project mainly through literature, which justifies her relevance to national literature. What the text delimits as Carolina Maria de Jesus's intellectual project is the aesthetically engendered discourse of a Brazilian thinker. Weaving a multiform literary writing and crossed by poetic experiments of popular and erudite origin, the thinker constitutes a style marked by lyrical and moralizing diction, structured in defense of a subaltern class, at the same time that she organizes a conception of the world and of Brazil. The dispersion of his work and the intermittency of its reception interfere, even today, with the recognition of a robust system of ideas about the way Brazil should be organized, choosing work, land and education as a path to enter his poetic thought. The construction of the writer's intellectual project, the literary forms that this project assumes, its main themes and the contributions of the thinker, as a public figure, in the Brazilian cultural debate, reveal the project for the country of an intellectual writer dedicated to understanding and contributing to the Brazilian reality.
20
MANOEL CARLOS DOS SANTOS ALVES
The men who didn't love women: the process of textual diffusion of The Picture of Dorian Gray and its homotextual configuration
The Victorian Era, the second-longest reign of an English monarch, is regarded as the UK's most prosperous period. The progressive phase of the English nation, which restored its colonialist system and the prestige of the bourgeois class, was also marked by the rigidity of policies regarding the moral and ethical values of society. One of the figures crossed by such moralism was the writer Oscar Wilde, whose work, The Picture of Dorian Gray, was used as evidence in the lawsuit file through the eleventh section of the Criminal Law Amendment Act 1885, which configured male homosexuality as a sodomite activity and therefore, not only sinful, but criminal. The Picture of Dorian Gray can be found, today, in four capacities: in the manuscript, in the typescript, and the versions published in 1890 and 1891. Due to the changes in the textual transmission, a discourse took place concerning the basis of such changes. For Donald L. Lawler (1969), the alterations can be seen as literary revisions that were not only purposeful but necessary. However, for Nicholas Frankel (2013), the progression of the texts would demonstrate an admonishing control, influenced by the criticism of the time. In the present work, I highlight the textual transmission of The Picture of Dorian Gray, focusing on how the understanding of gender and sexuality at the time, as well as historical events, affected the process of production, circulation and reception of the text, and contributed to the author's imprisonment. Furthermore, using the manuscript, the typescript, and the versions disseminated in 1890 and 1891, I investigated the supposed censorship applied throughout its dissemination. Therefore, I mobilized the methodological apparatus of philological studies, creating a collation of the testimonies/redactional phase of the text, selecting the first chapter to elaborate a philological reading. Taking into account the importance of the physical particularities of each capacity, and its socio-historical implications, the materiality was considered as well. Through a philological exercise, assimilated here as Textual Scholarship, we studied the types of movements carried out in the first chapter of each capacity, characterizing them as an act silencing, and not censorship, given that, regardless of its alterations, the text preserves its homotextuality, according to Jacob Stockinger (1978).
21
ROSECLEIDE FERREIRA BORGES RODRIGUES
Deaf literature: the marked poetic construction by Yanna Porcino
The deaf community has expressed its culture and language through literary productions in a poetic manner. Thus, the productions of black authors intersect aspects related to race and gender, fields that affect women's experiences. This dissertation sought to explore how the poetic text in a language with a visual-spatial modality brings the visuality of an aesthetic built on the plasticity of a signed language, having the author's body as a support for the texture of the text and which aspects these texts cover. The research problem that accompanied the development of the investigation was: which aesthetic elements make up the signaled poetics? What do these poems say and how they say? Based on these questions, the objective is to understand the aspects present in the highlighted poems written by Yanna Porcino. The methodology used to develop the research consisted of a descriptive analysis, considering the aesthetic elements described by Sutton-Spence (2021), the theme and the performative aspects in the highlighted poems. Three poems by Yanna Porcino were analyzed: "Who cares" (Porcino, 2020), "Ingenuity" (Porcino, 2021) and "I am different" (Porcino, 2021). The reflections take place in dialogue with the theories of Stuart Hall (2003, 2006) that allow us to understand some aspects of culture; Carlos Skliar (2005), who addresses deafness from a cultural and sociological perspective. We were also guided by the research of some theorists on the linguistic studies of Sign Language, such as Lucinda Ferreira Brito (2010), and Ronice Quadros and Lodenir Karnopp (2007). Furthermore, in our analyzes we consider deaf studies marked by Strobel's (2008) positions on deaf culture and research on deaf literature presented by Lodenir Karnopp (2006, 2008, 2010), Marta Morgado (2011), Cláudio Mourão (2011, 2016) and Sutton-Spence (2005, 2006, 2021). As a result, we conclude that the analyzed poems have mobilized the performative and aesthetic aspects of visual poetics in Brazilian Sign Language, operating in the literary territories of the collective (re)writing experiences and denouncing oppression.
22
WESLEY DA RESSURREIÇÃO CONCEIÇÃO
“Music, memory and blackness: the aesthetics of black radical thought in blocos afros of Salvador-BA – 21st century”
This thesis entitled “Music, memory and blackness: the aesthetics of black radical thought in blocos afros of Salvador-BA – 21st century” had to analyze some lyrics from four blocos afro in Salvador (Ilês Aiyê, Malê Debalê, Olodum e Os Negões) focused on compositions produced and/or re-recorded in the 21st century. By highlighting black composers. It sought to understand how the textuality of Afro blocks is configured as an instrument of black enunciation and resistance. Based on the concept of blackness proposed by Aimé Césaire (2010), and followed by aesthetics of the black radical tradition proposed by Fred Moten (2003) - fundamental concepts for this work – this research also dialogued with other black intellectuals, such as Abdias Nascimento, Alberto Guerreiro Ramos, Beatriz Nascimento, Lélia Gonzalez, Leda Martins, Florentina Souza, Paul Gilroy, bell hooks and Jônatas Conceição. As a result of the song lyrics analysis, this work figures out that the Literature of Blocos Afro in addition to other ethical-aesthetic elements that make up these Blocos (dance, African ringtones, singing, costumes and spirituality) shaped a space for the preservation of memory, aquilombamento, insurgency, improvisation and valorization of blackness. In this sense, this literature has been inserted into the aesthetics of black radical thought. This work also highlighted that, through their literary works, black composers and composers from Blocos afro has acted as intellectuals and agents of social transformation that has shaped black generations for almost five decades.
23
MILENA DE JESUS FAHEL FERNANDES
Translation as a Space for Reconstruction of Ancestral Knowledge: Gender, Race, Body and Coloniality in the translation experience of Abya Yala
This dissertation is an interdisciplinary contribution to Translation Studies, with specific interests in the promotion of anticolonial thinking for translations. This occurs in dialogue with gender and race studies and through South-South translations of texts by Alejandra Sardá, Lohana Berkins, Mauro Cabral, and Yuderkys Espinosa Miñoso – authors from Latin America and the Caribbean, who share their academic and activist knowledge about gender, race, corporeality and coloniality. These translations were carried out thinking about these texts and about the very decolonial translation as disruptive tools for the field, and as such these discussions were supported by texts written by Claudia Lima, Lawrence Venuti, Luise Von Flotow, Silene Moreno, and Paulo Oliveira. To discuss decoloniality, authors Oyèrónkẹ́ Oyěwùmí, Chandra Mohanty, Aníbal Quijano, María Lugones, Walter Mignolo, and Françoise Vergès were important names. The objective of such a union of knowledge is to make emerge another subject, no longer a universal one, in the thinking and practice of translation and to reforest our perception about language and culture.
24
CAMILA ARAÚJO GOMES
INTERTWELTING MEMORIES: THE GHOST OF THE BRAZILIAN CIVIL-MILITARY DICTATORSHIP IN A NOITE DA ESPERA AND PONTOS DE FUGA, BY MILTON HATOUM
This dissertation aims to analyze how Milton Hatoum revisits the memories of the Brazilian civil- military dictatorship in his coming-of-age novels A noite da espera (2017) and Pontos de fuga (2019), both part of the trilogy O lugar mais sombrio, considering the aesthetic resources employed by the author. This study also investigates to what extent these two literary works portray themes previously explored in literature during the dictatorship: political exile and imprisonment, torture and censorship, repression, and obscurantism. By offering a contemporary (re)reading of the dictatorship, the writer suggests that this dark period is still an open wound in Brazilian history. He aligns himself with those who historically demand their right to promote democratic memory and captures the socio-political and economic transformations in the present time without forgetting the harmful effects of this recent dictatorial past that still manifests itself in the daily life of this democratic country. This investigation also seeks to explore the theoretical interface between memory, melancholy, and identity through Martim's journey, the narrator-protagonist of both sequential plots, whose adolescence and adulthood develop under military rule, especially after the promulgation of Institutional Act 5 (AI-5), the most repressive decree during the 21 years of the regime. Besides, from the perspective of literary and cultural criticism, it examines the composition of Hatoum's hybrid writing adopted in the two referenced works. This hybridism arises from the mixture of the following literary genres: bildungsroman, autobiography, and diary. This plural approach encompasses the memorialism and self-referentiality prevalent in Brazilian literary prose produced in the 1970s and 1980s. Therefore, this artistic gesture reveals a dialogue with the critical reception of literature produced in the periods spanning from 1964 to 1979, 1980 to 2000, and from 2001 to the present day. This fact implies that the fictional work significantly represents a project of life, art, and justice within the social imagination of a nation that continues to be shaped by centuries-old discourses of oppression and resistance.
25
RICARDO OLIVEIRA ROCHA
DIALOG BETWEEN THE ADAPTATION OF THE GREAT GATSBY (2013) AND THE PROCESS OF CREATING A SCRIPT FOR AN AUDIOBOOK
The film adaptation of the novel "The Great Gatsby" by Francis Scott Key Fitzgerald, published in 1925, was produced, co-scripted, and directed by Australian filmmaker Baz Luhrmann in 2013. The story is set in the "Roaring Twenties" era and depicts the absence of values in American society, which was obsessed with consumerism and alcohol. The aim of this research was to examine the process of producing the Great Party scene in the film, using Genetic Criticism as the theoretical-methodological framework. This was achieved by analyzing a digital dossier containing documents collected by the researcher. Other relevant reflections in this dissertation encompassed Studies of Intermediality, Translation and Assistive Technologies, which ultimately led to the creation of a radio script.
26
REBECCA RIBEIRO PATAS DA CUNHA
GENETIC ANALYSIS OF THE POEM APARTMENT IN LEME, COPACABANA (JAN.1ST) BY E. BISHOP
The present work presents an investigation of the creative process of the poem Apartment in Leme, Copacabana (Jan. 1st) by the North American poet, Elizabeth Bishop (1911-1979), in the light of the concepts of Genetic Criticism and Social Anthropology. It is an interpretative analysis of the referred poem, especially focusing on the last documented version that dialogues with extracts of Bishop’s correspondence and two chapters of her book Brazil: chapter four, Three Capitals, and six, Unselfconscious Arts. The originals of the poem in question consist of twenty-nine pages of dated and crossed-out drafts in the author's hand, which are in the archives of the Vassar College Special Collection, Vassar College, Poughkeepsie, New York. The poem was published after Elizabeth Bishop's death in the book Edgar Allan Poe & The Juke Box: uncollected poems, drafts, and fragments (2006), edited by Alice Quinn, under the name Apartment in Leme, along with other poems, drafts and fragments from the Elizabeth Bishop archive. This dissertation aimed to make a thorough observation behind the scenes of the chosen poem, especially focusing on issues of Culture and Cultural Shock (Oberg, 1960). Furthermore, Brazilian mythical-religious elements in Bishop ́s work were also analyzed, thus enabling new perspectives and considerable developments on a posthumous poem, as well as on the intricate relationship between the northern hemisphere where Bishop came from and the southern Brazilian culture that emerged in the author’s writing.
27
EMILLE SOUZA CERQUEIRA
ALEXANDRE E OUTROS HERÓIS: A STUDY OF LITERARY ADAPTATION AS INTERSEMIOTIC TRANSLATION
This dissertation aims to discuss literary adaptation for audiovisual media as one of the ways to translate a work, especially based on the process of intersemiotic translation. The tales O Olho Torto de Alexandre and A Morte de Alexandre, by Graciliano Ramos, translated (and adapted) for the television film Alexandre and Others Heroes [Rede Globo, 2013], scripted by Luis Alberto de Abreu and Luiz Fernando Carvalho, will be objects of analysis of this discussion, which will be carried out based on the observation of the scene 'Alexandre feels sick' – (33min18s - 40min16s). Approaches that consider literary adaptation for audiovisual as one of the ways of translating and rereading a work will be used to establish this analysis; that reflect the functioning of narrative and televisual language; and that highlight the importance of the script as one of the processes that a literary adaptation goes through when it becomes a new work. Hence, the theoretical argument starts from the reading of Roman Jakobson (1975), Julio Plaza (2003), C. S. Peirce (1974; 1977), André Lefévère (1975; 2007), Iuri Lótman (1996; 1998), Linda Hutcheon (2013) and Robert Stam (2006), with regard to translation and adaptation studies; of the critical views of Roland Barthes (2011), Walter Benjamin (1987; 2000) and Tzvetan Todorov (2011; 2013), as well as of Arlindo Machado (2000), Ana Maria Balogh (2002), Umberto Eco (1994) e Renata Pallottini (1998), on issues relating to the functioning of language and televisual narrative; and of Syd Field (1979) and Doc Comparato (1993), regarding the importance of the script for adapting a work.
Tesis
1
ADILSON SANTOS DE SOUZA
In search of the flashes of the Gutierrian firefies: play, dance and laughter in the narrative jumps of Animal Tropical
In this work, three vectors of analysis are established for the study of the novel Animal tropical (2000), by the Cuban Pedro Juan Gutiérrez. Thus, the concepts of literary game, dance and philosophy of la risa emerge as a category of analysis, contextually applied to the narrative of the third Gutierrean novel. In this guideline, the direction of the literary game is pondered through a comparative view with the literature of Julio Cortázar, in Rayuela (1988), a comparison from which the concept of Gutierrian symbolic mathematics arises. As a second analytical direction, the definition of Gutierrian dance is established, which is a reading strategy that symbolizes the discussions about the political and social in the narrative of the Cuban writer. Lastly, through the concept of philosophy of laughter, coined in El nido de la serpiente, memorias del hijo del heladero (2006), an argumentative sequence is carried out on the manifestations of laughter, under the logic of Nietzschean perspectivism in Animal tropical.
2
PAMELA MOURA FREITAS
Crossings through the sea of experience: the role of experience in constructing the subject, in determining identity, and as a response to the crisis of expert systems
This thesis explores the use of lived experience as an instrument for constructing and organizing different types of discourse, from artistic to academic, in contemporary times. The observed phenomenon is broad and strong, not limited to the realm of representation and theoretical reflections, but also reaching the discourses that sustain social and daily life of individuals. It is believed that there is a relationship between the strength of this phenomenon and the numerous crises that the contemporary world is going through, particularly the crises of expert systems that organized individuals' lives and processes of understanding the world. The epistemological crisis, which is part of this crisis of experts, appears in this reading as a fundamental element for using lived experience as a way of knowing and giving meaning to things. The configuration of contemporary production is the result of a direct dialogue with the urgencies of our time, just as more traditional fiction was the product of a particular historical and social configuration. The work carried out in this thesis is the result of a dialogue between different works and discursive elaborations and the work of theorists and academics from various fields of knowledge, who mainly think about social organization, the relationship between social structures and artistic and theoretical production, as well as identity issues. It is concluded from this study that the use of lived experience as an instrument for constructing and organizing different types of discourse is a response to the deep and abundant crises that permeate our lives and affect us. This phenomenon does not fail to consider the issues of life platforming and media interests, but beyond technological, performative, and spectacularization issues of the self, experience appears as an apparently unmediated way of knowing and giving meaning to things, bringing elements of authenticity, legitimacy, and ethics.
3
Rosana Carvalho da Silva Ghignatti
EÇA DE QUEIROS AND THE PERCEPTION OF THE LANDSCAPE IN THE MIDDLE EAST
This thesis aims to study the Travel Narratives (Egypt, Palestine and Upper Syria) and the novel A relíquia, by the Portuguese writer José Maria Eça de Queirós (1845-1900), from the perspective of Cultural Humanist Geography. Through the bibliographic review and the comparative method, the work interacts with several disciplines such as Literature, Geography and History, demonstrating that interdisciplinarity is one of the many pillars of Queirós' writing. Our question turns to the writer's view of the Middle East and how that travel experience brought impacts to his future works, both for journalistic articles ("Os ingleses no Egito" and " De Port-Said a Suez: carta sobre a inauguração do Canal de Suez”), as well as fiction, such as the short stories (“Suave Milagre” and “A morte de Jesus”) and the novel A relíquia. It also investigates how the travel narrative genre encompasses specific interests according to the historical context and how Eça de Queirós interpreted the foreigner based on his orientalist readings and his own experience in loco.
4
Feva Omo Iyanu Souza Menezes
Ancestry, Ritual and Crossroads: On the Praxis of Black Translation in A Morte e o Ẹlẹṣin do Alâfin
Black Translation, as a component belonging to the field of Translation Studies, presents itself as a theoretical and methodological mechanism for the development of Afro-centered translation projects whose main purpose is the construction of an egalitarian dialogue between texts produced and translated from productions African and Afrodiasporic. Based on this principle, the development and application of an Afrocentric translation project, this research had as its general objective to make the literary translation of the play Death and The King's Horseman, by the Nigerian writer Wole Soyinka, written in English and Yoruba, into Brazilian Portuguese. For the development of this production, an Afro-centered translation project was matured, which focused mainly on revisiting the concept of Translation of Encruzilhada, coined by researcher and translator Luciana Reis (2016) and, furthermore, revised by researcher Feva Omo Iyanu (2018), seeking to add other elements that embody the theoretical and methodological power of this translation tool. In this sense, the concept was embodied from its re-elaboration, taking into account the following theoretical and methodological factors: i think of translation from the perspective of ancestry; ii re-establish the issue of time and temporalities in the translation process, taking as a starting point the encruzilhadas (crossroads) and Afro-Brazilian religious manifestations; iii and, finally, discuss the ritual as a translation tool that composes the perspective of Translation of Encruzilhada, pondering the process of black translation as a translation practice based on the body. Therefore, for the first part, centered on the historiographical reconstruction of Candomblé Terreiros (religious temples), African and Afrodiasporic tradition, memory and history in Brazil, as well as the political and philosophical perspectives of ancestry, the dialogue was established, among others intellectuals, from Verger (1981), Reis (2005), Silveira (2005), Luiz Mott (1986), Laura de Mello e Souza (1986), Parés (2018), Moraes (1916), Freitas (1977), Bordieu (1979), Sodré (2017), Kabengele Munanga (2016), Tigana Santos (2019), Maurício Waldman (1998), Hampaté Bâ (2010), Kwasi Wiredu (2010) and Vanda Machado (2013); for the second part, whose centrality was based on elaborating on Space and Territory, the perspectives of African Time and Spiral-Imagetic-Time, the exchanges were made from names such as Santos (2001), Ediho Lokanga (2021) , SILVA-REIS (2018), Sodré (2019), Milton Santos (2001), Borges and Caputo (2016), Edson Carneiro (2008), Carrascosa (2016), John Mbiti (1989), Sunday Babalola and Olusegun Alokan (2013) ), ZorBari-Nwitambu and Sylva Ezema Kalu (2018), Kazeem (2016), Beniste (2010), Juana Elbein (2012) and Martins (2021); in the third part, concentrated on Ritual as a Black-Ethos and its consequences for the translation process in the Translation of Encruzilhada, the elaborations were gestated from intellectuals such as Etim (2019), Fromm (1950), Kyalo (2013), Soyinka (1976), Santos (2012) and Burley (2020). In addition to opening the theoretical and methodological field in the field of Translation Studies, which is also inserted in the field of Literary Studies, this research resulted in the Afro-centered translation of the play Death and The King's Horseman, contributing, in the same way, to the development of studies focused on other areas of knowledge such as the areas of Performing Arts, History, Sociology, Linguistics, Anthropology, Ethnic Studies and Religion.
These writings, located in the line of research "Documents of Cultural Memory", investigate contemporary arts, capable of helping black and HIV positive people, listening to what, from there, emerge as silence, noise, echo and sound, to tell other stories of forty years of existence of the epidemic. The literary fragments presented here focus on the forge of ekography as a method of literary criticism, understanding the field as an expanded space-time, in this sense, encompassing performances, video performance, cinema, music, theater, writings and visual arts. Theekographic work is inspired by the lives crossed by the signs of racial grammar, also by the experience of living with the human immunodeficiency virus, which causes the acquired immunodeficiency syndrome. The two markers identify the field of contemporary arts that identify the "third" element as a signifier capable of facing stigma and the bases of pressure derived from the idea of race. Ekographing a hiv/aids epidemic is managing the senses, disinvesting in the centrality of the eye, making the forty-year-old echo possibilities to understand the scenario and approach issues that have been relegated in time, such as the persistence of deaths in the population, life psychic and subjective dynamics that cross a body marked by two social signs of death.
6
ADULAI BALDÉ
SOMANTIC MEMORIES OF ABDULAI SILA: LITERATURE, ORAL TRADITION AND IDENTITY IN GUINEA-BISSAU
This thesis promotes an analysis of the relations between Bissau-Guinean literature, memory and oral tradition in the literary work Memórias SOMânticas (2016) by the writer Abdulai Sila, from the perspective of the dialogue between the three strands, in view of the colonial past and the consequent processes subordination/resistance of local cultures. In this sense, this work aims to show and discuss Bissau-Guinean Literature, from the work of Memórias SOMânticas and understand it as an activity of knowledge of the study of art, taking into account its relevance for literary, cultural and cultural studies. especially for the understanding of national identity in Guinea-Bissau and in the post-colonial context. For this, it was about understanding the relations between literature and identity in the field of postcolonial theory, as well as the relations between literary history and the culture of the country under study, as well as the problematization of the relations between history and fiction in the scope of Bissau-Guinean literature and the importance of orality marks in this writing. An approach was also carried out on the concept of bantabá in the Guinean tradition, highlighting the relevance of the genre both for the lyrics and for the national identity of the country. The method chosen for the development of the research was analytical-descriptive and bibliographical, considering Memórias SOMânticas (2016) as the object of the study. To this end, the work presents Postcolonial Theory and Criticism as a support base, based on Freitas (2016) and Queiroz (2011) on the issue of Literature and identity; Evaristo (2016) and Chiziane (2013) on Literature, memory and writing; Hall (2003/2006) in reviewing postcolonial theory and criticism; Mata (2014) and Hamilton (1999) on the considerations about the literature of the Portuguese-Speaking African Countries - PALOP, in addition to scholars of the Bissau-Guinean literary system, such as Augel (2007) and Semedo (2020/2011). As a result, it was seen that the novel presents, in different ways, intersections between history and fiction, denouncing the social and political problems faced by Guineans in various moments of its history and its present. In these denunciations, meanings of cultural resistance and identity affirmation are affirmed.
7
Hildália Fernandes Cunha Cordeiro
Abẹ̀bẹ̀ Literature: theoretical-critical black referenced approach to read Toni Morrison
This thesis aimed to present a theoretical-critical black referenced approach called Abẹ̀bẹ̀ Literature, which attempted to contribute to the access and reading part of the collection published by Toni Morrison, proposing insubordination and insurrection as existential categories and interpretive keys for the analysis of this complex and diverse literary collection. For this purpose, two out of eleven novels, written by Morrison, were thought as corpora. They are: The Bluest Eye (1970) and God Help the Child (2015), corresponding to the first and last published novels. The selected characters were, respectively: Pecola Breedlove, Pauline Breedlove; Claudia MacTeer; Bride and Sweetness. The abẹ̀bẹ̀ (a kind of handheld fan with a mirror) was thought of as a founding symbology in the uninterrupted attempt to organise the fight. As a research problem we asked: What elements, characteristics and traits are present in the works: The Bluest Eye and God Help the Child, which point to the possibility of these narratives as Abẹ̀bẹ̀ Literature? As objectives we listed, one as a more general order: elaborate the notion of Abẹ̀bẹ̀ Literature as a theoretical-critical approach to read the works of Toni Morrison: The Bluest Eye and God Help the Child. And of a specific order: i) we sought to map the elements, characteristics and traces that are present in the works: The Bluest Eye and God Help the Child which point to the possibility of these narratives being configured as Abẹ̀bẹ̀ Literature. ii) systematise the characteristics of Abẹ̀bẹ̀ Literature, mapping from the identity construction of the five characters already mentioned; iii) identify, from the theoretical-critical Abẹ̀bẹ̀ Literature approach, how the processes of identity construction of the chosen characters occur and iv) examine the ways in which some selected characters internalize the ideology of whiteness and adopt it as a standard of beauty and others make blackness a shield against white supremacy. To support this research, a tripod was designed based on the contributions of black-diasporic literary theory and criticism, black feminism and psychology and psychoanalysis from a black perspective. It should also be noted that the methodology used to carry out the investigation was based on black feminist criticism using the crafting of quilts (hooks, 2019) based on the methodological challenge of “putting pieces together” (ALVES, 2021; XAVIER, 2021), since the final wish was that the voices and experiences of the mentioned characters would be configured as a complex and sophisticated kaleidoscopic, with the aim of better evaluating the learning shared by them. The results revealed that Abẹ̀bẹ̀ Literature conceived the literary collection produced by black women in the diaspora as possibilities for escaping routes and evasions in the various attempts at annihilation proposed by racism and pointing out possible paths against such processes. Knowing the demands faced by the characters, as well as accessing a multitude of stories experienced by them, was what led to the elaboration of such a proposal. A literature that is based on ancestral references. Finally, this literary production has the potential to announce and point out the pitfalls that are always present in the existential journeys of black women and in their processes of identity construction, unlocking the paths, especially at identity crossroads: moments of/for self-knowledge; self-rejection; self-loathing; self-acceptance; self-disclosure; self-sabotage; self-care; self-love; self-healing and self-actualization.
When the subject is children's literature, its association with questions of pedagogical aspects has become common, a fact that is due, in large part, to the age of the readers for whom this literature is intended. However, when considering the book as a product for which the existence of a profitable market is necessary, there are elements that affect the formation of the literary reader in his interaction with the school. By understanding the possibility of highlighting circumstances promoted by the broad relationship between children's literature, market and teaching, works aimed at children that have received the Jabuti Prize between the years 1980 and 2015 will be analyzed. The studies developed by Dalcantagnè (2012), Thompson (2013) and Lajolo (2014), among others, will also be taken, with the aim of returning a close look to this process, observing the assertion that there is a strong market performance that significantly interferes in the formation of the reader promoted by formal educational institutions.
9
Eliana Sales Vieira
TWO SISTERS: LITERATURE, CINEMA AND GENDER RELATIONS IN THE FAMILY ENVIRONMENT
In this study, we aim to study the novels A costureira e o cangaceiro (2009), by Frances de Pontes Peebles, and A vida invisível de Eurídice Gusmão (2016), by Martha Batalha, whose narratives have sisters as protagonists and which take place, respectively, between the decades of 1920-1930, and 1940-1960. Hereby, we also study its film adaptations: Entre irmãs (2017), directed by Breno Silveira, and A vida invisível (2019), with the direction of Karim Aïnouz. Taking into consideration the tradition that the fictional stories, which are about fraternal relationships, are stories about brothers who have a relationship which is marked by rivalry, it is observed, through the analysis of this study’s corpus, a different setting of representation in the contemporary fiction. It is about the current recurrence of literary and cinematographic narratives on the relationship among sisters, by the bias of affection and solidarity. Therefore, the focus of this survey is on the female representations, under the perspective of gender relations that pervade the family space which are shown in these fictions. Through this analysis, it can be noticed how this feeling of fraternity was built in a bond of strengthening, given the important topics that marked gender relations along the 20th century, and that run through these sisters’ stories. Among these issues, we highlight women’s silencing in a sexist and patriarchal culture, the traditional model of marriage and family’s social role, gender violence, feminism and sexuality. In order to guide the discussion that was developed in this study, there are considered: the theoretical studies of the adaptation (STAM, 2006), (HUTCHEON, 2013); the concept of “gender technology” by Lauretis (1994); the considerations on cinema and feminism by Gubernikoff (2009, 2016); the studies on women’s story (DEL PRIORE, 2009, 2011, 2013, 2016), (PINSKY, 2011, 2012); the understanding on patriarchy and gender violence by Saffioti (1987, 1994, 2015); the reflections on fraternal relationships undertaken by Psychoanalysis (BIRMAN, 2000), (KEHL, 2000), among other scholars. The presupposition that guides this investigative study, is the one the representations of the feminine, which are present, in the analyzed works, make it possible a discourse that problematizes the gender representations and that questions the roles that had been socially built to be exerted by men and women in the society. It is aimed, therefore, that this survey promotes reflections about the oppression suffered by women who had been (and are) silenced by the patriarchal norm, as well as on the possibilities of female protagonism in the periods represented by the narratives, under the aegis of a classicist, racial, patriarchal and sexist system.
10
ALINE NERY DOS SANTOS
VOICES THAT ECHO CRIES OF RESISTANCE: SLAM DAS MINAS/BA AND THE PLACE OF MILITANCE OF POETS/BLACK SLAMERS
ABSTRACT: The thesis proposes to think about the contemporary production of some authors who work in the city of Salvador and who tension the space of the city and the artistic field as they aesthetically and politically occupy the urban space, also expanding and tensioning the margins of literature (GARRAMUÑO, 2014, p. 36). In the act of “going for a ride”, young taggers go out to enjoy the city that they know in detail in order to leave their marks on the walls, surfaces and tops of buildings (CALDEIRA, 2014). Wouldn't some of our contemporary artists and writers be doing the same within this logic of an occupation that involves the risk and the desire to construct narratives? In this sense, the thesis also proposes and tries to put into practice a way of repowering theories and definitions and focuses on productions that do not fit comfortably into literature and/or aesthetics. To this end, we take for discussion works such as O livro de água, as well as other interventions by Karina Rabinovitz; Território Movediços e Paisagens Ensolaradas, the narratives of Davi Nunes, Fábio Mandingo and the photographic productions of Helen Salomão and Marcelo Terça-Nada, as well as the poetic production of Alex Simões. Thus, we think about how these productions imbricate themselves with the city, which is also a heterogeneous space, based on artistic practices (poems and narratives, performances, plays and audiovisual productions) that emerge as resistance in the urban space and also provoke a questioning of the very understanding of literature.
12
MILENA PAIXÃO DA SILVA
Write, Carolina! Hold on, Carolina! Resistance writing contours
In spite of the operationalizations of silencing exercised by the strategies of maintenance of hegemonic power, unsubmissive literary voices seem to imbricate meanings of resistance to the writing they conceive, breaking imposed domains to which the invisibility of their bodies-texts are conducted. Infrequently, studies of literary criticism demonstrate to understand writing as a weapon or instrument of resistance. This work, however, investigates writing as a gesture, an act in itself of resisting, concatenated to ways of living. In this sense, analyses of biographical and written data of the vast production of the writer and intellectual Carolina Maria de Jesus are carried out in the search to try to understand how modes of resistance, surrounded by the reaches, limits and paradoxes of this black woman, are concatenated with her literary writing. To this purpose, it reflects on the birth of her writing (JESUS, 2015), as well as on the aesthetic and discursive choices of Carolina Maria de Jesus as subject[a] étinic[a] of the discourse (CUTI, 2010), that move between the refined vocabulary and the pretuguês (GONZALEZ, 2020). Seeking to understand what would be the perspectives and meanings of resistance performed in writing, the discussions dialogue with the conceptions of quilombo, as an institution of resistance (NASCIMENTO, 2006) and Quilombism, as an ideology of resistance (NASCIMENTO, 1985). Following these paths, guided by the writings of Carolina Maria de Jesus, as a kind of cartography, fosters the construction of the concept of resistance writing. A subversive diction that is outlined in the tessitura and writing of the literary text, projecting not only combative perspectives; that, articulating aesthetic and ethical aspects, translates in a powerful way rationality, disobedience and the claim of rights, among them that of writing; and which, undertaken above all by female diasporic bodies, makes us think of writing as the materiality of resistant existences.
13
SANDRA LÚCIA SANT'ANA DOS SANTOS
Po(ética) de Mãe: a potência dos afetos na/da narrativa de Valter Hugo Mãe
The purpose of this work is to explore the dramaturgical production of Antônio Mendes, considering, especially, the text Contos de senzala, for which an interpretative edition was made. Antônio Mendes de Oliveira was a playwright from Bahia who paved the way for the presence of black subjects in the amateur theater scene during the 1970s and 1980s, a period in which society lived under a dictatorial regime and when censorship was more pronounced in entertainment. public. The relevance of Antônio Mendes to the amateur theater groups was immeasurable, however, the erasure and silencing regarding him is noticeable. In this work, from a philological perspective, with emphasis on Textual Criticism, we sought to edit and study the processes of production, transmission and circulation of Mendes' dramaturgical production, resulting in the organization of the Antônio Medes Collection and the interpretative edition for Contos de senzala, analyzed as a process and product of Bahian socio-history and culture. The present study is relevant for contributing to the dissemination of a forgotten dramatic literature, which reveals the power of Antônio Mendes as a black intellectual, as well as proposes a reflection on the censorship practice and its consequence for the production of Bahian amateur dramaturgy.
2
JAMILE OLIVEIRA ALMEIDA
BLACK FEMINISM REWRITING AS A POLITICAL ACT OF RESISTANCE: TRANSLATION OF THE FIRST CHAPTER OF
POSSESSING THE SECRET OF JOY (1992), BY ALICE WALKER.
The goal of this dissertation is to make a dense translation - thick translation - of the preface
and the first chapter of the novel Possessing the Secret of joy (1992), by Alice Walker, which
deals with female genital mutilation in Africa. At the same time, the strategy of foreignization
is used as we maintained the repetition of words and some marks of orality in the translation of
Possessing, which can bring some discomfort to the readers. To accomplish this translation, we
established the following specific objectives: to study female genital mutilation, to analyze the
narrative to identify the afrodiasporic traits of the text and to investigate the social factors that
motivated the author's writing. In this dissertation, translation is thought as a rewriting and the
translator as a mediator, also highlighting the importance of culture as an element that reflects
important identity aspects of the community that one wants to represent. In addition, we believe
that Cultural and Post-colonial Studies displaced the monolithic enunciation to other places of
speech. In this sense, Walker's work that is based on a black feminist epistemology empowers
black women and confronts the hegemonic patterns that have long prevailed in the literary and
translation fields. It brings diverse experiences that enrich the repertoire of the target culture
through a translator’s performative work that involves black subjectivity, activism, ancestry
and experiences that communicate in different parts of the diaspora.
3
ROMULO GONÇALVES BITTENCOURT
The historical-philological connection in the writing of history: the sharing of a social history by the research group Slavery and Invention of Freedom.
The historical narrative constitutes the main element of the historiographical work materialization. History materializes through the process of chaining events, making them intelligible in space and time. In this itinerary, the figure of the historian is fundamental, insofar as they play the role of mediator towards the past, projecting a dialogue with specialized historiography on the collection of sources. Whether as an artisanal act (ALBUQUERQUE JUNIOR, 2019), or as a manufacturing act (CERTEAU, 2015 [1975]), it is possible to expand the historiographical work, also facing it as a collective practice. Starting from this scenario and using the historiographical production of the research group Escravidão e Invenção da Liberdade (Slavery and Invention of Freedom) from the Federal University of Bahia, the purpose of the present study is to understand how the gestures of writing/reading (MIYASHIRO, 2015; CHARTIER, 1988) imprinted in the narratives produced by its members converge to form a social history of slavery. In order to outline a modus operandi carried out by the group, reflections from both history and philology were activated, considering the theoretical affinities of the knowledge in the desideratum of mediation to the past (HANSEN; MOREIRA, 2013). In this sense, the discussions around a democratic and inclusive philological practice (SAID, 2007 [1993]), the problematizations derived from the sociology of texts (MCKENZIE, 2018 [1986]) and the anti-foundationalist perspective of philological criticism (BORGES; ALMEIDA, 2017) functioned as ballast for rethinking the decentralization of the text (including the historiographical one). This setting resonates with the perspectives of cultural history (CHARTIER, 1990; 2015, [2007]), because it identifies the textual dimension as a historically determined bundle of sociocultural relations, the result of a meaning-building look. From a procedural point of view, the narrative propositions of one the leaders of the mentioned group, João Reis, were used as an initial parameter to, for this purpose, map textual movements of appropriation (CHARTIER, 1998) relatively to the other members’ historiographical production. Excerpts from collective and individual books constructed by the aforementioned research group were compared, from the beacons of modern textual criticism, in order to trace community movements on the writing of history. The mapping allowed us to visualize a network of sociability and a process of narratives’ feedback divulged by Reis. Based on the use of the historiographical operation (CERTEAU, 2015 [1975]) in a transversal way, the existence of a narrative pattern was measured, consisting of the sharing of narrative strategies, theoretical references, and documentary typologies, which together contribute to the consolidation of the historiography of slavery that has been developed since the 1980s.
4
EZEQUIEL SANTOS CRUZ
RAP AS AFRO-BRAZILIAN LITERATURE: A POETIC ANALYSIS OF THE SONGS FROM THE "OPANIJE" ALBUM BY OPANIJÉ AND "GALANGA LIVRE", BY RINCÓN SAPIÊNCIA.
The present master's dissertation proposes to present rap as part of Afro-Brazilian literature. For this, I will use songs by the Bahian rap group Opanijé and the São Paulo rapper Rincon Sapiência as a corpus of analysis. The work is divided into three parts, being an introductory one, another directed to the theoretical reference and finally, the analysis of the songs of the homonymous album of the group Opanijé and of Galanga Livre, by Rincón Sapiência. Henrique Freitas, in order to support the questions proposed Sapiência and Opanijé in his afro rap, a subgenre of rap that maintains an in-depth dialogue with Africanities, from literature to philosophy: Galanga Livre and Ponta de Lanza, from Rincón Sapiência, Encruzilhada and OPANIJÉ, from the group of the same name. In the same, I will address the theme, narrative focus, plot, but also issues related to aesthetics, poetics and literary work of both artists. will accompany the research. The theoretical reference is located in Souza (2011), Martins (2003), Gilroy (2012), Freitas (2017), Hall (2003) and others that focus on black artistic-literary productions in Brazil and in the diaspora, about rap, the hip-hop movement and its musical revolution, cultural policy worldwide. that some rapeiros sometimes declaim their raps. Being an adept of oral poetry, music and dialoguing with different aspects of literature, rap becomes the most authentic musical and literary genre today. Rincón Sapiência and Opanijé masterfully appropriate this diversity writing, singing, dancing, performing, playing, revolutionizing in their afro rap.
5
SAMIRA SOARES SA
“It's like being part of the family”: Representations of the maids place in texts by Conceição Evaristo, Clarice Lispector and Preta Rara.
