O que ser quer imagem, o que se quer desejo?: entre o fabular de desejos e as construções imagéticas na prosa de Fiama Hasse Pais Brandão

Este trabajo presentado, direccionado a la defensa de la disertación de maestría, intitulada ¿Lo que se quiere imagen, lo que se quiere deseo?: Entre el fabular de deseos y las construcciones imagéticas en la prosa de Fiama Hasse Pais Brandão, discute hasta donde el deseo impulse la imagen y hasta donde esta imagen es tocada por este deseo, visualizando dentro de un sistema literario poético y singular, las construcciones de la imagen junto a las fabulaciones de deseos, lo que nos expone delante de procesos de semiotización por medio de la escrita, de subjetivación, de vértigo, de sensibilización para los efectos y deseos en cuanto producción de sentido y multiplicidades estéticas en cuya letra transgresiva se aventura. En este sentido, el análisis transitará entre el discurso erótico y los problemas fundamentales que este pode, bien como el proceso de construcción de imagen, recortado por vía de discursos problematizados por el lenguaje presentado por la autora Fiama Hasse Pais Brandão. Para tanto, colocase como escopo una investigación norteada por autores como Bataille, Roland Barthes, Luiz Roberto Monzani, Suely Rolnik, Walter Benjamin, Georges Didi-Huberman, Maurice Blanchot, Félix Guattari, Gilles Deleuze, dentre otros que puedan transitar por las relaciones, en este estudio, establecidas, constituyendo el corpus teórico y de discusión, atendiendo al caráter cualitativo implicito en el desarrollo de esta disertación. Cuanto al corpus literario, este es compuesto por los contos trídos en Cuentos de la imagen (2005), de manera a constituiren cuerpo-subjetividad, envolviendo ideas, afectos, perceptos y imagens.

Um artesão de matrioshkas - Ficção histórica e metaficção em Rubem Fonseca

Esta dissertação analisa os recursos metaficcionais nos contos e romances de Rubem Fonseca, incluindo os que tratam de eventos e personagens históricos, fundindo, assim, ficção e História. Para tanto, nos apoiamos em teóricos que se debruçam sobre a metaficção, esta tendência que marca o Pós-Modernismo em literatura, a exemplo de Linda Hutcheon (1991), Patricia Waugh (2003) e Gustavo Bernardo (2010). Um dos escritores brasileiros mais respeitados dentro e fora de nossas fronteiras, Fonseca estreia nos anos 1960 trilhando um caminho próprio dentro da prosa de ficção brasileira, não só pelas narrativas violentas, faceta pela qual ele é mais conhecido, mas também pelo caráter autorreflexivo, autoconsciente e digressivo de seus textos. Acusado de ser repetitivo, nota-se que, se é verdade que seus personagens em geral são “tipos” (o artista culto, o detetive, o “garanhão”), ele costuma experimentar na forma, variando os focos narrativos de maneira a entretecer camadas narrativas e parodiar gêneros: O caso Morel, por exemplo, é um romance policial que implode o romance policial; o conto "H.M.S. Cormorant em Paranaguá", por seu turno, é uma homenagem à segunda geração romântica brasileira, representada por Álvares de Azevedo, em uma conformação pós-moderna de pastiche. A obra cinquentenária de Rubem Fonseca joga luz sobre questões que estão na “ordem do dia”, como o tripé artista-sociedade-mercado, e introduz um outro olhar sobre o passado histórico - incluindo a História da cultura, principalmente da literatura. As narrativas aqui analisadas testam os limites que separam – ou não – a ficção da dita realidade, e são por nós classificadas nas seguintes categorias: autobiografia romanceada, romance biográfico, romance histórico pós-moderno, pastiche, metaficção historiográfica e metaficção policial.

Escrever o movimento: o cinema itinerante como reinvenção de uma estética do viver

