Literatura brasileira contemporânea e mercado editorial: um estudo do romance “Inferno”, de Patrícia Melo

Pós-graduação em Letras - FCLAS

A representação da natureza no romance francês do século XIX

Busca-se determinar as características da representação da natureza no romance francês do século XIX, analisando-se Paul et Virginie de Bernardin de Saint-Pierre, Les travailleurs de la mer de Victor Hugo e L’Ève future de Villiers de l’Isle-Adam, por meio da teoria sócio-crítica e do embate com o texto. Na primeira parte, faz-se um retrospecto da representação nas artes e na literatura, destacando-se as concepções de Aristóteles e as do Romantismo. Apresenta-se também um panorama das concepções da natureza no tempo e no espaço e reflete-se sobre as relações do homem com o mundo natural, bem como sobre as teorias a elas referentes no âmbito da história, da pintura e da literatura. Na segunda parte, analisam-se os três romances escolhidos, buscando-se neles os modos e os sentidos da representação literária da natureza. Conclui-se pela existência, nas três obras estudadas, de uma atitude ambígua do homem diante da natureza, que havia sido anteriormente detectada na história. Embora diferenciadas entre si, sob alguns aspectos, as representações da natureza no corpus estudado demonstram o registro, no universo literário, de marcas do contexto histórico, político e social em que os três romances foram escritos, publicados e usufruidos.

Da Linguagem verbal à sincrética: o romance O passado, de Alan Pauls, e sua transcrição para o cinema por Héctor Babenco

The goal of this paper is to reflect on the process of adaptation from literature to cinema in order to understand how are made the choices in this kind of transposition. For that, we will analyze the case of the novel The Past (2003), by Alan Pauls, and its translation into the film language (2007) by Héctor Babenco, using reflections from semiotic studies of literature and cinema

O retorno: identidades à deriva no romance português contemporâneo

This paper concentrates on the analysis of how the typical voices of History are manifested, which is achieved by the aesthetics of the contemporary Portuguese narrative, as it aims at the same time the reflexion and the reformulation of the Lusitanian cultural imaginary in the course of O retorno, a novel by Dulce Maria Cardoso. The hypothesis that arises is that the trajectory of Rui’s individual experience, as wells as the other’s characters “retornados” looking for identity, is parallel to the proposed revision of the Portuguese nation collective cultural imaginary in the decolonization context, after the 25th April Revolution. It is its objective to investigate how the historical processes concerned to the concepts of exile and uprooting, displacement and belonging (BAUMAN, 2005) are fictionalized in the novel, seen as motes for Rui’s pursuit for identity and for the revision of the Portuguese Destiny theme

O evento 11 de setembro: (re)criação da história no romance Extremely Loud & Incredibly Close (2005), de Jonathan Safran Foer

Pós-graduação em Letras - IBILCE

O Grande Mentecapto: romance carnavalizado

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

O romance como veículo de preenchimento da falta humana: Reparação de Ian McEwan

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

São Bernardo: construção do romance pela memória

This paper concentrates on demonstrating that the novel called São Bernardo ,written by Graciliano Ramos, utilizes some literary strategies that cause the effect of being built by rememorizations, which is a vital aspect of several of the author’s titles. Such objective is reached via the analyses of how the following narrative categories: focalization, narrator, characters, story and time converge toward the elaboration of the memory and the comparison between this construction on São Bernardo and Angústia. In order to be successful on this task, three groups of study constitute our theoretical basis: a) critical essays concerning Graciliano Ramos; b) theoretical propositions about the narrative categories; c) academic articles on the constitution of memory. Papers composed by Antonio Candido, Alfredo Bosi, Sonia Brayner, Luís Costa Lima and others are part of the first group. The second one is constituted by propositions of Gérard Genette, Benedito Nunes etc. Finally, on the last one, we find Paul Ricouer and Henri Bergson

O jogo de intermediações enunciativas no romance de Alan Pauls

The novel O passado (2003) by Alan Pauls presents many isotopies which would deserve to be investigated: there is a varied construction of loving relationships among the characters, who reveal different feelings, that would allow a mapping of passions to be studied; there is an activity of translation (role performed by Rimini and Carmen) that engenders a very rich reflection on the literary activity which is taking place. There is also the presence of a visual artist, Jeremy Riltse, revealing a poetic work which was created by this discourse. Due to the dimension that a research of this kind would require, it is not possible to deal with all the isotopies. Thus, the last one was chosen to be investigated, that is, to verify how the fictional visual artist and his singular work operate in the novel.

Sobre O tronco, romance de Bernardo Élis

The conception of O tronco was influenced by Hegel´s ideas. The genesis of this novel is in Bernardo Élis’ purpose of writing a monograph on land ownership conflicts in Goiás, later transformed into a new project, the novel O tronco. The same ideological position of the author gives the argumentative direction of the novel; his ideological background determines the choice of the theme, associated with images expanded by the procedures of argumentation that permeate the literary discourse. Thus, in face of the undeniable aesthetic value of Élis´work, we analyzed O tronco, specifically the argumentation that guides the literary narrative, enhanced by the artistic treatment of violence, its theme, as the result of the struggle for power. The novel was published in 1956; the author, heir to the literary regionalism of the 30s, through an artistic and calculated combination of the story of a local government and literature, accuses, judges the exacerbated domination of a particular social group in a region in Goiás.

Vidas secas: o romance móvel de Graciliano Ramos

Vidas secas, fourth volume of Graciliano Ramos’s work, has its origins in baleia, a short story written by the author and later interspersed, in a term of six months, in twelve other chapters then created for the novel. This paper deals with aspects of Vidas secas creative process, from the short story to the novel.

Realidade e representação no romance regionalista brasileiro: tradição e atualidade

This work presents a discussion on Brazilian regionalist novel and its relationship to representation of reality along of Brazilian history of literature. Under this point of view, this article analyzes how the novel Galileia, by Ronaldo Correia de Brito, retakes, refuses or brings up to date, in contemporary prose, some aspects that established this kind of production inside literary diachrony in Brazil.

Até os ossos: escavando o último romance de Graciliano Ramos

Starting from the set wherein Vidas Secas (1938) stands out, it is possible to establish parameters that make of Graciliano Ramos’ oeuvre the overcoming of realism due to the scope of representation and the quality of formal handling developed by the author, imbibed in the Brazilian and universal literary tradition, and whose result the criticism of Antonio Candido, skilful in taking into account the former critique, points out with precision. Perusing the facts that mark the creation and reception of Vidas Secas (including the production of the movie by Nelson Pereira dos Santos in 1963), the present work is a preamble for analyses that take into account the coherence of Graciliano Ramos with the absorption of expressive resources used by American and European practitioners of a literature engaged in adjusting the expression of contrasts and in reformulating the so-called regionalism

No meio do caminho tinha uma pedra: o papel do leitor e do narrador no romance Pedro Pedra, de Gustavo Bernardo

Objetiva-se apresentar uma possibilidade de leitura da obra juvenil Pedro Pedra, de Gustavo Bernardo, na qual se considera o papel do leitor e do narrador. Para a consecução desse objetivo, pretende-se refletir, a partir das contribuições da estética da recepção, acerca do que propicia o prazer na leitura e quais elementos determinam o papel do leitor implícito e as disposições do narrador. Constrói-se, neste texto, a hipótese de que a estratégia do escritor de apresentar sua narrativa sob a forma de um romance de formação permite ao jovem leitor, também em fase de definição de sua personalidade, identificação com a temática.

Uma estética do paradoxo: aspectos do melodrama no romance latino-americano do pós-boom

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)