This dissertation is the result of a study on the ways in which domestic workers are represented in Brazilian Literature from a specific field of sampling, namely texts by the authors Clarice Lispector and Conceição Evaristo. I invested in contrasting readings of short stories from the book Olhos d'água (2017) and the novel Becos da Memória (2017), by Conceição Evaristo, in contrast to selected chronicles by Clarice Lispector in A Descoberta do Mundo (1973), as well as in the novel A Paixão Segundo G.H (2016). I sought to read the authors in a timely manner, understanding the historical distance of about 40 years between their texts, but also observing, through the book Eu empregada doméstica: a senzala moderna é o quartinho de empregada (I Maid: the modern senzala is the maid's room) (2019), by Preta Rara, that the subalternizing representations (SPIVAK, 2010; KILOMBA, 2019) that appear in Lispector's texts remain in the imaginary and in the treatment practices in contemporary Brazilian homes, notably, in the context of the emergence of a supremacist right. Based on the structures of oppression discussed and updated by the literature, this dissertation aims to highlight the importance of black female writers talking about domestic workers (COLLINS, 2019) and other socially exploited and invisible subjects, through a position that makes the speeches of people audible. subalternized erasing (SOUZA, 2017), thus, the structuring part of the representational canon of our Literature. By investing in the discussions undertaken here, I presented some elements of the functioning of what I understand to be the gears of this supremacist and colonial machine, which uses cultural, political and forms of socialization to naturalize the subordination of subjects seen as minority, especially black women. (CARNEIRO, 2005). The aforementioned machine is in practice in various objects of culture, such as Literature, and in studies related to it, producing and reproducing the constant reduction of subjects, placing black characters in roles of invisibility, subalternity and marginality. In this study, Black Literature appears as a means of erasing the control images (COLLINS, 2019) that prevail over our lives, pointing to structural racism (ALMEIDA, 2018) as the limit of the so-called hegemonic literatures.
6
JOCEVALDO LOPES SANTIAGO
EPISTEM’ÈṢÙ:
INTRODUCTION TO THE THEORY OF ANCESTRAL KNOWLEDGE IN ART, LITERATURE AND CULTURE
epistem’Èṣù, a meta-scientific proposal in the area of Language and Culture, based on African matrix knowledge, with an emphasis on Yoruban gnosis. Literature-terreiro (FREITAS, 2017), an Afro-risomatic analytical operator (FREITAS, 2016) modulated at the crossroads of knowledge for a better critical adjustment of literary forms and contents produced by black people, was the initial theme of the research, with the title Èṣù as epistemology of Literature-terreiro. Academic investigations of literature still concatenate within themselves more strongly logocentric forges, with assumptions and parameters that signal Western epistemology. Throughout the research, the scientific foundations of the literature, but also the way in which Èṣù was captured and systematized by the anthropological sciences, evidenced the episteme as a theoretical field that should be explored in centrality. Concomitantly, epistem'Èṣù results from two investigative processes: first, understanding the field of epistemological theories; understanding the basic theoretical parameters of scientific methodology; taking ontology as an intrinsic operation of doing research that identifies presuppositions of the scientific field. Such indicators composed the research without deterring from the literary, artistic and cultural. The second investigative process focused on ancestral, Yoruban knowledge, on the principles of Èṣù, mainly in its spherical, molecular and atomic constitution, which make it possible to perceive vibration, tuning, flow, pulverization, fragmentation and wholeness. From an idea of empiricism afrocented in the experiences and rites of Candomble and African generatrices, the perspective taken in the research directed the search for other parameters of scientificity beyond rationality.
7
THAIS BORGES MASCARENHAS
“SHE SAID FEMINISM TAKEN CONTROL”: THE REPRESENTATION OF WOMEN IN GILMORE GIRLS AND THE MARVELOUS MRS. MAISEL
Women as lead characters who have stories that go far beyond their romantic relationships. This could be the definition for the characters in the work of director and screenwriter Amy Sherman-Palladino, the first woman to win the Emmy awards for Outstanding Writing in a Comedy Series and for Outstanding Directing in a Comedy Series in the same year. However, while developing a research with the objective of analyzing the representation of women in two of her tv series, Gilmore Girls (2000-2007) and The Marvelous Mrs. Maisel (2017-now), it is possible to identify plots that do not dialogue with the reality of most women. Based on literary theories, Cultural Studies and intersectional feminist theories, we propose a reflection on how serial fiction narratives contribute to the propagation of stereotypes attributed to women. In the discussion, topics such as series created by women and their relationship with female authorship in literature are addressed, as well as in what ways it is possible to relate these theories to the authorship of Sherman-Palladino. Based on debates about motherhood and the universe of work in the series, the analysis focuses on how the identities of women in Gilmore Girls and The Marvelous Mrs. Maisel could be connected to exclusionary feminisms. The differences between the two productions still serve as a basis for a reflection on how feminist discourse appears or fails to appear in both shows.
8
Adinelson Farias de Souza Filho
ORÍKÌ: MEMORY AND IDENTITY IN THE LITERATURA-TERREIRO YORUBAIANA
Oríkì jẹ́ ọ̀wọ́ lítíréṣọ̀ Yorùbá kan tí ó gbilẹ̀ ní àwọn ẹkùn ilẹ̀ Yorùbá, tí a fi fún àwọn aláwọ̀ dúdú nípa ìrírí ìrékọjá ìrékọjá pápá ATlantic tí ó fipá mú un níhìn-ín ní Brazil ní irú èyí tí Freitas (2016) ń pè ní literatura-terreiro -ìṣẹ̀lẹ̀àti imọran ti o nṣiṣẹ ni gbogbo agbaye. iwe-kikọ, imọ-jinlẹ, ẹwa, iṣesi, ilana itan ti o wa ni awọn agbegbe ẹsin Afro-baiano. Pelu iwulo iwe-kikọ ati itankalẹ rẹ ni awọn agbegbe Nàgó-Yorùbá candomblé, awọn iwadii diẹ ni o wa, paapaa ni agbegbe ti Litireso, ti o ṣawari iṣẹlẹ rẹ ati awọn iwọn iṣe ati ẹwa rẹ ti o beere ara ati awọn nkan miiran ti o ni ibatan si oye. ti iriri yii.Iṣẹ iwe-kikọ alailẹgbẹ ni ita awọn iṣedede eurocentric. Oriṣiriṣi yii, atagba alaye, awọn imọran ati awọn iye ti o tan kaakiri awọn fọọmu rẹ, awọn ilana, awọn iṣe, ṣe alabapin si titọju iranti apapọ ati isomọ idanimọ, ti o da lori awọn ipilẹ iwe-kikọ ti ko iti mọ nipasẹ imọ-jinlẹ hegemonic ati atako. Fun idi eyi, iwadi ati itupalẹ diẹ ninu awọn ọrọ ti oriṣi yii ti o wa ni diẹ ninu awọn Ilé Àṣẹ ni Salvador ni a ṣe, ti o da lori awọn ẹka ati awọn koodu ti a mu lati awọn eroja ti o ṣajọ rẹ, ti o da lori imọran ti oraliture nipasẹ Félix Ayoh'Omidire ( 2020) ti o ṣe pẹlu awọn ilana mnemonic ti a fi sinu ero ti awọn oriṣi iwe-kikọ Yoruba, ọgbọn wọn ati awọn ilana ilana ti oyun, titọju ati gbigbe ni Afirika ati Aarin Ilu Atlantic.
9
Eliana Silva dos Santos
Death and ancestrality in O crime do Cais do Valongo
The work 'O crime do Cais do Valongo' (2018), by Eliana Alves Cruz, constitutes an essential narrative for us to rethink the Brazilian slave society and, mainly, the customs and cultures of the people who came to Brazil in the condition of slavery. The writer and thinkers built a polyphonic text that questions Brazilian discursivity about slavery, assigning voice and the possibility of composing historical subjectivities in a historical narrative in which one crime determines others. One of the proposals ofthis work is questionable as the relationship between death and ancestry for Africans and what these elements do for those who died while still on the slave ship or when they arrived in the port region of Valongo, in Rio de Janeiro, the so-called new blacks. Furthermore, it is essential to point out the contemporary contributions of ancestry to the different narratives of the black population and their way of life, considering the ancestral Afro-diasporic cult of Egúngún as a strong manifestation of African cultural resistance in the diaspora. Thus, from the highlights, it is possible to consider a semantic operator of resistance, having the cult of ancestors as a vehicle for the continuity of vital cycles for the black population outside Africa. The numberof black people that are killed in caring communities increases, reinforcing the social fetish for current research, the connection also with the necropolitical research of the State and the physical communities of these people. It is alsohighlightedthe role of black women's narratives in the constitution of the cultural crossroads present in women's writing inMaria Firmina, Carolina Maria de Jesus, Conceição Evaristo, Ana Maria Gonçalves e Eliana Alves Cruz.
10
AYALA TUDE DAS NEVES
THIS AIN'T NO TRAGEDY!
POESIA DUB E TRADUÇÃO NUMA PERSPECTIVA AFRODIASPÓRICA
This Master’s thesis is the culmination of an exercise in translation experimentation that considers the body, the rhythm and performance as fundamental translation resources to build the translation of an Afrodiasporic literature that is born from orality. Taking into consideration the low number of translations of Afrodiasporic literary regarding dub poetry and all its performativity originated in the Afro-Caribbean culture, more specifically the Jamaican culture, it is very important to develop translation methodologies that do not tangent nor erase the Afrodiasporic aesthetic features and the transforming cultural power that the genre incorporates. This work presents dub poetry as an Afrodiasporic literary genre and analyzes the aesthetic elements that compose it based on the reflections of Kamau Braithwaite, Mervyn Morris, and Christian Habekost, among others. Due to a scarcity of research that focuses on analyzing dub poetry, especially those produced by Black women, some analyses end up trapping them in controlling images (COLLINS, 2019). The paper aims to map the importance of Black women for the dissemination of dub poetry as a literary genre and as a Jamaican art form, with a special attention to the artistic-poetic production of Afua Cooper. Establishing a dialogue with intellectuals such as Leda Maria Martins, Denise Carrascosa, Richard Schechner, Luciana Reis, Olabiyi Babalola Yai (1939-2020), Muniz Sodré and other intellectuals who consider the body as an important source of knowledge production, this study aims to put into practice a reflection on an embodied and performative translation exercise. Considering the linguistic dimension of translation, I rely on the use of pretoguês (GONZALEZ, 1988) to make evident the Afrodiasporic linguistic movements and the influences, transformations and vocabular, morphological, syntactic, and phonological interferences that the Banto languages produce in the Portuguese language spoken in Brazil, with a more specific focus on the Kimbundu language spoken in Angola (MON’A NZAMBI, 2019; CASTRO, 2022). Finally, this work aims to develop a discussion on dub poetry as a multimodal genre that connects different elements to build a network of meanings.
11
Emanuelle Cajazeira Bispo
SHATTERING THE MASK – VIOLENCE AND RESTORATION THROUGH THE WORKS OF CONCEIÇÃO EVARISTO AND CHIMAMANDA ADICHIE
This dissertation intends, from the theme of violence in the short story books Olhos d'água (2016) and No seu pescoço (2017), to discuss how the authors Conceição Evaristo and Chimamanda Adichie articulate an intellectual project that, through literature, intends to intervene in the social context in which they are inserted. To support this, in addition to contributions from black intellectuals from various fields of knowledge, based on theorists such as bell hooks (1995)(2019) and Patricia Hill Collins (2019), we think about the constructions prior to the writing of black women, especially in parallel some definitions of black feminism that relate to the processes of self-definition and self-recovery and with the theoretical contributions of the subjects of this research, we think the literary text as a space that (re)creates other fictional possibilities for characters-black women. In addition, we think about how the body of black women is inserted in an anti-black society and how it resists and creates other alternatives of being. Violence was analyzed in an intersectional perspective and the approximation between the writers, considering their countless differences, was thought from the concept of escrevivência, by Evaristo (2020), focusing on the scenes of violence presented by the characters in the chosen short stories.
12
BRUNO MARISTON PASSOS BARRETO
Facção Falada: Escrevivências de Masculinidades negras Soteropolitanas em Baco Exu do Blues
In this dissertation-podcast, entitled Facção Falada: Escrevivências de Masculinidades negras Soteropolitanas em Baco Exu do Blues, I made an “exuzilhada” (exuroads, instead of crossroads) of possible reading paths of the representations of black men in the lyrics of contemporary Salvador rap songs. For that, I needed to develop a dialogue between my understanding of being a black man from the periphery, a teacher with a background in such a stiff area as Literary Theory and the representation of other black men from the periphery engaged in the lyrics of Baco Exu do Blues looking to map the discursive formations (FOUCAULT, 1996) escreviventes (EVARISTO, 2010). Understanding rap as escrevivente and, therefore, one of the vehicles able to express collective enunciations of black experiences in Brazil, I think that it is also, an instrument of an anti-racist campaign, for its capacity of organizing black intellectualities in the process of Letramentos de Reexistência (SOUZA, 2009), in other words, allow for subjective self-management of continuously subordinated people. The present study did not wish to stay imprisoned in the walls made by the white pages, that’s why the podcast genre was the chosen method, so it could broaden the access and the co-production of knowledge, opposite to academic thinking perpetuated by whiteness which restricts the knowledge as a mean of power control and racism maintenance in Brazilian universities. Therefore, this study assembles a corpus dissidente against the institutional racism which limits the possibilities of black men's studies, and, in consequence, inhibits our dreams; the slavery and genocide thinking to which our bodies are conditioned; and the lack of communication, this ancient gesture of our people, that was taken from us by racist actions which interfere in our lives, limiting our affections and destroying us as subjects and, ergo, our families and communities. In recording the podcast, I wanted to make audible the voice of a black man who survived and survives (despite everything) and wanted, also, to say to my brothers and sisters that we need more than survival. In the development of this study I brought as theoretical operators: AGAMBEN (2016), AKOTIRENE (2018), ALMEIDA (2018), BAIA (2011), BARTHES (1988), CEVASCO (2003), DAVIS (2016) DELEUZE (2014), DELEUZE; GUATARRI (1995, 2000), DRAVET (2015), EVARISTO (2010), FANON (2008), FONSECA (2010), FOUCAULT (1987), Flow Podcast (2022) HALL (1999, 2003), hooks (1995, 2013, 2018, 2019, 2020), MBEMBE (2018), Não Inviabilize – Um laboratório de histórias reais (2022), OLIVEIRA (2014), Inédita Pamonha (2022), PEREIRA (2021), PINHO (2019), PODCIRO! PodCiro! (2022), Podpah (2022) Roda Viva (2022), RODRIGUEZ (2018), SOUZA (2009), SOUZA, D. B. DE; (2019), SOUZA, (2011, 2018, 2019), WEST (1999) e WILLIAM (2019).
Tesis
1
VÉRCIA GONÇALVES CONCEIÇÃO
Narrators of Marrabenta: Music and Nation in Mozambique
dified the Lourenço Marques urban scenario, giving rise to a local aesthetic. This aesthetic arises from the amalgamation of traditional Mozambican rhythms and the western technological resources available at the time (basically, bass, guitar, drums, electric keyboards and wind instruments), and differs from the previous context marked by the predominance of a western musical aesthetic, including Brazilian rhythms. The study consisted of a recording stage of 11 testimonies, along with a bibliographic research. The deponents, here named as Narradores da Marrabenta (title given to the documentary which is one of the thesis chapters), from the perspective of oral history, reveal themselves as authors and central thinkers of the theme. Furthermore, based on a bibliography that reflects, predominantly, the decentered western thought, the research reveals the marrabenta as an aesthetic-musical elaboration of the outskirts, which, possibly, thinks and forges, a Mozambican identity in the Lourenço Marques outskirts, contrasting with the colonial features that still exist. Likewise, it suggests that the movement/rhythm is a proposal of specific nationalism, which is not attuned to Portuguese colonial nationalism (even adhering to a western musical technology), nor to FRELIMO's modern nationalism (even breaking with Portuguese colonialism). As a theoretical foundation, studies are used such as those by António Sopa (2014), Eduardo Mondlane (1995), José Craveirinha (2008), José Luís Cabaço (2009), Luís Bernardo Honwana (2017), Mario Pinto de Andrade (1997), Maria Paula Meneses (2016), Rui Laranjeira (2014), Marilio Wane (2020/2021), among others.
2
PATERSON FRANCO COSTA
The translation of multiple source languages in the subtitling of Viva Belarus!
This doctoral thesis has as its starting point the master's thesis, defended in 2017 at the Federal University of Bahia (UFBA), Brazil, entitled Cinema in exile: translation and politics in post-Soviet Belarus, where the analysis of the intersemiotic and interlingual translations that permeate the movie Viva Belarus! (2012), and the blog that inspired it, Armiejski Dziońnik Franaka Viačorki (2009). Focusing on the translation of the subtitles, in the light of cultural and postcolonial studies, this work, with a bibliographic methodological basis, has as its main objective to reflect on the translation of the multiple source languages present in the film – Belarusian, Spanish, French, English, Lithuanian, Polish, Russian and Trasianka – into the Portuguese language, targeting the Brazilian audience, in addition to investigating ways of displaying these source languages in the target subtitles. With the theoretical contribution of Hall, Lao-Montes, Oyěwùmí, Bandia, Bernardino-Costa and rosfoguel, in the area of Cultural Studies, as well as Akudovič, Bykaŭ, Arloŭ and Sahanovič who deal with sociological and historical aspects of the country, which, it is postulated, is also inserted in the post-colonial context, it seeks to carry out a mapping of the conflicting discourses in Belarus shown in the film. Fanon, Foucault and Deleuze join the discussion, with power relations in a global context, dialoguing with Bekus, Fiaduta and Silicki, in local discourses. For the translating study of the corpus, composed of two subtitles, one in the source languages and one in Portuguese, prepared primarily by the author in the SRT format, Barbosa's research in the field of technical translation procedures was applied in subtitling under the guidelines compiled by Ferreira Filho et al., Naves et al. and Karamitroglou. With this contribution, combined with empirical research on foreign audiovisual productions, a subtitling standard for listening audiences is proposed, displaying the source languages with minimized intrusion, to be tested in future works. With the argument that source languages play narrative roles throughout the plot, they are studied from multiple perspectives, creating a profile of each in linguistic, historical and political terms. In this context, the research on Balto-Slavic languages undertaken by Sussex and Cubberley, as well as Akhmetova and Plutser-Sarno, for the study of Russian language vulgarisms, occupies a central place in the study; Miačkoŭskaja, Cychun and Sender, for the study of hybridity present in trasianka, and Dini, for a greater reflection on the Lithuanian language and its relationship with Belarus. These and other sources point to a long and complex history of links between the Belarusian people and its neighbors, a factor explored in the film to explain the problematic of the current dictatorial regime, the role of denunciation of the film and the becoming of a truly free country. It is hoped, with this study, to contribute to filling the gap on Belarus in Audiovisual Translation studies, especially of an identity nature, in addition to Slavic and post-colonial studies.
3
MARIA DOLORES SOSIN RODRIGUEZ
Diaspora, Fabulation and Forge in Choreographies of Thought
Memoria y movimiento, aquí transcritos como relatos personales y coreografías, actúan como metodologías para reflexionar sobre el papel del cuerpo en la producción de conocimiento en un sentido amplio: teórico-artístico-científico. A partir de tres ensayos coreográficos y un primer movimiento, se analizan experiencias de racialización teniendo en cuenta las relaciones entre danza, palabra y literatura, así como las relaciones con otras artes. Las dimensiones de la socialización racial, teniendo en cuenta diversos espacios de tránsito, entre los que destacan los espacios de la familia, la universidad y el arte, son pensadas en el sentido de buscar interpretaciones para el trauma, para la alteridad y para lo que se denomina producción de conocimiento incrustado . Para llevar a cabo tal empresa, las discusiones desarrolladas se apoyan en el pensamiento de Saidiya Hartman y su método de fabulación crítica (2021); Mahomed Bamba y la fabulación como elemento esencial para las poblaciones de la diáspora africana (2012); Grada Kilomba y su método de investigación a partir de sujetos, relatos personales y el contenido episódico del racismo (2019); la dimensión de la experiencia para los intelectuales negros en diferentes contextos del mundo, entre los que destacan las brasileñas Lélia Gonzalez (1984), Beatriz Nascimento (2018) y Sueli Carneiro (2011); la importancia de las danzas negras de Inaicyra Falcão dos Santos (2021) y Nádir Nóbrega (2017); las reflexiones de André Lepecki sobre los significados del pensamiento coreográfico y las políticas del movimiento (2017); las relaciones entre cuerpo y memoria de Esiaba Irobi (2002), Leda Maria Martins (1997) y Conceição Evaristo (2003). Además, esta tesis se apoya en las reflexiones de Edimilson de Almeida Pereira y lo que él definió como la epistemología afrodiaspórica (2017) y la construcción de una residencia simbólica y epistemológica de Lewis Gordon (2016); en la dimensión del trauma, las posibles interpretaciones surgidas de los trabajos de Rosana Paulino (1994-2015), Leno Sacramento (2017) y Zózimo Bulbul (1974). Teniendo en cuenta las formas de socialización racial y las dimensiones de la atribución de una alteridad, propongo lecturas para las relaciones entre raza, Estado y familia, apoyándome, sobre todo, en los aportes de Elizabeth Hordge-Freeman (2019), Lia Vainer Schuman (2018), Grada Kilomba (2019), Sueli Carneiro (2015) y Stuart Hall (2016). Más estrictamente sobre la dimensión del cuerpo y la experiencia en la construcción del saber –sobre todo, en lo que se refiere al realizado por las mujeres negras, discutiendo, más de cerca, lo que llamo saber corporeizado y pensamiento coreográfico, conté con la autoras Livia Natália (2015), Maya Angelou (2018), Beatriz Nascimento (2019) y Lubi Prates (2019). También fueron de gran importancia las contribuciones de Luiza Bairros (1995), Lélia Gonzalez (1984), Sueli Carneiro (2011) y Denise Ferreira da Silva (2017). Pensando en las relaciones de las mujeres negras con la institucionalidad y la producción de epistemologías propias, la presencia de Sônia Beatriz dos Santos (2007), Grada Kilomba (2019), Giovana Xavier (2019), bell hooks (2019) y Maria de Lourdes Siqueira (2006). En cuanto a la dimensión del cuerpo y la experiencia, los trabajos de Beatriz Nascimento (2018), Igiaba Scego (2018), Renata Felinto (2014) y Alex Ratts (2008) fueron de inestimable importancia. Luciane Ramos Silva (2017), Nádir Nóbrega (2017) y Conceição Evaristo (2005) contribuyeron en un análisis más detallado y elaboración del pensamiento coreográfico. Concluimos teniendo en cuenta la dimensión de incompletitud, silencio y lapso en lo que hemos elaborado, precisamente porque consideramos que esta es la gran pregunta que subyace en el pensamiento de la Afrodiáspora y su geografía de la memoria.
The study described in this thesis starts from the observation that Brazilian cordel literature has been shaped as a cultural modality through multiple additions, based on dialogue between diverse cultural products and the incorporation of textualities associated with different pro- duction contexts. Cordel also shifts between different positions within the strongly hierar- chical spectrum of Brazilian culture, constructed within an authoritarian society and criss- crossed by inequalities imposed, among other factors, by persistent racism, and a sexist and exclusionary culture. Here, these multiple additions are treated as a multiple game, inspired by the idea of the game that Muniz Sodré associates with black culture in Brazil and with the image of the ginga movement in Capoeira, encompassing the playful and combative efforts of cordel poets who belong to subordinate groups, particularly black and female poets, with their multiple representations of gender, race and sexuality. In this text, we understand that cordel poets have been responsible for constructing a poetic/narrative collection which, although caught up in the complex issues arising from the constant categorization of cordel as popular culture, has remained active and powerful as an expression of subjectivities since the initial sedimentation of the cordel tradition, as demonstrated by the cordel battle pamphlets created by black and female poets. The idea of the multiple game as an Afro-Brazilian way of reading cordel, sees its writing as favouring conceptual characters, whose trajectory can be identified with movements to overcome subordination using the cordel text. This trajectory is also as- sociated with that of the aesthetic and political movement of the multiple game itself, featur- ing artists such as Inácio da Catingueira, Chica Barrosa, Zé Pretinho do Tucum, Dalinha Ca- tunda, Janete Lainha Coelho, Jarid Arraes, Salete Maria da Silva, Chico César and Bule Bule, and shifting the reading of cordel from an Iberian foundation to an Afro-centric perspective. This perspective, anchored in the movement of the multiple game, seeks to understand cordel as a discursive artefact that informs the power of these subjectivities and accesses the script- centric tradition, while introducing to it assertive and contesting aspects that reflect the vital forces of orality, benefiting from the playful and combative nature of black cultures in Brazil.
5
GISANE SOUZA SANTANA
ORAL NARRATIVES OF RIO DO ENGENHO – ILHÉUS/BAHIA: PERFORMANCE, MEMORY AND PATRIMONY
This study is the result of research carried out on oral narratives in the rural district of Rio do Engenho, Ilhéus/ Bahia, during the doctoral years. It aims to analyze the oral narratives of poetic voices, which are produced in the daily life of the community, in its symbolic practices, aiming at preserving the memory of the storytellers, main depositories of the cultural tradition of Rio do Engenho. This is an interdisciplinary study developed in the space of Comparative Literature where conceptual convergences of Literary Theory and Criticism, Cultural Studies, Decolonial Studies and New History are established. The research presents the literary production of the poetic voices of Rio do Engenho as a political act of resistance to the imposed invisibility, a form of struggle against the status quo of hegemonic patterns that convey a vision of the world that serves the dominant interests, where hegemony prevails. of writing. It understands the body of the narrators, as another writing environment, which brings printed in its morphology, knowledge based on the ancestry of their own poetics, which generates, transmits knowledge and writes other epistemes. It defends memory as a construction, a political gesture of resistance; and highlights how the materials of memory, driven by the struggles of social groups, are important narratives for explaining the world, no longer based on the interpretation of historical facts that are selected, but on the formation of self-consciousness in History. It emphasizes cultural practices, symbolized in collective experiences, traditions, ways of living and the knowledge and practices of rural life, as cultural heritage. It also discusses how knowledge practices (SANTOS, 2010) and knowledge operate on tactical principles (CERTEAU, 2005), as a way of responding, resisting and producing agencies. The research results highlight the need to preserve the literary expression of poetic voices that, simultaneously, unite the vocalized word and memory - individual and collective life experiences - the past and the present, revealing the tradition, represented by the imaginary contained in the stories. and testimony from the rural community of Rio do Engenho, remnant of the first nuclei of occupation of the former hereditary captaincy of São Jorge dos Ilhéus.
6
ALEXSANDRA COSTA CARDOSO
FEMALE AUTHORSHIP ANXIETIES IN ANA CRISTINA CESAR AND LUIZA NETO JORGE
The Present Study is within the Literary Studies field and its central concern is to prompt discussions on the matter of “authorship anxiety” in the works of Portuguese poet Luiza Neto Jorge (1939-1989) and in the works of Brazilian poet Ana Cristina Cesar (1952- 1981), by means of notions such as women’s writing and feminism. Departing from those notions, our interest relies on the intersections of your poetics features, forms and modes of expression, which allow considerations about “authorship anxiety”, according to the ideas elaborated by Sandra Gilbert and Susan Gubar. Our analysis privileges the cultural and symbolic representations produced in the field of work and the challenges of women writers. We rely on the works of Sandra Gilbert e Susan Gubar (1979), Harold Bloom (1991,1994,1995), Simone de Beauvoir (2008, 2009), Heloisa Buarque de Hollanda (2019), Nancy Fraser (2019), Constância Duarte (2019), Manuela Tavares (2012), and also Félix Guattari e Gilles Deleuze (1995), in order to analyze the processes of subjectivation related to authorship anxiety in Luiza Neto Jorge’s poems and Ana Cristina Cesar’s poems.
7
LEICE DAIANE DE ARAÚJO COSTA
Betweentextual trajectories from sweating to dreaming
This work is the result of a research in the literary theory and criticism’s field aimed at the observation of collective dwellings representations’ in Suor, by Jorge Amado (2011), and Sonhar é possível?, by Giselda Laporta Nicolelis (2009). Based on the notion of entretextualidade, derived from the morphological and conceptual agglutination of intertextualidade, by Julia Kristeva (2012), and entrelugar, according to the perspectives of Jonathan Culler (1999) and Antoine Compagnon (2010). The entretextualidade was constituted throughout this research as a theoretical and methodological way for the development of a bibliographic approach based on multidisciplinarity to promote discursive dialogues between areas of knowledge such as literary theory and criticism, linguistics, sociology, geography, historiography, architecture, and philosophy, which have allowed the analysis on the representations of collective dwellings’ spaces in both literary works.
8
RODRIGO LIMA MACIEL
WHAT CAN MY POETRY DO AGAINST IT?”: EDITION, MARKET AND RACISM BACKGROUND TO KALUNGA, BY LANDE ONAWALE
In the first decade of the 21st century, the Brazilian editorial Market has presented positive production and consumption rate of books in Brazil. Nevertheless, in this country, black writers are in an extremely restricted literary scene, specially when their books discuss strategies against racism and black empowerment. It is possible to see that in the 21st century the high costs, their interests and the editorial expectations imposed that black writers could submit their work to editions of their own responsibility or could present their books to smaller publishing houses. The editorial experience of Lande Onawale – a writer from Salvador, an important name for the literature of Bahia, with the publication of his book Kalunga: Poemas de um mar sem fim (2011) – is studied here as a starting point for understanding the production conditions when the author is the editor of his own text. Furthermore, we intend to analyze the connections between racism and publishing Market. Such investigations were based, from a theoretical and methodological point of view, on the work of Jerome McGann and Francis Don Mckenzie with textual criticism in a sociological perspective. In the meantime, the analyses made confirmed that black writers are even more challenged in order to publish and distribute their work, considering the multiple forms of racism that can be seen in the publishing Market from Bahia/Brazil on the various stages of the book production chain: edition, publication, distribution, circulation and critique.
9
EDILANE ABREU DUARTE
FLYING WOMEN: PERMANENCES AND RUPTURES IN THE REPRESENTATION OF THE WITCH IN
This thesis deals with the trajectory of the representation of the witch figure in Brazilian children's literature, from the analysis of the traits that reflect, in the character's history, the history of women in society. In order to do so, it presents the way in which gender relations intervene in the process of symbolic representation of the feminine through the witch character in traditional and contemporary children's narratives. This is done through the analysis of the way the image of the witch was projected in the post-Middle Ages social-historical path and how this is reflected in children's literature. Finally, it is verified if there was, in fact, a change of perspective about the construction of the discourse that attributes the negative connotation to the witch, as a female element, in Brazilian children's tales that propose to present "good witches". The selected Brazilian narratives are A bruxinha que foi boa ([1954] 1990), by Maria Clara Machado, Maria Francisca (1958), by Maria Heloísa Penteado, A Bruxinha disturbed ([1982] 2003), by Eva Furnari and Uxa, now fairy ora witch ([1985] 2003), by Sylvia Orthof, these being the main stories about good witches published in Brazil between the 50s and 80s. Later, in the 22nd century, we have good witch stories, published in 2004 and its continuity in The Return of the Good Witch, published in 2007, both by Lya Luft. In addition to these, there are the analyzes in this work, Aisha, uma bruxinha aborrecente (2021), the first book published by Professor Patrícia Prates; Lolla, the little witch: between shoes that rhyme and hats that don't match (2021) by Nelly Narcizo Souza, and Bruxolivia, the good witch (2021), by Santa Catarina writer Nicole Steffens Spohr. The thesis is divided into three sections, the first of which is based on Michel Foucault (1996), Silvia Federici (2017), Georges Bataille (1989), Umberto Eco (2015), Jacques Le Goff (1994), Cornelius Castoriadis (1982) Georges Duby and Michelle Perrot (1991), Stuart Clark (2006), Anne Barstow (1994), Francisco Bethencourt (2004) and Laura Mello e Souza (1986). The second section is based on the theories or research of Robert Darnton (1986), Nelly Novaes Coelho (2000) Angela Carter (2007), Jean Delumeau (2009), Guacira Louro (1997), Michel Foucault (1996, 2000, 2003, 2004), Philippe Ariès (1986), Leonardo Arroyo (1990), Regina Zilberman and Marisa Lajolo (2007), Cíntia Schwantes (2006), Isabelle Anchieta (2021), Elódia Xavier (2002), Mônica Santos (2011) and Peter Hunt ( 2010). In the third and last section we bring the contributions of Silvia Federici (2017, 2019a, 2019b), Flávia Biroli (2018), Ilze Zirbel (2021), Alda Motta (2021), Gilles Lipovetsky (2000), Foucault (1987, 1996), Clarissa Estés (1994) and María Lugones (2019).
10
MARLINE ARAÚJO SANTOS
In the Pancada da Pedra, in the Rhythm of the Circle dances: Making of Women in Quixabeira
This thesis has as study object the oral poetics, based on the circle dances groups composed by women of the Quixabeira county, Bahia northwestern and that composes the Territory of Identity Jacuípe Basin, to 300 km from the capital, Salvador. Starting from the understanding that circle dances are a literary aesthetic of an oral tradition, this thesis have been anchored in a linguistic proposal that escapes the western academic standard as an awareness and political position. With the necessary contribution for such use of language in Lélia Gonzalez (1984) and Glória Anzaldua (2000), the beginnings of research are presented with the perspective of authors such as Maria Lugones (2019) Amadou Hampaté-Bâ (2010) and Paul Zumthor (2005; 2010; 2014). In this perspective, the poetic word is materialization of existence and, when it has been singing, the voice reaches ther forms of communication. The notion of voice and rhythm from these authors leads to the relationships etween body, dance, music, and oral poetics found also in Leda Martins (2003) and Aleida Assman (2011).The construction of circle dances as a literary aesthetic of an oral tradition has been taking, by analogy, in comparison to four other oral productions: 1) cocos presented by Maria Ignez Ayala (1999); 2) xirê described and analyzed by Juracy de Arimatéia Rosa Júnior (2018); 3) samba de roda do recôncavo, by Nina Graeff (2015); 4) work songs by Sandro Santana (2012; 2017). Beyond aspects aesthetics, this research points to an analysis of the women category of outside the hegemonic group found in white, eurocentric feminism. A generalized concept of women excludes black women, old women, women from rural areas, among others, from this category of analysis. In this way, has been analyzed four circle dance songs about International Women’s Day. Has been listing for this study the black, intersectional and decolonial feminism presented by bell hooks (2015; 2017; 2019), Djamila Ribeiro (2017; 2018), Angela Davis (2017; 2018) and Ochy Curiel (2014). In a final analysis, the circle dances are understood as a life project for the old age of her singers; artifice that feeds a collective memory based on their individual memories. Socializing, entertaining and having fun at the wheels are the way found to reorganize life. This is, therefore, a study directed to the understanding circle dance groups in Quixabeira county not only from the perspective of oral tradition, but, being recognized by the community as making women, and analyzed by black feminism.
11
Ana Luisa Dias Lauria
Funeral Weavings: a collation on the Dispatching of Souls between Brazil (Vila de Igatu – Chapada Diamantina – BA and Portugal (Aldeia de Carção, Northeast Trasmontano)
Funeral Weavings: a collation on the Dispatching of Souls between Brazil (Vila de Igatu – Chapada Diamantina – BA and Portugal (Aldeia de Carção, Northeast Trasmontano) captures the Lenten funeral rites known as Dispatching of Souls with a view on the evidences regarding the proposal of the souls in the mentioned performances. When we ponder about the subjective potency of the dead over the discursive construction of the rictus itself, we admit to the multivocality constructed by both human and non-human entities on the dynamics of a range of liminal communication which were presented on the experience of the ethnographic undertaking. The expansion of the relational field beyond tombs (in front to which the agencying produced by the souls was evident) led us to a review of what we used to understand, at first, as a devotional act dedicated to the dead by the living, aiming to relieve the purgatorial pains. Dispatching of the soul, as the thesis sustains, are communication circuits and processes that happen between bodied and disembodied individuals that aim to reorder the worlds and “existences” by proposing a weaving of reciprocities, in a way that all the ones involved, jointly, are affected by the suffrage – in ecclesiastic language suffrages are prayers for the dead. What is highlighted in our critical reading is the restorative ability in a communal scope, in which performative gestures some very specific enunciation language and places are produced, since living and dead ones, allied in the flux of sociability brought up by the ritual, have their own respective demand towards the helplessness deflagrated by the event of death. It is from the recognition of this creative complicity, supporter of a gregarious regimen of affection between bodied and disembodied entities, that other realities are constructed for both; the ritual co-habited passage zone, after being crossed, repositions them, in a fairly appeasingly way, in their own worlds. The comparative study between the Brazilian and the Portuguese modalities revealed that Villages of Igatu and Carção, respectively, narrate ways of existence of souls and constitute liturgical apparatus and framings which attend the local cosmovisions, given that the singularities on the devotions accomplished in the studied environments share a dialogue with the cultural ecosystems from which they emerge. The multidimensional poetic composition of the Dispatching of souls expose the need of an intellectual platform which will embrace the oral text in its globality, since the proliferation of signs meets, in the performative scene, a multidimensional composition which semantic connections are generated by the “body structuring” – an expression coined by Paul Zumthor, a theoretical mark of our scripture (ZUMTHOR, 2010, p. 217). Gesture, sonorities, voice, tones, melodies, body movements, dressings, musical instruments, the environment of the scene… there are many instances of significance which are integrated in a “symbolic space code “(ZUMTHOR, 2010, p.232), just like the zumthorian episteme also postulates. Dispatching of souls, thus, are included in the vast repertoire of the poetic diversity of oral tradition and our research reiterates the interrelationship between literary textuality and other symbolic systems.
12
Rosilma Diniz Araújo Bühler
Trans-re-creating Augusto dos Anjos in German: soundtracks of the poem translation “Os Doentes”
Within the Literary Translation Studies premises, my aim with this research was to translate from Portuguese to German, the poem “Os Doentes”, by the paraibano poet Augusto dos Anjos (1884-1914) published in his only book entitled EU (1912). The German culture knowledge was certainly of crucial relevance, which served Augusto dos Anjos as an artistic and humanistic basis for the man and poet he became -, if it is somehow possible to make this distinction between the man and poet, whenever we mention Augusto dos Anjos. The fundamental support to this study is the poetry published in the edition Augusto dos Anjos: Obra completa, in the way they were organized, fixed and noted by Alexei Bueno (Nova Aguilar, 1994). Together with the translation activity itself, I bring to light the efforts, the marks, the itinerary of the choices made using theoretical and practical methods of critical analysis, as for instance, “transcreation”, a procedure developed by the Campos Brothers. Besides this, as a source of inspiration, I strived for surrounding myself with influences, contributions, postures or attitudes towards the literary translation work taken by very experient poet-translators as well as less experienced ones in the several foreign languages I was able to access, in order to find and help me to build up my own translation process, my “I-translator”. The wish to discuss the general belief that poetry is art of no translation was the main aim of this research, in which I myself stand for the role of a poetry translator
13
FERNANDA SANTOS DE OLIVEIRA
On the rhythms of memories, the sayings rhyme with women: the (auto)biographical verse in contemporary cordéis.
This thesis reflects on the tracings of Brazilian cordel literature, seeking to understand the gaps imposed by the masculine tradition through mechanisms of repetition and of paradigm continuity, approaching the silencing of female voices throughout official historiography and its repercussions in contemporary times, emphasizing the production of female memories in the (auto)biographical diction of contemporary cordel writers. The objective, in general, is to establish an analysis of contemporary female cordels to understand how cordelistas (self) represent and (auto) biograph the relationship of women with literary work. For that, the research goes through the memory traces in cordels by Jarid Arraes and Obra Coletiva 82 anos de publicações femininas na literatura de cordel (Colective work 82 years of female publication in cordel literature), organized by Graciele Castro, which presents the trajectories of 21 contemporary cordelists. As a theoretical-methodological contribution, this thesis adopts a qualitative approach based on a bibliographical and exploratory research based on studies on popular literature, considering the perspectives of female authorship and its intertwining with memory, reflecting on concepts such as biography, autobiography and self-rewriting. Such notions will be revisited in order to rethink cordel as a literary genre and as a cultural document by understanding the ways in which female cordelistas reconstruct their relations with the art of the voice and the written word in order to undertake new perspectives for historiography, broadening prevailing notions in the literary field and making plural subjectivities visible. We therefore concluded that the analysis of subjectivity marks that intertwine literature and women's lives, reconfiguring the world from their poetry, makes possible to rediscover the gaps in official historiography from female verse routes that presents a rewriting of themselves while rebuilding a new literary history, inscribing their thinking about cordel, reshaping their lives and envisioning new literary paths. Their voices perform new meanings and displace literary memories from their writings’ records.