La tesis parte del presupuesto que el cine ofrece la imensa capacidad de entretejer de forma compleja realidad e imaginación. Con eso sugerimos que tal cual una "escuela de vida", según la definición de Edgar Morin (2003), el cine, por medio de sus producciones y exibiciones, pude ser capaz de operar un movimiento de reinvención de una estética del vivir en el espacio de lo improbable. De ahi surge la pregunta: ¿Cómo un fenómeno artístico, estético e imagético puede realizar tal movimiento? Tomando como referencia el guión de vida del personaje de la vida real José Isaias de Lucena Filho, más conocido por Zezeco, encontramos pistas de esa reinvención. Residente de una pequeña ciudad del interior de la província de Rio Grande do Norte, llamada Ouro Branco, en la década del 1960, se desplazó hacia el centro-sur de Brasil y retornó a su lugar de partida con la idea de trabajar proyectando peliculas. De manera singular y plural, este sujeto asumió el riesgo y la incertidumbre de enfrentar determinismos sociales, climáticos y culturales para proponer nuevas simbolizaciones por medio del cine itinerante. La presencia del séptimo arte en pequeñas ciudades de hábitos rurales marcadas por la miséria, el hambre, la negligéncia, el coronelismo político y los problemas climáticos, alteró escenários, actualizó mitos y proporcionó nuevas interacciones entre los sujetos. Zezeco entró en las cifras del éxodo rural y emigró hacia Rio de Janeiro, pero su éxodo fue cinematográfico, porque le sirvió como base para la inserción de efectos especiales fantásticos y poéticos en guiones de vidas inmersas en lo trivial y lo contingente. Tal cual un cinematógrafo vivo, capturó el escenário cultural efervescente de Rio de Janeiro y lo proyectó en la pequeña ciudad de Ouro Branco y en otras ciudades del interior de las províncias de Rio Grande do Norte y Paraiba. Con ello le atribuyó un nuevo uso a la vida de su lugar de partida y de retorno. Actuó en la ambiguedad, la ambivalencia y la complejidad entre el sapiens e el demens; real e imaginario; prosa y poesia de la vida; razón y pasión; racional y simbólico; lógico y mítico. El alcance de la investigación contempla entrevistas, memória, registros manuscritos y fotografías de colección particular de habitantes de la ciudad de Ouro Branco-RN. Como referenciales teóricos principales, tenemos las obras de Edgar Morin sobre el cine y de otros autores como Giorgio Agamben y Maria da Conceição de Almeida que expanden la comprensión sobre el entreejido de realidad e imaginación, vida e ideas

O Ateneu e a nostalgia na forma

The actual study proposes Raul d‟Ávila Pompéia‟s O Ateneu (1888) among the most significant works in Brazilian Literature panorama, according to the perspective of verbal materiality of the Romanesque genre under a form nostalgia sign that, in its turn, ascends to the archaic origin poetry of fable. Along with large rereading of pertinent bibliography, it is gone here toward narrator Sergio‟s crônica de saudades on pursuit of showing it, firstly, as poetic language allegory updated in the novel technique; secondly, as radical metalanguage that still renders problematic several aspects of modern fictional prose

O império do desentendimento humano: representações da realidade em textos de dalton trevisan

This work has the general proposal of studying the composition of the trevisanian fictional universe, the aesthetic expression engineered to formulate this universe, and last, the representations of reality that emanates from this aesthetic-narrative construction. It seemed to us, however, that it would be impossible to cover, even superficially, so vast and voluminous set of texts as the trevisanian. Therefore, so that we could accomplish this task, and still do it in a way that was, at the same time, plausible and thorough, it was necessary an objective cut within that library. Then we selected a book, representative of the whole trevisanian work, which served as the object of study: Cemitério de Elefantes, 1964, one of the first books of short stories by this author. Within this one, we focused even more our sight, then moving towards what we call a reality forked in paralytic world and world in violence . Supported by the theories and methodologies of Auerbach (2011), Candido (2002, 2006), Adorno (2003), Gennete (1995), Friedman (2002), and still moved by the spirit of Russian Formalism (1973), we built our criticism. Our approach was based then in three steps: first we are dedicated to comment the general context of the trevisanian work, supported strongly by reading two of the biggest critics of his literature, Miguel Sanches Neto and Berta Waldman, secondly, we turn us to comment on the detailed formal construction of language and narrative elements of the trevisanian prose; finally we raised our criticism to the level of reading representations of reality, and then we started to comment the construction of the trevisanian fictional universe, focusing in splitting this universe in paralytic world and world in violence

Produção em revista : Representação do moderno e do regional na experiência potiguar anos 1920

This work brings some reading about a few Norte-rio-grandenses writers collaborations published in literary papers which circulated during the third decade of the twentieth century in Brazil, in a way of enlarging the understanding of how the cultural debate was carried out in the years of the definition of the Brazilian Modernism, based on the relationships between literature and culture. Under the genres of prose and poetry, the selected textual collaborations for analysis have brought the traces of a small group of articulated authors in the Brazilian cultural scenery from the 1920 s, concerning the issues of the modern (linked to the modernist renovation) and the regional (under the aspects of the tradition). The set of the analyzed collaborations is representative of a modern-regional cultural practice marked by a tendency either local or cosmopolitan, thus, sharing a large dimension of the formation of the modern literary tradition, marked by different kinds of practices which give form to the project of a collective national awareness. The characterization of the existence of an intellectual field with big links, however with its own characteristics and a certain autonomy, which also gets integrated to the cultural debate of the so-called modernist years through the literary vehicles, gives to these intellectual people a co-participation in the renewing movement in the formation context of the brazilian cultural modernity of the early twentieth century

