Eficácia política de uma crítica: Paulo Emílio Salles Gomes e a constituição de uma teia interpretativa da história do cinema brasileiro

This work aims to contribute to theoretical and methodological analysis of writing the history of Brazilian cinema. The object of this study the trilogy of articles in Cinema: the trajectory of underdevelopment regimented, the critic and historian Paulo Emílio Salles Gomes, seeks to understand the process of setting up a web interpretative history of our film based on this work and how to rescue its historicity.

Uma leitura de gênero nos contos "Prelúdio", "Na baía" e "A casa de bonecas", de Katherine Mansfield

This work aims to analyze the short stories “Prelude”, “At the Bay” and “The Doll’s House”, by Katherine Mansfield under the prism of the gender studies (mainly on the works of Joan Scott and Elisabeth Badinter). To reach such objective, and based on the feminist criticism works (especially those of Elaine Showalter and Toril Moi), we analyzed the three stories, which are from the writer’s so-called “family phase”. The present work contains a bibliographical contextualization of Mansfield’s modernist work under three main aspects: modernism, the short story and women’s writing/writings on women. From the analysis of the three short stories, we observed that questions of gender, representation and identity were depicted by means of the preponderance of female characters from all ages, marital statuses and classes. At the end it was possible to verify how Mansfield works contributed to a reflection about places and roles occupied by women in turn of the XIX and XX Centuries, whereas how this author was also in search for her own identity as a woman and as a writer, exactly in a context when women writers and women’s writings started to become more visible face to a predominantly masculine literary canon.

Antonio Carlos Viana e as escritas do erotismo em Aberto está o inferno

A presente dissertação objetiva estabelecer uma interface entre os estudos da linguagem performática na literatura e os estudos sobre o erotismo a partir da obra do escritor sergipano Antonio Carlos Viana. Trazendo à tona o lado violento e traumático de experiências sexuais, são nela analisados os contos “As meninas do coronel”, “Mal-assado” e “In Memoriam”, pelo viés da prostituição, do casamento e da morte, respectivamente. Observa-se que, ao optar pela escrita sobre o corpo e pela problematização do erotismo vinculada a uma perspectiva nauseante do sexo, desvinculada da ideia de prazer, Viana performatiza, de acordo com os pressupostos do novo realismo, experiências afetivas marcadas pela dor. Para investigar os procedimentos de linguagem utilizados por Viana, com o intuito de desvendar os enigmas que perpassam o universo emocional e labiríntico de personagens devastados por sentimentos que mesclam corrupção, poder, morte e erotismo, recorro aos estudos sobre o caráter performático e grotesco da linguagem no novo realismo – em especial ao pensamento de Karl Erik Schøllhammer e Mikhail Bakhtin –, sobre a relação entre morte e erotismo – a partir das considerações de George Bataille, Octavio Paz e Philippe Ariès – e sobre as nuances da sexualidade e suas revoluções – mediante o pensamento de Anthony Giddens.

O ensino de arte pós-moderno na arte de Daniel Francisco de Souza

This thesis presents a research that links cultural history and visual culture in a sociobiographical approach. It gives a “political treatment” to the educational experience in the transition of art teaching from the modern to the postmodern. By taking into account my experiences as an educator and the poetic practice in Daniel Francisco de Souza’s visual art, I propose a dialogue with his art and a series of visual narratives this artist/student produced at the time of his education and recently. Such visual narratives were taken as research source and research subject. They were created in a rural setting in dialogue with formal art teaching in two phases: 1992–6, when Daniel Fran cisco attended elementary school in the rural area of Uberlândia, MG; and 2008–10, when he attended Visual Arts graduation at Federal University of Uberlândia city. I analyze historical processes related to art and teaching, from the early sixteenth century to the present times, to realize residues in students’ poetic experiences. I relate Brazilian educational public policies with experi- ences in that rural school. I try to show the extent to which our educational practices triggered experiences — from ones common to intense ones — and promoted forms of “emancipation-knowledge” or “regulation-knowledge” and how the “selective tradition” was and how art predetermined history images gave way to everyday visual references, pointing to the “broad field” of visual culture. I make an effort to show Daniel Francisco’s work as an adult by tak- ing it according to different approaches. In a poetic reading, first, I emphasixe the material and the symbolic in his art. In a second look, I approach his work through the intertwining experiences of three characters from different times and places that participated in the making of his art: the artist farmer, the artist teacher and the teacher researcher. I assume the existence of a mutual cultural incompleteness in these three characters; which means that parts of their “structures of feeling” built on the interrelationship among them are part of the artist’ work as a historical content decanted. Thirdly, I demonstrate how the artist sees his place as a key re ference to his poetic creation. His work does not reflect the rural bucolic as something untouched. In showing the difficulty in distinguishing the archaic residual, I identify emerging issues in his work. I conclude that the artist — Daniel Francisco — and the researcher — myself — present maverick features: both are scavengers; their productions approach the working with scraps in art and in the academy; even momentarily, they live in exile in the warmth of the borders or the edges, from where one sees the center clearly. In these spaces, when certain structures and normative codes enter into coalition, they fragment pre-established strategies and stimulate the creation of survival tactics.

Das saudades que se tem: a representação paterna na escrita autobiográfica de Bartolomeu Campos de Queirós

In our work, we analyze some works of Bartolomeu Campos de Queirós that compose the “autobiographical cycle”, especially those ones that bring the image of father’s absence/presence, the relationship between life and writing, as well as the father’s figurations and his intermediates and substitutes. We especially investigated the aspect of repetition about how the family relations are articulated, highlighting those ones that happen between father and son and that appear in these texts. This problematic interested us as a research object, a priori, because the works of Bartholomeu Campos de Queirós are an exponent of literature for children field, as far as they show that the childhood is not always “colorful”, happy and perfect as several productions supposedly made “for children” seek to have us believe. In addition, the selected texts that have an autobiographical characteristic and put the issue of child suffering because of the father’s absence are configured as a very rich corpus for studies related to the relation between life/work and investigations in the dialogue between Literature and Psychoanalysis. These aspects will permit us to understand why the pain of missing father be repetitive and insistent in these books. Thus, we problematize, by the selected works for this study, the concept of literature for children and young people and the notion of literary reading. We also analyzed in the “statements” given by the author the relationship between life and writing and we investigated, based on psychoanalytic studies, the literary writing as a possibility of both unconscious development of memory marked by the father’s absence – remedy – as of a perpetuation of this same conflict – poison. Furthermore, we analyzed how the relationship between son and father are processed considering the mother’s absence, since the works that have this person’s presence, she seems to mediate such relationships in a certain way.