14
Sara Rogéria Santos Barbosa
IDENTITY REPRESENTATIONS: STORIES AND MEMORIES TOLD AND SINGED IN THE LYRICS OF THE SONGS PERFORMED BY THE BANDA REFLEXU'S
This thesis analyzes expressions of black ethnic identities in the lyrics of songs performed by Banda Reflexu's between the years 1987 to 1993 in order to understand how the representations of black identity occurred in those songs performed by that band. Therefore, the lyrics were separated by recurring themes such as the appreciation of black ethnic identities, ancestry and religiosity, and, finally, the representations of black women. It is a study developed interdisciplinary with theoretical assumptions of Cultural Studies, Black Feminism and contemporary literary historiography. To this end, the concepts of representation (WOODWARD, 2014), identity (HALL, 2003; MUNANGA, 2009a), difference (HALL, 2003) and blackness (MUNANGA, 2009b; FERREIRA, 2021) are discussed in order to understand how such representations contribute to the discursive constructions of ethnic identities, the selected corpus is confronted from the identification of the most recurrent themes and how they discursively present black men and women. The clipping presented here ranges from the memory records of Banda Reflexu’s found on digital pages, analysis of vinyl record covers and testimonies published in posts of songs in digital media; the presentation of the main concepts used in this study and, finally, the analysis of the letters listed for this study. It is hypothesized, therefore, that the discourses present in the corpus of this work make it possible to think about black identity expressions at that moment from the analysis of the lyrics, the importance of the band and what it represented in the 90's, as, more than thirty years after its trigger, new listeners receive the lyrics and performance of the band and how all this dialogues with the impressions of the author of this study that presents itself in first person from beginning to end.
A person, whatever the person, is a piece of time within a larger story. Therefore, existential questions are inexhaustible, they are repeated and they are not the same, because when the questioner changes, new demands, perspectives, needs and understandings emerge. This text brings with it, from the title, existential problems that are, effectively, very old questions and, when renewed, they affirm the importance of constant and reflective retakes about humanity within social spaces. In this case, it is relevant to highlight that the discursive spaces are disputed, and by metaphor, they are bloody disputes, in view of their violence. Consequently, there is the chronic epistemicide of populations that are minorized in power relations. In this thesis, the concept of humanity is questioned, based on chronic dehumanization. It is not intended to promote questions about the relevance or etymology of the term, but rather to advance towards the genocidal operators and animalizers of contemporaneity. It is up to this work to debate the present, without leaving aside the myths of the future, understanding what is to come as narrative disputes. My hypothesis is that black posthumanity is a concept in transit, and, for this reason, in constant incompleteness, which confronts social decay, that is, what is understood as humanity within post-modern society. In order to organize and present some perspectives on black post-humanity, we will study and analyze the contemporary scenario of ethnic and gender relations, based on bodies, narratives and black art, as operators of a reality that overflows limits, insurgent and claiming. For this, some of Linn da Quebrada's musical-artistic works and some stories by Ruth Ducaso from her book Contos Ordinarios de Melancholia will be brought to the discussion. Linn da Quebrada's artistic work stands out for its incisive discursive and performative placement on the rights of people outside the limits of cis-hetero-normativity and on the physical and subjective violence of people constantly deprived of humanity by various institutions of power. While Ruth Ducaso's writings intend to investigate how mothers, black and from the countryside, are deprived of their humanities in favor of a place of superheroine and super-oppressed mother, of those who do not need to feel, as they are essentially ready to be womencaregivers and self-abdicated. It is considered relevant, the reflections on the struggles against racism of many authors. They are of fundamental relevance to these discussions, among them; ANGELA DAVIS (1995); FLORENTINA SOUZA (2003); LÉLIA GONZALEZ (2003). Just like, STUART HALL (2003), FANON (1983), GILROY (2001; 2005), FREITAS (2017) on political and social issues in the Afro-Diaspora. Thus, as the discussions by MEGG RAYARA (2017) and DODI LEAL (2019), JAQUELINE SANTOS (2018) contribute to confronting issues of gender and race identity.
16
Josinélia Chaves Moreira
JOINTS OF FERTILIZED “UTERA”, BATHED WITH FETUS AND AFFECTION WATERS IN MAYA ANGELOU AND CONCEIÇÃO EVARISTO
This escrevivente pregnant-writing is a flow-reading of maternity experiences in the Améfricas (GONZALEZ, 1988a), in literary texts by Maya Angelou, (2010, 2018a, 2018b), by Conceição Evaristo (2016a, 2016b), and by other black women writers. I also wet this investigation with my memories of a community of women who accompany me in this creative braid. The question of research presented is: how and why do the escrevivências evident in the works chosen as research corpora fecundate a matripotent writing? As general objective: to highlight how the escrevivências in the chosen corpora inheirit a legacy that aims to fertilize a new interpretation crossing about black maternities in the literature of the Amefricas. To achieve this objective, the following specific objectives were necessary: i) to articulate the fertile “wombs” writings by Maya Angelou and Conceição Evaristo, by means of the cartography of themes, elements, crossings and scenes of black maternities; ii) to identify how the process of getting pregnant, carrying out pregnancy, nourish and looking after children, the whole place of maternity itself for black women is related to a whole set of kidnapped rights; iii) to describe in these matripotent writings how and why maternities appear from the point of view and the bodies of black women, even in face of the precariousness of existence and everyday loneliness; iiii) to examine in these diasporic escrevivências of black maternities the aesthetic-literary categories of uterus-speech as a place of affection, loyalty, freedom, ancestry and love, based on the political, social and affective meaning of such practices. In order to do this, on my knees with Oyěwùmí’s (2016) matripotence, I co-create the notion of braid-writing as a methodological basting of ancestral woven and re-woven memories in this embrionary movement of return to our uterus-house, by means of solar contractions based on escrevivência (EVARISTO, 2007; 2020) and intersecionality (CRENSHAW, 2002; COLLINS, 2017; AKOTIRENE, 2018). Along each map, drawing, words route, the movements were to break dams, to break with the water-writings through the layers that solidified (and still solidify) the maternity building. The weave of this cosmoperceptive reading (OYĚWÙMÍ, 2002) is a black literary critic about maternity as pregnancy, in which each trimester/ section had fallopian tubes that fed the epistemic embryo in its growing phase: i) in the first trimester, I related the image of the primary-uterus, as ancestral continuity potency, with the image of the uterus-(river)head, a source of life for the community, even though vilified, controlled, mutilated, its sliding waters did not and will not cease; ii) in the second trimester, I sought to baste the image of the uterus-calabash with the way these black women keep/ spread/ blow life in the face of the most adverse situations: hunger, misery, poverty, violence and loneliness; and, finally, iii? in the third semester, through the uterus-speech as a place for healing, strength, invention and joy, I paid tribute to the great mothers to help me understand that maternity is a methodology of life that pulsates in black wombs.
17
JULIANA RODRIGUES SALLES
"Os Maias" and "Crônica da caasa assassinada"; possible dialogues.
A comparative analysis between "Os Maias" , by Eça de Queirós, and "Crônica da caasa assassinada", by Lúcio Cardoso. The project seeks to investigate thematic affinities and coincidences in the perceptions of social transformation, despite the different perspectives. The first chapter deals with family; the second one is centered on the images of houses; the third chapter discusses moral lapses and sexual transgressions. The research found supports in the works of Carlos Reis, Carelli, Fryre, Roudinesco, Bachelard, Bataille, Claude Levi-Strauss.
18
Glauce Souza Santos
BLACK-FEMINIST RHYMES: A THEORETICAL-CRITICAL OPERATOR OF RHYMES THAT RHYME VERSES, BODIES, AND SUBJECTIVITIES
In this doctoral thesis, which is organized as an album entitled Black-feminist rhymes: a theoretical-critical operator of rhymes that rhyme verses, bodies, and subjectivities, I take the reading of some productions by the artists Tássia Reis, Preta Rara and NegaFya. Both of them are Black women who act among several spaces, including the Rap and the Slam poetry scenes. In this regard, I consider both the verses and the video performances of the artists, observing which re-significations, within the scope of Black subjectivities, are made based on the representations that these productions present. Consequently, I develop the notion of Black-feminist rhymes, a theoretical operator that points to a notion of rhyme amalgamated with the Black female body, its own demands for (re)existence and expressions. Therefore, firstly, I talk about my meeting with these women, who are the research subjects, as well as the meaning of this meeting that was marked by a conscious understanding of my self-affirmation process, and by fundamental decisions for developing the work. In addition, I discuss affectivity and pain, questioning the Western tradition between love and pain as colonial categories that cross our affective relationships, and I also discuss the notion of affection as our power of action. Afterward, I discourse about self-definition and empowerment, stating how the artists, when presenting a discourse on identities and empowerment, refuse to black women the invisible treatment of the Other and use the poetic Black-feminist voice. Secondly, I reflect on how these artists, through their textual repertoires imbued with a poetry that is emblematic and constitutive of racial difference and self-identification, express a consolidated discourse in an insubordinate language. These discourses are able to erase stereotypes and denounce the violence in which we, Black women, usually experience. I point out how they denounce the negative aspects of “difference” on Black subjects, how they establish a poetic voice of self-definition through metaphors that express freedom; how they elaborate a discourse opposed to an unfaithful narrative of history; how they highlight the places of power and affective balances among Black women; how they delegitimise stereotyped ideas about the Black female body and, finally, how they enunciate a multidimensional and collective voice that establishes a dialogue with subjects who elaborate white fantasies, demanding from them an ethical behavior. In this doctoral thesis, I invite to the dialogue thinkers such as Homi Babha (1998), Spinoza (2009), Vladimir Safatle (2019), Beatriz Nascimento (2006), Grada Kilomba (2019), Kabengele Munanga (2020), bell hooks (2014) Sueli Carneiro (2011), Ana Lúcia Silva Souza (2011), Patricia Hill Collins (2019), Angela Davis (2017), Audre Lorde (2019), Leda Maria Martins (2002), Stuart Hall (2009), Michel Foucault (1997), Conceição Evaristo (2007), Davi Nunes (2016) and (2020), Maria Dolores Sosin Rodriguez (2019) and (2020), Paul Zumthor (2018), Nubia Moreira (2012), Lélia Gonzalez (2018), and Nilma Lino Gomes (2019) among others.
2021
Disertaciones
1
ANDREZZA AUGUSTA SILVA FEITOZA
The Pulsar of Black Female Erotic Literature written in the works Pretumel de Chama e Gozo and Beyond the Rooms: Black Erotic Collection Louva Deusa
The dissertation “The Pulsar of Black Female Erotic Literature written in the works Pretumel de Chama e Gozo and Beyond the Rooms: Black Erotic Collection Louva Deusa” aims to analyze the erotic poems and texts presented in the chosen works and build a reflection about the Black Female Erotic Literature . Both books published in 2015 feature literary texts that emphasize Erotic perspectives, the focus of this work being the Black Female writings. For the elaboration of this research, he prioritized a majority theoretical basis of female authorship with intersected studies of the categories of race and gender. In addition, the concept of Erotic Feminine Black Literature was developed from the texts of Audre Lorde (1984), Florentina Souza (2006), Gabriela Llanos (2011), Miriam Alves (2010) and among others, aiming at “feminizing” the theories surrounding the world of Eroticism. After reflections made from the analysis of literary texts, it is clear how the writings of black women who talk about Eroticism are rich in stories, linguistic resources, themes and great poetic subjects. The perspectives, views of the authors, intellectuals and artists are essential to generate a political, historical and social reformulation, promoting a society in which all erotic experiences can be sheltered.
Keywords: Erotic Literature. Black Literature. Female Literature.
2
SUANY LIMA CARNEIRO ALVES
E = MC²: LETTER EXPERIMENTATION in "Um teste de Resistores"
This project aimed to experience the corners from Marília Garcia’s book “Um Teste de Resistores”. This book works as a poetic trigger for experimentations in letters and photogravures addressed to a “you” which plays the role of many people, places, incidents during my master´s program. The letters are fragments which composes an affective studio, since much of what I read in Marília’s works on the order of the fragmentary, meetings, incidents, quotes from books and movies by cutting, ruptures, cracking and holes, I never knew where Um teste de resistores (2016) begins and ends. This book contains a massive source of energy, an Universe of quotes, it is movement, an environment, for this reason I call it a mechanism that interweaves with my life, considering that I was never able to write without passion. I “ exploded “ reading “ Um teste de resistores “ and the words that I confront in every gesture of languages are attempts, with whom I try to be in harmony with the library of the world and my passage through the cities of Salvador, Belo Horizonte and Feira de Santana. I write “ tests “, attempts to create imaginaries throughout desire which is the vital energy, move the triviality from the incidents that make resonate some sort of decline from the ordinary things. Marília brings the idea of resistors as the subject of “ transformations”, changing our perceptions about the things, It is a book of possibilities, overall. Um teste de resistores works as a atomic nucleus that was fissured by my reading. We exploded together, and I spread myself around the world, forcing the imaginary to build sensitives, I went beyond Marília Garcia and I have never felt alone. Moreover, I see that much of what I write and photograph lingers through the desire way which moves the vital energy. I denounce and present life that pulses, ordinary people’s life, places, situations to create memory in a picture’s trail. In this research, which is related to an energetic adventure between encounters and the book Um teste de resistores, I aimed to show the world what I have seen. Therefore, here it is made an addressment of the writing as a life constitution from energetic encounters between “you” and Um teste de resistores.
3
VANIA BATISTA MELO
FROM THE BLOOD WE WRITE: BLACK-FEMININE EPISTEMOLOGIES IN “ONLY WOMEN BLEED” BY LIA VIEIRA
This work proposes a study of self-representation in black-female literature in the work Only women Sangram, by the author Lia Vieira (2011), from the clerk, concept by the author Conceição Evaristo (2008); specifically to write with this blood that the work brings in each flow of the nine short stories that compose it. I propose, here, the concept of writing with ẹ̀jẹ̀, ancestral blood that permeates in a very specific way the veins, the bodies, the lives of black women in an ancestral understanding that we are many, and many are our experiences, however, beyond our own crossings and subjectivities, the intersectional understanding that our common experiences also take place socially brings us the perspective of this collective agency, of this shared blood that is also black as the color of our skin, in our very specific ways of bleeding. If we bleed loves, experiences, if we are the target of neglect, of violence that crosses us, do we bleed in the same way as other groups? The storybook Only women bleed brings stories of black women. Lia Vieira (2011) brings a commitment to racial issues and shows this in her works. The Blood here is black, it is ẹ̀jẹ̀, and it runs through our veins, because it is the continuity of the color of our skin. Based on this understanding, we will think of writing with ẹ̀jẹ̀ as an epistemological category of ancestry, which disallows the signs that were imposed on us as epistemic violence, as Nilma Lino Gomes (2010) brings us. Ancestrality that is beyond what is traditionally understood as time, because it does not go in a straight line, crosses the counts, meets and disperses at its crossroads, it is time through time, the here and yesterday crossed, turning in a spiral, as brings us Leda Maria Martins (2002). The time, the blood, the life that is written feminine and black are ancestors, just as our references, our epistemologies need to be; and black-female literature is an extremely important tool to collaborate in the dissemination of this awareness, of this life that is, as Conceição Evaristo teaches us, committed to writing.
4
DOUGLAS SANTANA ARISTON SACRAMENTO
THE THREADS OF DEATH IN THE TISSUES OF MEMORY: A COMPARATIVE STUDY ON AMADA, BY TONI MORRISON AND ALLEYS OF MEMORY, BY CONCEIÇÃO EVARISTO
This dissertation is about the deathly threads inside the cloths of the memory and how this relation is linked to the novels of two black writers: Toni Morrison (2007) and Conceição Evaristo (2017). The first one, an African American, university professor and winner of the Nobel Prize, whose novel analyzed here is Amada; the second one, a black writer from Minas Gerais and who produces both in the literary and academic spheres, whose novel analyzed here is Becos da Memória. The methodological approach is a bibliographic qualitative research, prioritizing the use of black references; a look from within the black community about themes that pervade these intellectuals – both physically and subjectively. Thus, in the course of this dissertation, we will present the relation between death and memory, also linked with other icons and subthemes whose will be discussed as well. The dialogues carried out with these works deal especially with time and images that refer to the spiral time; spaces that are mixed as places of memory and signs of death; and the writing policy that is at the heart of the sewing of these women-seamstresses. Then, we will talk about the bodies that fall in the narratives, but go beyond the object-book and affect the readers and the society in which racism is structuring
5
BÁRBARA SANTOS SOEIRO
THE OTHER CHILDHOOD IN WHY CHILDREN COOKS IN POLENTA, BY AGLAJA VETERANYI
It is in an unstable scenario, where the circus arena and the circus lights look more like a nightmare, that the narrative of Por que a criança cozinha na polenta (2004), written by Romanian artist and poet Aglaja Veteranyi, is set. In it, a family of circus performers travels through Central Europe, like nomads, fleeing the dictatorial regime of Nicolae Ceaușescu in Romania. The narrator, a little girl, gives voice to her childhood fears and fantasies, while discovering that growing up is also about dealing with what is hostile, decadent, and disturbing around her. The circus, where the protagonist lives, is not a place of dazzle, mockery, and fun – an image to which we have become accustomed, through representations so strongly perpetuated in our imagination – but as a chaotic space of permanent threat and horror, in the limits of which the child creates survival strategies, rebuilding, through imagination, an individual refuge. In this work, we seek to provoke readings in order to understand how the circus and nomadic experience activate childhood in Por que a criança cozinha na polenta. Using the notions of “deviation”, “margin” and “frontiers”, present in both thematic and formal aspects of the poetics of Aglaja Veteranyi, the dissertation will follow the routes of the Deleuzian cartographic model, in the exercise of a becoming-childhood – which is effective to the extent that it connects the particularities and potentialities of being a child to the condition of an artist at the margins and foreigner.
6
AMANDA JULIETA SOUZA DE JESUS
Black women in the Slam das Minas BA: a space of insubordination and resistance
This Master's thesis is the result of a study about Black women's poetry slam, having Slam das Minas BA as a reference, a battle of spoken word held in Salvador/BA since 2017, which has an only women participation and organization agenda. Based on the hypothesis that poetry slam is a space for insubmission, inventiveness and resistance for Black women poets, this work seeks to understand the meaning of role of the artists participation in the battles of poetry slam as well as the personal and collective transformations that become possible by the means of claiming the word. In order to do that, this qualitative research has an interdisciplinary literature review and document analysis (websites, reports and videos available on Youtube and Instagram), in addition to the dialogue with poems presented at Slam das Minas BA in 2019, which were also considered in the scope of performance. From the analysis, it was possible to observe that the poems studied present themes that relate to life experience and offer a specific standpoint of Black women, this without meaning homogenization, as they engender diverse perspectives. It was also found that Slam das Minas BA is a safe space, where Black poets are able to speak freely and where they can use their creations that are, at the same time both aesthetic and political, to question hegemonic powers, denounce violence that directly affect them – such as racism, sexism and silencing –as well as build and circulate other representations of themselves, claiming other possibilities for life. Keywords: Slam das Minas BA; Black writers; gender/race; poetry slam; literary performance.
7
MAIANA LIMA TEIXEIRA
Talking Back, Looking Forward: Epistemological Translation in bell hooks
The contemporary Black Feminist Thought, in addition to tensioning the pre-established forms regarding the profile of black intellectual women, has produced new theoretical formulations, which moves towards epistemic propositions, upholding the resumption of a black existence outside the white ego (SANTOS, 1990). The massive emergence of black women in academia has changed the ways of producing theory; a project of (re)territorialization of knowledge, which creates networks of productive affections, characterized by embodied thoughts or “escrevivências” (EVARISTO, 2015). The writing of existence as a place of method works as a translating device of collectivity that is not intended to be homogeneous or rhetorically introverted, but it proposes a writing that, through poetics, translates into becoming the collectivity that has long been discursively controlled by a European narrativity. In order to re-elaborate and create new spaces of (re)existence (SILVA, 2011) and bring to the scene of production of knowledge from unusual places, that is, out of the ordinary; these wind bodies (CARRASCOSA, 2017) present new strategies for sharing and re-articulating heritage knowledge for future generations. Regarding the theoretical gestures produced by Black Feminist thought and Afrodiasporic Translation Studies, this dissertation proposed an English-Portuguese interlingual compiled epistemological translation version of the introduction and chapters 1, 2, 5, 21, 22 and 23 of the book Talking back: thinking feminist, thinking Black - an anthology of writings by the Afro-American activist and intellectual bell hooks (2014). A retelling and compilation of selected chapters of the source text was made, through the textual genre letter. A new translational version was produced, which culminated in the molding and/or interweaving of concepts, notions, poetics and experiences between the Afro-American intellectual and the Afro-Brazilian. I wanted here, through the translation of some chapters of the work Talking Back, was, in the translation scene, to point out new ways of thinking about the being and living in the world of the black woman. In this sense, I experienced a translation praxis as a brief interpretation of the writings translated and elaborated by the two translators-authors in order to point out the untimely character of the writings of bell hooks as well as its contribution and encouragement to the reassembly of new Brazilian black epistemes in movement, since their intellectual production has communicated in front of all languages in the Black Atlantic.
8
UELTON DA SILVA SANTOS
GUERRILLA MACHINES: CRUEL LYRISM AND NEW REALISM IN LOVE IS A CRIME, BY MARCELINO FREIRE
The text that follows has as its starting point to reflect on what is aesthetics of war (in a broad sense) in Love is Crime (2015a), by contemporary writer Marcelino Freire, emphasizing how the fictional and political procedures, in the collection of short stories cited, make up a war machine through a critical exhibition about reality. The appearance of another form of realism in current literature (the tension between art and reality) will also be a crucial point for discussion. Some allies will be important to help with the issues raised, such as Schollhammer (2009), Rosset, 1989), Hardt and Negri (2005), Pelbart (2009), Deleuze and Guattari (1997), Barthes (1984) and Jaguaribe (2007), forming a bond of friendship between the philosophical, aesthetic, political and sociological fields to enter into what this production of reality and wars would be through the way of inventing subjectivities through literature. Criticism, the construction of a new reality, brutality, and biopower are issues that will help to understand the escape lines created by the characters of Freire, to invent other ways of life (the war machine). In this way, investigating how the guerrillas devised in Love is Crime produces a disorganization in power.
9
LUAN QUEIROZ DA SILVA
FORMS OF LITERARY BIOGRAPHY IN ARGENTINA IN SOBRE SÁNCHEZ AND FOGWILL, UNA MEMORIA CORAL
A partir de la idea de que en la contemporaneidad la biografía literaria asume diferentes aspectos, estando ubicada, muchas veces, en un espacio intergenérico e inespecífico, el presente trabajo pretende exponer los resultados de la investigación acerca de algunas de las formas de lo biográfico en el contexto de Latinoamérica, específicamente en Argentina. Para eso, realizo la lectura de Sobre Sánchez (2012), biografía de Néstor Sánchez escrita por Osvaldo Baigorria y Fogwill, una memoria coral (2014), biografía de Fogwill producida por Patricio Zunini. En el primer libro, el interés está en analizar de qué modo se opera la entrada, en el cuerpo del texto, de la exposición del proceso de investigación y composición de la biografía, discutiéndose como la dramatización de la experiencia del biógrafo genera una tensión entre los registros biográfico y autobiográfico, además de posibilitar el acercamiento del proyecto de Baigorria a algunas características de la literatura detectivesca. Ya en el segundo libro, resultado de la edición de declaraciones de amigos, escritores y diferentes personas del campo literario argentino que convivieron con Fogwill, el foco está em comprender como la elección realizada por Zunini, de narrar el biografiado a partir de la mirada colectiva y plural, sostenida en una idea de memoria como una señal de oposición a la completitud o como regreso intacto al origen y al acontecimiento, provoca la elaboración de un personaje fragmentado, atrapado en sus contradicciones y ambigüedades, al mismo tiempo en que se observa la acción del biógrafo, que intenta ocultar su presencia en el texto. El contacto, con ambos los libros, está atravesado por el deseo de entender como la poética, que se establece en cada una de esas textualidades, se aleja de determinadas características que están, comúnmente, asociadas a la biografía literaria, defendiéndose, por lo tanto, la percepción de que, en el caso argentino, el género cuenta con diferentes posibilidades formales.
10
JESUALDO NUELSON GOMES DA COSTA
GUINEA LITERATURE AND THE CONTRIBUTIONS OF TONY TCHEKA'S WORKS: Sleepless Nights in the Sleeping Land and Guinea Sabura Que Dói
The present work divided into four (04) chapters presents a brief analysis about the daily life of the people from Guinea-Bissau, through the literary works Noites de Insôniana Terra Adormecida (1996) and Guiné Sabura que Dói (2008) of the writer Antonio Soares Lopes Junior whose pseudonym is Tony Tcheka. Entitled LITERATURA GUINEENSE E AS CONTRIBUIÇÕES DAS OBRAS DE TONY TCHEKA: Noites de Insônia na Terra Adormecida and Guiné Sabura Que Dói. During the course of the dissertation, the first chapter is entitled Tony Tcheka in Guinean literature, in which a brief overview about the historical course of this young literature from Guinea-Bissau is made, and the second moment enters more into the social field entitled Exclusão social: povo e a sua identidade cultural representadas nas obras. This second section covers issues related to the construction and the place of the people in the literary works and brings a little of the debate about cultural identity. In the third part of this dissertation, I present a little notion of space/tchon, the nation and the diaspora from the author's point of view. In the fourth and last chapter there is the interview with the author of both literary works under study.
11
Rafael Gurgel Almeida
LIFE-TEXT: NOTE AS UNSPECIFICING PROCEDURE IN "THE RESISTANCE" AND "THE SPIRIT OF MY PARENTS CONTINUES TO RISE IN THE RAIN"
In this work, are read the novels “Resistance” by Julián Fuks and “My Fathers’ ghost is climbing in the rain” by Patricio Pron, in order to investigate how the authors appropriate memories about Argentina and Brazil military dictatorship - entering what has been called "children's literature" (COSTA; SANTOS, 2016) For this purpose, it triggers written material that questions the historiographic recovery and boundaries dissolution between real and fiction, particularly taking the Notatio - concept by Roland Barthes - as indicator mechanism of the non-specificity in both literary work (and in the research itself).
Tesis
1
MANOELA SARUBBI HENARES FIGUEIREDO
Blank Verse: a translation of William Shakespeare's history and fiction in the virtual world.
Blank Verse is a web series that portrays William Shakespeare and other historic characters from the Elizabethan period as university students and staff in the 21st century. Through short episodes we follow their journeys as young writers in an environment that is completely mediated by technology. The creative mixture of historical, biographical and fictional elements prompted for the reflections presented in this thesis. The first step in this analysis is the historical contextualization of the Elizabethan period, also known as the “golden age” of drama, as well as the creative writing process of William Shakespeare and other playwrights. Two biographers, Bill Bryson and Peter Ackroyd, were instrumental in the reconstruction of the bard’s role as an author and historical character. It was then necessary to understand the virtual platforms that enabled the emergence of Blank Verse, therefore authors such as Henry Jenkins, Marie-Laure Ryan and Pierre Levy laid the grounds for the studies of media theories and transmedia narratives. The creative writing processes play a major role throughout the web series. Thus, in order to understand the importance of writing and authorship in this fictional recreation of Shakespeare's biography, it was vital to read authors such as Luciene Azevedo, Eneida Souza, Roland Barthes and Michel Foucault. Finally, considering the connection between present and past, biography and fiction that was evidenced by the web series, the thesis proposes a reflection on the weakening of the boundaries between history and literature, truth and fiction, real and virtual, all of which are products of the same tool: language. In this respect, the theoretical grounds were laid by the historians and philosophers Hayden White, Pierre Nora, Paul Veyne, Giorgio Agambem, Walter Benjamin and Friedrich Nietzsche. Additionally, William Shakespeare's dramatic and poetic production, especially the plays from the beginning of his career, being present throughout the entire web series, are also part of the corpus of this thesis.
2
DIANDRA SOUSA SANTOS
MULTIPLE FALSTAFFS: CONTEMPORARY REREADINGS OF THE SHAKESPEAREAN CHARACTER.
Sir John Falstaff, a famous Shakespearean character, made his first appearance on the Elizabethan stage with the staging of the historical drama Henry IV (1597-1598), In the role of Prince Hal's incorrigible companion and, later, the rogue in The Merry Wives of Windsor (1597-1598). Falstaff won over the audience with his admirable ability to entertain and make everyone laugh. Even after Shakespeare's death, the character continued to be reread and adapted not only for theater, but also for cinema, TV, operas and other literary productions. Such productions add a new look at the starting material, in a continuous process of reframing. Therefore, this thesis proposes the analysis of three reinterpretations of Falstaff in three contemporary novels (one of them written in the 20th century and the other two, in the 21st century): Falstaff (1976), written by Robert Nye; Falstaff’s Big Gamble (2012), written by Hank Quense; and finally, The Falstaff Vampire Files (2011), written by Lynne Murray. In addition to these works, the corpus of this research is formed by the two parts of Henry IV, by Henry V (1599) and by the comedy The Merry Wives of Windsor. We will discuss how the selected works reread the character Sir John Falstaff, establishing different points of contact with the Shakespearean Falstaff, while creating new connections with different texts. In line with the reflections of Robert Stam (2000) and Linda Hutcheon (2011), we will approach the listed works as adaptations that result from the convergence of diverse textual surfaces. We will start by discussing the construction of Falstaff by William Shakespeare and then move on to the specifics of each of the novels, mapping and discussing the intricate and diverse dialogical-intertextual relationships that they establish not only with their source texts, but also with other texts. Our analysis will be mediated by reflections by other authors and theorists, such as James C. Bulman (2004), Irving Ribner (1972), Friedrich Nietzsche (2003), Mikhail Bakhtin (1987; 2002; 2008), François Laroque (1998), Graham Holderness (1992, Linda Hutcheon (1988), Jacques Derrida (2006), among others.
3
FERNANDA PINHEIRO PEDRECAL
Love's Labour's Lost in Salvador: a translation proposal for William Shakespeare's play of the bawdy terms into the oral language of Bahia
The present thesis is an analysis, from the perspective of the Translation Studies, of how the process of resignification and updating of the dramatic text Love's labour’s lost (ca. 1595), by William Shakespeare (1564-1616), was recreated by us in a new commented translation to the Portuguese language, more specifically to the dialect of Bahia, also known as Baianês, focusing on the puns and insinuations that characterize the obscene language existent in this comedy, and which preserves the subtleties and the comedy present in this aspect of the Shakespearean text, making it accessible to the Brazilian contemporary reader and audience. The research work first sought to identify the occurrences of words and expressions present in the dramatic text Love's labour's lost that characterize an obscene language, verifying whether or not such occurrences have undergone a process of updating and resignification in the contemporary translations of the Brazilian translators Bárbara Heliodora and Beatriz Viégas-Faria. Also, it attempted to translate the dramatic text Love's labour's lost into the Baianês language, with commented content highlighting the resignification and update of the words and expressions carrying an obscene connotation identified in the Shakespearean text. The comparative character of the proposed research is mediated by poststructuralist theoretical reflections, with a special focus on the concepts articulated by the French philosopher Jacques Derrida about deconstructivism, as well as the contributions of scholars who have works specifically devoted to the analysis of the Shakespearean language, such as Stanley Wells, David Crystal and Ernest Adrian Mackenzie Colman. Our considerations, supported by comparative research of the elements present or omitted in the translations involved in this study, seek to ground the reflection about the possibility of a new translation of Love's labour’s lost, based on the idea that the translation process involves reading and interpretation operations that do not only release and authorize the translator to develop the practice of new creative possibilities, but also rescues characteristics of the source text that may have been omitted from the contemporary readers of William Shakespeare at certain points in history.
This work is the result of a research in black literary texts and also about sexual and gender dissidences during the years of my doctoral studies. Following the affections of fear, love, anger, dengo and the erotic, I have tried to read and learn from these literary texts how we can use the affects so that these, from the colonial apparatus, would not perpetuate schemes of violence against us, racialized and disobedient people of the binary gender and Hetero-normativity.Which uses can we make of these affections so that, instead of killing us, They would be an act of striking back and a new possibility to live, stand alive. The chosen texts, for the most part, are by black sapatão women.Therefore, I sought to build a black sapatão literary criticism in view of my decision to move these writings also based on my own expe-rience. In order to do this, I have organized this work into nine essays: the first two opening essays, Chão and Rotas which presents and locates methodologically this survey; Reflexo, Quebrada, Devolução, Ginga, Perigosas and Zami are interdependent essays that offer some reflections on the uses of affections from the literary texts brought, made in dialogue with some important themes such as romantic love, miscegenation, sexual abuse, subjectivities and coloniality, essay writing, race, gender, sexuality and representation.And the final text, Nós – is an experimental – essay in which I wanted to open paths of reflection about our black and sapatonas lives.
Considering that the cultural and artistic transformations of contemporary times change the ways in which authorship works, the main objective of the thesis is to characterize a change in the understanding of the author’s role considering fanfics. For this purpose, fanfics “We got married” and “Saga que músculo”, produced on the digital literary platform called wattpad, created for both computers and mobile devices, were taken as objects. The study of transformations in the field of authorship was based on the notion of nonspecificity (GARRAMUÑO, 2014) and valued the concepts of transmedia narrative and the culture of convergence (JENKINS, 2009), the notion of actant (LATOUR, 2009; 2012) and the studies of Anne Jaminson (2017), privileging the procedures of collaborative and appropriate practices in the study of fanfics and in particular the importance of the role of the reader or fan in an attempt to characterize the displacement of the notion of autohorship.
6
ROSANA ARAÚJO DA SILVA AMORIM
Analysis of the scripts for Flores raras: The creative process of a film about Elizabeth Bishop
Literature and cinema, as forms of language and artistic expression, have been dialoguing in an ever closer way. When thinking about the adaptation of the starting text, a novel by Carmem Lucia Oliveira adapted into a film directed by Bruno Barreto, we can assume that this re-creation in the target culture offers multiple interpretative possibilities and presents traces of the starting text. It is under this perspective that the present thesis aims to show the film Flores raras as an adaptation of the novel Flores raras e banalíssimas. With the purpose of identifying paths that led to the creation of the cinematic work under consideration and taking into account scripts made available by LC Barreto Production, we reflect on the genesis of such adaptation based on the referred creative process documents. For the proposed analysis, principles and criteria of genetic criticism, besides studies of adaptation and intermidiality have proven to be of relevance. We proposed to reflect on the creation of the film through the analysis of the manuscripts left by the screenwriters, as we understand that the genetic analysis of the transposition from a novel to a film reveals that the relationship between both works, book / film, is not that of opposition, but rather a supplementary relation, reaffirming that every text is complete in itself and each text presents certain characteristics that are relevant to the author that proposes to re-signify it.
7
BRENO FERNANDES PEREIRA
Growing up among us: an essay on the national identity of children who witness civil war
This thesis aims to answer what happens to national identity in a civil war. As an essay in comparative literature, this question appears related to four contemporary novels: How the soldier repairs the gramophone, by the Bosnian Saša Stanišić; My father's Rifle, by the Iraqi Kurdish Hiner Saleem; A long way gone, by the Sierra Leonean Ishmael Beah; and Half of a yellow sun, by the Nigerian Chimamanda Ngozi Adichie. These books tell stories about civil wars that happened in their authors’ countries in the 20th century. Also, they all have children as the narrator or the protagonist, the reason why in this thesis children will be the main subject of analysis. These four boys will guide our thoughts on what happens to bodies, speeches, and affects involved with the manifestation of nationalism on the eve of a civil war or in an ongoing conflict. All the ideas presented here are based on two assumptions. The first one is that the destabilization of hegemonic nationalism is a necessary condition to civil war. The second one is that, since modernity, children are seen as beings who need more than body growth to be considered adults. Adulthood requires a plethora of social learning, and nationalist ideology is among them. Because of that, the bodies and minds of the four juvenile characters can be seen as potential targets for nationalist pedagogy and its channels, such as school, art, family, and neighborhood. Regarding their bodies, we can infer that the relation between neighborhood and family constitute forms a sort of second oedipal situation, which will transform the neighborhood in the first and paradigmatic embodiment of the national community, up to the point that a civil war can only be started at the expense of the general rejection of the ethics of neighbourliness. Regarding nationalist discourses, we aim to demonstrate that hegemonic nationalism can always be replaced by another version of the same ideology, and this substitute is commonly willing to provoke war. Furthermore, on the topic of nationalist speech, we discovered that, as the enemy becomes synonymous with the foreigner within nationalist ideology, one way to give civil war legitimacy is to foreignize part of the national population. Finally, regarding affects mobilized by nationalism in a civil war, we may state that the feeling of helplessness becomes one of the main sources of psychological distress faced by children. With respect of affective forms of resistance to the war, we may highlight children’s play as an act full of empowering intentions. It can be a performance of the desire for the victory of their national side or even a performance of the times of peace.
8
ADRIANA SOARES DE ALMEIDA
Memory and suicide in the sertão: Antônio Torres' literary universe
This study discusses the literary universe of Antônio Torres, based on three themes: suicide, space and memory. From this triad of Torres’ narratives, I have nine novels by the author as a research object: Um cão uivando para a lua (1972), Os homens dos pés redondos (1973), Essa Terra (1976), Carta ao Bispo (1979), Balada da infância perdida (1986), Um táxi para Viena D’Áustria (1991), O Cachorro e o Lobo (1997), Pelo fundo da agulha (2006) and Querida cidade (2021). From this perspective, I discuss the literary universe of Antônio Torres, having as a guideline suicide, space and memory. Therefore, I carry out a study of a qualitative nature and bibliographical review, literary analysis, along with other areas of knowledge. Starting from an overview of suicide in Western history and its approach in literature, I examine the successive occurrences of voluntary death that permeate the novels discussed here, to understand the characters who took this path and their motivations. To unravel the taboo that arises around the self-inflicted death on the more than twenty suicidal characters of the Bahia’s author, most of them migrant from Sertão, I establish a dialogue between literature, history, sociology, psychology and psychoanalysis through the works of Albert Camus (2018a; 2018b; 2019), Willian André (2020), George Minois (2018), Ramon Andrés (2015), Émille Durkheim (2012), Karina Okajima Fukumitsu (2013), Neury Botega (2015) and Sigmund Freud ( 2013). Aiming to understand space as one of the foundations of Torres’ work, I turn to the Sertão in Brazilian literature through the works of Fernando Cristóvão (1993; 1994) and Gilberto Teles (2009), and then discuss Junco, the birthplace of writer, in the Sertão of Bahia, and the characters' deep connection to this territory in which they set their roots. Finally, I analyze the memories of the author's narratives in order to discuss the roots of the characters in their homeland, as well as their uprooting in the metropolis due to the diaspora. Therefore, I address the studies by Maurice Halbwachs (2003), Ecléa Bosi (1987; 1994; 2003) and Simone Weil (1996; 2001) to debate these memories and their implications for the plots. Furthermore, I try to discuss the role of family memories in the constitution of the identities of these Sertanejo subjects and, for that, the works of Anne Muxel and Françoise Zonabend (1991) were of great value to me, as well as the studies by Diana Cohen Agrest (2007) and Joseba Achotegui (2000), which helped me to understand the relationships between memory and grief that permeate the narrative of those who were marked by the suicide of a loved one. In this way, I tried to demonstrate the creation of a literary universe in which migrant subjects, marked by uprooting and suicide, sustain their existence in the memory of their roots in the Sertão.