O aspecto polifônico d os Lusíadas

A study about the polyphonic aspect of The Lusiads. An epic poem in Portuguese Language written by Luís de Camões, that narrates the adventure of the journey of Vasco da Gama in the discoverer of new shipping lanes for the Índias. Secondarily, tells the historics battles engaged during the process of foundation and consolidation of the Portuguese Empire. The object of the study are the diverse speeches that compose the poem s narration, aiming at to the possible aesthetic relation of the epic poetry of Camões with the novelistic prose developed in the modernity, starting with D. Quijote and consacrating it at polyphonic novels written by Dostoiévski. The sdudy focuses the singularity of Camões lies in the elaboration of a narrative structurally epic, but at the same time contains several deviating speeches. Such speeches emphasize the multiple planes and multiple voices (characteristics of novelistic prose) without, however, prejudice the interlinking logical-formal epos, resulting in the monological finish conventional of the epic gender. This feature characterizes The Lusiads as monological literary work, but also shows dialogism and plurilinguism, essentials to the polyphonic phenomenon. Another prominent aspect of the poetry of Camões is the relative procedure to the expressiveness of the characters. They are, in the majority, rhetorical creations, which assume, in the speech, human or myhtological characteristics. Stratagem that permits to the poet to emit a multiple faces of vision of the facts told. The analysis of the speeches supports-itself entirely in the polyphonic theory of Mikhail Bakhtin, shall be cited, accessory, viewpoints of others theoretical, as long if it is judged compatible with the theory adopted

O Aleph e seus duplos: mimesis e auto-reflexividade na obra de Jorge Luis Borges

This study approach the Jorge Luis Borges s prose of fiction under the perspective of mimesis and the self-reflexivity. The hypothesis is that the Aleph is a central symbol of the Borges s fictional universe. The rewriting and the retake of this symbol along of his work entail to a reflection about the possibilities and the limits of mimesis. This study is divided in three parts which contain two chapters. The first part Bibliographic revision and conceptual fundaments of inquiry discuss the critical fortune of author (Chapter 1) and the concepts that will give sustentation to the inquiry (Chapter 2). The second part About the Borges s aesthetic project sketch out the literary project defended by Borges that is his conception of the literature and his ideological matrix (Chapter 3) beside his anti-psychologism and his nostalgia of epos (Chapter 4). The third and last part is entitled The Aleph and his doubles. In the chapter 5 this study analyses the short story El Aleph and consider its centrality on the Borges s work. The argument that is on this short story Borges elaborates a reflection about mimesis. In the chapter 6, on the same hand, four short stories will be analysed: Funes el memorioso ; El Libro de Arena ; El evangelio según Marcos and Del rigor en la ciencia . The conclusion that is the Borges s literature is self-awake of its process as such demonstrate its parodic sense and its bookish origin. Hence, the Borges s literature overlapping the mimetic crisis of language and challenge the limits between fiction and reality. However, it doesn t surrender to the nihilist perspective that is closing of literature to the world

O sertão virou verso, o verso virou sertão:sertão e sertanejos representados e ressignificados pela Literatura de Cordel (1900-1940)

Backland¹ are not only geographic spaces limited by physically established borders. It is a space composed by events, experiences, behavior, symbology, manners related to how to live and see the world. It is developed from historical processes and layers of discourses that contact each other, compete among themselves, establish agreement, promote consensus which define, resignify and update them over time. The present paper seeks to analyze and discuss the forms in which discourses produced by cordel literature² sold and consumed in popular locations, from backlands to coast cities, during the first four decades of 20th century, represented the environment, habits, moral codes, cultural traits, social types, rites and beliefs, related to northeastern backlands. The paper also aims to investigate the forms on how discourses produced by representations contributed to the constitution of backlands as a space culturally constructed. Poems from the poet and editor João Martins de Athayde will be used to establish dialogues between discourses produced by cordel and others discursive modalities, such as, newspapers, prose literature, painting, texts of memoirists and historiography, about backlands, analyzing how those representations circulated, were consumed and absorbed by backlands and other spaces inhabitants, contacted and agreed with other types of discourse, supporting the establishment of backlands as a space and countryside people as a social type