Children's Literature and Brazilian identity of black children

This article aims to analyze how the black child is characterized in relation to the stereotypes created around the black, in the course of Brazilian history in children's narratives, from a sociological approach to the literary text and the assumptions of comparative literature. To this end, we selected some childish narratives that feature characters black children, and you can see that these works reveal the transformations that occurred in Brazilian society with regard to black. This work is based on the theoretical support in the works of Rosangela Malachias and Florestan Fernandes, among others. The analysis was organized to observe the difficulties of identifying the black child before the European cultural dictates about the standard model of beauty. In general, one can observe that the production of works whose characters are black children intensified after the 1988 Constitution and the Law 10.639/2003. The literary discourse aimed at children, so undergoes changes before changes in society and shows a new socio-historical context in which minorities gain more space, but respect for differences yet to occur effectively in social relations that the black is really valued.

In Scene of History and the History on Scene: The Theatre of Resistance by Millôr Fernandes and Flávio Rangel

Based on the contribuions from Ryngaert (1995); Prado (2009); Magaldi (2008); Faria (1998); Heliodora (2008); Guinsburg, Faria and Lima (2009), refering to the constituion of the theatrical discourse, in studies of Fausto (2012); Cotrim (2005); Gaspari (2002) and Garcia (2008), about the notes Brazilian historical and the theoretical presupposes of Carvalhal (2003, 2006); Nitrini (2000); Nascimento (2006) and Maddaluno (1991) to approach to the study of comparative literature, this work aims to analyze the play Liberdade, liberdade (1965), by Millôr Fernandes and Flávio Rangel whit the Brazilian dictatorship period (1964-1985). This play was written and performed at the beginning of the regime, as it wished to withdraw from the scheme repressor that dominated Brazil. Millôr Fernandes and Flávio Rangel resorted to the use of classical texts and historical preparation for the work, and make use of music to bring up the subject of ceaseless quest for freedom. The play runs from dramatic to comedic, supported by political discourse, which leads, the called Theatre of resistance. For this work, the basic procedure was the literature search. Through the analysis of the dramatic text and the recurrent use of bricolage (collage of historical texts), perceives the practice of intertextuality theme. Thus, one can understand that Liberdade, liberdade is a dramatic text produced in the second half of the twentieth century, which establishes dialogue with texts embodied historical aspect with literary verve.

SILVINO JACQUES OR CHRONIC HERO brigand BRAZIL-PARAGUAY AT THE BORDER

This work has as its main purpose to address the literary narrative Silvino Jacques: O último dos bandoleiros by Brígido Ibanhes, which shuffles literary genres, as a mixture of historical account and poetic and / or fictional prose.  The approach consists of the analysis of the stated and enunciation plans of the composition, understanding, therefore, the textual tessitura and the consequent reading of the theme according to protagonist narrator plot, Silvino Jacques, who is seen as a hero / anti-hero character of the Romanesque saga. For both, the methodological perspective seeks to elaborate a reflection subsidized in the field of comparative literature, particularly in theoretical and critical texts of historiography and literary, since search thus retrieve the literary and cultural trajectory of a subject with wide projection in Western literature, articulated to the regional interculturality of Brazil vs. Paraguay border in highlighted dialogue with different cultural places.  It is, ultimately, a construction of reading bolstered by the practice of Intertextuality, as the own corpus of analysis, comes from the dialogue with a previous text, Décimas Gaúchas, assigned to the "brigand" Silvino Jacques, and linked to the popular Songbook.

LIBERDADE À LUZ DO CÉU PROFUNDO: A NACIONALIDADE E A LITERATURA COMPARADA

This article aims at explaining conceptual transformations undergone by the idea of nationality during the nineteenth and twentieth centuries, relating them to literary production and comparative literature. The freedom to associate ideas, cultures, texts of different countries is an essential comparative procedure also needed to understand the globalized world. These issues are studied in the novels Paradise, written by Toni Morrison, and Rosa Maria Egipcíaca da Vera Cruz, by Heloisa Maranhão, both first published in 1997. 

THE PORTUGUESE DIASPORA IN THREE CONTEMPORANEOUS LITERATURE NOVELS: POINTS AND COUNTERPOINTS

In O retorno (2011), Dulce Maria Cardoso invite us to know the Rui’s story, a Portuguese Angolan teenager that returned from Angola, together his family. He is compelled to rebuild his life in Continental Portugal, from a precarious and limited financial situation. The scenario was the seventies and the turbulent period of return of more than a half million of Portuguese citizens, during the decolonization of former Portugal overseas territories in Africa. In this paper, we have analyzed the theme of diaspora in the contemporaneous Portuguese Literature, considering as the start point the sociocultural context contained in the book O retorno. Thus, we have established a bridge with two other novels, within a comparative perspective, in order to find similarities or dissimilarities among them, once they address the same theme: Pouca terra...Poucá terra, by Júlia Nery (1984), that brings to the center of the narrative the emigrants story from France, under the approach of a girl called  Leonor, and Livro, by José Luís Peixoto (2012), which has the main focus, among the multiplicity of themes, the emigration scenario from France, and the loving disagreements between two young lovers: Ilídio and Adelaide. The goal is to sketch a viewpoint, clarified by the cultural studies, which conduct us to understand more largely some questions which come by the Dulce Maria Cardoso novel, and also the two other books in question.  They give us the measure of the construction of the contemporaneous Portuguese novel, and reflect the idea of a nation which uses to have a condition of discomfort. This discomfort is proper to who are at the mercy of the diasporic fateful experience, since the most remote past.