9
SANDRA DE JESUS DOS SANTOS
CONTEMPORARY INDIAN NOVELS: COMBATANT VOICES ON INSURGENCE FLOOR
What themes arise from contemporary Indian women's narratives? Not only in India, but in the world, cultures, literatures and histories were initially shaped by male perspectives. The fiction works to be discussed in this research are: The Space Between Us (2005) by Thrity Umrigar (1961) and The Ministry of Utmost Happiness (2017) by Arundhati Roy (1961). These narratives address the inequalities experienced by Indian women and man in a nation that tries to free itself from patriarchy and the asymmetric inheritance of the caste system. Although India emancipated itself from imperial power in the first half of the 20th century, it is still culturally and epistemologically connected to British power. Performing the role of intellectuals in a post-colonial India, the diasporic authors who form the corpus of this thesis point to ways for decolonization and identity reconstruction. Though the historical and sociological aspects are relevant for the analysis of Indian cultures, the research is inserted in the field of literary studies, therefore representation is the main protagonist of the investigative efforts. The theoretical framework for carrying out the research steps was rooted mainly on thematic approaches from postcolonial literature (BHABHA, 1983; SAID, 2007 and VISWANATHAN, 2015), from subaltern Indian studies (GUHA, 1988; SPIVAK , 1988 and CHAKRABARTY, 2000) and of contemporary intellectuality (MEHTA, 1998 and FOUCAULT, 2006). Literary representations of conflicts, oppression and multiple identity expressions are aesthetic and political cuttings and portraits of the historical context in which the Indian authors find themselves.
2020
Disertaciones
1
ELIENE SANTANA DOS SANTOS
VIOLENCE AND SUBVERSION IN FE EN DISFRAZ BY MAYRA SANTOS-FEBRES
This research aims to examine the representations of black women found in the novel Fe en disfraz (2009), by black Puerto Rican writer Mayra Santos-Febres. In this novel, among other themes, the writer addresses the colonial violence reported by the characters and how they reverberate in the body of black women today. In this context, it proposes to analyze what relationships the author makes between past and present times, and how she presents the parallels, differences and continuities of the characters' trajectory. It also seeks to analyze how the coloniality of power produced discourses about subjugated bodies and how the author rewrites the paths of black women in this decolonial shift in the narrative. It will also present which strategies the writer uses in the porous relationship between the real and the fictional, as a device to create possibilities of subversion within the colonial inheritance system, both in history and in literature.
2
VICTOR CAMPOS MAMEDE DE CARVALHO
THE SECOND VATICAN MYTHOGRAPHER: ANNOTATED TRANSLATION OF NARRATIVES ABOUT SATURN AND HIS DESCENDANTS
This work proposes an annotated translation of the myths about Saturn's offspring within the work of the Second Vatican Mythographer. The work is divided in three parts: the first addresses the Vatican Mythographers and the mythographic tradition; the second discusses translation theory; and the third constitues the translation itself. By Vatican Mythographers we mean the general designation given to the set of three works found, in 1831, by Angelo Mai, then prefect of the Vatican. The works - which are named First, Second and Third Mythographers - compile a variety of Greco-Roman myths, falling within the extensive mythographic tradition. To contextualize where the Second Mythographer is positioned, a brief history of mythography and its main works is presented. In the scope of translation, notions of the classical theory of translation are displayed in order to contextualize the practice of translation in contemporary times, thus seeking to understand what the act of translation consists of and what the role of the translator within this process is. It is also discussed about the translator's ethical role in creating new identities and imagery about the cultures of the works he translates. Finally, the translation of the myths is presented, with the explanatory notes serving to elucidate more obscure passages, identify historical or mythological figures, and point out the classic sources of the texts.
3
NATIELLY DE JESUS SANTOS
FOR A THEATER BY AND FOR THE DEAF: ANALYSIS OF THEATERAL LANGUAGES OF THE DIFFERENT PLAYS,
NO ONE ELSE WILL BE GOOD AND CITY OF GOD – CASES AND CONFLICTS
The research proposes a reflection on theater for the deaf and for the deaf, through the analysis of theatrical shows Different (2011), Nobody else will be good (2012) and Cidade de Deus – Cases and Conflicts (2017). In this study, we carried out a mapping with some groups and/or national theatrical shows that involve deaf actors, in addition to presenting deaf artists in other languages such as mime and pantomime, Slam and Stand-up. The analysis of the aforementioned theater works involves the discussion of creative processes, dramaturgy, target audience, modes of production, Libras and Portuguese Language, scenic elements such as lighting, costumes, props, scenery, sound design. With this research, it is intended to contribute to the theatrical practices developed by deaf and hearing artists, taking into account the characteristics and relationship between theater and accessibility
4
NORMA SUELI DE ARAÚJO MENEZES
THE BUILDING OF MEMORY IN AMULET, BY ROBERTO BOLAÑO
This research has as its central theme the construction of memory based on the analysis of the work Amuleto (1999), by the Chilean writer Roberto Bolaño (1953-2003). Our goal is to identify how the construction of memory occurs in the narrator character Auxilio Lacouture, understood by us as the personification / image of literary and political memories. For the elaboration of this work, interlocutions were made with theorists who deal with the question of memory, history and the past, as well as authors who point out in the avant-garde movements probable paths to literature as we consider that these issues, in addition to permeating the analyzed work and directly related to the research theme, are necessary for a better understanding of the study proposed here. It was possible to verify that, in the work Amuleto, the delusional account of the narrator character Auxilio Lacouture reconstructs her past from the memories of facts she lived directly and indirectly. We also verified that the fictional texts are instruments that collaborate in the reconstruction of speeches other than the official ones and that the story can be retold and reconstructed through narratives such as the one analyzed in this work.
5
JULIA DIAS DA SILVA
Through written, aphrodiasporic and black bodies: a reading of Um defect in color, by Ana Maria Gonçalves
This research presents a reading of the novel Um defeito de cor (2017), by Ana Maria Gonçalves, under three aspects: writing of black women, African diaspora and black bodies. The writing of black women, here represented by Ana Maria Gonçalves, reconstructs experiences and triggers collective memories of the slave past, as well as a present in which the stigmatization of black bodies deprived of social, intellectual and cultural identity still exists. In a narrative that spans 80 years of history, the historical context of a 19th-century slave-owning Brazil is reconstructed, according to Kehinde's writings. There are, in Um defeito de cor, narratives and images of blacks distanced from the canonical and hegemonic pattern that dehumanizes black men and women. In addition, the work points to historical rescues along with the representation of identity and the protagonism of blacks. The analysis of the work has as its theoretical contribution the intellectual productions of Beatriz Nascimento (1989), bellhooks (2019), Conceição Evaristo (2005), Édouard Glissant (2005), Leda Maria Martins (1997), Paul Giroy (2008) and Wlamyra Albuquerque (2010) that point out key concepts to understand the character Kehinde as the protagonist of his career, who reconstructs and subverts the white hegemonic discourses
6
MAURÍCIO SILVA DA ANUNCIAÇÃO
Hiv-positive, bodies that resist: writings from own experiences, identities and subjectivities.
In Brazil, it is estimated that 900,000 people live with HIV and many of them are anonymously hostages to the stigmas that have been constructed and accompany the historical and social transformations that have occurred in societies. Considering this context, it is analyzed how language and discourse are fundamental tools to formulate discursive representations about bodies that coexist with the diagnosis of positive for HIV/AIDS. It is verified how contemporary Brazilian Literature can be triggered as a device of opening, affirmation and reexisting of dissenting bodies that seek to challenge their place of speech. In addition, it analyzes how representations of people living with HIV/AIDS are elaborated, this dissertation points out that, in addition to stereotypes there is a systematic erasure of black bodies that write posit[hiv] literature portraying their writings. Thus, the study proposes the elaboration of an afrodiaspathic epistemology to read and narrate the literary production of black bodies living with HIV/AIDS. To this end, we invest in the notion of Literatura negro-posit[hiv]a, as one that seeks to crack the hegemonic social processes that seek to institute norms annulling body subjectivities. To this end, the writings and concerns of the HIV-positive researcher for seven years are triggered, but at the same time sought to overcome the limits of his relationship with serology by mobilizing other posithivas voices to broaden the dialogue through the deconstructive perspective by refusing to be narrated by the desire of the other. Thus, the study proposes to amplify the look at the productions arising from those that, historically, were represented by the hegemonic white discourses.
7
MONALISA SACRAMENTO DE OLIVEIRA
Candace black women, black women in power: black women's intellectuality of Ile aiye
In this study, they were analyzed as intellectual productions of black women, who are inserted in the context of the Afro Ilê Aiyê Block. Theoretical operators were used as recording and creation of blacks, respectively, of black intellectual women, a saber: Conceição Evaristo and Neusa Souza Santos. Issues related to the construction of black identity, from memories of racism to the recognition of one's aesthetics, were analyzed here. As well as the new places of enunciation, which present gifts with the intention of subverting discursive constructions without legitimacy, thus considering a possibility of different forms of existence. The dialogue between the local and the global shows the Afro bloc as the pioneer in the process of changing the trajectory of Afro-Bahians and Afro-Brazilians. This work was possible to conclude that Ilê Aiyê is a common place of contribution to the writing of the author of this dissertation, as for other black women, who builds and still builds as her intellectual productions that have the afro block as a perspective. As the invisibility of female actions in the face of decision making is undeniable, as well as the maximum number of song lyrics compositions in a block, the study sought to break silences and manifestos such as artistic and intellectual productions of a selected body.
8
TIAGO CORREIA DE JESUS
POETICS OF THE ENCOUNTER: QUESTIONS OF TESTIMONY AND SUBALTERNITY REPRESENTATIONS IN INDULGÊNCIA PLENÁRIA, BY ALBERTO PIMENTA
This work aims to study the book Indulgência Plenária (2015), originally published in 2007 by the Portuguese writer, poet, teacher and essayist Alberto Pimenta (1937-), who, based on an extensive poem divided into five sections, presents the case of Brazilian transsexual Gisberta Salce. Tortured and murdered in 2006 by a group of teenagers from Oficina São José, an institution linked to the Catholic Church in the city of Porto, Portugal. Gisberta died after being thrown into the pit of an abandoned building. We studied the poem as a “Poetics of the Encounter” between the poetic subject and Gisberta, an encounter that occurs with the poetic subject speaking by, of and with Gisberta. We wished to discuss the implications of Gisberta's representation by the poetic subject in this “poetics of the encounter” based on two theories: the theory of testimony by Giorgio Agamben in the book What remains of Auschwitz (2008) and the theory of subalternity by Gayatri Spivak in Can the subaltern speak? (2014). Thus, from the way in which the play of subjectivities is organized in the poem, we wished to verify whether it is possible to identify in it the categorical limits between testimony and subalternity in Gisberta's representation. However, we conclude that the two theoretical fields in question are not complementary, but are in permanent supplementation in relation to each other.
9
TIAGO CORREIA DE JESUS
POETICS OF THE ENCOUNTER: QUESTIONS OF TESTIMONY AND SUBALTERNITY REPRESENTATIONS IN INDULGÊNCIA PLENÁRIA, BY ALBERTO PIMENTA
This work aims to study the book Indulgência Plenária (2015), originally published in 2007 by the Portuguese writer, poet, teacher and essayist Alberto Pimenta (1937-), who, based on an extensive poem divided into five sections, presents the case of Brazilian transsexual Gisberta Salce. Tortured and murdered in 2006 by a group of teenagers from Oficina São José, an institution linked to the Catholic Church in the city of Porto, Portugal. Gisberta died after being thrown into the pit of an abandoned building. We studied the poem as a “Poetics of the Encounter” between the poetic subject and Gisberta, an encounter that occurs with the poetic subject speaking by, of and with Gisberta. We wished to discuss the implications of Gisberta's representation by the poetic subject in this “poetics of the encounter” based on two theories: the theory of testimony by Giorgio Agamben in the book What remains of Auschwitz (2008) and the theory of subalternity by Gayatri Spivak in Can the subaltern speak? (2014). Thus, from the way in which the play of subjectivities is organized in the poem, we wished to verify whether it is possible to identify in it the categorical limits between testimony and subalternity in Gisberta's representation. However, we conclude that the two theoretical fields in question are not complementary, but are in permanent supplementation in relation to each other.
10
BRUNA LOUIZE MIRANDA BEZERRA CASSIANO
BODY SPILL IN WORDS: THE WRITING OF SOLITUDE IN QUARTO DE DEPEJO
This dissertation detains itself on a writing about loneliness displayed in Quarto de despejo (1960), work of the black writer Carolina Maria de Jesus. Analyses the way that Carolina express a lonely I in her diary, evaluating the crossings of daily experiences that culminated in a founding solitude, a phenomenon capable of structuring affective relationships inside and outside of the Canindé slum, localized in the capital of São Paulo, Brazil, place where the writer lived with their children during the 1950 decade. Loneliness seems to be seize of everywhere, having a vast netting of meanings (PACHECO, 2013) that acts as wires conductors of significance in the reading of Quarto de despejo, crossing misery, hunger, abandonment, struggle for life, frustrations and dreams of Carolina. Her body and her diary were redoubts of loneliness. For this interpretative analysis, this work is organized as follows: on a first moment, investigates the construction of the ground narrative express on work, exploring the sharing of stories between Carolina Maria de Jesus and the other subjects of the slum, have on focus the affections who gave substance to the writing of her own solitude, an elementary part of her living-writing; then, reflects on the particularity of this loneliness, questioning certain understandings about the word “loneliness”, established in a universal logic that ignores the existence of people like Carolina Maria de Jesus, conditioned to a specific loneliness, firmed, above all, in their black bodies; finally maps the loneliness on places traveled by the writer, analyzing the way she perceived herself alone and pointed to multiples violences that converged in different aspects of a loneliness experienced between the slum and the center of São Paulo city. In Quarto de despejo, loneliness is exhibited according to a gradation of colors and images, reacting to movements that swings and interferes with the way that can be capture. Therefore, is no possible close Carolina Maria de Jesus in a fixed image of loneliness, just as one can not imprison the expression of her lonely I in a single sense of the word. The analysis of the theme reveals that Carolina’s loneliness was not restricted to the bitterness of knowing herself as alone. It was not an inoperable loneliness, which stagnates the subject in his own helplessness. Under certain circumstances, solitude portrayed by the narrative was pure potency, a creative force capable of acting in the elaboration of a work aimed at the survival of those who suffers on the margins. To reach that knowledge, a constant dialogue with black intellectuals is maintained. These are: Conceição Evaristo (2008), Achille Mbembe (2014), Frantz Fanon (2008) bell hooks (1995), Grada Kilomba (2018), Patricia Hill Collins (2016), Neusa Souza (1983), Milton Santos (1979), among others, whose theoretical contributions are fundamental for the execution of this work and are spread throughout the proposed discussion.
11
ANA PAULA SILVA SANTOS
Book I of the First Vatican Mythographer: introductory study, translation and notes
In order to contribute to the study and translation of literary works from late Antiquity and the Middle Ages that are under development at the Federal University of Bahia, in the Postgraduate Program in Literature and Culture, the present work consists of presenting the first proposal of translation into Portuguese of the work known as the First Vatican Mythographer, Book I, whose author is anonymous. The work, which is part of the group known as Mythographi Vaticani, is a compilation of classic myths that, during the Middle Ages, were reinterpreted in the light of Christian moral philosophy. The translation is accompanied by notes and an introductory study in which is approached the mythographic genre and the survival of ancient myths through interpretations (evemerist, physical, psychological and moral), and which also is discussed the handwritten tradition, the printed tradition, and the sources used by the mythographer.
12
RAMON SILVA DO ROSARIO
SEMIOTICS AND TRANSLATION: POETRY CONCRETE AS INTERSEMIOTIC TRANSLATION AND ITS DEVELOPMENTS
This work has as its object of study the relationship between Semiotics and Translation, based on Concrete Poetry, which, as an intermidiate genre, presupposes the existence of translational relations between the verbal and non-verbal systems. It is inserted, therefore, within the Literature area, in the research line of Intersemiotic Translation. Translation is assumed to be a communicative act, possibly present where there is communication. The work, carried out here, intends to rethink translation conceptually from the understanding that in Concrete Poetry there is intersemiotic translation in itself, that is, between verbal and non-verbal, based on Peircean Semiotics. Rethinking means re-signifying the translation act, understanding it as a vital activity of human beings as beings with language. Concretism profane the convention of the language itself with iconic signs. The interweaving of the two systems presents a dialogue that constitutes a main part of the materialization of the poems. It is at the heart of these relationships that translations take place. In order to recognize these relations of translation, it is necessary to review what is known about the act of translating and what applies, or not, to concrete poems. The deconstruction triggered by Concretism opens space for new possibilities for receiving the text. The concrete poem can be read from several senses, without a linearity, without chronological and logical priority (common features in conventional translations) between verbal and non-verbal, as a result of being the product of the creation-translation of an author-translator .
13
VAILSON DA SILVA ARAÚJO
“FROM THE MATTER BY WHICH DREAMS ARE MADE”: THE STUDY OF ONEIRIC NARRATIVE IN THE FRAGMENTARY PROSE OF THE LIVRO DO DESASSOSSEGO, BY BERNARDO SOARES / FERNANDO PESSOA
This work intends to point out the oneiric outlines of the Livro do Desassossego prose, as well as the assumptions underlying fragmentary expression in the pessoana composition, thus establishing a new interpretative and theoretical bias. From the reflection on the fragment’s concept, one may see a possible textual conception based on the understanding of the narratives with a dreamlike nature, transposed to the context of poetic prose, in its close relation with the fragmentariness that characterizes and ensures the survival work. Therefore, it seeks to promote a dialogue between fragments and passages allusive to the dream and the state of expressed drowsiness by Bernardo Soares in his writing movements.
14
MARILIA DO NASCIMENTO COSTA
AUTOFICTION AND BIOGRAPHICAL CRITICISM IN MACHADO by SILVIANO SANTIAGO
In contemporary literature, the emergence of literary productions is a striking trend that causes a disruption in the formal procedures of the genres as we conceive them since modernity, by experimenting with different voices and enunciative records. As a consequence, we have hybrid texts that present fictional, autobiographical, critical and theoretical elements in a single narrative, showing the non-specificity of these works. Based on this hypothesis, this study aims to investigate how the demarcations between reality and fiction can be problematized today, based on two theoretical categories, autofiction and biographical criticism and taking as a case study the novel Machado by the critic, professor and literary Silviano Santiago, thus analyzing the intricate relation between critical analysis and literary narrative. Based on this premise, it is conducted a brief presentation of tensions between reality and the construction of verisimilitude, which marked the emergence of the novel to ponder remarkable categories of contemporary production such as hybridity and non-specificity. Therefore, the mapping presented about notions of autofiction and biographical criticism intend to offer a historiographical trajectory of the terms, besides proposing a theoretical discussion that might broaden the forms of reading countless contemporary works.
15
ALINE CESAR CARVALHO
Princesses, Warriors and Revolutionary Women: Rethinking Gender Norms and Identities through Children's Literature
This dissertation deals with the reproduction of gender patterns in childhood and their implications for maintaining oppressive structures that prescribe demarcated places for the socially feminine. To this end, I resort to a genealogy of childhood history that allows me to understand in what ways the social construction around an ideal femininity guided the foundation of children's literature as a didactic-moralizing tool. In these terms, it was also necessary to return to women's history in order to understand how the historically imposed oppressions of gender, race, and class directed them to the need to unite as a group and found an organized movement for the struggle for women's liberation, whose demands and questions guided the beginning of a reflection process about the impacts of literary representations on the formation of the generations of women who grew up reading these stories. From feminist theory, and considering gender as a theoretical tool of literary analysis, I observe how The contemporary Brazilian children's literature has proposed places of female protagonism that break with physical and behavioral stereotypes commonly conditioned to the female. Six feminine-juvenile literary works of female authorship, published in Brazil, were chosen to compose the corpus of this research, they are: A pior princesa do mundo (Anna Kemp, publisher Peace and Earth), Por que só as princesas se dão bem? (Thalita Rebouças, Rocco publisher), the two volumes of Histórias de ninar para garotas rebeldes (Elena Favilli and Francesca Cavallo, Vergara & Ribas publishers), Meu crespo é de rainha (bell hooks, Boitatá publisher) and Rainhas (Ladjane Alves Souza, publisher EDUFBA). By analyzing them as representative of a contemporary literary and editorial segment, I seek to strengthen the debate about the importance of children's and youth literature for the construction of the imagination, and of a feminist and anti-racist education for the formation of a critical consciousness since childhood.
16
DÂMARIS CARNEIRO DOS SANTOS
História da Paixão do Senhor: genetic edition and study of creation process.
Regarding the Bahian theater produced in the 1960s, the theatrical work of the actor and playwright João Augusto Azevedo stands out, through the action of the group A Sociedade Teatro dos Novos, whose first expressive output took place in 1961 with the text História da Paixão do Senhor (History of Lord's Passion) in the neighborhoods of Salvador and some towns in Bahia's countryside. The text comes from the adaptation and compilation of two medieval texts, Mistério da Paixão by Arnould Gréban and O pranto da Madona by Jacopone da Todi, and the modern text A Via Sacra by Paul Claudel, which have been translated by Estela Froés. The study proposed here seeks to highlight the process of creating HLP carried out by João Augusto. Based on the construction and study of the genetic dossier, a manuscript (1961) was selected, which, due to its drafting circumstance, has erasures in its materialness, in order to make genetic readings on the text and the writing project of João Augusto through a genetic editing. This study brought up one more facet of the playwright João Augusto, contributing with information about the beginning of his career in Bahia and corroborating with his status of importance in the history of popular theater therein.
17
PRISCILA DE PAULA PURIFICAÇÃO
Where is W. Shakespeare? A study of the dialogic relations in the film Lost and Delirious.
The dissertation aims to analyze, using the taxonomy of Gérard Genette (2010) and some reflections by Jacques Derrida, the intertextual relations recreated taking from plays by William Shakespeare, in the Canadian film Lost and Delirious, released in 2001, and directed by Lea Pool, in which the heteronormative relationships of the dramatic texts are re-signified, socially and historically, in the lesbian love relationship between two young students, in our contemporaneity. The story told from the perspective of Mary, the most recently enrolled student at Perkins Girls High School, addresses the development of strong bonds of friendship between the three roommates - Paulie, Tory and Mary herself - in addition to the love affair between the first two protagonists, who are prevented from being together, because they have to deal with difficulties caused by the prejudice of their families and friends, and by the deep crises that they experience in the tortuous path in search of acceptance. Thus, themes such as love, lies, prejudice, power, life, death, all so dear to the English playwright, are exposed and inserted in a critical way in today's society. Intertextual movements make it possible to think of the text as a mosaic of several other texts, thus demonstrating that the translation also results from innumerable intertexts that arise, often unconsciously, and separate it from the mere transport of meanings.
18
MARIA FERNANDA DA SILVA ROCHA
“Cordelirando”: Salete Maria and her Feminist Poetics in the Patriarchal culture of “Literatura de Cordel”
In most studies about Cordel Literature in Brazilian context, the female authorship keeps being put aside. Women have never had equal positions in literature production. With Cordel Literature it has not been different. Despite the female presence in this poetic context, to state about Cordel nowadays remains attached to mostly-male production. Hereupon, this research purposes to analyze the track off female-authorship writing under the perspective of the environment around the cordel-literature scenario in Brazil, exploring Salete Maria’s artwork; to contextualize the Cordel Literature produced during the 19th century; to spot issues that refers to the position occupied by women in Cordel Literature from the 20th century on; to take into account the changes and the reframing of Cordel Literature under the point of view of a female authorship and the feminist thinkings of the cordelista Salete Maria; to display how the works of Salete Maria dialogue with social issues related to women, putting in evidence the female representativeness in the contemporary Cordel Literature production. Based on a examination of the current arises of this kind of poetry, this study intends to discuss around questions related to the reframing of the Cordel Literature under the point of view of female-authorship writing, in order to criticize the unequal and patriarchal social reality. Some aspects concerning to the track of the Cordel Literature have been analysed so that this work could put in evidence the conformation of the such type of poetry in Brazilian situation and the historical approach presence of female writing, assuming how the historical deletion suffered by women over the cordel-literature history in Brazil resulted in low acknoledgment of women presence in the presente scenario. It proposes to analyse how the cordelist Salete Maria’s artwork ist displayed in the conteporary scenario of the Cordel Literature, on it’s different supports, pointing the representativeness and the independence of women in this poetic context. It has been considered new ways of literary spreding with the purpose of empowerment and acknowledgement of women witing in Cordel Literature. It discourses about the path of the female-authorship writing through the outlooks of Salete Maria’s grandmother, Mrs. Maria José. Gender roles formations in Northeastern Brazil has been studied and, under the perception of the masculinities and the obligation on feminities, furthermore, it’s been studied hoe these systems act on sexist contents by male-authorship. Thanks to that, it’s been considered the new ways of writing Cordel Literature under a feminist point of view, used by Salete Maria, through the examination that starts from the relation between this perspective and the persona of her grandmother, Mrs. Maria José, as a picture of resistence and ancestry.
Esta disertación es un estudio biobibliográfico sobre Julio Florencio Cortázar (1914-1984), intelectual, escritor, traductor, profesor, crítico y teórico de Literatura argentino difundido a nivel mundial a partir de la década de 1960. Conocido cuentista del realismo mágico -
corriente literaria que mezcla la realidad y el universo mágico - Cortázar tiene una vasta producción intelectual que engloba de textos críticos, cartas, novelas y manifiestos.Sin embargo, esta investigación se centra en el dimensionamiento de Cortázar como un intelectual múltiple, revisitando los caminos por él recorridos a lo largo de su trayectoria como escritor.Buscamos aquí recolocar Cortázar, un sujeto del siglo XX, como un autor que se hace presente en la contemporaneidad. De este modo, este estudio tiene como objetivo investigar la multiplicidad del autor a través de dos novelas de su autoría: Diario de AndrésFava (1950) y El libro de Manuel (1973), que tienen, aun con la distancia de 23 años, comonarrador-personaje un hombre latino llamado Andrés Fava. Buscamos así entender, por medio de las similitudes entre las narrativas, cómo la pluralidad del sujeto se manifiesta en su producción ficcional. Para ello, consideramos también los compromisos político-sociales y metafísicos de Cortázar que se materializan en sus personajes homónimos, así como algunos acontecimientos biográficos que componen las narrativas y la vida del autor.
20
JOICE DE OLIVEIRA FARIA
Perspectives on black Bahian intellectuals in absences and presences at the International LiteraryFestival in Cachoeira -Bahia
The dissertation proposes to present a critical reading about the (in) visibility and stigmatization of Bahian black intellectuals within the International Literary Festival of Cachoeira (FLICA) in the years 2011, 2012 and 2013, from the reading of the registration forms that the event's organization sends to the Federal Government's Fazcultura project. Bahian intellectual production is seen in this writing as knowledge that transcends academic spaces, taking into account other forms of literary practice that dialogue with the social and human rights of the black population. For this, this process will be conducted in dialogue with narratives of a black bookseller woman in transit (São Paulo - Bahia - World), who through the experiences with black traditions identified in the body that dances, that moves, that plays and that a writing which results in the production of black intellectuals that emerge horizontally. FLICA, in turn, represents a space of encounters and contradictions that chooses the city of Cachoeira as a scenery-landscape to build dialogues between a class of intellectuals linked to the major industries of the publishing and television market and, at the same time, does not correspond the production needs of local publishers, who during those years did not attend the literary event. After a critical analysis of FLICA, we found that the event's organization partially engaged in its dialogue with the community of Cachoeira. Furthermore, Bahian intellectuals are made invisible within the spaces of speech and power, being subjected to the spectacularization of the stages and / or to the standards of table mediators. The criticism of the event has as theoretical support the productions of Abdias do Nascimento, Angela Davis, Beatriz Nascimento, Édouard Glissant, Homi K. Bhabha, Leda Maria Martins, Néstor García Canclini, Sodré Muniz and Stuart Hall, which provide key concepts that can be mobilized for critical writing about the editorial market, black cultures and intellectuals.
21
DIANA DOS SANTOS SANTANA
MEMORIES OF THE BAHIA SLAVE OF THE XIX CENTURY IN UM DEFEITO DE COR
This work aims to analyze the novel Um Defeito de Cor (2006) by Ana Maria Gonçalves in order to identify how fictionally enslavement is represented in 19th century Bahia. Due to systematic attempts to erase the slave period, at the same time as attempts to slow down the violence of this dark blemish in the history of humanity, there is a need to pay attention to the discourses aimed at showing this covert side. Um Defeito de Cor it is inserted in this perspective, because from the memories of the main character, there is the resignification of the historical period that was built by the colonizer's version, bringing to light centuries of silence. Its Narrative is configured as an important material of political, social and cultural analysis of black peoples, and, although it is a fictional work, its characters reflect a whole context of conflicts, personal, collective and social organization desires and social organization afro-Brazilians. It is necessary to point out that this work does not stop at the reflection of the barbarism itself of this period, which is already sufficiently known to us, but in the strategies of survival and resistance that the characters have used, either through revolts individual and collective, leakage, Quilombo formation, etc. For a better comprehension of the novel and its intersection between history and fiction, I used the concept of historiographical metafiction, employed to define the fictional novel that is based on historical facts for the construction of its plot: these narratives use parts of history as elements of the narrative, but do not necessarily have the same commitment to the real that an official historiographical research would have.
This master thesis aims to present the work of Franz Xaver von Schönwerth, a collector of German Folktales from the 19th century, as well as translate some of these narratives. Schönwerth registered, from orality into writing, more than 500 traditional stories from his region, the Oberpfalz [Upper Palatine]. They remained untouched in a city archive in Regensburg until 2011. For a better understanding of those tales -their structure and content-, we conducted a study on popular culture and literature, highlighting the Romantic era in Germany, based particularly on the writings of Peter Burke, Alan Dundes and Rüdiger Safranski. Thereafter, we present Schönwerth's life and work in this context. The third and last chapter discusses the translation of some of his registered tales, based on the model of text analysis in Translation created by the German functionalist Christiane Nord. The stories we translated can be found in the appendix with explanatory notes.
Tesis
1
ANDRE LUIZ NOGUEIRA BATISTA
A moving Eros: the translation of eroticism and the obscene in Jorge Amado.
The study of the erotic and the obscene language in the literary work of Jorge Amado may allow the understanding of the sexual behavior at certain time and space, since many of his novels carry expressions of sexual desire, adulterer passion, virginity and chastity, in different places such as hostels, streets, houses and brothels. In order to expand the studies on the translation of Jorge Amado’s novels, this thesis firstly aimed to identify, interpret and analyze the eroticism and the obscenity in the literary work of this author. In order to ground this analysis, this thesis resorts to reflections of theorists such as George Bataille, Dominique Maingueneau, Giorgio Agambem, Michel Foucault e Pierre Bourdieu, among others. The basic corpus consists of three novels, namely: Dona Flor e Seus dois maridos (1966), Gabriela, Cravo e Canela (1958) e Tenda dos milagres (1969) and their respective translations into English. Later, the research focused on examining the translation of the traces of eroticism and obscenity into English, in order to investigate how the different translators – Harriet De Onís, James L. Taylor, William Grossman e Barbara Shelby – tackled the erotic and obscene language. As a support for the theoretical reflections concerning the translation procedures, this thesis brings reflections of Jacques Derrida, Rosemary Arrojo, Cristina Carneiro Rodrigues e Lawrence Venuti, among others. The analysis allowed me to observe how the representations of eroticism and obscenity were reconstructed, expanded or suppressed, in cultures of pronouncedly puritan origin. The investigation, naturally, includes the translators’ preferences, in addition to the social, historical and political contexts which involve such process.
2
MOISÉS OLIVEIRA ALVES
Clarice Lispector's Lab: experimentation, clinic and clairvoyance.
The present work is an analysis of the novel The Passion according to G.H and the short story The Egg and the Chicken, by Clarice Lispector, from a glossary of contemporary art as experimentation, clinic, territory, production of clairvoyance and delicacy. In this perspective, the poetic texts are treated like essays, manifestos of art, performances of the writing, in which they unfold their conceptual personages, constructed singularly by Clarice. The goal is to capture the writer's uniqueness and her ways of reading our present time. The meeting of the writer of this text and the texts of Clarice takes place at a crossroads, situating the thesis in the theoretical network of performative or dramatic critique, thus breaking the opposing boundaries between literature, criticism and philosophy, and extending in maximum volume relations between scripture, affection, thought and life.
3
MICHEL SILVA GUIMARÃES
César Brie: scenic indications about rhapsody, dialogism, intertextuality and chorality.
This research investigates and collates four dramatic texts by César Miguel Brie: El mar en el bolsillo ([1989] 2013b), La Ilíada ([2000] 2013a), Otravez Marcelo ([2005] 2013a) and Karamazov ([2011] 2017). Such texts were chosen, at first, due to the time gap among them, which allowed us to compare the recurrent features in the author's poetic production, as well as its progression in the presence of political themes and in its textual performance, above all, in the rhapsody of others authors: Fernando Pessoa, Homero, Marcelo Quiroga Santa Cruz and Fiódor Dostoiévski, respectively. Each play presents singular elements that make its study the most opportune within writer’s vast dramatic bibliography. On one hand, we resort to a theoretical corpus composed by authors who reflect upon contemporary dramaturgy, such as Jean-Pierre Sarrazac, with the concepts of rhapsody and chorality. On the other hand, we take into consideration the assumptions that try to characterize the forms of creation of contemporary novel, such as reinventiveness and hybridism, in dialogue with features already present in the modern novel, such as uncanonicity, dialogism and intertextuality. Therefore, the (re) configuration of drama as a genre from the irruption of the novel in theater is analyzed, as well as the power of this (re) configuration in bringing relevant political themes to the text and stage, which generate discursivities, images and performances whose fulcrums are in the revision of the hegemonic history and in the confrontation with the truths.
4
JOBER PASCOAL SOUZA BRITO
BODY AS SCREEN, CITY AS ARENA The ways of the body in the films Cidade Baixa and Ó Paí, Ó.
This work adopts the body as a productive pathway so to reach the feature films Cidade Baixa, by Sérgio Machado (2005) and Ó Paí, Ó, by Monique Gardenberg (2007), which will serve as the scientific basis for this study. By acknowledging the current context of spectacularization of the contemporary cities, we aim to investigate which "microresistances" result from this process and which urban experiences are stimulated in the characters and actors' bodies, thus configuring different “corpographies.” We then proceed to questions related to the pragmatic occupation of the cities through the inventive spatial practices and the social memory generated by the register of experience — a type of urban skin or writing —, which the very city drafts and structures in the individual through his or her experience. Such register also imprints its marks upon the cinematographic narratives, being its skin the screen upon which the day-to-day experience is intertwined in the urban writing, both as vestige and witness. Thus, it is possible to understand the cinema as part of the repertoire of images continuously multiplied through the city. The line of thinking that articulates the ideas here presented aims to remark the ambivalent relations between the human and urban bodies, in which the ways of symbolization and ritualization of the social bonds are intertwined to the informational flows that make possible to understand the city as an arena of the multiplicity, through the defining of borders and accommodating of new techniques of intervention and resistance by the adoption of errant experiences. The bibliographic survey and the investigation object have led us towards a series of theoretical reflections fostered by Gilles Deleuze, Félix Guattari, Michel Foucault, Michel de Certeau, Guy Debord, Giorgio Agamben, Zygmunt Bauman, Vladimir Safatle, Milton Santos, Achille Mbembe, Frantz Fanon, Paola Berenstein Jacques, among others.
5
JORGE AUGUSTO DE JESUS SILVA
BLACK MODERNISM: amefricanidade, oralitura and continnum in Lima Barreto
Abstract: This text invests in the discussion about the existence, constitution and characterization of a black modernism, in Brazilian literature, triggered from the work of Lima Barreto. At first, after a brief discussion on the central discursive formations of São Paulo modernism, we investigated the tensions, continuities and ruptures that mark the relations between the Rio de Janeiro author and the group of the week of 22. In this framework, central categories in the constitution of the field national literary texts such as: between-place, rupture and critical assimilation are considered inappropriate, as an exclusive critical apparatus, to instrumentalize the understanding of the specificities of Barretian work, which, in turn, brings into play an epistemic and political repertoire linked to the black cultural tradition in Brazil, until then neglected by the traditional field of Brazilian criticism. With this movement, Lima Barreto's work requires, for his exegesis, a new set of theoretical and critical devices that challenged and challenged the literary field. In the sequence, we seek to demonstrate how the attributes of the Barretian work are marked by black-Brazilian culture. We used three notions as the basis for this argument: language, territory and memory. From these discursive nuclei we endeavor to present two central aspects of the Barretian work: a) how the work of the black novelist dialogues intensively with the Afro-Brazilian cultural repertoire, resulting from the processes of reterritorialization of African culture in Brazil; b) the fact that his work constitutes a powerful critical contribution to the modern project, above all, the way it was developed in Brazil, through the duplication of the colonial structure in the modernizing movements of Brazilian society. In the third movement of this text, we seek to speculate on the contributions of Lima Barreto's work to contemporary Brazilian society, starting from three nuclei: the constitution of an ethics, its contribution to the work of the black intellectual, and its importance in the constitution of a criticism literature that is less Eurocentric and more open to dialogues with the multiple epistemic inscriptions of Brazilian culture. As a starting point for this research, we established Lima Barreto's novels as a corpus, and undertook a bibliographic survey of his works and Brazilian modernism. In establishing the theoretical framework, we resort to dialogue with a field that has been solidifying in Brazilian criticism and which is characterized by the production of a critical and analytical repertoire produced from black culture in Brazil, therefore, consistent with the central objective of this study, or that is, to analyze the work of Lima Barreto from a non-Eurocentric theoretical framework, thinking and pushing the limits of the critical field of Brazilian letters. For this purpose, we dialogue more intensely with the works of Muniz Sodré (2002), (2017), Leda Maria Martins (1997), Lélia Gonzáles (1988) and Beatriz Nascimento (2007), José Henrique Freitas (2016), Edmilson de Almeida Pereira ( 2010), (2017)
6
MURILLO CESAR DA SILVA SILVA
When I was stuck: the lithero-autobiographematic narrative of Caetano Veloso
The present thesis, based on a qualitative methodology of a bibliographic nature, aims to analyze, in the narrative “Narcissus on vacation” (p. 349-402), which composes the third part of the work Tropical Truth (2017), the discourse of the singer and composer Caetano Veloso (1942-). The construction of the aforementioned text with an autobiographical profile, conceived in the hybridization of genres, is projected from a special treatment given to language, using stylistic resources that confer literary status to the narrative. For the development of the plot - the imprisonment that took place in December 1968, together with the singer and composer Gilberto Gil (1942-) -, the real entity, Caetano Veloso, by instituting a narrator functioning in the first person, becoming a character of himself, adopts, as a narrative impulse, an “autobiographeme”: The difficulty with sleep, making emerge from the texts of various genres, which constitute the work in question, a narrative that, under the dominance of the poetic function of language, provides the reader to experience - in the scriptural universe - the horrors of the tense climate of the Brazilian military dictatorship. For the composition of the main theoretical corpus, we selected the following authors and their respective works: Anna Caballé, Figuras de la autobiografía (1987); Elizabeth Bruss, Actos literarios (1991 [1976]); José Amícola, La autobiografía como autofiguración: estrategias discursivas del Yo y cuestiones de género (2007); Leonor Arfuch, O espaço biráfico: dilemmas of contemporary subjectivity (2002); Néstor García Canclini, Hybrid cultures: strategies for entering and leaving modernity (2003); Philippe Lejeune, The autobiographical pact: from Rousseau to the internet (2014) and Roland Barthes, The clear camera (1984 [1980]) and Sade, Fourier, Loyola (1990 [1971]). With the discussions coming from the selection in focus, we seek to situate Tropical Truth in the contemporary cultural context and, as a result of our research, to highlight the existence of another possibility of reading the aesthetic product of the Tropicalian artist: the lithero-autobiographical narrative.
7
JULIANA DIAS BASTOS
PRIDE AND PREJUDICE, YOUTUBE AND SOCIAL NETWORKS: NEW ADAPTATIONS FOR NEW MEDIA AND VIEWERS
Adapting literary works is a very old activity, but even so, it faces some prejudice due to its character of reconstructing another work. This dissertation proposes to discuss adaptation not as something inferior, but as an an activity of recreation and reconstruction of a previous text. These principles will guide the identification and discussion of some of the choices made by the adapters of the novel Pride and Prejudice for the transmedia storytelling of the web series The Lizzie Bennet Diaries so that the latter becomes more understandable for the 21st century viewer. The corpus consists of the novel Pride and Prejudice and the transmedia narrative of the web series The Lizzie Bennet Diaries formed by the main series mentioned and three other short series: The Lydia Bennet Diaries, Maria of the Lu and Domino: Gigi Darcy. Finally, the profiles of the characters of the webseries on the social network Twitter will also compose the corpus. Aspects of the novel and adaptation will be discussed using theoretical tools provided by the deconstructive theory of translation, focusing on three aspects: space-time, thematics and gender/sexuality to demonstrate how this contemporary adaptation updates characteristics of the novel. Since the internet, the media where the webseries was created, has characteristics that contribute to shape this adaptation, communication theorists were used to aggregate concepts to this work. In addition to the deconstructivist theories of Walter Benjamin (2008) and Jacques Derrida (1973, 1976, 1995, 2006) and the adaptation theories of Linda Hutcheon (2011), this analysis was based on theories of communication by Henry Jenkins (2009), Vicente Gosciola and Andrea Venutti (2012) and Daniela Zanetti (2013) to discuss, respectively, the culture of convergence, transmedia storytelling and the development of the webseries. Finally, in order to discuss the aspects of space-time, thematics and gender/sexuality, the concepts and ideas of authors such as Edward Said (2011), Susie Steinbach (2004), Shulamith Firestone (1976) and Michel Foucault (2015) were considered.
8
CRISTÓVÃO JOSÉ DOS SANTOS JÚNIOR
Opus Durissimum: experimental ars in the lipogram "On the ages of world and humanity" by Fulgentius, the Mythographer. Two translations, philological criticism and poetic study.
This thesis proposes two unpublished translations into the Portuguese language of De aetatibus mundi et hominis, considered the oldest lipogram that the past bequeathed to us, based on the critical edition set by the Latinist philologist Rudolf Helm (1898). In this way, we offer the first alipogrammatic translation into our language, which aims to allow better access to the Latin text, even serving researchers from the theological, philosophical and historical fields who may be interested in this work. In addition, the first lipogrammatic translation of De aetatibus is performed, considering that, until then, it has only received alipogrammatic translations: one into English, performed by Leslie Whitbread (1971) and another into Italian, performed by Massimo Manca (2003). Thus, our constrictive translation proposal seeks to value the formal dimension of the examined writing, highlighting this important record for the history of art and also serving for a process of poetic enjoyment. This lipogram is currently attributed to the North African and late author Fabius Planciades Fulgentius, the Mythographer, although it has already been credited to a namesake, the Bishop of Ruspe. In the process of knowing this composition, it was necessary to discuss its belonging to the tradition of the Ages and the Poetic Experimental tradition, debating the process of marginalization of constrained writing, medieval art and, in particular, its lipogrammist. The work is divided into a prologue and 14 Books, in a consecutive character seam, and has the Christian Holy Bible as a diegetic fulcrum. Thus, in the elaboration of his liturgical narratives, the Mythographer adopts the letter suppression mechanism, avoiding lexical units that present registration in the 14 initial elements of his Libico-Latin alphabet, something that is being maintained in the lipogrammatic translation proposal. In addition, a work of philological criticism was carried out, aimed at better understanding the textual transmission process of De aetatibus, its composer and the critical starting edition itself, which used five different codices. Finally, an attempt was also made to tension the epistemological framework of theoretical and philosophical insertion of the present translation proposals, fostering various dialogical movements with multiple thinkers.
9
DIEGO HENRIQUE DE LIMA
BRUTALIZED FACES IN THE BRAZILIAN LITERATURE: ANTI-HERO CONFIGUTARIONS ON ANA PAULA MAIA’S WRITING.
The thesis aims to study how is it that the anti-heroism is formulated in the carioca writer’s work, Ana Paula Maia. The writing presents marginalized beings, men on the verge of the social abyss, struggling like animals to survive in an urban system of brutalization and dehumanization. Trash-men, garbage, violence, cruelty in the human relationships, lack of empathy, exploitation, decay and death are lead elements in the narrative. All of them are powered by the aesthetic elaboration that the author accomplishes with the characters: the novel’s protagonists are urban anti-heroes, garbage-men, bombers, butchers, bodies cremators. They are the brutalized faces introduced on the title. Starting with the analyses of the brutes trilogy, completed by the three novels: Entre rinhas de cachorros e porcos abatidos (2013), Carvão animal (2013) e O trabalho sujo dos outros (2011); Therefore, the thesis tends to comprehend the kind of anti-hero that is presented in the work, beginning with the hypothesis that it is a hybrid construction, resulted from the fusion of three different aesthetic tendencies: two from the past and one more contemporary: the Romanticism, the Naturalism and the Pulp fiction/pop literature. It defends that, by choosing the junction of three distinct aesthetic literary currents, Maia introduces in the contemporary frame of the Brazilian literature a different kind of aesthetic character, not much explored yet by other authors. So, the purpose here is to understand how these tendencies convert to mold the anti-hero created by Ana Paula Maia.
10
JUAN IGNACIO AZPEITIA
CANUDOS-TOMÓCHIC: RESISTANCE AND SUBLEVATION REPORTS IN LATIN AMERICA
Resistance and uprising movements have an important presence in Latin American narrative. Suffering people, fighting people, are usual characters in the stories told in this part of the world. The texts provoke questions, dispute power spaces used to trace a profile of the revolted. This research starts with two stories of big cultural impact. The uprisings in Canudos, Brazil and in Tomochic, Mexico. Originated in relatively distant places, into the region, these stories uncover parallelisms, that allows to configure a study object. This object is constructed from the signs its existence leaves in the culture. Words, gestures and images allude to the resistance and uprising movements and their particular characteristics in Latin America. Is highlighted the strong repercussion both narratives have found in the Literary camp as well as in Historiography. The existence of a consolidated version of the facts is questioned in this thesis where an alternative telling is presented, as a result of the analysis performed. The mythic dimension is also contemplated, a contrast is done showing the big difference between considering the rebels like popular heroes or like religious fanatics. Likewise, an analysis is done about the circulation context of these stories, Latin América and its identity issues, the persistence of colonial power and the epistemological challenges of Latin American society. A consequence of our research is the develop of comprehension models for resistance and uprising movements using a cyclic paradigm. Contemplate the struggle of involved forces from a bigger temporal frame, assuming the seniority of the civilizations that populated this region before invasion from European nations. In this way too, appreciates, expanding the geographic coverage, the simultaneity and coincidences, between stories from different places and moments, as a consequence of colonial oppression. This thesis affirms that resistance and uprising narratives, with all the restrictions that have been contemplated, are a unify element, indicting the existence of interest and enemies in common in Latin América. This work affirms, the presence of insurgents that never give up suggest the existence of a fight that still continues to the present day.
11
ANA CRISTINA MOREIRA PESSÔA LOPES
BACKLAND IMAGES IN THE FEATURES OF ELOMAR FIGUEIRA MELLO AND CÂNDIDO PORTINARI: A COMPARATIVE EXPERIENCE.
The research aims to think about the formation of “Sertão” images in the reading experience from the DVD recording of the staging of Auto da Catingueira, by Elomar Figueira Mello, occured in 2011, at the Palace of Arts in Belo Horizonte-MG, Brazil; and reproductions of paintings from the series Os Retirantes, painted by Cândido Portinari in 1944. Within this cut, theoretical reflections are sewn, especially linked to the notion of image and to the relations between the different languages of theater, music, literature and painting, moving such reflections to the context of each author and his construction, to the context of a reader. At the same time, there is a search for a new meaning about the individual perception and the critic of the authors and their constructions, giving them a certain view from an ever provisional and dynamic reading perspective. The Auto pieces, written and performed like an opera, go flowing in each Portinari's paintings, considering the relations between the artistic labor of the languages compositions and the perception by a reader, making each reading experience a transdisciplinary search for forms, memories and contexts that, with imaginative activity, will form momentary moving images of “Sertão” to each reading experience. Such discussion takes place within the scope of the theory of literature and comparative literature, especially with regard to the role of the reader and the interart and interlingual relations, as well as the historical and political potency of imaginative activity.
12
Cristian Souza de Sales
RESISTANCE SETTLEMENTS: BLACK INTELLECTUALS FROM BRAZIL AND THE CARIBBEAN IN EPISTEMIC INSURGENCIES.
Este texto invierte en la discusión sobre producción de conocimiento (literatura y crítica) de las escritoras e intelectuales negras en América Latina y el Caribe. Así, eligió cuatro voces femeninas: Esmeralda Ribeiro y Conceição Evaristo (Brasil); Mayra Santos-Febres y Yolanda Arroyo Pizarro (Puerto Rico). Para la composición del corpus se seleccionaron ensayos críticos y cuentos publicados entre 1982 y 2019. De manera articulada, el análisis de las obras demuestra la constitución de una praxis intelectual negra o praxis de intelectuales negros que se fundamenta en la ascendencia negra africana. , en las historias y en los legados de lucha y resistencia de los ancestros. Además de discutir las particularidades de estas narrativas, en la doble dimensión ensayística y literaria, nos esforzamos en hacer operativo el concepto de asentamientos de resistencia. En un principio, en los rituales epistémicos, utilizamos códigos de entrada como una provocación a la noción de asentamiento: poesías/poemas, escenas novedosas y reflexiones diversas. En un segundo momento, invertimos en los asentamientos de las historias de nuestros ancestros africanos y negros para enfatizar los legados de resistencia emprendidos en la diáspora. Sumado a esto, destacamos cómo los asentamientos de resistencia dan lugar a saberes y narrativas silenciadas por las epistemologías dominantes. A partir de otros movimientos, seguidos de una interpretación creativa y analítica de ensayos críticos y cuentos, mostramos cómo los asentamientos de resistencia se levantan contra el epistemicidio y el racismo epistémico. Al organizar el marco teórico, recurrimos al diálogo con un campo que se caracteriza por la constitución de un amplio repertorio crítico y analítico producido a partir de enfoques basados en epistemologías negras, africanas y decoloniales. Entrelazando perspectivas, buscamos especular cómo los asentamientos de resistencia se inscriben como una gramática en la producción de conocimiento de las escritoras e intelectuales negras latinoamericanas y caribeñas. A través de este gesto epistémico resultante de la ascendencia negra-africana, observamos cómo la literatura y la crítica femenina negra, en formas de sentir, ver, actuar y pensar/teorizar: i) restituyen nuestra humanidad vulnerada por la dominación colonial; ii) restablecer el protagonismo de nuestras existencias; iii) volver a encantar el mundo.
13
TÚLIO D'EL-REY ALMEIDA
THE WRITING HANDICRAFT: LITERARY WORKSHOPS AND THE CONTEMPORARY BRAZILIAN WRITER'S PROFESSIONALIZATION
The thesis aims to analyze the relationship between the rise of literary workshops and the professionalization of writers in the contemporary Brazilian literary field. In the last few years, along with the rise of creative writing courses, it is noticeable the consolidation of a professional status for many Brazilian authors. In this context, literary workshops work both as a subsistence activity and as an instance of artistic literacy. For countless authors, socially recognized as professionals, paraliterary activities (literary workshops, lectures, fairs, etc.) represent their main source of income. In many aspects, it is possible to consider that the attributions of a professional writer, although centered on his writing, are not restricted to that, therefore it is pertinent to understand the reconfiguration of the literary occupation in this scenario. As a paraliterary activity, the coordination of workshops seems to fit the contemporary literary circuit in which writers are invited to perform and publicly expose their image. Based on this bias, the research focuses on the analysis of writers who coordinate workshops, looking how this activity helps them in the condition of professional authors. Similarly, the possible impacts of creative writing courses popularization in the contemporary Brazilian literary field are also analyzed, especially with authors whose successful insertion in literary life started in literary workshops, understood as a way of literacy and access to the literary career. In this regard, the success obtained by authors graduated from creative writing courses in some of the main national literary awards is noteworthy, whether in contests of manuscripts or as independent authors. Thus, the thesis aims to map a contemporary movement, somewhat restricted to the last twenty years, whose influence seems to be increasingly prevalent in the Brazilian literary field, presenting new ways of thinking about the idea of the writer's occupation in contemporary times. Methodologically, the research is based on the sociology of literature, observing the strategies of insertion and permanence of Brazilian writers in the contemporary literary field and its relationship with the rise of creative writing courses in this same scenario. For that it was performed field visits, interviews, and literature research.
14
NIVANA FERREIRA DA SILVA
SIGNATURE AND COUNTERSIGNATURE: RICARDO LÍSIAS. AUTHOR'S PERFORMANCE
This thesis aims to discuss how the signature of the author Ricardo Lísias is constructed. Based on Jacques Derrida‟s notion of signature, in dialogue with a theoretical-critical framework of the contemporary literature, we consider Lísias‟ name as exemplary for the problematization of how a signatory act is forged nowadays. The work promotes a displacement in the signature‟s comprehension, since it brings to discussion questions that challenge us to understand the recent literary practices. In order to develop the discussion proposed, the thesis is organized around three themes: the borderline between life and work, performance and countersignature. It is argued that the transformations in notions of authorship, work and literature‟s idea are related to a rearrangement between the real and the fictional, interfering with the ways an author signs. Thus, it‟s possible to think of how a type of intentionality can be identified in the author‟s performance, which is also a device that creates a signature. We observe that Lísias‟ acting inside and outside the text influences and monitors his work‟s reception, taking advantage of the countersignature in benefit of his own signatory act. Therefore, face a set of author‟s procedures that mobilize the theoretical discussion about signature, we understand that the author capitalizes on issues of our time in favor of his name‟s circulation, which induces his work to raising reflections about contemporary literary productions.
15
RICARDO HORACIO PIERA CHACON
Listening to the Dream of the Word of Elicura Chihuailaf: echoes of the history, thought and gestures of a nütram
This thesis aims to develop an exercise in listening to the word production of the poet, thinker and activist mapuche Elicura Chihuailaf. The text is based for the conversation the book Recado confidencial a los chilenos (1999; 2015), and the poemario De Sueños Azules y Contrasueños, (1995; 2002). In 2000, ten years after the return to democracy in Chile, Chihuailaf published his Recado, in a gesture that intends to denounce the advance of national and international conglomerates in the construction of dams and the plantation of exotic species, which has resulted in a gradual desertification on soil and expropriation of ancestral lands. It seeks to draw the attention of public opinion in a writing movement that aims to destabilize the asymmetries in which the social, political and cultural life has been based, among the Chilean people and the Mapuche people, by making it evident that the depredation carried out by economic interests has deteriorated, also, the living conditions of Chilean society in general. The purpose of the operation is to bring the two peoples closer together, based on a historical and cultural revision, which should result in the refoundation of a plurinational state. The gesture used in the construction of the Recado is based, in turn, on the ancestral expression of nütram, the conversation understood as the art of listening, taken up and updated in a literary work that the poet calls oralitura. The non-specific translated in the presence of both a variety of subjects, modes of expression and “prose-graphic” forms, as well as the knowledge of the Mapuche people, the kimün, learned from the source heard by the stove, are the material that draws the poet's nütram . In the search for dialogue, the thesis is constructed, then, as an experimental writing exercise, based on a textuality in which features of the ancestral mode of expression are juxtaposed with conventional forms of western academic thesis. Along this same path, the thesis takes as its main subject the art of the word Mapuche, synthesizing its ancestral episteme reinterpreted by Chihuailaf, to review, through a mise-en-scène of this diversity alluded to above, its history, forms and fields of interest for which it is manifested today, and the way in which it is constituted as the main tool to face the conflict denounced by the poet in his Recado. Thus, this thesis defends the idea that this listening exercise can reveal both possibilities of questioning the official discourse, as a way to overcome rooted assumptions, as well as other ways to exercise literary criticism, from the idea of “ talk to ” instead of “ analyze / talk about ”. The entire conversation seeks to dialogue with the ideas, descriptions, narratives and poetics staged by Chihuailaf, in order to make this voice the main theoretical engine of the thesis. The search for other ways of building knowledge in Latin America is implicitly based on the ideas of epistemic disobedience, by Walter Mignolo (2010), decolonization and transmodernity, by Enrique Dussel (1994, 2015), and de-colonized practices and discourses, by Silvia Rivera Cusicanqui (2010, 2018). Finally, the thesis presents itself as a singular way of dialoguing with the poet's mapuche word, without the intention of constituting a gesture applicable to other texts of indigenous or western authorship.
16
FRANCISCO ROMÁRIO NUNES
CARTOGRAPHIES OF SPACE: CORMAC MCCARTHY'S NARRATIVES TRANSLATED INTO FILM
This doctoral dissertation maps the West as space based on the novels All the pretty horses (1992), No country for old men (2005) and The road (2006), by Cormac McCarthy, and the films adapted from his books. Inscribed as the main space in the culture of the United States, the West is characterized as a rhizome-space (DELEUZE&GUATTARI, 2011), a border landscape that translates itself into multiple imaginaries in the intermingling of word and image. McCarthy builds this geography in his works as an extension of language itself, which unfolds in a territory both of belonging and displacement of identity. The author also unveils the transformation of frontier space and its influence on human erosion. Hence, this dissertation questions how the film adaptations translate this space and recreate the iconography of the West from the novels based on the hypothesis that the films draw narrative procedures from the western as a genre in order to rewrite and resignify the literary works, thus establishing new discourses and dramatic figurations as compared to the source texts. Under the effect of the West as mythology, literature and cinema activate discourses and meanings that contribute to keep the expansion of this imaginary space in contemporary times. In this context, this research works as a diligence, a stagecoach connecting the conceptual places as an open map with the objective of producing a critique that intertwines theory with the literary works and their film adaptations. Hence, the conceptual play introduces the theory of literary space with the contributions of Bachelard (2008), Bakhtin (1998), Foucault (2015), Harvey (2014), among others, and establishes connections with film studies, from the points of view of Aumont (2004; 2012a; 2012b), Casetti & Di Chio (2007), Bordwell & Thompson (2013), Jacobs (1977), Burch (2011) and Cruz (2004; 2014). With this map in mind, West as space comes into play through Worden (2016), Frye (2016), and Shohat & Stam (2006). By the same token, the critical views on McCarthy’s works, represented by Owens (2000), Ellis (2006), and Peebles (2017), organize the textual diligence. Thus, the analyses of the literary texts and film adaptations are concentrated within an intermedia and intertextual perspective, in which the domains of the West as space are mapped in both language systems. In conclusion, this dissertation claims that the films All the pretty horses and The road operate resignifications to reactivate the characters’ sense of belonging and redemption in relation to space. No country for old men, however, translates McCarthy’s novel by reinforcing the sense of loss and powerlessness of the man of the West, rewriting the western genre in contemporary cinema.
17
EDEILDES SENA NUNES
Brazil of fiction: Posthumous memories of Brás Cubas, by Machado de Assis, and the Sad end of Polucarpo Quaresma, by Lima Barreto.
This study aimed to establish the literary dialogue between Machado de Assis and Lima Barreto, writers of fundamental importance for the development of Brazilian Literature, whose productions, which include novels, short stories, chronicles, literary criticism, essays and articles on Brazilian literary and cultural production, have as their historical background the 19th century, between the Second Reign and the first decades of the republican phase. In this historical arc, Machado de Assis (1839-1908) and Lima Barreto (1881-1922), both afro-descendants, black, of modest origin, with ancestors who were victims of human trafficking into slavery, lived experiences derived from the social and political dynamics of the nineteen Brazilian. These trajectories, from Morro do Livramento to Brazilian Academy of Letters, for Machado, and between the fluminense suburbs, public offices and the mental hospital, for Lima, are resumed, in this study, under the prism of the skeptical and critical worldview revealed by the two writers, as well as leaven for aesthetic-literary creation, based on the artistic and literary projects of Machado and Lima. Such social dynamics, based on the hierarchy of class and races, resulted in spurious relations of class dependence, racism and exclusion of the poor and marginalized strata in Brazil between the Empire of D. Pedro II and the Republic, in its beginnings with a lively militaristic and authoritarian bias, these themes were reconfigured, under varied fictional and interpretive nuances, in the authors' novels and stories highlighted. Based on the novels Posthumous Memories of Brás Cubas, a narrative by Machado de Assis, launched in 1881, and The Sad End by Policarpo Quaresma, whose first edition is from 1915, this study established thematic relationships between the previously mentioned productions and texts fictional and non-fictional by the two writers, certifying to the artistic, intellectual and principled coherence with which they both unveiled Brazil, from important institutions to the Brazilian cultural and political imagination, such as the traditional family, the patriarchy, the intellectual environment of letters and from journalism, Abolition, the Republic, and national personalities, exposed, satirized and mocked in their injustices, weaknesses and will to power.
The present thesis focuses on the study of radiophonic pieces created in digital processes. It is based on the theoretical-methodological axis proposed by Grésillon (2007), Biasi (2010) and Salles (2012). Through out the dialogue between process criticism and computer technology, the set of preserved documents of the radio drama A lenda de Iping (2018), classified according to its chronology, was presented and analyzed critically. The piece was produced from the translation of the novel The Invisible Man (1897) by HG Wells (1866-1949), which was adapted to a digital audio in radiophonic format by the PRO.SOM - Research Group Translation, creation processes and sound media. This research group is coordinated by Professor Sílvia Maria Guerra Anastácio, at the Federal University of Bahia - UFBA, since 2008. Centered on scenes 11 and 16, the proposed analysis turns eyes to the study of the audiobook aesthetics development, pointing out how sound effects are chosen and insert in the dramatic actions presented. This research is relevant for the application of process studies to audio files, in the development of scripts directed to radiophonic works and for being inserted in the expansion movement of the investigations directed to digital documents and intermediatic transpositions. As the radio drama genre dictates criteria for the production of the audio script in question, it was possible to reflect on the technical and linguistic parameters used in the production of specific scripts for the radiophonic genre; to rethink the concepts of the critic of the applied processes to the radiophonic aesthetics; to contextualize the influences that digital media has brought to the way of writing and analyzing documents that emerge from radio creation; and to identify common strategies used in the radiophonic creation. From the criteria dictated by radio aesthetics we propose adjustments in the published script of A lenda de Iping aiming a greater suitability to the radiophonic reader.
Is there a place for theater in contemporary societies and cultures? What role would this delicate and ancient vehicle of art and culture have in a time dominated by powerful “creative industries” and the media empire? Cultural foundation of the turn of the 21st century, the sophisticated and free worldwide network to which the old and new “media” converge, transmits, in real time, content, music, information and audiovisual pieces of fiction and documentaries, in “high definition” ”, and cases that are sometimes accessed and shared by millions of users in a few minutes. In addition, these networks instantly interconnect people located in virtually any part of the world. In this context, can one think of an effectively popular theater? A present, necessary and socially significant theater? In Search of a Contemporary Popular Theater is a study that seeks to understand the current crisis of the theater from an esthetics of reception and the concept of theater chronotopes.
2019
Disertaciones
1
EDSON CÉSAR DE SOUSA SOBRINHO
Three translated essays: Edouard Glissant in aphrodiasporic criticism.
À l’horizon des questions de traduction littéraire et culturelle, cet ouvrage se propose d’examiner à travers la critique afrodiasporique la traduction de trois essais en français vers le portugais. Ainsi, le domaine de la traduction sera la voie à suivre pour jeter un pont sur cette discussion (traduction) critique. Pour ce faire, notre corpus est composé de trois essais du philosophe noir né en Martinique Édouard Glissant : auteur de pièces de théâtre, romans, poèmes et essais philosophiques qui transcendent les imaginaires tels que Relation, Divers et Poétique. Ceux-ci, en plus de la Mémoire, nous aideront à réfléchir au processus de construction et d’analyse de la traduction des essais : Le cri du monde, La Pensée archipélique et La mémoire de l’auteur cité. J’ajoute également que ma formation de traducteur s’est déroulée — également — à travers les discours critiques sur la négritude, les études culturelles, la philosophie et la traduction culturelle. De cette manière, nous soulignons l’appartenance raciale et culturelle de l’auteur choisi ici. Par conséquent, ce sera à travers la Pensée Afro-Diasporique que nos commentaires et observations circuleront. Toujours attentif à la multiplicité des formations des modes intellectuels qui se sont produites — en Amérique et pas seulement — des diasporas noires. Je souhaite dire que l’afrodiasporique n’est pas une circonscription dans une région géographique bien qu’il n’existe pas – afrodiasporique — en dehors de certaines zones géographiques. En d’autres termes, je présenterai une critique afrodiasporique à partir et à travers les études de la traduction et de son processus de création. La préparation de cette critique prendra la forme d’essais critiques avec des analyses-commentaires sur la traduction et les questions de l’auteur choisi. Ainsi, dans un dialogue ouvert et suggestif aux questions spécifiques à la place de la traduction en communion avec les questions découlant de tout processus d’analyse et de préparation des traductions. Il faut dire qu’il n’y a pas de souhait finaliste dans cet essai (thèse de maîtrise). De cette manière, cette thèse limite davantage l’exercice philosophique pour mieux comprendre les relations, la traduction. Tout comme, dans une certaine mesure, les études culturelles et la négritude le font. Ceux qui sont pris, dans ce travail, comme exemple et route (acteur). Sans épuiser le possible, étudier en cours et construire de nouveaux objectifs et fins.
This master's thesis is based on the coincident narrative axis between the novel Onde andará Dulce Veiga? (1990), by Caio Fernando Abreu, and the documentary film Cabra Marcado para Morrer (1984), by Eduardo Coutinho, to present a reading proposal on the occurrence, recognition and resignification of (psychic) the trauma resulting from the violent repression performed by the Brazilian State against citizens and groups who opposed the regime imposed by sectors of the elites in tune with the interests of US imperialism. The chosen working method was the analysis and interpretation of the mentioned literary and cinematic representations in a dialogue with the existing academic historical research addressing persecution, torture, murder and other violent practices during the military dictatorship in Brazil (1964-1985).
3
KELLANE DOS SANTOS REIS
MISOGINY AND FEMINICITY IN CORDEL LITERATURE: AN ANALYSIS OF GENDER RELATIONS
The universe of the cordel literature leaflets is broad and comprises all the social and cultural aspects of the life of a folk. It reflects, therefore, the whole process of the folk’s reality, since the day-by-day difficulties, the occurrence of social injustices, the people’s daily dealings, poverty and work activities. The escape of the daily life occurs through the dream, imagination and mysticism, what means a way of compensation and dealing with social inequalities as well asthe constant challenges that emerge from this reality. Among a diversity of subjects presented by the popular poets, the feminine theme is constantly presented, as well as the narratives that reveal the inferiorization of the feminine gender by the masculine gender. This hierarchy of social roles determines the vulnerability of women in the cordel poems, which exposes them to the most diverse forms of humiliation and gender violence. The purpose of this research is to analyze the cordel literature leaflets, in which I observed the description of some misogyny practices or feminicide; to identify the processes of ideological and cultural domination imposed on the female characters, in popular literature, capable of determining the relations of these violence; to analyze the representation of the woman in the selected poems using theories about poetics of orality and gender relations; to highlight the subaltern place imposed on women in patriarchal societies and the violence to which they are exposed in society that reflected in the cordel literature. Physical, domestic, emotional, and sexual violence, objectification of the female body and feminicide are some of the violence I observed in the selected poems. I analyze the representation of the female characters in the process of submission and insubmission to the male, the sociocultural artifices that make them guilty in the processes that victimize them, and I describe the strategies used by the cordel writers as a mean of subversion of social injustices in which male impunity prevails, showing the complicity between men over the feminine. I discuss the importance of the intellectual’s engagement against social injustices and the importance of literature in maintaining the struggle for the democratization of power spaces and active in the defense of equal rights. Social inequality, legitimized by phallocentrism and the naturalization of social roles - determined by sex difference, is arbitrary and present in poems in which female characters have their bodies violated, revealing the dominance of masculine over feminine, in a dynamic relation between fiction and reality.
4
SÉRGIO MARCONE DA SILVA SANTOS
Uncreative Writing and Internet: authorship and oeuvre in contemporary times
This work aims to investigate whether some works produced in the 21st century can incorporate the dominant logic of the digital age, as well as its ways of doing so, considering that the technique of each period can affect the modes of production, diffusion and fruition of literary works. Recognizing that some of these works have been produced from processes that depict the decentralized and collaborative way in which programmers deal with open source softwares, or by using common gestures among Internet users (such as copy and paste), we suspect that practices may give rise to a peculiar logic to the literature produced in the present, allowing us to think of new configurations for authorship, oeuvre and fruition. In order to achieve this goal, we we based this research on the digital works of Süssekind (1987), Murray (2003), Laddaga (2012, 2013) and Goldsmith (2015), besides submitting our hypothesis to the analysis of some digital productions, namely: É preciso aprender a ficar submerso (2011), by the poet Alberto Pucheu and the visual artist Danielle Fonseca; Sonata dos espectros [2018], by Cínthia Marcelle et al.; Dois palitos [2013], by Samir Mesquita; Um estudo em vermelho (2009), by Marcelo Spalding; Como piedra y martillo (2018), by Carolina Mendonça; and non-digital works, such as Traffic (2007) and Trânsito (2016), written by Kenneth Goldsmith dubbed by Leonardo Gandolfi and Marília Garcia, and Sessão (2017) by Roy David Frankel.
5
DJANINE ALEONORA BELÉM GOMES
"SHINING, AUTHOR, / AS IF HE WAS THE POEM": THE IMAGINARY OF THE BODY IN THE POETRY OF HERBERTO HELDER
This dissertation is dedicated to the study of the Imaginary of the body in the poetry of Herberto Helder, from the reading of the poems of the book Or the Continuous Poem (2006), of the said Madeiran author, considering the categories of analysis: language; the body; or eroticism. Since its poetic language aims at founding a utopian world, instead of performing the mediation of the real, we believe, in this way, that Herberto Helder points out possible reflections on some aesthetic and cultural transformations that mark contemporaneity. It is sought to analyze the work of the poet through this thread, taking as an example the procedure performed by Erich Auerbach (1950). When analyzing the subjectivity of the poems, it is observed that author and work enter into a process of resistance, assuming a critical posture of modern poetry. These observations are based on the concepts of illegibility, obscurity and resistance, proposed in the critical studies of Dal Farra (1986), Guedes (1979) and Bosi (1977), respectively. Moreover, the culmination of this language is observed in an erotic body, as Georges Bataille analyzes (1980). Thus, Herbertian poetics signs an aesthetic performance between word and body in a state of deconstruction and continuous construction, a kind of erotic metamorphosis in a permanent state of continuity with the poetic body.
6
VANESSA IVE PIMENTA DOS SANTOS
A CRÔNICA NA CONTEMPORANEIDADE: CORALIDADE E EXPOSIÇÃO DE SI NAS CRÔNICAS DE ANTONIO PRATA, TATI BERNARDI, GREGORIO DUVIVIER E ANDRÉ SANT'ANNA
The main objective of this master’s thesis is to investigate some ways of production in which chronicles are written nowadays. Given the diversity of this production, the work presents two distinct possibilities of reading it. The first focuses in the analysis of the overexposure of the subject who writes and possesses as c orpus the chronicles of Antônio Prata ( Trinta e poucos, 2014) and Tati Bernardi ( Homem-objeto e outras coisas sobre ser mulher, 2 018); the second perspective of analysis investigates the presence of chorality (a term derived from contemporary theater studies) in chronicles of Gregório Duvivier ( Put some farofa, 2 014) and André Sant’Anna ( O Brasil é bom, 2014). Based on characteristics of the genre, such as the use of the first person and the chronicler's attention to the vicinities, the research analyzes the displacements promoted by the chronicler's view that put the genre in dialogue with the narratives of the "I", the writings of the Internet and the visibility phenomena discussed by Paula Sibilia (2008) and Denise Schittine (2004). On the other hand, it also identifies in the universe of the current chronistic production a choral logic that decentralizes the figure of the chronicler to invest in a profusion of speech registered by the chronicle. The presence of chorality in the chronicles permeates the discussions presented by Jean-Pierre Sarrazac (2002), in the theater, and by Flora Sussekind (2013), to think contemporary literature. The diversity of the current chronistic production and the theoretical-analytical investment carried out by this work reinforce the plurality of the genre and the continuity in the present of a genre attentive to its surroundings and to questions of interest in literary theory.
7
GABRIEL WIRZ LEITE
The novelist is free; the biographer is tied: Virginia Woolf and biography
Biography has been often discussed in the contemporary critical studies, a moment characterized, among other things, by an increasing rupture of the borders that separate textual and literary genres, by new aesthetic statutes, and by different conceptions of subjectivity and identity. Thus, I selected as my research theme the criticism of the biographical genre made by the writer Virginia Woolf in her two main essays on the subject, and the relation of the ideas articulated in these essays and Orlando (a book that has “a biography” as subtitle). To do this, I make considerations on biography and an analysis of the referred essays, The new biography and The art of biography, and the relation between Woolf’s ideas on the topic and the literary field in which she produced them. Then, I expose some contemporary criticism on Woolf’s thoughts on biography. In the final chapter, I analyze Orlando. Such analysis is made in relation to the questions discussed in the previous chapters, such as: the repercussion of Lytton Strachey’s and Harold Nicolson’s books on Orlando, the mixture of autobiography, biography, and fiction, and the rupture of paradigms not only artistical or epistemological, but also of subjectivity, identity, sexuality, and gender.
8
JIRLAINE COSTA DOS SANTOS
ROSA CUCHILO, DE ÓSCAR COLCHADO LUCIO A YUYACHKANI: PERFORMANCE Y VIOLENCIA POLÍTICA EN EL PERU
El conflicto armado ocurrido en Perú en los años de 1980 hasta 2000 resultó en diversas muertes, secuestros y desaparecimientos de personas lo que marcó la historia del país por sus efectos traumáticos con la muerte de más de 70 mil personas. Delante de eso, muchas familias fueron afectadas pela perdida de sus parientes. Mujeres perdieron sus hijos y esposos sin tener ninguna respuesta sobre sus destinos. Con el objetivo de luchar por sus derechos y traer a la memoria la difícil situación que vivenciaron, en 1983 bajo el liderazgo de Angélica Mendoza, fue creada a ANFASEP - Asociación Nacional de Familiares de Secuestrados, Detenidos y Desaparecido del Perú. Esa asociación tiene el objetivo de luchar por los derechos humanos, buscar respuestas e informaciones sobre sus muertos y desaparecidos durante el conflicto. La lucha de esas mujeres tuve una gran repercusión en todo el mundo estando así representada también en la literatura de su país a través de la novela Rosa Cuchillo (1997), del escritor ancashino Óscar Colchado Lucio. La narración de la novela presenta el testigo ficcional de la protagonista Rosa Wanka que en medio a la violencia de la guerra sale a la busca del hijo Liborio, secuestrado por los guerrilleros. La presente Disertación presenta el análisis del proceso de la traducción intersemiotica de la novela para la acción escénica desarrollada por el Grupo Cultural Yuyachkani, en 2002. La investigación realizada a partir de los abordajes interdisciplinar y comparativo, dentro de los estudios de Traducción Cultural e Intersemiótica, establece diálogos entre los estudios andinos y las artes escénicas y la performance. Así serán identificados los aspectos involucrados en el proceso de adaptación del texto narrativo, que tiene como objetivo la manutención de la memoria colectiva como también dar énfasis a la cultura andina a través de la representación de su cosmogonía.
9
CRISTIANA ALMEIDA DE SOUSA
ATTI DI TRADUZIONE PER IL MONOLOGO - CONTRASTO PER UNA SOLA VOCE - DI DARIO FO E FRANCA RAME
Questa dissertazione di master vuole presentare alla comunità accademica e teatrale il monologo Contraste de uma so voz, una traduzione del monologo Contrasto per una sola voce, della coppia italiana Dario Fo e Franca Rame, che fa parte dello spettacolo Tutta casa, letto e chiesa, così come commentare, a partire dai presupposti teorici, il processo di traduzione. Anche volgere sull’esperienza dalla traduttrice, come modo di evidenziare la soggettività che attraversa il processo di traduzione, sia per mezzo di atti realizzati di maniera cosciente quanto inconscio. Inizialmente, le idee della traduttrice Lenita Esteves hanno impresso la giusta direzione, al concepire, a partire dalla Teoria degli Atti Linguistici del filosofo del linguaggio, John Austin, la traduzione nella sua dimensione di atti, evidenziando il suo carattere performativo. Trattandosi di un testo teatrale, con le sue specificità per la lettura e la traduzione, la teoria di Patrice Pavis è stata fondamentale. Bisogna distaccare il contributo del teorico Henri Meschonnic per trattare questioni sul ritmo del testo e la necessità del traduttore inscriversi come soggetto nella traduzione. Per l’analisi della pratica di traduzione, alcune trattative realizzate fra i testi di partenza e di arrivo sono state distaccate e commentate. Per tanto, si è cercato di realizzare una traduzione, in cui il testo di arrivo portasse alcuni segni del testo di partenza, ma che presentasse, anche, i segni culturali locali.
Lexical contributions and syntactic constructions from African languages can be found in Brazilian Terreiros de Candomblé. Such languages were brought to Brazil by enslaved African people in the diasporic process fostered by the Portuguese State during colonization. In this context, this study takes into analysis the use of this linguistic repertoire by the writer Ildásio Tavares in his compositions from the LP Os Orixás (1979) – made in partnership with the musician Luís Berimbau – and in the booklet Lídia de Oxum: Uma Ópera Negra (1995); this one of Tavares’ authorship. It was possible to examine in which ways the artistic usage of this repertoire establishes lines of flight to the understanding of literature as an expression of a national language in this linguistic and artistic representation. Furthermore, this study also analyzed how these traces of yorubaianidade in Ildásio Tavares’ writing provides the contact among the popular culture repertoire, the media culture and the erudite one. Born in the cacao region of Bahia, Ildásio Tavares called the attention of many for having a profile of multiple actions in the cultural scene – as a poet, playwriter, fictionist, essayist and professor of Portuguese literature at Federal University of Bahia (UFBA) -, along with his religious life at Ilê Axé Opô Afonjá, a traditional Terreiro de Candomblé from Ketu nation, located in Salvador (Bahia). At this Terreiro he was honored with the title of Otum Obá Até – a member of the body of Obás de Xangô, a title created by Mãe Aninha, in 1936 to point the twelve ministers of the orisha and their deputies (counselors of the Ialorixá in the civic matters of the Ilê Axé).
11
SHEYLA SUSANA DO NASCIMENTO
THE HOUSE AND THE CITY AS AFFECTIVE SPACES IN THE SOPHIA DE MELLO BREYNER ANDRESEN'S POETRY
This thesis aims to analyze the spaces of ―house‖ and ―city‖ on the poetic work of the portuguese writer Sophia de Mello Breyner Andresen (1919-2004). Considering the historical happenings lived in Portugal: Salazar´s regime (1926-1974), Cravo´s revolution (1974) and the period post revolution (1975), it´s possible to realize that on Sophia´s poetic the spaces of ―house‖ and ―city‖ follow this changes, on the way that translate the affections agitated by the author and by most of portuguese that experienced the horrors of almost 50 years of a dictatorial regime. It´s intended, therefore, analyze how these spaces are presented in poem, from an affectional motivation. This analyze was reached throw the support of theoric-critic of studies about affection, presence and attention of: Baruch Spinoza (2009) on a dialog of another studies, among them Gilles Deleuze (1992), Hans Ulrich Gumbrecht (2010), Gaston Bachelard (2000), Roberto da Mata (1997) and Renato Cordeiro Gomes (1994)
12
GISELE MOREIRA SANTOS
Adaptation and Transmedia in Contemporary Austenmania
This dissertation deals with the relations of transmedia with contemporary Austenmania, understood here as a result of the constant presence of adaptations of the works of the English writer Jane Austen (1775 - 1817) for cinema, TV and internet that reinvent themselves dialoguing, with a various range of genres and public. Jane Austen whose complete novels Sense and Sensitivity (1811) Pride and Prejudice (1813), Mansfield Park (1814), Emma (1815), Northanger Abbey (1818) and Persuasion (1818) keep echoing in pop culture is a great name of relevance within the English literature for becoming a landmark in the consolidation of the feminine romance tradition. From then, we point the context in which the writing of Austen was formed illustrating the growth of the novel like a genre of important relevance in England, which became popular mainly to the female readership. Over time, women of the time began to use the novel to write their own narratives from their point of view, even though they were silenced by the conventions of patriarchal society as Woolf (2014), Showalter (1977) and Grundy (1997) point out. After setting the context, we outline here how Austenmania emerged with the consolidation of Jane Austen as a classic, her cult for the fans, and her relationship with the new media for which her works have been adapted. Taking the adaptations of Austen’s novels launched from the 90’s and the relation with the cultural industry, making Austen - texts and life - recurrent in mass - media productions. We briefly present how the Austenmania waves were delineated over the decades and how they continued to converge with the new media. We question, in dialogue with the concept of culture of convergence (JENKINS, 2008), the reasons that make Austen's novels relevant to contemporaneity and the capacity we find in her writing to provide materials that serve as a construct for the transmedia that through of the new media, empower the possibilities of reading and interaction between the public and the objects chosen here to illustrate these relations; the web series The Lizzie Bennet Diaries (GREEEN, SU, 2012) and the novel Pride and Prejudice (AUSTEN, 1813).
13
JOAO RICARDO BISPO JESUS
LITERATURE IN SIGN LANGUAGE: THE PERFORMANCE OF THE DEAF WRITER MAURÍCIO BARRETO.
Deaf people have performed their place of speech via their aesthetics in sign language. Such aesthetics is expressed through their body performances which exhibit a plasticity in sign languages and, more importantly, an act of resistance of the deaf who shows their cultural and identity features through their bodies, as well as they struggle with all sorts of social oppression. We could understand the uniqueness of the deaf culture through the performances of Maurício Barreto. The current research aims at analyzing literarily his performances which have conquered a deep admiration of the deaf community by fostering an identification space as of his production in sign language. The work focuses on the analysis of Maurício Barreto’s production by selecting two of them – “Barra’s lighthouse in Libras” and “Numbers in Libras” – to understand the features of the deaf culture and identify how the literature has been used as a political act of the deaf. The uniqueness of the production in sign language allows us to identify a contemporary discourse which narrate the way the deaf has resisted, as a linguistically smaller group, the barriers of the majority group. Moreover, performances in sign languages decentralize fixed ideas about the literary by adopting a discourse that sets forth the subjectivity of the deaf, recognizes the sign languages and understands the body of the deaf as a support for discursive practices. Reflections are dialoged with the theories which follow: Marvin Carlson (2010) on performances; Florencia Garramuño (2014) who discusses the unspecified of the Arts; Christinne Greiner (2005) about the body as a support for building new discourses; Marta Morgado (2011) and Lodenir Karnopp (2010) about deaf literature; Rachel Spence and Ronice Quadros (2006) who show the discourse of the deaf through poetry in sign languages. In general, this research led to the understanding that deaf people have also been mobilizing their discourses through the art.
14
JEFERSON SANTOS DO SOCORRO
For a critical and afrodiasporic analysis of the translation of the novel Ponciá Vicêncio by Conceição Evaristo
This work is a theoretical-critical analysis and reflection about the translation process of the novel Ponciá Vicêncio, by the Afro-Brazilian writer Conceição Evaristo (2003), for the United States English made by Paloma Martinez-Cruz and published by Host Publication in 2007. For this analysis, we take into consideration translation as cultural practice traversed by the intersectional relationship between the text, the contexts (aesthetic, political-economic, social, and historical) mediated by subjectivity, social class, racial ethnic condition, gender, translator`s motivation and interests. Translating Afro-Diasporic textualities is not just a linguistic activity, but an ethical, aesthetic-political, ontological activity that enables multiple connectivities of modes of being, seeing and existing in the world of the diverse cultures that were forced to be dispersed in the world by the processes of slavery and colonization. This type of translation has its extreme complexity, since most of the textualities present a political and ethical content in order to causing effects of meanings that can contribute to the restitution of human dignity holistically of the black populations in Afro Diaspora. This analysis will be made taking into account the cultural, linguistic, aesthetic, historical-cultural and political contexts of the production of the narrative intrinsically related to Afro-Diasporic questions and to the literary project of the writer, since we have noticed inconsistencies with the mentioned specificities, whose reverberations are quite significant. The work dialogue with theorists and critics of Afro-Brazilian translation and literature, such as Kwame Anthony Appiah (1993), Raquel de Souza (2017), Florentina Sousa (2006), Maria Nazaré Lima (2006) Cristian Salles (2017) and others. Two Afro-Diasporic intellectuals, the Afro-American Geri Augusto (2017) and Afro-Brazilian Denise Carrascosa (2017) are also brought to the work, whose thinking has guided the work in a transversal wa
15
ISABELA ARAÚJO CALMON
Edition and philological criticism for Uma Alegre Canção Feita de Azul by Yumara Rodrigues
This work aims to present the edition for Uma Alegre Canção Feita de Azul by Yumara Rodrigues. The textwaswritten in 1973, in Rio de Janeiro, tobestagedbytheplaywrightherself, whowas afamousactressfrom Bahia.This monologue, accordingtotheauthor, isautobiographicaland it integratesthe set oftheatricaltextscensoredduringthemilitarydictatorship in Brazil. Throughthe editorial work, as well as theexerciseof philological criticism, it ispossibletoperceivethisfemininewritingemanates a denseregimentedorchestrationthatreveals a counter-hegemonicdiscourse. Thisphilologicalpracticeallowsustograspthetheatricalcensoredtext as cultural patrimonyof a societyand a historicalperiod. Thus, it ispossibletocarry out studiesthatpermeatedifferentfieldsofknowledge, such as Literature, Historyand Cultural Studies.Finally, it isbelievedthatwhenworkingwith a manuscripttoestablish it critically, thereader-philologist-editor faces notonlythepossibility, butalsotheneedtoperform a philologicalpraxisthat starts to position itself more and more againsttheaesthetic-politicalprojectsnarrativeofdomination.
16
THAISA CRISTOFOLETI DE VASCONCELOS
Literature e literary politics: critical reading of the National School Library Program (Programa Nacional Biblioteca da Escola, PNBE).
Bearing in mind that the idea and the literary value hold transitory definitions constructed by discursive agencies shifting in a symbolic field and considering the State literary policies as one of the main promoting and legitimating agents of the literary field, as for instance, the actions held by the National School Library Program (Programa Nacional Biblioteca da Escola, PNBE), the aim of this research is to understand which literary constructs have been reinforced within the program. Is it possible to understand how the PNBE collection contributed to strengthen or weaken hegemonically consolidated literature patterns? Identifying and assessing, by means of official documents and the critical reading of one of the most recent PNBE literary collections, which literary and cultural representations articulate as a national project, brings to surface the selection and exclusion process that helped to institutionalize literary canons. Supported by the studies of Eagleton (2006), Souza (2002), Reis (1992), Lajolo e Zilberman (2004), Dalcastagnè (2012), Nora (1993), together with the analysis of the selection public notices and the critical reading of the 2013 PNBE literary collection, the research results showed that the PNBE has been split in three phases with distinct literary and political concepts, in constant progression along the years, as an attempt of increasing the legitimacy camp of the literary scene (thematic field, gender, authorship, representation), overcoming the prop of a limited panoramic view, produced by the selection processes themselves. The research showed that this tension in the literary territory in a national program can potentially contribute for the construction of a discursive imaginary field as well as a cultural and collective literary memory throughout the generations of readers to come and their formation all over the national territory.
17
CAMILA DO NASCIMENTO CARMO
RIOGRAFIAS Y REEXISTENCIAS NEGRAS: LA POESIA DE LIVIA NATALIA
Esta investigación presenta una cartografíaenriografías de poemas publicados por la poeta Lívia Natália. Para esta construcción coloco enmovimientolosprocedimientos estéticos, artísticos y políticos de lasproduccionesliterarias de la escritora en busca de comprendercómoconsistenenreexistencias a losestereotiposcoloniales, racistas y sexistas enladirección de mujeres negras de manera a romper lasfronteras de la literatura poniéndolaenexpansión. Los discursos fabricados sobre elcuerpo de lamujer negra que escribe se muevenenlasgrietas y grietas y exponenlos modos de funcionamiento de lacolonialidaddel género, conlo que lasreexistenciasdicendel racismo y sexismo que funcionanenel discurso colonial y desnudanlas condiciones de producciónla escritura literaria negra y femenina. Siendoasí, desarrollarproblemastizaciones acerca de los poemas publicados enloslibros de la poeta a fin de analizar discursos que circulan y sonproducidos sobre lamujer negra de manera a comprendercómolas relaciones de poder se establecen frente a laproducciónliterarianegrafemininaforman parte de los elementos constitutivos de este trabajo .Además de construir tales problemáticas acerca de los textos literarios de la escritora baiana contemporánea Lívia Natália, elentendimiento delineado es que tanto lainvestigación como la poética de los textos seleccionados para este trabajoconsistenenriografías, laentiendo como unprocedimiento de creación estético para la labor crítico-teórica de lacuallas aguas se ponen a escurrir por el mapa. Siendoasí, problematizar lascontradicciones entre hegemonía y reexistenciasenla poética baiana contemporáneaenel contexto de colonialidad, responden a lo que puede una lírica de rupturas existentes enla poética de Lívia Natália.
18
BRUNA LOPES ARAUJO
Afro-peruvian literature: poetry and performance in Monica Carrillo
Se busca con esta investigación cartografiar y analizar la historia del Sarau da Onça y la poesía viva producida en su espacio. El evento se realiza quincenalmente en el barrio de Sussuarana, en Salvador-Ba, promovido hace ocho años por Sandro Sussuarana y Evanilson Alves, jóvenes habitantes de esta zona periférica. El Sarau forma parte de un movimiento cultural y literario "de las márgenes", que viene creciendo en las grandes capitales del país. Este movimiento, que vincula arte y compromiso en su “escrevivência” afrografiada en el cuerpo, se firma como una experiencia estética compartida, y agencia cambios a través de la poesía viva. Regido por la cultura negra, diferentes poetas se encuentran, se identifican e influencian, esparciendo la poesía hacia otros cantos de la ciudad. El Sarau da Onça contribuye al retroceso del proceso de borrado epistemológico producido por la esclavización en la cual la población negra fue sometida. Así, a partir de la observación y análisis de sus agentes, el proceso de afectación de los participantes y la presentación performática de su poesía, se realiza un estudio de caso sobre el evento en sí, buscando identificar los aspectos éticos y estéticos de su producción literaria.
20
MIRELA DORNELLES GONZALEZ PAZ
Primer Three cheers for the baby! in audiobook: the creation of a script for audio drama
The present research focuses on the analysis of the creative process of a script developed for audio drama, from the perspective of an actress who is a geneticist, researcher. This dissertation is based on the theoretical-methodological perspective of the genetic criticism proposed by authors, such as Biasi (2010), Salles, (2008) and Grésillon (2007); and also on studies about the actor´s work developed by Stanislawski (2002), Brecht 1978) and Vargens (2013). The referred audiobook was developed as an adaptation that had as its starting point the primer entitled Three cheers for the baby! (2016), a guide for parents of children with microcephaly and was produced by PRO.SOM. A Research Group of Translation, Creation Process and Sound Studies: Interlingual and Interarts Studies, Federal University of Bahia. It was produced with the aim of making the material accessible to people with low educational level, visually impaired or with low vision, especially for parents whose children suffer from microcephaly.
21
MIRELA GONÇALVES CONCEIÇÃO
UN ESTUDIO DE LA NOVELA LEITE DERRAMADO DE CHICO BUARQUE DE HOLANDA: PROSA POÉTICA, CANCIÓN E HISTORIA
El presente trabajo analiza la construción narrativa del romance Leite Derramado (2009), del Chico Buarque y enfatiza la relación existente entre la su postura autoral y la obra estudiada. Aunque sea más famoso por su expresión como cantante y compositor, el autor posee una producción literaria que se efectiva en confluenza con su obra musical y, pelo facto de ser consagrado como cantante y compositor, él causa una tensión en el interior del campo literario, porque quedan dudas sobre el valor de su obra. El término “músico” usado por sus dectratores para la su inferiorización como escritor es lo mismo término que él utiliza para marcar la su singularidade en el espacio literario. Además, se nota en las intervenciones de Chico Buarque y en la novela estudiada la manutención de una marca que se manifiesta en la extensión de su carrera: el análisis crítico de la sociedad brasileña. Así, la disertación presenta la búsqueda por un análisis de la novela Leite Derramado, en consideración a los aspectos de su produción intelectual anterior, tanto en lo que respecta a música, quanto al su posicionamiento político, apostando en la emergencia de uma figura autoral en la superfície de la novela que no se despega de su postura de escritor. Para ello, se utilizó la noción de “campo literário” desarollada por Pierre Bourdieu y la noción de “postura literária”, tal cual estudiada por Jérome Meizoz. Silviano Santiago forneció base teórica para se piensar la caracterización de lo escritor latinoamericano y su condición periférica que lo impulsa a reescrebir las narrativas tradicionales insertando su condición. El concepto de “hombre-cordial” del Sérgio Buarque de Holanda fue utilizado para piensar de que manera el escritor Chico Buarque revisita e reescribe la história. Para tratar de los aspectos relativos a la poesia, utilizamos Octávio Paz, Paul Valéry y T.S. Eliot. Y para piensar la interpenetración de la canción en la novela, utilizamos Miguel Wisnik (2004) y Luiz Tatit (2002).
22
MATHEUS NOGUEIRA BACELLAR
The black character in the plays that compose the corpus of the Portuguese dramaturgy of the fifteenth century
This work intends to analyze the representation of the black character in the plays that compose the corpus of the Portuguese dramaturgy of the fifteenth century, proposing a revisitation of these texts under the perspective and assumptions of Cultural Studies, especially the theories dedicated to the colonial discourse and structural racism. Considered the golden age of the Portuguese Oversea Empire, the sixteenth century was also the moment when the Portuguese theater knew its peak, with Gil Vicente as its greatest exponent. This research seeks to verify, through the critical reading of the records, if and how the colonial narrative is constructed via these dramaturgical texts, trying to identify which elements of the racist discourse are used to reach this goal. It begins, at first, from a contextualization of the expansion period of the Portuguese Oversea Empire until the moment when the black man starts to integrate the Portuguese society of the sixteenth; from the Portuguese expectations at the beginning of the discovery voyages, through the first contacts in Africa and, finally, approaching enslavement and social interaction on Lusitanian soil. From the confrontation between historical speech and literary speech, one seeks an understanding of how the black man was represented in the Portuguese society of the sixteenth century, the mechanisms used in the construction of this representation, the agents involved in this process and the participation of the black himself in it. Therefore, it is expected that, at the end of the dialectical conflict between history and dramaturgy, supplemented by theories of Cultural Studies, it becomes evident the ways in which the colonial narrative is established and justified in this dramaturgy, creating an artificial representation in which the purpose is to oppress the colonized ideologically, with the aim of keeping him eternally bound to the condition of subalternity. It is also expected to verify, from this data, if the sixteenth-century Portuguese theater operated as a kind of ideological apparatus of the State, functioning as a key factor in the circulation of racist discourse and the construction of a society organized through structural racism.
23
FERNANDA BARBOZA DE CARVALHO NERY
l’élaboration du corps féminin dans l’oeuvre Woman at point zero de l’écrivaine égyptienne Nawal El Saadawi (2008).
Ce mémoire expose une analyse à propos de l’élaboration du corps féminin dans l’oeuvre Woman at point zero de l’écrivaine égyptienne Nawal El Saadawi (2008). On a pour objectif de discuter des stratégies poétiques qui construisent l’image du corps féminin chez Saadawi (2008). On cherche à comprendre comment il est possible de constituer des dialogues capables de nous indiquer la survie du féminin à travers d’une plasticité artistique, en mettant en lumière les marques de la résistance, de la transgression et de la rupture. En ayant pour but de structurer tel problématique, on utilise comme méthode de recherche les échos produits par l’écrivaine en ce qui concerne les valorisations et les affections du corps, représentés dans l’oeuvre, surtout, à travers du personnage Firdaus, dont le corps est marqué par la circoncision et par la violence conçues par le patriarcat (ce projet de pouvoir qui fonctionne dans la société en tant que pilier du système néo-colonial). Cela dit, pour comprendre l’étude du féminin comme essentiel pour la compréhension de l’oeuvre de Nawal El Saadawi (2008) et aussi à cause de l’importance qu’on attache au positionnement du corps comme substance poétique et politique, on structure ce travail dans les hypothèses théoriques de la critique féministe. On se base sur les noms d’Angela Davis (2016, 2017), Djamila Ribeiro (2017), Sandra Gilbert et Susan Gubar (1979), entre autres et aussi sur les penseurs des affections à l’instar de Baruch Espinosa (2003, 2009) et Vladimir Safatle (2018).
24
KELLEN HAWENA PEREIRA SOUSA
Translating trauma: images of memories of Peru's Armed Internal Conflict in Chungui's narratives, drawings and retables
From the political visitation work to the Chungui district, accomplished by Edilberto Jiménez, as part of Peru’s Truth and Reconciliation Commission, it was possible that Chungui: Violencia y traços de memoria, by Edilberto Jiménez (2009) allowed coming to many other researchers. In the book, Jiménez compiles ninety-three testimonial and visual story about the period of the Internal Conflict in Peru, which occurred between the years 1980-2000. The narratives are the voices of the Andean people by themselves who are located in Chungui and survived during the Internal Conflict in Peru. The work reveals different facets of Edilberto Jiménez, such as an anthropologist concerned with his surroundings, a craftsman by family inheritance and an organic translator. As part of the corpora in this investigation, there is the book Universos de memoria: Aproximación a los retablos de Edilberto Jiménez sobre la violencia política, edited by Jürgen Golte and Ramón Pajuelo (2012), compound by a catalogue with retables that dialogue directly with some experiences from chunguinos during the time of the Conflict. There are, therefore, three formats that compound the intersemiotic translations present in this Dissertation: the narratives, the drawings and the retables, which supplement and reveal new perspectives to the translation itself and to the traumatic memory of the residents from Chungui. The formats are important because they bring new truth regimes and collaborate so that the chunguinos have an enunciation space and can denounce the precariousness of the life to which they were exposed. This research puts on evidence the narratives of the survivors from this conflict, it also highlights the genre testimonial and retablist art; in addition to showing the wide
dimension by the Andean worldview. It is through Studies in Cultural and Intersemiotic Translation and Andean Studies that the relationship between traumatic memory in the translations of literary narratives, visual narratives and retable will be presented.
25
CRISTÓVÃO JOSÉ DOS SANTOS JÚNIOR
TRANSLATING THE FULGENTIUS' LIPOGRAM: DE AETATIBVS MVNDI ET HOMINIS.
This research deals with the translation process of the prologue and the first four books of the work De aetatibus mundi et hominis, credited to the North African and late-old author Fabius Planciades Fulgentius (the Mythographer), from the edition fixed by Helm (1898). This literary work is divided into 14 books, in a lipogrammatic structure of a consecutive character, and has as its diegetic support the Christian Holy Bible. In the description of his religious narratives, the Mythographer adopts the aesthetically unusual mechanism of letter suppression (lipogram), avoiding words that present a record in the 14 initial elements of the Latin alphabet, which is being maintained in the translation proposal. In this procedure, in theoretical terms, dialogical practices are established with a variety of authors, such as Jacques Derrida, Giorgio Agamben, Haroldo de Campos, Michel Foucault, Antonhy Pym, Lawrence Venuti, Rosemary Arrojo, Lauro Amorim, Alice Ferreira and Michaela Wolf, in the process of discussion of epistemes linked to the field of translation. With regard to the practical scope, its aim is to translate the lipogram, guided by a series of criteria, directed to give life to the lipogrammatic constriction, also avoiding, in Portuguese, the sequential use of letters that go from 'A' to 'D'.
26
ROBERTA DE ARAÚJO LANTYER DUARTE
THE DEVIR-RIO: REFLECTIONS ON THE EMPTY IN PONCIÁ VICÊNCIO, DE EVARISTO CONCEPTION
This dissertation reflects on the subjective drawing of the character Poncia Vicencio analyzing her emotionality from the notion of a “sensation of emptiness”, described in the novel of the same name, written by Conceição Evaristo and published in 2003. The analysis starts from emptiness as psychic suffering. as pain; but also as “(re)existence” (SOUZA, A. 2009). The text navigates between the constitution of the Self or (as we prefer to call it) the character's identity “rivergraphs” (NATALIA, 2017), thinking mainly about her childhood experiences, her identification with her grandfather and mother and the importance of ancestry in this process that is always in motion; follows for reflections on the character's diasporic processes (which we have identified as three) and how they affect her emotionality and contribute to the character's increased feelings of emptiness; and finally, but seeking to keep the fluid and uninterrupted movement evoked by Evaristo's work, this dissertation takes “emptiness” as psychic suffering and as (re)existence - mainly from the notion of “banzo” (NUNES, 2008) - and argues that this “emptiness”, full of “life force” (OLIVEIRA, 2005), gives rise to Ponciá's becoming river. To discuss Ponciá Vicencio's constitution of the Self, as well as the effects of racism and chauvinismo on its psychic constitution, psychoanalysis was fundamental. However, we will be beyond Freud since the subject of Freudian psychoanalysis is intended to be universal and the white universality of Western reason does not reach the subjectivity of black women. Psychoanalysis will be accessed mainly from Virginia Bicudo (2010), Neuza Souza (1983) and Isildinha Nogueira (2017) - black psychoanalysts who subverted the subject of psychoanalysis, thinking the subjectivity of black people. Franz Fanon (2008) will also be essential to the analysis intended here. In addition, we weave psychoanalytic, feminist, and postcolonial “seams” to understand how Poncia Vicencio (re)exists in and out of the empty. After all, at the end of the narrative it is in “pure becoming” (DELEUZE, 2015), it becomes becoming river. Ponciá Vicencio's return to the river, his and his ancestry gives us clues about the possibilities of healing for the psychic sufferings of the black population (effects of racism), as well as of the creation world to come; a world of full humanity.
27
VAGNER DE SOUZA SANTOS
THE CONSTRUCTION OF TELUS AND IMAGINARY IN OSÓRIO ALVES DE CASTRO.
This work aims to analyse the romanesque production by the Bahian writer Osório Alves de Castro, it delimited the way he stablishes the construction of telluric elements in Porto Calendário (1961) and its imaginary from Maria Fecha a porta prau boi não te pegar(1978). The research has bibliographic nature, considering the pluridimensional character of the work focused, then proceeds thematic approach of the referred events presented in the corpus. The existential approach and philosophical openness distinguish the Osorian narrative, as well as the insertion in the social criticism, characteristic of the post-1930 generation. Thus, initially in the work we think of the fabric of the author's writing and underlines issues spread in the text, namely the complex socio-historical references and the poetic-philosophical composition of the work (ARAÚJO, 2008; 2009); (VALVERDE, 2007; 2008). The country space / landscape narrated by Osório immerses itself in a given plurissignificant and symbolic telurism, seen beyond the fixed and surrounding aspect, crossed by the imaginary and due to articulations with the power of the myth. From this, the second section focuses on the telluric, but also the ambience, that is, the natural elements connected to it, seeks to analyze possible readings of poetic and geopoetic materiality in Osório's work (BACHELARD, 2003; 2008); (Chevalier, 2006); (Macedo, 2018). At the last moment, the composition of the imagination and myth is approached as a tissue that involves spatiality and narrative. The imaginary as a set of images that, related to each other, constitute the thought of man (DURAND, 2012). Therefore, the primacy of the text is considered and, from that, it mobilizes theoretical contributions as reading operators instruments on the analysis of the sections. It seeks to revisit the Osorian work to appreciate its creative field and motivate the theoretical discussion about it, introducing readers who do not know it.
This study focuses on the analysis of the miniseries: O santo que não acreditava em Deus (1993); of the movie Deus é brasileiro (2003) and radio play Geschichte eines Fischfangs (1986). The three productions mentioned have the same starting text, the short story: O santo que não acreditava em Deus of the Bahia writer João Ubaldo Ribeiro. In 1990, João Ubaldo Ribeiro was awarded a scholarship from the German Academic Exchange Service (DAAD), to conduct a literary script in Germany. His performance in this country, over a period of fifteen months, is marked by several productions. There he wrote weekly chronicles for the newspaper Frankfurter Rundschau, the same ones that gave rise to the book Ein Brasilianer in Berlin, and produced two radio plays - a very popular literary genre in Germany - entitled: Geschichte eines Fischfangs and Live the Es lebe die neue Welt, both translated into German by translator RayGüde Mertin (1943-2007). Based on studies by authors such as Júlio Plaza, which addresses intersemiotic translation; Jaques Derrida with the theory of deconstruction and, finally, Cristiane Nord who discusses, through the functionalist perspective, the translation from the perspective of textual analysis, the target texts referred to above will be analyzed, highlighting the play of meanings, making decisions and reframing explicit. adopted by the translators of their media from the source text.
29
SEBASTIÃO RODRIGUES DA SILVA JUNIOR
Reopening The Curtains In The Lovely Mushroom Of The Atomic Bomb: A Philological Criticism
The resistance of Brazilian society to the military dictatorship in Brazil occurs in various fields. Among which is the theater. It is in this setting that the dramatic text, "The beautiful mushroom of the atomic bomb", was written in 1967 by the Bahian intellectual Ricardo Líper. To produce the play at the Castro Alves Theater in Salvador, on May 30, 1968, the work was submitted to the Public Entertainment Censorship Service - Federal Police Department - to obtain certification for its release. The text received a favorable certificate so that ázima de eighteen would not have cuts as of August of the same year. However, in 1978, the text was again appreciated by the same organization that considered it unsuitable for children under sixteen years of age and allowed to play from that age, but with cuts. Based on the documentation generated throughout the process, this article proposes a reflection that conceives the text, object of study of Textual Philology, as a documentary asset that portrays historical, social and cultural events of a time. In addition, the possible readings consider the significant material conditions for philological work evidenced by the marks acquired by the text in its production, transmission and circulation process, at the same time, they allow understanding its historicity, demonstrating and / or creating possibilities for new ones. readings. Therefore, as a result, it is intended to present an interpretive edition, in which the representation of the left militancy in the Bahian theater in the mentioned period is discussed. In this sense, also knowing the circumstances of writing and its discursive, political and aesthetic projects become essential to understand this corpus
30
SANIO SANTOS DA SILVA
ALL THE COLORS OF LOVE AND THE NEW COLORS OF POSTMODERN IRELAND - MAPPING THE IRISHNESS ON THE FILM GOLDFISH MEMORY, BY LIZ GILL
Goldfish Memory (2003) is a romantic comedy written and directed by the Dublinian Liz Gill. The film addresses the dynamics of interpersonal relationships intertwined with the contemporary context of globalization. The characters are framed by a metropolis of cultural and identity diversity. A representation of the multiculturality of postmodern society defined by Stuart Hall (2001), when he states that the world is not divided into distinct cultures, and that there is a tendency to absorb traits from various cultural systems. Cinema is a portrait of social reality with economic, aesthetic and technological elements. Edgard Morin (1970) states that cinema is a machine that records the existence of individuals, a way of transposing the personal universe to the screen. The author also says that the making of the film is conditional on the existence of a social context. In this sense, the general objective of the present work is to analyze contemporary traces of the Irish identity in the movie Goldfish Memory, observing how the Irish intertwines in the cultural networks woven by globalization, focusing on the dynamics of the affective bonds of the characters. Specific objectives include the description of interpersonal relationships - encounters, mismatches, and love disagreements. We will examine theories related to identity, postmodernity and Irishness, which will shed light on the interpretation of the data raised. Initial analysis indicates that the film has a number of links to other cultures, presenting a sort of “global village” despite references to Irish culture. The film makes use of musical resources of various nationalities, a fact that can also be interpreted as a trace of postmodernity. The relevance of the work is related to the importance of propagating Irish film productions that offer significant cultural content to the academic community. It is important to highlight that Irish works are still little explored in Brazil, especially in Bahia. This research offers a contribution to expand the space of dialogue with other cultures within the local academic setting.
31
MARIA DO SOCORRO FONSECA DE OLIVEIRA
The Lawman on the Republican Threshold:
A Study of Esaú e Jacó, from the Intersection of History, Law, and Literature
This study presents a survey and analysis of literary productions made by indigenous women who have sketched, in the Brazilian literature, an aesthetic and ideological project of authorship/autonomy and survival, from the year 2004 in Brazil. Therefore, I selected 23 books, signed by Eliane Potiguara, Graça Graña, Lia Minápoty, Sulami Katy, Márcia Kambeba, Niara Terena, Kerexu Mirim, Denízia Cruz, Shirley Krenak, Vângri Kaingãng and Auritha Tabajara. The general objective is to analyze and discuss, throughout the sections, a study on the literary productions (poetry and prose) of these indigenous women in Brazil, differentiating indigenous, indigenist and Indian literature through the critical reading of three aesthetic concepts present in the works:(1) the literary plasticities; (2) a view of a resurgence’s literature; (3) the indigenous worldview as a backdrop of the writings. I discuss these concepts based on theoretical assumptions of Édouard Glissant (1996), Eneida de Souza (2002), Siloé Amorim (2003), Eliane Potiguara (2004), Maria Gorete Neto (2005), Gersen Luciano (2006), Elisa Maria Costa Thiago (2007), Marta Gonçalves (2009), Olívio Jekupé (2009), América Cesar (2011), Amanda de Lima (2012), Graça Graúna (2012, 2013), Stuart Hall (2013), Henrique Freitas (2016), Marília Librandi (2018), among others. As a final result of this research, I intend to facilitate the circulation of writings produced by women who are concerned with showing themselves diverse, building perspectives in the literary field. Due to the need for literary democratization, these productions indicate that if there are absence of racial and ethnic approaches in the contemporary literature of greater national circulation, there is presence of these approaches in the enunciative acts of indigenous authorship corpus of this dissertation work.
33
DANIEL FONNESU
Uma tradução “Transatlântica”: Ziu Paddori de Efisio Melis Encontra Nanetto Pipetta e Juó Bananére
Literary works belonging to literatures written in minority languages such as Sardinian in Italy and Talian in Brazil, along with literary works in which several languages coexist in the same text, are rarely translated, thus rarely being the subject of studies in the field of translation. Through the implementation and the analysis of an interlingual translation to Talian and Portuguese of the play Ziu Paddori, written in Sardinian and Italian, the present study proposes a debate on the challenges of a translation project based on reproducing linguistic plurality in the text of arrival. In Efisio Vincenzo Melis’s three-act comedy, published in 1919, linguistic misunderstandings and power relations among the characters are just as important as the very plot. The translation implementation and analysis were performed according to four axes: translation and plurality, in which the multidialectal translation classification model proposed by Catalan researcher Josep Marco, and the surveys on multilingual translations made by Italian scholar Caterina Briguglia and Brazilian scholar Solange Carvalho, were employed; translation and staging, field in which the sequence of concretization levels in a dramaturgical translation theorized by French researcher Patrice Pavis was used; translation and transtextuality, in which the concept of transtextuality proposed by French theorist Gérard Genette was applied; finally, by examining some issues on applied linguistics met during the translation, texts of several authors on Sardinian phonetics and syntax, phonetics of Portuguese spoken by Rio Grande do Sul Talian speakers, and Juó Bananére’s literary language features were employed. This dissertation aims at contributing to the field of Translation Studies, specifically to the areas of minority languages and multilingual texts, but also to the fields of Theater Studies, Literary Studies and Applied Linguistics.
Tesis
1
VILMA SANTOS DA PAZ
TWISTING THE LINES OF A TERRITORY ─ WEAVINGS OF AN IMAGINARY BAY IN MYRIAM FRAGA'S POETRY
The thesis Weaving the Lines of a Territory ─ Webs of an Imaginary Bahia in Myriam Fraga’s Poetry proposes itself to analyze and understand the constitution of a subjective body/territory that’s particularized by the verses of the Bahia-born poet Myriam Fraga, which is also connected to her homeland. Structured in four chapters, the thesis has as a main object of investigation the book Poesia Reunida (“Collected Poetry”), an outline that contains the sections “Sesmaria”, “Pescadores de Mar Grande” (“Fishermen from the Great Sea”), “Marinhas” (“Marines”), “A Ilha” (“The Island”), “O risco na pele” (“The Risk on the Skin”) and “Femina”. The aim of this study was to think about the way that Fraga’s poetry reconstructs and reinvents an idea of Bahia, an imaginary territory erected by the relationships of the involved subjects with their places of belonging in the poems, and by the connections of the subjects and places with the sea. That territory is in the names of the locals of the historic characters who were recreated in verses, as well as in the description of the spots of the simple characters who inhabit or are part of those places, rewriting an image of a consecrated Bahia by the literature and the music, as a traditional and historic space: Salvador city and its surroundings. In the same way, the relations of the subjects with themselves, the sea and the islands were investigated, also reflecting upon an inscribed territory as an insular site, sea-build (subjects and places): a still trapped locus to an idea of a Bahia’s seashore in verses. Thus, we’d have a sort of a built territory as a route, a pendulous connection which goes from the subjects’ bodies to the touched sites in verses and to the sea, so that the sea seems to perform an important role in the constitution of that territory of lands, people and water. The sea infiltrates and modifies all the existing relationships there.
The thesis synthesizes the main lines of the cultural project elaborated by the Angolan-Portuguese author Valter Hugo Lemos. He became a award-winning wrtier and his speech has become important in the media. This prominent position for a literature author nowadays asks for an analysis on the most important aspects of his artistic-cultural production. We dedicate part of the research to the observation of the author profile and the marks of his consecration in the literary field. The features of his narrators – both in novels and public performances – are assembled in order to outline a style that walks through all his discursive production. Therefore, we have researcheed the most diverse registers (like poems or children's short stories) in order to thematically approach his writing and his preoccupations. Since the concern for a humanizing citizenship is fundamental for the author, we have read some studies of psychoanalysis and philosophy to ground that its cultural project is based on the assumption of the importance of the founding lack of the "I" and of the necessary encounter with the "other". In this sense, the study of the family is important as the starting point of this encounter and of this lack in the literature of Valter Hugo Mãe - his most recent signature. Finally, the status of the marginalized characters, with emphasis on the homosexual character of his central novel in our point of view (The son of a thousand men), will serve to demonstrate the concept of humanization, the basis of the art and the project for the culture that is elaborated by the writer.
3
JOSÉ AILSON LEMOS DE SOUZA
E.M. Forster in the Cinema: Sexuality and Gender Issues in James Ivory's Films
This dissertation is a study of the adaptations of E. M. Forster’s novels A Room with a View (1908) and Maurice (1913) into the films of the same name, directed by James Ivory. Our assumption is that the films offer an alternative to the visual pleasure structured in mainstream cinema by a relation that places a male look dominating and objectifying female forms (MULVEY, 1983). Such alternative appears in the form of rearranging gender positions in that structure, and in images that stimulate a homoerotic imaginary or that center on homosexual experiences and thus provide a more complex and diverse dynamic for the gaze and pleasure provided by cinema. The discussion emphasizes the critique of oppression within the novels and the strategies of adaptation. Therefore, we contextualize the novels as well as a criticism that problematize questions of gender and sexuality in the works by Sedgwick (1990), Rubin (1984) and Butler (1990). The films’ specificities are presented through different perspectives from British criticism such as that in Higson (2003, 2006, 2011), Monk (2001, 2011) and Dyer (2002). We survey some concepts and ideas from adaptation studies from texts by Bazin (2000), Cruz (2014), Elliot (2004, 2017), Hutcheon (2013), Leitch (2008), Schober (2013) and Stam (2000), among others, highlighting the adaptations’ context and intertextuality relations that exceed the literary sources. The analysis of A Room with a View and its adaptation centers on the treatment of gender representation, on images that subvert male domination logic by resisting it, and on setting a point of view that articulates a more diverse visual pleasure than that which privileges a male heterosexual desire. The study of Maurice and its adaptation focuses on different scenes of homosexuality recognition. The scene of recognition suggests a mediation of class alterity and it has the effect of disrupting patriarchal power structures. We investigate Ivory’s strategies to adapt the different scenes and the use of texts that trigger homosexual images. Our conclusion is that Ivory’s adaptations select and develop scenes of subversion that, set in the past, criticize power relations of gender and sexuality and, as a result, diversify contemporary visual culture by means of a more democratic distribution of discourses and representations of human experience.
4
MARIELSON DE CARVALHO BISPO DA SILVA
The Black Atlantic of Angélique Kidjo: memory and ancestry in a afrodiasporic musical trilogy
The thesis analyzes the artistic, artivist and intellectual trajectory of the singer and composer Angélique Kidjo (1960, Ouidah, Benin). This musical production has symbolic references fon and ioruba that cross with the African diasporas in the Americas. Recognized internationally since the 1980s, when she self-exiled herself in France as a result of the political and economic situation in Benin that displeased her, Angélique Kidjo plays an important role both within and outside Africa, becoming one of the most expressive and influential voices against racism and other counter-hegemonic confrontations around the idea of Africa built by the West. Through music, the Beninese artist activates and articulates affirmative speeches of feminine, black and African inscription in more than 38 years of career. It is intended to discuss the African diaspora from the musical trilogy that Angélique produced in a crucial period of his artistic life of aesthetic and thematic changes. Oremi (1998), Black Ivory Soul (2002) and Oyaya (2004) are three albums that respectively dialogue Afro-diasporic and African songs in an Atlantic network that covers the United States, Brazil and the Caribbean. By expanding her diction and performance in the Americas and incorporating her creation into the key of memory and ancestry,
Angélique recreates an early experience in Benin: black American, Afro-Brazilian and Afro- Caribbean music. These traditions are accentuated in the trilogy, as she describes herself, in the
form of a link with the diaspora, which shows how much the African continent contributed immensely to contemporary culture in the West from jazz, blues, hip hop, salsa, reggae, samba. The African textualities that music reinscribes in this context result in interdiscursive and media products of global reach, whose routes operated by musicians, performers and producers re-enter modes of reception, beyond the colonial limitations. This repertoire between the shores of the Atlantic transcends boundaries and enables us to understand the strategies and dynamics of the constitution of its flows and ebbs. Angélique Kidjo promotes with her musical project this discussion about cultural translation in the African diaspora.
5
MARIA DO SOCORRO BARBOSA DE MIRANDA
Memory and autobiographical writing in the Intimate Diary by Lima Barreto
This thesis undertakes an analysis of the relations established between memory and autobiographical writing in the Intimate Diary, by Afonso Henriques de Lima Barreto, a posthumous publication organized by Francisco de Assis Barbosa. The records taken by the writer throughout his life are made up of memory discourses, with the narrator as the starting point. The strong mark of subjectivity imprinted on the diarist text leads us to consider it as a privileged space of creation/recreation of himself, others and the history. We start from the assumption that the Intimate Diary allows the construction of new images of Lima Barreto, fiercely repressed by traditional literary criticism, giving visibility to the writer's ways of understanding himself and placing in evidence elements that suggest the way the novelist wished to be seen, understood and remembered. In this sense, we seek to capture, through the ambiguities and fragmentary nature of the notes, the peculiar way in which the narrator, from his locus of enunciation, constructs/deconstructs images of himself and manages dislocations in the hegemonic power discourses. Based on the theory of biographical criticism, which has as two of its representatives Eneida Maria de Souza (2011, 2012) and Leonor Arfuch (2010, 2012), we discuss, among others, the notions of origin, unity, truth, identity, homogeneity, temporal linearity, commonly suggested in the studies on autobiographical narrative. Thus, what we intend in this thesis is not to discover the "true" identity of the writer Lima Barreto, but to investigate the reasons and the choices that led him to a certain process of identification, paying attention to the representation he made of himself in his memorialistic work. We seek to ascertain the potential which the records have to displace truths and stereotypes, constructed and crystallized throughout the Brazilian historical-literary process.
6
ANA GABRIELA PIO PEREIRA
EXCESSIVE WRITINGS: CASSANDRA RIOS AND THE EXCENTRIC PROTAGONISM IN BRAZILIAN LITERATURE
The dissertation Excessive Writings: Cassandra Rios and the eccentric protagonism in Brazilian literature looks at the literary production of Cassandra Rios (1932-2002), a very popular writer in the first decades of the second half of the twentieth century in Brazil. Known by labels such as “The Pope of Homosexuality” and “The most forbidden writer in Brazil”, the author is responsible for the creation of dozens of novels carried out by socially marginalized subjects, mainly due to non conformance to established gender standards and sexual practices. The gays, the transvestites, the prostitutes and, above all, the lesbians, around whom there is an affirmative policy, are very frequent in her work. In this work, distancing us from what is a tendency in the still timid critic about her work, we will not discuss the novels of Cassandra Rios for the bias of her project of constructing a positive image for the lesbians, although we believe this to be one of the most important achievement of these texts. We chose to examine the facet of the author who turns to the questioning of a culture that, under the aegis of what Monique Wittig calls the Heterosexual Contract, oppressed, silenced and mutilated the subjects included in the category of women. In this sense, in the following pages, we will try to demonstrate the Cassandrian literature as a propeller of a policy of combating heteronormative discourse, which created an ideal model of “woman”, establishing for this subject some precious destinies, among which the one of motherhood and confinement in heterosexual marriage are the most important. For the accomplishment of such an undertaking, we have used four books written by the author A Sarjeta (1952), A paranóica (1969), Eu sou uma lésbica (1975/2006) and Uma mulher diferente (1968/2005). Since we are not concerned at the moment to construct linearities or lead the reader to follow all the nuances of the narratives, we will not use them in their entirety. Instead, we opt for fragmentation, for flashes that can prove what we believe to be an underlying desire in these texts: that of thinking a society in which the so-called female subjects can be freed from the oppression imposed by the culture regulated by the rules of heterosexuality.
7
CARLA CECÍ ROCHA FAGUNDES
DEOLINDO CHECCUCCI AND THE BAHIAN CHILDREN'S THEATER IN THE CONTEXT OF THE MILITARY DICTATORSHIP: ARCHIVE, EDITION AND CRITICAL-FILOLOGICAL STUDY
Theater, during the 1970s and 1980s, had a remarkable development, even in a society controlled by the Military Dictatorship, which was established in the national territory between 1964 and 1985, restricting freedom of expression through censorship. In this context, we highlight the dramaturgy of Deolindo Checcucci, author who has been producing in Bahia since the 1970s. Characterized as a multifaceted artist, Checcucci takes on the roles of director, actor, teacher and playwright in the Bahian theatrical scenario. Through his children's productions, he sought to develop a critical and innovative theater, able to promote reflection and social change. We can observe these characteristics through Deolindo Checcucci's Collection - Children's Theater, organized by the Team of Censored Theatrical Texts, coordinated by Professor Rosa Borges, at the Federal University of Bahia, since 2006. This thesis will focus on the study of the children's dramaturgy of Deolindo Checcucci, from the organization of the collection, the edition and the critical-philological study of selected texts, gathered in a Hypertextual Archive. Thus, through a dialogue among Philology, Archivistics and computer technologies, it is possible to analize critically the dramaturgical production of Deolindo Checcucci and configure the paths taken by Bahian children's theater during the Military Dictatorship in Bahia.
8
DEBORA DE SOUZA
SERIES OF SCENIC STUDIES ON POWER AND SPACE, BY NIVALDA COSTA: HYPERTEXTUAL ARCHIVE, EDITION AND CRITICAL-FILOLOGICAL STUDY
In the scope of Philology, in dialogue, mainly, with Archivistics and Information Science, we have organized a hypertextual archive of the dossier of the Series of scenic studies on power and space, a significant part of the censored dramaturgy by Nivalda Costa, comprising editions and documents, as the support of a critical study that based the construction of a philological reading of her performance, in the context of the military dictatorship in Bahia. This series, which is the result of research, (re)readings and experiments, consists of six theatrical texts written (on and) for the stage as manifestos, through which the playwright, director and black intellectual denounced power abuses and incited the public to transform society. As a reading strategy, in order to constitute and interpret the dossier, consisting of more than two hundred documents, we organized Nivalda Costa’s Collection, part of the Censored Theatrical Texts Archive, Censored Theatrical Texts fund, linked to the Institute of Letters of the Federal University of Bahia. Respecting the peculiarity of the documents gathered, among them, theatrical text, newspaper article, censorship documentation, sketch and draft, and audiovisual material, which allowed us to read the processes of production, transmission, circulation and reception of theatrical texts, the study object, and the subject Nivalda Costa, we adopted a pragmatic, socially and politically-based editorial tendency, recognizing the material and historical aspects of the documents/testimonies, as well as assuming the critical behavior of the philologist-editor. In this sense, we present the Hipertextual Archive, accessible on the website http://acervonivaldacosta.com, organized as follows: Presentation, The author, The collection, Consult, Editions and Contact, a facsimilar edition of all the testimonies of the texts, a hypermedia interpretative edition of Glub! Estória de um espanto, a hypermedia critical edition of Aprender a nada-r and a hypermedia synoptic-critical edition of Vegetal vigiado; critical texts in print model, for reading, studying and/or staging; elaboration and presentation criteria; and all the documents in th dossier. Through this platform, editions and documents, we have proposed a philological criticism about Nivalda Costa, her fierce production and resistance practices, considering the figure of the black intellectual, her networks of sociability, her involvement in artistic, cultural and popular projects. However, we emphasize her trajectory in the field of theater, as a playwright and director, in the sociocultural context in the 1970s, developing a reading of the artist and of the Series of scenic studies on power and space, in which stand out the figure of the studious and her practice of dialogical and transgressive research, part of a strand that defends the epistemological, ontological and cultural diversity, seeking to build a knowledge about Nivalda Costa.
9
ALEXANDRE CARVALHO PITTA
THE RAP OF THE END OF THE WORLD: BRAZILIAN LATE MODERNITY AND INSURGENCE IN CRIOLO AND EMICIDA SONGS
Criolo and Emicida are musicians who stand out in the contemporary Brazilian musical scene. This is the result of significant artistic production and performances that mark their political views in the country. Both artists write songs and act in the context of late modernity, under the nefarious effects of the economic model established during the dictatorship and with the neoliberal democracy that was established after the years of lead and that consolidated the social disparities already accentuated in those times. The rappers from São Paulo are situated at a time when urban space is the battleground in which these problems manifest themselves. The ruins of a Brazil sold as a powerful nation, but marked by racism and by a fearsome social inequality. There is then, in the criticism to this national reality, the interweaving of themes and aesthetic procedures: starting from sampling as a method of appropriation of the fragments of this world, the rappers promote a narcissistic wound in the Brazil mounted under the aegis of racial intermixing, supported by the false notion of racial democracy. This forges a Brazil whose promise of happiness is evident in the harmony of its constituent ethnicities, whose past of oppression has been overcome. Sampling, combined with intertextuality in the lyrics, reveals a desacralizing purpose that appropriates various fragments of sounds, discourses, and melodies, putting them together to build a collision of heterogeneities, allowing tensions to be explicit rather than appeased. To understand the political role of these artists' work, placing it in the context of Brazilian late modernity, is to consider a different form of work with language, as in the case of rap music, it is a lyrical and musical language. In addition, this is a way of seeing these two musicians, considering their practices, as thinkers of our time and as agents of insurgencies for the construction of alternatives to the necropolitics that historically imposes itself on Afro-Brazilians, having the State as one of its main agents. Based on these problematizations, this work aims to analyze how the compositions of these artists produce an interpretation about the Brazilian late modernity, to what extent their musical productions shake the discourses about the Brazilian identity and the Afro-Brazilians and review the idea of how the violence upon Afro-Brazilian bodies is presented as one of the significant features of this modernity and how artists and their works operate forms of insurgency against this violent face of late-modern Brazil.
10
ADRIANO PORTELA DOS SANTOS
ENCOMÉNDALAS A DIOS: the prayer in Gil Vicente's dramaturgy
The present thesis analyzes the prayer in Gil Vicente's dramaturgy (1465-1536), particularly in the clerical Clérigo da Beira (1529), in the moralities Auto Barca do Inferno (1517) and Auto da Barca da Glória (1519) and in the mystery Auto da Cananea (1534), with the help of Theopoetics, critical approach to comparative studies between Theology and Literature. It seeks to understand how the conception and practice of prayer were used by Gil Vicente as dramatic resources; as well as to explain how the representation of this literary topus - the act of praying - elaborated and transmitted theological notions in Vincentian dramaturgy. Firstly, we try to situate the Portuguese playwright in the context of theopoetics, mainly through the studies of Antonio Carlos de Melo Magalhães (2009), presenting the concept and methodology of this approach, as well as carrying out a bibliographical review of the Vincentian studies on religiosity. Afterwards, we tried to make an inventory of the prayers in Vincentian dramaturgy, starting with what had already been done by José Camões (2002), analyzing the speeches about the prayer produced in the scenes and the prayers themselves performed: which were, by what characters were performed, in what scenic context. Finally, we turn to the aesthetic procedures and theological principles in the three volumes quoted above, with the change in the theological perspective of Gil Vicente from one text to the other, brought about by his approach to the notion of Grace. , we seek to establish a new perspective from which it is possible to speak of the religiosity of Gil Vicente and his relation with the reforming winds of the XVI, since Grace is a notion quite expensive to the initial period of the Protestant Reformation.
11
WELLINGTON JOSÉ GOMES FREIRE
Sea cavalry: the persistence of the knightly imaginary in chronic narratives
on the way of driving war in portuguese imperial expansion - xv and xvi centures
During the wars to conquer the marine Portuguese empire, its own troops, when marching on land and sea or when sieging the enemies’ strongholds, bravelly fought led by anachronistic chivalrous imaginary. It’s said that at that period the process of military modernization of major European powers hadn’t had plated their seeds in the Portuguese soil. Both castes of worriors and conquerors from Portugal became the lords of a great portion of the world, they fought as if they didn’t know or as if they had a studied scorn by the modern methods of war, perhaps because they considered those methods as a synonym of dishonor. The chivalrous imaginary impelled all the major and all the small stages of the campain of the Portuguese military domain over the three target continents. This study was based on a corpus by quattrocentist and cinquencentist cronists. Zurara; Rui de Pina; João de Barros; Lopes de Castanheda; Gaspar Correia.
12
DAIANE GRAZIELE SCHIAVINATO
LAS CLÁUSULAS MÉTRICAS EN ORATOR DE CICERÓN: UNA PROPUESTA DE TRADUCCIÓN.
La présente recherche propose d’étudier un ensemble de clausula metrica tirées de la
Poétique Classique Latine, retrouvées dans Orator de Cicero ((106-43 avant JC). Les clausulae metricae, les métrifications présentes à la fin des paragraphes cicéroniens, sont des composantes expressives caractéristiques de la poésie, lieés principalement au rythme et à la métrique, et représentent une contribution, directement ou indirectement, à l’élaboration de discours oratoires, qui constituent le texte de Cicero. En définissant le meilleur orateur, Cicéron exprime, en langue latin, ses conceptions concernant la forme de la poésie et de l'oratoire, en soulignant les similitudes et les différences. Ce faisant, il pratique un métalangage qui aborde des questions formelles de Poétique, englobant des définitions et l’utilisation de termes tels comme metrica (métrique), metrum (métre), oratio (discours), poema (poème), poeta (poète), res (contenu), uerbum (mot), uersus (vers), uox (forme de l'énonciation). La tâche de la recherche était de constituer un corpus formé par les contextes-occurrences dans lesquels ces clausules métriques extraites de l'Orateur,
puis de proposer une traduction et une discussion de ces clausules traduites selon à la théorie post- structuraliste. Il s’agit donc d’une question sur l’expression et concept poétique dans les discours
rhétoriques en circulantion dans la Rome Anciènne traduits en Portugais. On espère que cela contribue à apporter de nouvelles perspectives à la connaissance des codes poétiques dispersés dans les œuvres d'écrivains anciens, tels que d'anciens commentateurs et grammairiens, ou même de rhéteurs et d'orateurs, tels Cicéron étudié ici.
13
MÔNICA MATOS ANUNCIAÇÃO
AN UNLOVE PREPARATION: AFFECTIVE-CONFLITUAL RELATIONSHIPS IN AL BERTO AND CAIO FERNANDO DE ABREU
This essay thesis brings together the works by the Portuguese writer Al Berto and the Brazilian Caio Fernando Abreu. The capital problem is based on the critical reflection on how one establishes affective-conflicting relationships that cross the two poets’ love lyric in a distinct, but comparable way. The contact point between the writers pervades the question of the control processes of affections and their relation with culture, politics, the construction of subjectivities and language. The interpretative effort undertaken here is dedicated to the analysis of poems compiled in O medo, by Al Berto, and Poesias nunca publicadas de Caio Fernando Abreu, by Caio Fernando Abreu, through the problematization of the romantic love myth and of melancholy.
14
DAVI SANTANA DE LARA
Contemporary critical challenges: autorship and autofiction in Javier Cercas and Enrique Vila-Matas
Based on the hypothesis that the presence of the authorial figure in a significant number of current novels is an indication of transformations in contemporary literature, this thesis aims to investigate that transformations from the critic's point of view. To do so, the works of the Spanish writers Enrique Vila-Matas e Javier Cercas are analyzed as a starting point to elaborate questions related to a set of works that, besides the intrusion of authorial figure, have as main feature the destabilization of some critical categories. The discussion revolves around three thematic axes, authorship, subjectivity and autofiction, to which correspond the three chapter of the thesis. With regard to the discussion on authorship made in the first chapter, besides Barthes and Foucault, two outstanding authorities on this subject, the contributions of Giorgio Agamben and Daniel Link were important for understanding contemporary authorship. In the second chapter, referring to question of writing and subjectivity, the names of the critics Diana Klinger and Leonor Arfuch stand out. In the third and last chapter, autofiction is studied from a double perspective, the perspective of literary theory and the perspective of aesthetics, according to the suggestion given by Josefina Ludmer in ―Post-Autonomous Literatures‖. The notion of ambiguous pact, developed by Manuel Alberca, is central to this thesis. Finally, it can be concluded that the narratives studied are characterized more like a process and less like a product, which changes the way we read it.
15
NEILA BRASIL BRUNO
PROFESSION WRITER: ADRIANA LISBOA'S LITERARY TRAJECTORY (A CASE STUDY).
This work intends to study the professionalization conditions of the contemporary writer through a case study: the analysis of the literary trajectory of writer Adriana Lisboa and her position taking in the literary field. For this purpose, the work gives a brief history of the professionalization of writers in Brazil, also investigating the role of the publisher and the literary agent in the Brazilian publishing market. We will also analyze the elements that increase the professionalization of writers today, such as literary events and awards, creative writing courses and workshops, as well as the relationship between authors and the university and the internationalization of writer's career, commenting on the position takings by authors such as Daniel Galera, Luiz Ruffato and Tatiana Salem Levy to examine the work of writer Adriana Lisboa more closely, seeking to reconstruct her insertion in the Brazilian literary field, the construction of her public image as an author, the instances and agents that contributed to her professionalization process. Our reflections will be made fundamentally from the theoretical perspective of Pierre Bourdieu, more specifically his concepts of literary field and symbolic capital, and will be centered in the circumstances that make feasible the legitimation and the professionalization of Adriana Lisboa as a writer.
16
SILVANA CARVALHO DA FONSECA
THE SLAVE, THE GHOST, THE BLACK MAN: AESTHETIC AND HISTORICAL EXPERIENCES IN THE HIP HOP MOVEMENT BETWEEN BRAZIL, ANGOLA AND PORTUGAL
The hip-hop movement is a counter-narrative of the black diaspora produced, throughout its history, mostly by black men. A "minority" movement that presents the tensions of a patriarchal / sexist, racist and capitalist society. This counter narrative operates under the ambivalence that includes contradictions and resistances in the existence of the black subjects, which constitute the black masculinities expressed in the appropriation of the word from the poetics of rap. This thesis investigates how black masculinities are produced within the hip-hop movement in Portuguese - speaking communities - Brazil, Angola and Portugal - based on the relations between historical and aesthetic experiences. In order to achieve that, descriptions and comparative / contrastive analyzes of the ethical / aesthetic productions of Mano Brown, Criolo, Rico Dalasan (Brazil), Kool Klever, Kid Mc and MCK (Angola) and Chullage and Valete (Portugal) were carried out, aiming to understand dialogues, connections, confluences and divergences in a transcultural perspective in the black diaspora. Black masculinities, racialized ways of living the gender, are constituted from the negation and reproduction of the subjection imposed by coloniality, through the following ways: slave - injunction of the other - the ghost - introjection of the coloniality of being - and black man - emancipatory becoming. Those ways perform black masculinities in a centripetal movement (towards the center, "necropolitical"), which questions and denounces power; since as far as it responds to the enslaved place that society imposes on it, it opposes this injunction by denouncing it. In this denunciation movement, the contradictions created by racism and capitalist exploitation also emerge by exposing the internalized effects produced by the set of historical violence that destroy black men‘s humanity, the introjection of the coloniality of being. Still contained in this triple movement, a conception of emancipatory humanity that destabilizes the project of genocide continually reworked against the black man emerges. It is from this complex and violent relationship, which is also political and one which mobilizes affections, that the black masculinities analyzed throughout this work
operated in the reactive and assertive movement, characterizing its counter- hegemonic character within the black culture of resistance and transculture.
17
GABRIELA LOPES VASCONCELLOS DE ANDRADE
HORROR ART-HOUSE: INVESTIGATIONS ON THE CAPITALIZATION OF THE SELF
This paper seeks to analyze the trend of horror discourse in contemporary Brazilian literature from the novels Neve Negra and Biofobia by Santiago Nazarian. The author travels through mass culture, pop literature, cinematic language and biographical space, paying attention to the reception of his works to create performative strategies of legitimation. The writer assumes a mythological and media identity, woven through an imaginary network formed by his readers. In this process, within an aesthetic that uses pop elements, the author's literary project is changing and inserted in the cinematic aesthetic of horror. The work then seeks to problematize this trajectory, thinking about the construction of the author's taste and the attempt to consolidate his work from the growth of consumption of this type of literature, influenced by the success of horror cinema, both for the common reader and for literary criticism. . Thus, the doctoral thesis seeks to question the classification of the term post-horror, used by these writers, as a marketing strategy linked to a film industry that sells Art-House discourse in the scenario of independent festivals and awards, which ends up influencing the precariousness in the conditions and values of artwork by treating it as a commodity, linked primarily to filmmaker RT Features. For this, we will use Jenkins' concepts of Transmidia, Lipovetsky and Serroy's idea of hyper present, the work of Annatereza Fabris and Eneida Maria de Souza on the Brazilian literary market, the discussion about authorship and the media construction of the self from Sibília and Foucault, in order to understand how international horror cinema is influencing the construction of the aesthetics of terror in contemporary Brazilian literature. In addition, to discuss the concept of Horror, Plato, Aristotle, Derrida, Artaud, and Niezstche will be used.
18
JOÃO LUIZ TEIXEIRA DE BRITO
KURT COBAIN'S BODY: NOISE IN IN UTERO'S POP LANGUAGE
This dissertation discusses the concept of noise as an operator associated with language and the possibility of bodily transformation in the work of Kurt Cobain and Nirvana. It works on the aesthetic productions surrounding In Utero (1993), the songs, lyrics, musical ambientation, imagery and audiovisual compositions. The text discusses a number of themes related to memory, community, authorial figure, fame, media, writing, death, representation, communication, silence and transformation. It seeks to (re)construct the notion of body, especially the body in performance, as a focal point for understanding the poetics of Nirvana and for the discussions surrounding pop culture in contemporary times. The argument begins with explorations focused on the recognition and analysis of specific aspects of Nirvana's work such as: the heritage of Pop Art and Literature, the suicide of Kurt Cobain, the confusion between life and work caused by dealing with mass media, the representation of the body in In Utero, the ethics of the punk community, the ritualistic aspect of the communal event of live performance and the human-machine relationship, with broad outlines referring to various aspects of the clash of binomials such as commodification and integrity, life and work, organization and chaos, belonging and alienation. These aspects are not isolated, but fluent, transient and erased. Nirvana’s poetical project is built on this tension. The concept of noise was then used as an operator of these tensions, the noise that is inherent to media (including the media of the body) and is the transformative capacity of text and media itself, its iconic failure to record and communicate. This process is structural in Cobain’s poetics. The next methodological step was, then, to demonstrate how this noisy operator is found and applies to the texts as a key of access and transformation of the work. Analyses of the Heart- Shaped Box video and of other songs such as “Scentless Aprentice”, “Milk it”, “Radio Friendly Unit Shifter”, “Tourette's” and “All Apologies” are performed to build the argument.The concept of noise was applied to the method as well, with four overlaping readings of the texts, scraping them consecutively to obtain new levels, not of depth but of projection, in light, sound, letter and voice. Some important theoretical dialogues are executed with the works of Friedrich Nietzsche, Jacques Derrida, Georges Didi-Huberman, Jacques Rancière, Leda Maria Martins, Decio Torres Cruz, Carrie Jaurès Noland, Greil Marcus, Phillip Auslander, Michel Foucault, Giorgio Agamben and Judith Butler. .
Key-words: Nirvana; Body; Noise; Pop Literatura; Punk Culture.
19
THEREZA DE JESUS SANTOS JUNQUEIRA
Towards the city on the other side of the mountains: a Guided Expedition by BERTOLT BRECHT
This paper proposes a reading of the book Der Jasager und der Neinsager [He Said Yes and He said No], the didactic play and school opera, written by Bertolt Brecht in partnership with Kurt Weill, who departs from an analysis from strengthened parameters for epic theater, as well as the Marxist-dialectic key, recognized and studied as the motto of several plays, the didactic ones above all. The aim is to develop a genealogical reading in order to recover Brecht's transgressive Gestus and to clarify the power of his work, accessible precisely when it deviates from assumptions that offer it immediate legibility. The play was written progressively between 1930 and 1931 during the Weimar Republic, from a translation by Elisabeth Hauptamann, Brecht's collaborator, to the play Taniko, and at Weill's suggestion on the occasion of the Baden-Baden experimental music festival. This course transformed what was initially Der Jasager (He Said Yes) (1930) into Der Jasager und Der Neinsager [He Said Yes and He said No] (1931), going through a counterpart, Die Maßnahme [The Measure] (1930), based on the various comments and criticisms derived from his presentations. From these findings, a behind-the-scenes study of this experimentation, the process of progressive conception of the dramatic text, as well as the combination of poetics suggested by the inventive activity.
Cette recherche est une approche de l‟oeuvre de l‟écrivain français Georges Bataille, à partir d‟une lecture du livre Le coupable, dans le but de réfléchir à propos de la politique de l‟écriture et de la poétique développées dans ce livre-ci. Dans ce contexte, nous suivons le mouvement de ses réflexions sur les possibilités ouvertes par la littérature et le développement de la notion d‟écriture en tant que geste de contestation et de révolte contre les systèmes idéologiques, qu‟ils soient sociaux, politiques ou esthétiques. La question suivante a conduit l‟investigation dans cette recherche : Qu‟est-ce que peut l‟écriture, selon les propositions de Bataille? Pour y réfléchir, nous concentrons l‟analyse sur la lecture du Coupable. Cependant, pour ajouter plus de texture au débat, nous soulignons et commentons des passages de L’expérience intérieure, de La littérature et le mal, ainsi que d‟autres écrits. Nous traitons également de la relation entre l‟écriture de Bataille et l‟écriture mystique, afin de souligner l‟importance des thèmes et procédures mystiques pour le développement de sa notion d‟écriture. Des réflexions sur la littérature, entreprises par des penseurs tels que Maurice Blanchot; Roland Barthes; Jean-Michel Heimonet, Michel de Certeau, nous ont aidés à réfléchir sur le thème proposé. Nous avons également évoqué des écrivains avec lesquels Bataille a établi un réseau dialogique complexe, en créant une sorte de communauté de la pensée : Friederich Nietzsche; Dionysos l‟Aréopagite; San Juan de la Cruz; et Ângela de Foligno.
21
RAQUEL BORGES DIAS
The creative process of the translation of Athol Fugard's play "Statements After An Arrest Under The Immorality Act"
"Statements after an Arrest under the Immorality Act" (1974), by the South African playwright, novelist and director Athol Fugard (1932 -), worldwide famous for his engagement in political and human rights issues, reflects the social conscience of the author within South African context in the 1970’s (O'NEIL, 2004), when Apartheid was still in force. Considering the importance of Fugard's work for world literature, the referred dramatic text was translated from English to Portuguese by the Research Group from the Federal University of Bahia, entitled Translation, Creation Process and Sound Media in 2011. The analysis of such creation process was developed from the theoretical-methodological perspective of the genetic criticism, or, as it is better known nowadays, the studies of creative processes. Therefore, our starting point was the idea that such field of research focuses on the act of production/writing of a given work, having as its object the manuscripts that outline the creative dynamics of such text in order to describe and explore its creation (GRÉSILLON, 1994). Thus, we have sought to reconstruct the creative process of the translation of the referred Fugard’s text from English to Portuguese in order to get closer to the way the work was conceived and accomplished, through the analysis of the manuscripts left behind by the translators (BIASI, 2000). With the development of the genetic studies in the last years, the concept of manuscript has been expanded and thus the present study focuses on the analysis of process documents created in digital media. Furthermore, it was possible to reflect on cultural aspects, as well as on the social, political and historical context of the translated work. We have worked with the concept of translation functionality so as to reflect on the function of the translated text in the target culture (VERMEER, 2014 [1984]). Studies on foreignization and domestication have also proved to be relevant to the research developed herein (VENUTI, 2002) and we could trace indexes of such genesis in the process documents that supported the analysis of the creative process in focus.
2018
Disertaciones
1
SUSI LEOLINDA ROSAS QUEIROZ
ITALY IN TALES, STORIES AND BALLAD OF PIUMINI: AN INTERSEMIOTIC JOURNEY FROM THE PAGE TO AUDIOLIVRO
Seen as a process of recreation, translation requires from a translator a series of strategies and choices. When it comes to intersemiotic translation, such choices are also conditional on the new media’s material and operational characteristics. Through the implementation of a translation of the children’s book Italia storie, ballate e racconti, written in Italian, to an audiobook in Portuguese, the present study aims at reflecting on the process of translation of a printed work to a sound medium. Roberto Piumini’s book, published in 2013, narrates a journey throughout Italy, region by region, in which a kid gets to know art, nature and traditions, always accompanied by iconic figures belonging to the regional and national imagination. The translation was implemented through the Skopos theory (Skopostheorie) theoretical framework proposed by linguist Hans Vermeer, and later revised by Christiane Nord, through theorist Lawrence Venuti’s concepts of Domestication and Foreignization, and through reflecting on the position of audiobooks within the Brazilian literary polysystem, taking as a starting point the theory developed by Even-Zohar, highlighting the inclusive function exerted by media. This dissertation aims at contributing to the field of Translation Studies, specifically in the area of translation to sound media, and also at promoting a cultural encounter between Brazil and Italy
2
MARINILDA GOMES DOS SANTOS
POETRY CARTOBIOGRAPHY OF JONATHAS CONCEPT OF SILVA
This thesis has aimed to build a biographic narrative of the poet from Bahia Jonathan Conceição da Silva through the analysis of a corpus of critical and literary texts, photographs and interviews, raising inferences and interpretations from these distinct textualities and setting the literary writing as a supplement (DERRIDA, 1966) in the construction of his cartobiografia poetic. Therefore, the book Miragem de engenho & Outras Miragens (1989, selected some poems of Voices Quilombolas (2004), in addition to other writings of the author published in compilations such as Cadernos Negros and periodicals of the time has been analyzed. As a theoretical basis concepts of Autofiction, discussed by Diana Klinger (2008), of Biographème by Roland Barthes (2012), of the Intellectual proposed by Gramsci (1982), Bobbio (1997), and Said (2005), in addition to Franz Fanon (2008) Muniz Shafiq (1999) and Neusa Santos (1983) to discuss the issues of race.
3
PATRÍCIA MARIA DA SILVA
THE ABSOLUTE VULVA: MEANINGS OF LOVE AND EROTISM IN RITA SANTANA'S LYRICS
This thesis, entitled "THE ABSOLUTE VULVA": RESSIGNIFICATION OF LOVE AND EROTISM IN RITA SANTANA'S LYRIC aims to analyze the singular conceptions of love and eroticism in the poems of the black writer born in the city of Ilhéus, Rita Santana. The study is made articulating the representations triggered by Santana in contrast to the Freudian-based psychoanalytic studies. To question, reevaluate and reflect the proposed theme, it is necessary to re-signify some psychoanalytical concepts proposed in Freudian concepts, which are redistributed by Birman (1999), but which, however, do not consider the feminine black subjectivity and, for this reason, need to be displaced and resignified. By shifting the power axis from the spokenphallus to the word-vulva, which here works as a phallus, Santana points out another possibility of lyric, which refuses to submit to the patterns and stereotypes commonly associated with writing women. In the lyric poetry, the poetry making becomes a space of resignification of the self. In the development of this thesis, the intersecting of Love, Eroticism, Female Black Literature and Psychoanalysis has resulted in a work that discusses and questions the erasure of the subjectivity of the black woman in the scope of psychoanalysis, showing how the poet in question has contributed to the construction of this subjectivity – long denied to the female black body. A work of breath and relevance in the context of Contemporary Black Literature. To carry out this study, theoreticians such as Chimamanda Adichie (2009), Foucault (2015), Angela Davis (2016), Audre Lorde (2016 [1977]), Neusa Sousa (1983) and Fanon dialogue with analyzes of the author's poems taken from the books Tratado das veias (2006) and Alforrias (2012).
This Master’s thesis called LYRICHAOS: Sandro Ornellas’ poetry, aims to present a synthesis of the trajectory and the moments that came before what is now called LYRICHAOS by studying its conceptual framework and its specific features. Finally, this work aims to discuss lyrics, body, city, literature subjectivity, chaos, culture and all thematic axes concerning the chosen corpus of poems based on grounds as philosophy, theory and culture. Sandro Ornellas, was born in Brasília-DF, lives in Salvador-BA and teaches Portuguese and Literature at the Federal University of Bahia. He has published three books of poems and one book of essays and keeps his blog active sandroornellasblogue.wordpress.com active. His lyric reveals a meticulous deal with language, combining the density of references and contemporary philosophical, theoretical and cultural issues, to a careful writing that draws attention by knowing how to "taste" the filigree of poetic acts
This work has aimed to investigate the long poem Ossuaries (2010) by Dionne Brand in view of the hypothesis of reading it as a decolonial epic, looking forward to answering the question: “which potentialities does the heroine’s journey of Yasmine, protagonist of Ossuaries, have?”. The overall objective of this dissertation was to expand the bibliography regarding the work of Dionne Brand in Brazil, with specific objectives: to examine Ossuaries (2010) from the perspective of the decolonial approach, to trace the itinerary of Yasmine, heroine of the work, as an epic adventure and to investigate relations between Brand's poetics and the Diaspora brands in contemporary times. The translation of the full text was the research method, based on the idea of translation as an instrument of reading and criticism. To that end, the definitions of decoloniality of María Lugones (2010) and Édouard Glissant's epic (2005) were taken as guidance. Besides the Introduction, this text has three chapters. The first deals with the possibility of decolonial narrators, discussing the structure of Brand's text in parallel with the narrators brought by Benjamin (1987), Santiago (2002) and Carvalho (2009). The second discusses Brand's heroine journey in contrast to the hero's journey proposed by Conrad (2007). The third takes a longer look at the singularities of Yasmine, the heroine of Brand's epic. In addition, in the appendix, the work has the full translation of Ossuaries (2010) into the Portuguese language, supplement (DERRIDA, 1995) of this thesis.
6
POLLIANNA DOS SANTOS FERREIRA SILVA
WRITERS OF THE FEIRENS: THE CASE ALCINA DANTAS (1895-1974)
This work aims to gather and analyze part of the literary production published by the poet and artist from Bahia, Alcina Dantas (1895-1974), in the city of Feira de Santana (BA) and Itaberaba (BA). This research, from primary sources, intends to discuss the intellectual work in periodicals such as Folha do Norte (1909-), Folha da Feira (1933- 1935), Gazeta do Povo (1959-1960), O Itaberaba (1926-1954) among others. In order to understand the contribution of this poet to the writing of women in Feira de Santana, contemporary writers of Alcina Dantas were included, such as Edna Teixeira (19? -19?), Georgina de Mello Erismann (1893-1940), Florísia Arlete (1921- ), Rosa de Portugal (1903-?), Aita (19? -19?) and Zoíla Ribeiro Chagas (19? -?). This analysis begins with a reflection on the research of authors' rescue, which arises from questions made by feminist scholars in the United States, regarding the absence of women in the scene of prestigious literature in the West, such as Sandra Gilbert and Susan Gubar. In Brazil, such a discussion is carried out by Zahidé Muzart (1995; 2004; 2009), Constância Lima Duarte (2003; 2007; 2010), Ívia Alves (2002; 2006), among other researchers. Thus, the present study is in line with the work developed in Brazil by the so-called Rescue Research of authors. Therefore, following this research, a contextualisation was made about the history of women from the first half of the twentieth century, in order to understand the trajectory of Alcina Dantas, whose performances in several artistic spaces of this city, such as Cine-Teatro Santana and Radio Cultura were outstanding. Finally, part of the literary productions of this poet, collected during this research, were studied, showing, from her texts, her relevance in her socio-historical context, because it deals, among other themes, with women's rights in Feira de Santana, in the first half of the last century
7
ROSANA ALMEIDA JUNQUEIRA
THE HINGE INTERFACE BETWEEN THE LITERATURE AND THE PLASTIC ARTS IN ROMANCE STELLA MANHATTAN
The link between literature and the Visual Arts has staged the novel Stella Manhattan writer Silviano Santiago. This hinge interface is presented when the author dedicates the creation of his characters to the buzzards of Lygia Clark and the series La Poupeé, surrealist sculptor Hans Bellmer. This is the interface that a narrative drag, irreverent and thriving on the organicity and disarticulation of the body. The novel Stella Manhattan is a compliment to the resistance movement of the body. It is in this perspective that the dialogue between the languages is a device that promotes the creation of characters marked by a solid statement of desire. The characters of Silviano Santiago hinges are bodies who fight against the weight of a heteronormative society and exclusionary. Their bodies crave the discontinuity of oppression, so carry the banner of May 68 and the Stonewall movement. In order to denounce the domestication of the body, these desejantes machines make the flow of collective movements, who value the difference, perpetuate themselves in search of a new subjectivity and other modes of existence.
8
BRUNO CARVALHO DE AQUINO SILVA
THE TRAGIC BETWEEN US: A CARTOGRAPHY OF THE ELEMENTS AND EFFECTS OF TRAGICITY IN ADEUS, VELHO E UM TÁXI PARA VIENNA D'AUSTRIA, DE ANTÔNIO TORRES
This work consists of the analysis of the novels Adeus, Velho (1981) and Um táxi para Viena d’Áustria (1991) both from the writer Antônio Torres aiming to establish a mapping, in both works, of the displacements and reconstructions of its literary elements in which we understand as tragicness effects. The tragicness effects are possible understandings of occurrences, moments, and events in the narrative that resemble the characteristics of the tragic. This concept, although it is not new in theory, is systematized here through a bibliographic delimitation that allows an understanding of the tragic issue outside the Greek tragedy, but without renouncing it. The tragic is understood not only in its historically and theoretically classical values, but also especially in its place belonging to the continuum that is the literature. The autobiography and the autobiographical elements are inserted in this process as enhancers of a vision of predestination and fatality that is demonstrated by the author and that infiltrates to its work and its characters. Predestination and fatality are themselves traits considered by the theory as notoriously tragic, which evidences and enables, therefore, a first displacement in the sense of a re-creation of the tragic as an effect in life. This intricate game of paths, resignifications and movements are situated between the novel and the tragic, between the old and the contemporary, between the author and his work, but especially between the narrator and the narratary. Within the proposed delimitations, this movement will be discussed here through the literary and theoretical bibliographies and supporting materials, such as interviews, articles, testimonies and speeches, for example. These materials also help to understand the Multiple Writer nuance, that is, how his literature interacts with the aspects of his life, career, and academic trajectory. Literature appears in much of this work as an ally of theory, in order to place the questions and affirmations being pointed here not only in a theoretical abstraction but also in the reflection and contemplation of the literary text, our first and definite object of study and pleasure.
9
HILDA FERREIRA DA COSTA FRANCA
TRANSLATING MAYA ANGELOU: POETRY AND POLITICAL ACTIVISM BLACK-FEMINIST
The translation and analysis of Maya Angelou's poetry and black feminist political activism seek to attend the new demands of Afro-diasporic texts in Brazil, trying to respect, for example, the cultural and identity marks printed on the author's work. Thus, this work aims to genealogically situate Maya Angelou in the history of Afro-American poetry and activism such as to translate some poems from her first book of poems, entitled Just Give me a Cool Drink of Water 'Fore I Diiie, published in 1971. At first these goals were organized considering the data on the beginning of African-American poetry in the United States, in parallel to the African-Americans political activism. Then there was the problematization about the existence of African American poetry, from its immersion until the arrival of the most recent authors, period where Angelou is inserted. Finally, there was a discussion on the scenario of the translation of black texts in Brazil and the translation of five poems by Maya Angelou. These three parts of the work were based on theories by Jerry W. Ward Jr. (1997), Toni Martin (1976), Jeffrey B. Ferguson (2008), Leda Martins (2003), Louis Gates (1990), Cuti (2002), Denise Carrascosa (2017), Ana Lúcia Souza (2011), Stuart Hall (1996), Gayatri Spivak (2010), Raquel de Souza (2017), Hampaté Bâ (2010) and Lawrence Venuti (2002). These authors, supplementarily, have made it possible to theorize about the issues related to the themes brought throughout the work, in order to favor the creation of new ideas and discussions for the literary translation of afrodiasporic texts in Brazil. The perspectives arising from these reflections have taken shape, especially in the part of the translations, as of immersion of the critical analysis of the translated poems. Such analyzes have sought to put the Afro-Brazilian and Afro-American cultures into dialogue, considering both the aesthetic aspects of the poems, its visuality and sonority, as well as its political, historical and identity aspects.
10
SANDRA DE JESUS DOS SANTOS
In Custody and Fasting Feasting: The Power Relations and the Decolonization of the Subjects in Anita Desai.
Postcolonial studies grew, exponentially, in the second half of the twentieth century, corroborating the socio-political framework of decolonization of African and Asian colonies and, above all, by the effervescence of epistemological ruptures fostered and debated by intellectuals in various fields, such as cultural studies and subaltern studies. In this context, the Indian writer and intellectual, Anita Desai, produces fictional works, which accentuate the India's post-independence socio-cultural scene. Through a narrative with psychological traits, Desai can present a hybrid and contrasting India, which, on the one hand, has a look at its Hindu philosophical culture and, on the other hand, stares the present and gradual process of decolonization. In analyzing the novels In Custody (1984), translated in Brazil as Sob Custódia (1988) and the novel Fasting Feasting (1999), translated in Portugal by O Jejum e a Festa (1999), one can perceive the identity hybridism of the subjects, whose existences are crossed and sometimes subalternized by structures of power, derived both from British colonization and Indian tradition. In these narratives of the diasporic author, Anita Desai, is addressed the cultural multiplicity present in India with its different languages and religions. And the epistemic and subjective displacements of the post-colonized individuals are also highlighted. From the questions presented, this research aims to analyze the novels Sob Custódia (1988) and O Jejum e a Festa (1999) in order to perceive, in the various narrative elements, the resistance of the postcolonial subjects against structures of power in independent India. The research also seeks to map Desai's intellectual and creative strategies and to progress in the theoretical reflection on the representation of the diasporic intellectual in contemporaneity, delineating the socio - historical aspects, whose presence crosses the indian writer 's prose.
11
Feva Omo Iyanu Souza Menezes
ABOUT THE BELLIES THAT BLOW THE BLACK RIVERS: TRANSLATION AND BLACK FEMINISM IN DEATH AND THE KING'S HORSEMAN.
In this work, I discuss political issues in the field of Translation Studies in order to think about aspects of black culture as a form of epistemological production in this space. Bringing up the perspective of Tradução de Encruzilhada (Crossroad Translation), I draw an Afro-centered translation project that constitutes the theoretical-methodological basis for my first draft of translation of the play Death and the King's Horseman, written by the Nigerian intellectual Wole Ṣoyinka. From the translation of the play, I make an analysis of its constitutive aspects, focusing mainly on the lines of feminist black thinking, observing the construction of the female characters in the plot of the literary text. In this space of interaction, I lead a reflexive black-feminist dialogue that unites the points of the black atlantic, crossroads solidarity exchanges of African-American, Brazilian and continental-African.
12
LAURA DE OLIVEIRA SANTOS ALVES
AUTOFICCTION AND MADNESS IN TODOS OS CACHORROS SÃO AZUIS, BY RODRIGO DE SOUZA LEÃO
This is a study about the irruption ways of the discourse of the madness in the work of Rodrigo de Souza Leão, Todos os cachorros são azuis(All the dogs are blue). The research focuses on the very voices of those who are persecuted for a diagnosis or for presenting a deviated behavior from the discourse of rationality. The self-writing expression, entitled "autofiction", is investigated as a way of empowerment of the discourse. The term "autofiction" is debated from the perspective of the urgency literature proposed by Luciana Hidalgo. The work also proposes to think about pain as poetic, under the philosophical eye of Arthur Schopenhauer and analyzes the possibility of transgression and resistance that focuses on the matter of madness in the work of Leão. This work also presents a sample on the construction way of the discourse of madness and its experiences from Michel Foucault's point of view, showing how it presents itself in the studied corpus. We work with the idea of "hallucinatory" writing in Leão, which proposes a reading that presents his writing misconceptions. It is hoped to confirm his literature as a work of art that develops and shows the infinite possibilities of resisting and living in the face of the singularities, gods and demons that exist in every human soul.
13
ESTER DA ANUNCIAÇÃO DUARTE
SILVIANO SANTIAGO INTERVIEW: WAYS TO RESIZE CRITICAL CATEGORIES.
The intellectual's doing today is a question that generates much discussion due to the new demands of socioeconomic reorganization experienced in the digital era. Society has increasingly organized itself to regain a representativeness that coincides with its experience, which raises a suspicion about the utility of having a cultural representative in the contemporaneity. Some critics have presented considerations about the intellectual performance, according to their respective historical contexts, which will guide the analyzes constructed in this study on the work of the writer Silviano Santiago as an intellectual willing to exercise cultural mediation in his country and America- Latina. Throughout his teaching and artistic work, this author has constructed a literary criticism that goes against the legitimacy of the classics and brings a whole theory that potentiates the fissure with the notions of cultural dependence, debt, and coherent national identity. Because of this, its production is part of the curriculum of the Brazilian universities, as well as having a very fluid dialogue with the main Latin American thinkers. What this study brings as a contribution to the study on the intellectual performance of this writer is the proposed analysis about the place that the interview has next to its production; which elements are involved in its construction; how it participates in the dissemination of knowledge; what is its composition, as a mediatic instrument; the demands to which it is submitted, among other issues.
14
ERNESTO DA SILVA NASCIMENTO NETO
MALCOLM X: TRANSLATION OF HIS SPEECHES, DEBATES AND INTERVIEWS IN CONNECTION WITH AFRICA AND ITS DIASPORA
The aim of this qualitative dissertation research is to translate from English to Portuguese the speeches, interviews and debates of Malcolm X (1960 - 1965), the leader of Civil Rights in the United States. For the accomplishment of this research it was selected 37 speeches, 12 interviews, 3 debates and 1 letter. The theoretical methodological axis for the analysis of the texts was based on the concept of epistemology of the place, an Afrocentricity analysis, theory elaborated by the professor Dr. Molefi Kete Asante (1980). At the core of Afrocentricity theory, it is the idea that the African individuals has been displaced culturally, psychologically, economic, and historically. Consequently, any assessment of their condition must be made based on a location centered on Africa and its diaspora. Regarding to the theoretical basis, it was used the Afrodiasporic concept, which was elaborated by PhD Professor Denise Carrascosa (2017). The concept of Afrodiasporic refers to the agonistic force that removes and reconstitutes territories, through displacement, movements and reversions, projecting itself as a contemporary power. These concepts made it possible to establish a theoretical approximation with the oral text of Malcolm X in the translation work, trying, as far as possible, to consider all the specificities present in this type of text.
Tesis
1
MARCELA RODRIGUES SOARES
CONTEMPORARY ALLEGORISTS: IMAGES OF THOUGHT IN THE LIRIC OF MAYRANT GALLO AND GONÇALO M. TAVARES
Walter Benjamin's studies of allegory have given a new notion of this figure of thought. First, in studying the tragic drama of the Baroque period, the philosopher distinguished the allegory of the symbol, emphasizing that symbolic language is imbued with the idea of full and eternal meaning. The rehabilitation of the allegory occurred by the recognition of its instability of meanings, and the profusion of temporality and history. Later, in analyzing the poetic work of Baudelaire, Benjamin was able to capture the inherent transience of the allegory in the theme of the city and of modernity, explored by the French poet. Associated with the idea of allegory, Benjamin still presents conception about the aura, the category of flâneur, the notion of phantasmagoria, of traces, the lived experience of shock and melancholy. The allegory is no longer seen as a mere stylistic resource to be seen as a way of thinking. In contemporaneity, the thematic approach to daily life and the narrative present in the poems again rehabilitate this way of thinking by images. In this thesis, it was proposed to use allegory as a procedure for reading contemporary poetry by Gonçalo M. Tavares and Mayrant Gallo, as well as to analyze the images that the allegory evokes in these poems. Therefore, a comparative study was undertaken, seeking to identify points of convergence and distance from the use of allegory by these poets. For this, we tried to observe the recurrence of certain images within the themes of the city, time and death that denounce these poets as allegorists.
2
EVELIN BALBINO DO NASCIMENTO
By the enchanted ways - A reading of the tales of Mia Couto
This thesis deals with the theme of reenchantment of the world through poetic language, having as corpus of analysis a set of short stories by the mozambican writer Mia Couto, as well as lectures, publicspeachs and interviews that expose the author's understanding of the concept of reenchantment. For this, it is supposed that the author seeks to revise the relationship between man and some of the conceptual foundations dearest to academic scrutiny: science, the body, the animal, the divine and death – creating tension inside of it. The workscontemplated for thisthesis are Vozes Anoitecidas (2013), Cada Homem é uma Raça (2013), Estórias Abensonhadas (2012), Contos do Nascer da Terra (2014), Na Berma de Nenhuma Estrada(2015) andO fio das Miçangas. (2009). It is believed that, challenging the reader through narratives about volatile bodies and the architecture of dreams and imagination, for example, Couto exposes a coherent literary project around the reenchantment of the world through literature. The analytical work will search for theoretic ways suggested by the literary texts, trying to continuously enlarge the interpretative pathways that surround the relationship amongst texts in Portuguese, through comparative analysis.
3
TATIANE ALMEIDA FERREIRA
THE CONSTRUCTION OF THE IMAGE OF THE TOURIST BAHIA IN BAHIA DE TODOS OS SANTOS: GUIDE OF STREETS AND MYSTERIES, BY JORGE AMADO
The present thesis aims to make a reading of the images that helped to construct the tourist image of the city of Salvador in the work Bahia de Todos os Santos: Jorge Amado's streets and mysteries guide, from its main editions, the first illustrated 1945 by Manuel Martins, and the 1977 edition, updated in its verbal text and illustrated by Carlos Bastos. The work will undergo changes in order to accompany the urban and cultural changes that were taking place in the city of Salvador when new actions to encourage culture and tourism were designed for the city, as well as the cultural effervescence around the idea of baianidade and the cultural imagery and, consequently, an image for Bahia that would serve to promote tourism. We start from the assumption that the writer has always created an image for the Bahian capital, with the combination of the architectural landscape and the human elements that constitute it, thus allowing investigations that understand why the image of this city has always been a concern for the elites economic, intellectual, for artists, writers, politicians and entrepreneurs. Thinking about the thematic clipping for the research, we tried to answer the following questions: How did the dialogue between word and image help in the construction of the tourist image of Bahia in the guide Bahia de Todos os Santos? How did the historical contexts of 1945 and 1977 influence the creation of a fixed image for Bahia? How did each illustrator make this reading of Bahia created by Jorge Amado? What is presented in representations now real, now fictional and imaginary leads to the maintenance of the discourse created on Bahia in contemporary representations? Due to this bias, the discussion proposed here focuses on the views made by Jorge Amado's tourist guide, in his two editions, which mix reality and fiction when they poeze, fictionalize the spaces of the city at times. We use these narratives to understand how the look on it has been constructed. In the search for answers, this work has an interdisciplinary and transdisciplinary aspect, in making the interpretative readings of the work taking to the critical and theoretical considerations of the urban and architectural studies, the Cultural Studies, the Foucaultian studies on archeological discourse analysis, with its approach whose main categories are the discourse and the statement that served to understand how the written content of the guide is presented in the images of the covers and illustrations of the book, as well as to present a reading of the discourse created in the dialogue between the verbal text and the visual texts, to verify the repetitions of an image about Bahia in the different editions of the book and in its dialogue with the contemporary representations. The work prompts several paths of interpretation and we have been led by it to weave some provocations that were aided by the reflections of Derrida and Deleuze to think other questions, in the attempt to carry out other readings of that city that exists in its concrete form, but also inhabits the imaginary of people being as real as, because it constituted itself as truth. What we perceive in this work is the fact that the writer is concerned with fixing an image for the city of the Savior in two periods: in the 1940s and 70s in accordance with the historical-cultural context. The research allowed to identify in the works of the corpus, crossing with the governmental advertisements for the tourism, the presence of a discursive regularity on the image of Salvador from the edition of 77, portraying the city like postcard and locus of the black-mestizo culture singular and authentic, driven by the daily feast and the enchantment. The image in the book of 45 denounced an unequal, degraded and miserable city in both the poorer segments of society and the destruction of its architectural heritage, so the writer will change, he will rebuild the image of the city in the updated edition, precisely to do Bahia to establish itself as a tourist center and to enter the concurred international route.
4
FABIANA PRUDENTE CORREIA
Philology and digital humanities in the study of the censored dramaturgy of Roberto Athayde: collection and edition of Os Desinibidos.
The diversity of academic practices that deal with the text in a material and historical perspective is considered here as a humanistic panorama of Philology to carry out a philological reading, edition and study of the collection of censored theatrical texts produced by the Brazilian playwright Roberto Athayde during the military dictatorship. From the documentary and bibliographical research, the set of seven theatrical productions of the author was isolated to organize a dossier related to one of the texts, Os Desinibidos, which was submitted to Federal Censorship and was staged between 1982 and 1983. Such a dossier is composed of census documentation, newspaper texts, show program and authorial publications, such as short stories and poems that integrate the text staged in 1983. At the interface Philology and Digital Humanities, which comprises digital technology, human and social sciences under a transdisciplinary perspective, it was analyzed the cultural history of the practices of writing and transmitting the censored theatrical text and a hyper-edition as a hypermedia file was set up and made available on the Internet through the domain www.acervorobertoathayde.com. Entitled Roberto Athayde: dramaturgia censurada, the hyper-edition integrates issues and digital collection, which includes the Os Desinibidos’
dossier, for which two editorial modalities are presented: a facsimile edition and a hiper- media synoptic-critical edition. Characterized by manifesting the author's involvement in
various political and social issues that face the common sense of bourgeois conscience and Brazilian moral conservatism, Roberto Athayde's theatrical texts, objects of this research, produce various political and social literatures about the civil-military operation period of 1964-1984. In this way, the hyper-edition accomplished in this work can promote, as a hypermedia archive, successive decentralization of the history of Brazilian literature, democratizing access to information and creating, through digital hypertext, new possibilities of reading and social circulation of texts.
5
JULIANA OLIVEIRA LESQUIVES
VIOLENCE AS A SYSTEM: STUDY OF CONTEMPORARY BRAZILIAN LITERARY AND CINEMATOGRAPHIC NARRATIVES
During the modern age, the issue of violence has occupied an important place in Western thinking, converting itself in a common thread of analysis about humanity and its forms of social organization. Concerning Brazilian reality and its cultural manifestations, the depiction of violence filled our pages and screens throughout our history. Such interest is a consequence of the process of formation of Brazilian society, which is based, since the beginning, on a violence that extended and drawn the lines of our national formation based on numerous dreadful conflicts that show the brutality of our social relationships. Since the 90’s there was a rise in the quantity of cinematographic and literary works about violence in Brazil. Most productions generally focused on police violence and its consequences. In a similar way, specialized critics also focused its interests on analysis of a subjective violence – that violence carried by identifiable individuals. Despite of existing in a reasonable quantity, works and critics dedicated to the examination of objective violence – that violence which an individual suffers due to the configurations of the society, its economic and political system – did not have the same space that works dedicated to more “apparent” and shocking phenomena of violence had. In the face of this scenario, the objective of this work is to investigate how contemporary Brazilian literary and cinematographic production has depicted violence, taking into account its objective, systemic and structural aspect and examining how this aspect is taken into account in the works studied. For this purpose, the following objects were chosen to compose the corpus of this work: the film Quanto vale ou é por quilo? (2005), directed by Sérgio Bianchi, the novel Estive lá fora (2012), written by Ronaldo Correia de Brito, and the novel Cabeça a prêmio (2003), written by Marçal Aquino. It is possible to note in the three objects of this work how violence is depicted in distinct ways, sometimes prioritizing its structural aspect, other times prioritizing the organizational or situational aspect of the problem. However, these works focus more on relationships and attitudes that lie on the basis of the production of violence than on its patent manifestations. Systemic violence to which individuals are exposed is presented in these works as the violence produced by work exploration, by the State, by the process of industrialization and urbanization, by the vestiges of the slavery, by political and social relationships, by cultural annihilation and forgetfulness strategy, by the denial of basic rights, by the imposition of drug dealing and, among other aspects, by the institutionalized racism. These aspects characterize the participation of Brazil on the development of capitalism and, consequently, our modernity, indicating how these representations can help us to comprehend Brazilian society, its formation and present configuration.
6
IONÃ CARQUEIJO SCARANTE
MADAY CRUSOE'S PIECES OF LIFE: FROM THE ACQUIS THREADS TO THE CRITICAL EDITION
The literary production of the Brazilian writer Mady Crusoe, who was born in Bahia, is the object of this PhD Thesis. The editorial work performed was the result of reading the documents of Mady Crusoé (AMC) collection and the preparation of an inventory, which pointed us the guidelines for presenting his labor in the construction of her book Pedaços de Vida ‒ plans, sketches, drafts, typewriting material and printed writings. They were important pieces for this study. We started with the inventory of the author's collection, whose material sources allowed us to reconstitute her personal, professional and literary trajectory. Texts of plural tradition were located in the collection. Thus, we opted for the critical edition of Pedaços de Vida manuscripts. In this research, we revealed how the writing process of some texts occurred and how the work of the author occurred when she resumed them to publish the Book. The edition brings the critical text for the selected manuscripts, accompanied by the apparatus in which the textual / authorial modifications are registered. Inserted in a philology studies, this thesis is an example of a critical edition going beyond the action of fixing and publishing texts. It analyzes textual situations of the most diverse, such as: the textual / textual modifications in the process of elaborating a text, how it was transcribed and transmitted, its circulation and reception, as well as the action of social agents who act in editorial mediation, among others. Through the work developed, we provide readers with access to relevant information on Madyan literary production and other material in their collection that has helped us re-tell her history of life, despite the gaps found in the research.
7
ADNA EVANGELISTA COUTO DOS SANTOS
THE CREATIVE PROCESS OF ALEILTON FONSECA IN NHÔ GUIMARÃES: GENETIC EDUCATION AND CRITICAL STUDY
The creative process of the writer from Bahia Aleilton Fonseca in Nhô Guimarães: genetic editing and critical study. This is the first work of doctoral thesis on this writer and his work. Through this, a proposal was made for horizontal genetic editing in the process of creation of Nhô Guimarães, in order to project a broader view of the writer's profile regarding the perception of the work of his writing, as well as the multiple possibilities and movements that a text can present, thus showing all its mobility and dynamics. Through his work, his academic life is presented, and how his experiences interfered in the construction of his works, its critical reception and the relations between author, writer and reader, in order to foster the representativeness of Bahian writers in the scenario of Brazilian literature. It follows, then, the presentation of the novel and cultural aspects of the text, as well as a study on the intertextual processes present in Nhô Guimarães (2006) and Grande Sertão: veredas (1956). For the treatment of the object of study, the text was used to look at the perspective of Genetic Criticism, proposing a horizontal genetic edition, that is, a part considered significant in the process of textual creation of Nhô Guimarães, analyzing the interpolations made by a critic-reviewer in version C of the genetic file, identifying in versions D and E, what was accepted, rejected or partially accepted by the author, thus fomenting the discussion of authorship issues and the voices present in the text .The genetic dossier of the work is composed by eight typed versions, with characteristics of autograph manuscripts, and the only published edition.
8
CLARISSA MOREIRA DE MACEDO
THE LAND IN TWO ACTS: PHOTOGRAPHIC IMAGES IN THE POETRY OF JURACI DREAM AND MIGUEL TORGA
The work of Juraci Dórea and Miguel Torga presents telluric images, often transfigured in the backcountry and mountains, covered by metaphors and with some unfoldings. This imagery constructs a topography that rewrites landscapes, suggesting meanings and approaches. The telluric in the work of these authors - that also go by other dominions and genres, the essay and the visual arts in the case of Dórea; the novel, the theater, the diary and the tale, in the case of Torga – constructs a place. In the literature, it is perceived that the image of the earth assumes different meanings, varying according to the approach of each author. Thus, after some readings and hypotheses, it is necessary to discuss the image of the earth also through the investigation of a geopoetic (WHITE, 2016) – a poetic of the earth – allied to a survey of the telluric in literature. In this sense, from a relational bias – through the concept-operator of rhizome, developed by Deleuze and Guattari (1995) –, I present a brief overview of the presence of the image of the earth in the Brazilian and Portuguese literary texts of the middle of the XIX century until today. In the second part of the research, I undertake a summary of the telluric in Dorean visual work and in Torguian short stories. In the third and final part, I do a reading of Dórea and Torga poems in which the image of the earth is present, in an attempt to highlight affinities and disparities between the work of both artists in relation to the telluric, and to explain how the notion of earth operates in their literature. I investigate how the image of the earth in the work of the writers in question shapes a third space, configuring an image that demands a middle ground, an unprecedented place that can lead to a kind of re-enchantment (MAFFESOLI, 2002). I use, therefore, a short story by Guimarães Rosa (2016) transformed into a reading operator, Deleuze and Guattari texts (1977; 1992; 1995; 1997; 2005), among others.
9
LUIZ CARLOS DE SOUZA
WE NEED TO TALK ABOUT ALFRED: VIOLENCE AGAINST WOMEN IN HITCHCOCK FILMS
The Thesis intends to investigate violence against women as a strategic component to the hitchcockian suspense. The audience is summoned to assume a duality position, because, at first, the audience sympathizes with the hitchcoquian women in dangerous situations, motivated by aggression. However, from the use of cinematographic language, used as an element to trigger a constitutive misogyny of Western societies and therefore present in the audience, the hitchcoquian narrative calls on the viewer to demand scenes of aggression against women. Among the analyzed films are: Downhill (1927), O Ringue (The Ring, 1927), O Inquilino Sinistro (The Lodger, 1927), Chantagem e Confissão (1929), O Agente Secreto (Secret Agent, 1936), A Estalagem Maldita (Jamaica Inn, 1939), Correspondente Estrangeiro (Foreign Correspondent, 1940), Interlúdio (1946), Pacto Sinistro (1951), Disque M para Matar (Dial M for Murder, 1954), Janela Indiscreta (Rear Window, 1954)Intriga Internacional (North by Northwest, 1959), Psicose (Psycho, 1960), Os Pássaros (The Birds, 1963), Topázio (Topaz, 1969) e Frenesi (Frenzy, 1972).
10
JOABSON LIMA FIGUEIREDO
Cartographies Baianas: Identity, memory and gender in the novels of Herberto Sales.
This study is the result of a research that has in its mainstay the novels of Herberto Sales. The point of convergence considered is the Bahian cultural cartography. The research was carried out with the purpose of analyzing the cultural representations in three novels of the Bahian writer: The Opinions of the time (1984), Gravel (1944) and The prostitute (1996). We hope to present a cartography of representations of the Bahian culture in the three novels, to highlight identity discourses in the works, in the interface of the discursive aspects with the historical and gender themes. The study identified a consonance of the literary plan with the social one, without, of course, considering literature merely as a reflection of society and the historical situation. The point of contact would be in the aspect in which the discourse about the representations of the Bahian cultural cartography in the herbertian roman, as narrative that is within the romanesque genre, importance, making the chronicler a historical subject, a narrator of the story, according to Walter Benjamin. It identifies itself with the city and is home to it, building, with its work, a literary-geographical map of Bahia - a literary cartography, metaphor and fabric of its existence. In the construction of the thesis, it is used as a theoretical-methodological reference, Literature in dialogue with History, from these and other theorists, those of the proposed research line, essentially, comes to the conclusion of a strong relationship with Bahia of the author, in a concrete relation of love to the place, connects to the City of Bahia and the Lavras Diamantinas. In the wake of the theoretical texts of MOURA (2011), VILMA (2008), ARAUJO (2008), CHARTIER (1991), BENJAMIN (1980, 2014), RISÉRIO (1993, 1995, 2004), et alli. Thus, like her work, Herberto Sales works to build his place in the world and, at the same time, contributes to the cultural, social, historical and political identity of Bahia.
11
MARIANA ANDRADE GOMES
Paths of the comic in Cape Verdean writings in the 20th and 21st centuries: from the narratives of mestiçagem to political laughter in Germano Almeida and Mário Lúcio Sousa.
Not necessarily funny, not just numbing, much less instinctively or irrationally exposed, laugh can be understood and used by/in various ways, but in this thesis, it is read in its political-ideological bias. In this perspective, the approach adopted by the present research interprets the comic in its implication and social responsibility, as Wole Soyinka (1988) advocates, in defining it as a resource for conscious and confrontation with the structures of oppression. Complementarily, the laughable is discussed from its ambivalence, based on the reflections proposed by Bakhtin (1999), when analyzing how its use can imply positions that defend and/or question certain ideals. To identify and examine the ideological claims expressed through the literary platform in Cape Verde were pointed, as theoretical and methodological resources, considerations about the legacies of writers acting in the periodical Claridade (1936-1966), in their propositions about the miscegenation as a national identity that supposedly promotes the fusion of social categories of race, class, and gender. From the ruptures and continuities of the clear heritage, whose production became paradigmatic in the literary scene of the archipelago, I research a brief panorama of texts written by intellectuals in the conjuncture of the islands, in the concomitant period and after independence, questions related to class, gender and race are worked using laughter to verify patterns, deviations and trends. In this sense, the critical readings of the four works: Ondina Ferreira's short story "O Visto" (2010), the chronicle "Markito com K" (1987) by Filinto Elísio Silva, the youth narrative Cinco balas contra a América (2008) by Jorge Araújo, and Arménio Vieira's long narrative O eleito do sol (1992), also come together to examine the operationalization of comedy in these narratives as a way of complementing theoretical gaps arising from the framework, mostly based on researches and researchers, (such as the theories of Linda Hutcheon (2000), Mikhail Bakhtin (1999) and Daniel Cottom (1989)). Based on these considerations, this work explores the use of laughter in three contemporary Cape Verdean narratives, Germano Almeida's O Meu Poeta ([1990], 1992a) and A Morte do Meu Poeta (1998b), and Biografia do Língua (2015) by Mário Lúcio Sousa, to discuss how these books use laughter in the treatment of the demands and categorizations about race, ethnicity, gender and class in the context of the country. The two writers have a great national and international projection, transiting diverse spaces of the artistic and public life, most notably, in their performances as literary creators and elected deputies. In this way, it is hoped to be able to contribute to the bibliography referring to the investigations on the literature(s) produced in Cape Verde, as well as to the studies about the comic in the African writings in Portuguese language.
12
SIRLENE RIBEIRO GOES
Study of the creative process of translating and interpreting the Brazilian Sign Language Window of the short film Raccoon & Crawfish: exploring digital paths
The study of the creative process of audiovisual materials is still in an emerging state, even though, such products have widely been circulating in media and attracting the interest of several researchers. Considering accessible audiovisual works for deaf people, there is no report of this kind of research in genetic criticism up to now. In fact, the problem one has to face is the complexity of collecting documents that register such processes and this is a great obstacle for the development of such research. When we talk about accessible audiovisual translation for deaf people, Closed Caption will certainly be the first audiovisual translation mode to come to our mind. But, in fact, its display is not the most effective way for a good comprehension of the content shown on the screen for deaf people, what is due to several reasons, such as: different levels of linguistic competence of deaf people; lack of subtitling criteria; missing of written representation of nonverbal sound elements, etc. However, there are two resources that give accessibility to audiovisual products that are not widely used by media industry and television broadcasters, although very effective. They are the SDH – Subtitles for the Deaf and the Hard of Hearing and Brazilian Sign Language (Libras) Window, a small window embedded on the screen where information is translated and interpreted in Libras. Considering the shortage of methodological materials to study genetic dossiers related to translation and interpretation for Brazilian Sign Language Window, this work aims to analyze the creative process of translating and interpreting the Brazilian Sign Language Window of the short film Raccoon & Crawfish (2007). Studies on genetic criticism, deafness, Brazilian Sign Language and audiovisual translation (AVT), especially subtitling, SDH and Brazilian Sign language window were the theoretical framework used to study the genesis of the referred creative process.
13
ALEX SANTANA FRANCA
Come back those who don’t die, go away those who were here.
Oh, this dance, my mother, do the children dance?
”: migratory and diasporical experiences in the personal trajectory and Licinio Azevedo’s work
Mozambique stood out in the history of worldwide cinema, more specifically among the Portuguese-speaking African countries. That happened because after the country’s independence, in 1975, it has developed a national cinema infrastructure untied from the global commercial cinematographic circuit and from the service of the Marxist nation that emerged after the Portuguese colonialism. Besides that, throughout its cinematographic path, in particular between the decade of 1970 and 1980, the country has aggregated a varied filmography produced by a group of different directors, foreign and local, with stylistic characteristics and diverse themes. Professionals and artists from different places in the world migrated to the African territory, like Licínio Azevedo, who was born in Brazil and settled in Mozambique. They also collaborated to different spheres of this process, as well as, they consequently received contributions in their personal lives and their works, which resulted in a significant process of sharing and exchanging of knowledge, techniques and languages. The goal of this work was to identify and analyze the main reasons that motivated different diasporic experiences in the Mozambican context, mainly after its independence, as well as the implications of these phenomena in the sociocultural field through the analysis of the films A árvore dos antepassados (1995) [The tree of the forefathers], O grande bazar (2006) [The great bazaar] e Virgem Margarida (2012) [Virgin Margarida], directed by the journalist and filmmaker Licínio Azevedo. The analysis showed that certain political projects and the Mozambican civil war were the main responsible for the migratory movement portrayed in the narratives, it also showed that these experiences resulted in the (re)definition and/or in the appreciation of the singularities of the groups in movement.
The thesis analyzes the relationship between the Geração Mapa Literary Society and its educational projects from the 1930s onwards. Geração Mapa was the first literary society established within a student environment in the context of public education and, by analysing certain characteristics and features--female presence, audience formation, content orientation, press presence--It is contended that such are linked to a specific local scenario influenced by projects developed by Anísio Teixeira and other liberal educators, both in the format of public secondary schools, in the case of the Colégio Estadual da Bahia, where the inaugural Society meetings took place, and in the Universidade Federal da Bahia, under the rule of its president Edgard Santos
15
PEDRO ALAIM MARTINS GARCIA JUNIOR
Processology: multiplicity, decentering and organization in Finnegans Wake, Grande Sertão: Veredas e Galáxias
Considering the reverberating transformations occurred within the social sciences more explicitly during the second half of the twentieth century and after which the concept of “multiplicity” was turned into the axis of contemporaneous thinking, any attempt to activate a way of organizing multiplicity brought about a great deal of mistrust, for by denouncing the arbitrariness of fixing a regulatory center in discursive systems and by proposing to investigate the strategies to maintain and strengthen such arbitrary systems, the predominant view regarding the emergent theories of multiplicity tended to identify the concept of organization with a potential instrument of corruption, or a mere set of strategies for achieving power. As a result, one of the principal questions of the contemporary studies within the social sciences is to examine the possibility of organizing multiplicity without falling into binary hierarchical forms which can be used as a way of controlling structures by those who centralize the formation of knowledge. Driven by such a problem, this dissertation will focus on five concepts (“relation”, “paradox”, “system”, “structure” and “process”) whose detailed examination will allow us to reflect upon the dual way thought was conditioned as well as which directions the impulses of reconfiguration of duality point towards. In order to make explicit a non-dual way of organizing multiple perspectives, we will highlight, throughout each chapter, diverse organizational aspects of Finnegans Wake, Grande sertão: veredas and Galáxias for the ways these texts are harmonized correspond to the reconfiguration of the examined concepts. By observing the functional dynamics of Finnegans Wake, Grande sertão: veredas and Galáxias, we will be able to grasp the passage from a manner of seeing oneself (systemic arbitrariness) to a way of harmonically listening to ourselves (intersystemic dialogue). In this respect, the reconfiguration of thinking can be basically seen as the substitution of the arbitrariness and the violence installed in the center of duality for a dialogic axis whose procedures combat the dual reductions while putting dialogue in command of a processologic or polyphonic thinking in which a language of process creates itself based on a decentered dialogue between its multiple moving perspectives.
2017
Disertaciones
1
PAULA MELISSA ALVES
LITERARY IBA: Brazilian Afro-writings in Criação Crioula Nu Elefante Branco
The present work addresses the formation of the field of Black Brazilian Literature from the analysis of the book Criação Crioula Nu Elefante Branco (edited by the Official Press of the State of São Paulo, 1987), as the result of the First Encounter of Black Brazilian Poets and Fictionists in São Paulo in 1985. Understanding the First Encounter as a starting point for the field, we will trace the paths we have traveled until we reached Criação Crioula and everything that has unfolded after that watershed encounter for Black Literature. In order to discuss what we are proposing, we bring theoreticians such as Florentina Souza, Eduardo de Assis Duarte, Pierre Bourdieu, Cuti, Regina Dalcastagnè, Mário Augusto Medeiros da Silva, Conceição Evaristo among others.
This dissertation is the construction of a course on Jacques Roubaud's book Something: black (2005), based on the book's readings on the lyric poet's diction in contemporaneity and the resonances that are found in the unfolding of biographical critique and of what it represents for literary theory. In this sense, and taking into consideration that the book was written as a result of the death of the author's wife, Alix Cléo, this work develops articulations about this absent being and is reassembled in the book through a virtuality, straining for the conception of a a lyrical subject that is constructed, through the literary text, and in friction and contamination with the empirical subject, in the formation of a poetic temporality that orders other discursividades regarding the conception of a memory. Articulating this scene, seeking to understand the order established by Eros and Thanatos, the poetic text is organized in the sense of creating a universe that interrogates the demarcations of a text that is between poetry and autobiography and of a theory that needs to cover the peculiarities of a voice that announces itself in a context that motivates the debate on the regularities of literary theory and the canon, giving way to the interpretation of a knowledge that is built taking into account the power of an experience. By dismantling the structures and interrogating a centrality and an origin, the book shines as the possibility of desierarquization of forms and discourses that is being demanded, here, by an investigative knowledge that problematizes the complex relation between work and author.
3
CRISTIANE SANTOS DE SOUZA PAIXÃO
WRITING OF MUTILANCE (S): THE BLACK FEMALE POETTIC VOICE IN RITA SANTANA LITERARY PRODUCTION
The dissertation entitled Escrita Crivada de Mutilância(s): A Voz Poética Feminina Negra na Produção Literária de Rita Santana proposes to analyze how the writer, Rita Santana, represents the black feminine poetic subject and the strategies used to represent it in the poem books Tratado das Veias (2006) and Alforrias (2012). The first book, Tratado das Veias (2006), contemplated by the selection of the Fundação Cultural do Estado da Bahia and published by As Letras da Bahia, is composed of seventy poems. The second book, Alforrias (2012), published by Editus – Universidade Estadual de Santa Cruz (UESC) publishing house, gathers twenty-eight poems. This research was focused on an analysis based on an interdisciplinary theoretical foundation, focusing on literary studies, culture and afrodescendence. After a critical-interpretive analysis of the poems we found that the poetic voices of black women present images of other profiles in Brazilian literature, disregarding the representations commonly found in hegemonic literary texts. In her texts, Rita Santana presents a strong feminine position, especially the black feminine. The poetic voice claims other spaces of action for black women, presents reactions against (pre) established places, and (re) builds other modes of self representation, identity, memory and sexuality. In addition, they denounce gender and racial discrimination, as well as the silencing and invisibility experienced by black women writers.
In this dissertation, I have as objective to present and discuss the authentic narratives of the Kiriri people. To do this, I analyze the textualities present in the books Our People: Kiriri Readings: Differentiated Education in the Kiriri People's Vision – Student and Our People: Kiriri Readings: Differentiated Education in the Kiriri People's Vision – Methodological Guidance notebook – Professor, both published on 2007. From these books I examine how these narratives/literatures compose the project of the sociopolitical reconstitution, recognition and re-existance of the Kiriri‟s colective in the present, ethnicity which is geopolitically located in the North region of State of Bahia. The adopted work methodology was the analytical readings of the books, detaching eighteen textualities from the above mentioned works, observing the elements which make possible to sustain the idea that the narratives, inheritance of the memory of the ancestors and constituted in collectivity, act in the process of symbolic and material recognition of Kiriri‟s people. The results from the analysis show that these scriptures are constituted from the social-memory traces and also from the social practices of that group, serving as discursive space of resistance, re-existance and reinvention of Kiriri‟s people in the pursuit for recognition and justice.
What thesis if you propose to inquire about the rappresentazione dello spazio biografico - capito, secondo Arfuch, come "i diversi modi in cui la vita e l'esperienza umana possono essere narrati" (2012, p. 14) - nella poliedrica scrittura del portoghese Gonçalo M Tavares, in particolare nei libri 1 (2005), False Histories (2005), Library (2004) in the series "Il quartiere" (composta di dieci libri finora). Articolando le nozioni di gioco da Huizinga - come un'attività umana che si sviluppa nello spazio specifico ed è soggetto a regole proprie - e Derrida - treating the "possibilità di distruzione di a transcendent meaning" (SANTIAGO, 1976, p. 53) - , I intend to show fine to what point the lavoro of Tavares gioca with the canonical form and breaks the aspettative of the letter, in the case of the genere (auto) biografico attraverso di tre modalità: l'autofinzione e la costruzione di una mythologia diritto d'autore; the biographical finzione attraverso l'uso di spurio, which riferisce alla tradition started by Marcel Schwob and continued by Jorge Luis Borges; and the appropriazone and the successive cancellazione del "nome dell'autore", with the creation di caricature and the use of intertesto as strategy of the costruzione di testi ibrido tra saggio e finzione. Attraction that this procedure, the universe letterario di Gonçalo M. Tavares rivela a process in cui la su performance come lettore fornisce ca Rburante per l'attività autoriale, appropriandoi la letteratura per la produzione di letteratura, lasciando tracce della his private library in the suo lavoro, la creazione e la riflettendo his authorship and book, suggesting a sorta di "biobibliografia", che rende gli indizi and diminish the presence of fatto and of personale, in a rich tradition of letters that può essere intesa eat a story of the letteratura nella finzione.
Tesis
1
MABEL MEIRA MOTA
PHILOLOGY AND ARCHIVOLOGY IN DIGITAL TIMES: THE ARCHIVE HYPERTEXTUAL AND HOW ISSUES OF CHOICE OR RIPPED FROM ARIOVALDO MATOS
The personal collections of modern authors have demonstrated the long and tortuous process of creation and textual rewriting, as well as the interferences of different subjects in the transmission of texts. The deconstruction of the "text" is permeated by the uses of the collections and, in the Textual Criticism, implies the erasure of the idea that the text is a stable and fixed object, even if it is printed. Through a methodological apparatus that conjugates Textual Criticism, Archivistics and Informatics, a hyper textual archive (URBINA et al., 2005) was developed, with a pragmatic orientation, made available through the Internet in the domain www.ariovaldomatos.com. The edition features a "reading" module, a “mediation” module, in which three different editorial models coexist - synoptic, interpretative, and fac-similar edition. In addition, a content management system, called Arconte, had been developed, from which the documents that compose the archival dossier of A Escolha ou O Desembestado, written by Ariovaldo Matos, aiming at the availability and controlled access to information. Finally, we present the critical-philological reading of the network of intentions and meanings that characterize theatrical play and which construct their own "final forms", emphasizing the textual sociability forms of Ariovaldo Matos play that represent the memory of his production, circulation and reception.