960 resultados para Abreu, Caio Fernando, 1948-1996 Crítica e interpretação
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O presente estudo tem como principal objetivo verificar como o fenmeno da literatura crossover evidencia-se em Limite Branco, primeiro romance de Caio Fernando Abreu. Intenta-se demonstrar como por meio das temticas fraturantes que veicula, bem como pelo emprego de estratgias narrativas sofisticadas, a obra ultrapassa o endereamento a um pblico especfico, desafiando o leitor de diferentes faixas etrias e experincias de vida e de leitura.
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RESUMO: Este trabalho consiste em uma anlise do conto Os sobreviventes, da autoria de Caio Fernando Abreu (1948-1996), presente na obra Morangos Mofados de 1982. O objetivo deste estudo desenvolver questes sobre a opresso intelectual e a crítica social evidenciadas no conto. Leva-se em conta as experincias polticas no Brasil nas dcadas de 1960 a 1980. A partir desta relao entre histria e literatura, verifica-se como os personagens de Caio Fernando Abreu se revelam como sobreviventes de uma gerao, assolada por desigualdades sociais e pela opresso do exerccio intelectual como forma de aprisionamento do indivduo na sociedade contempornea. O artigo parte de consideraes iniciais sobre o autor e o contexto histrico das dcadas de 70 a 80 no Brasil, a partir disso, apresenta-se a anlise do conto Os sobreviventes, tendo em vista a experincia da perda dos ideais desta gerao, os efeitos da ditadura militar e a submisso s imposies polticas, sociais e ideolgicas deste contexto.PALAVRAS-CHAVE: Opresso intelectual; Crítica social; Caio Fernando Abreu. http://dx.doi.org/10.5935/1981-4755.20160006
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Escritas entre 1986 y 1989, y entre 1992 y 1995, y publicadas pstumamente en 1996, bajo el ttulo de Pequeas epifanas, las crnicas de Caio Fernando Abreu son el relato de los avatares y sucesos de su mundo contemporneo. Estas crnicas estn trazadas bajo el amparo desolador de la violencia de sentirse plenamente consciente de ser lo otro. En tanto que la crnica irrumpe como el tipo de registro de la nueva experiencia urbana, posibilitando la incorporacin de ciertas zonas de la cotidianeidad, el presente trabajo pretende analizar de qu modo se representa la ciudad de San Pablo en las crnicas de Caio Fernando Abreu
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Escritas entre 1986 y 1989, y entre 1992 y 1995, y publicadas pstumamente en 1996, bajo el ttulo de Pequeas epifanas, las crnicas de Caio Fernando Abreu son el relato de los avatares y sucesos de su mundo contemporneo. Estas crnicas estn trazadas bajo el amparo desolador de la violencia de sentirse plenamente consciente de ser lo otro. En tanto que la crnica irrumpe como el tipo de registro de la nueva experiencia urbana, posibilitando la incorporacin de ciertas zonas de la cotidianeidad, el presente trabajo pretende analizar de qu modo se representa la ciudad de San Pablo en las crnicas de Caio Fernando Abreu
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Escritas entre 1986 y 1989, y entre 1992 y 1995, y publicadas pstumamente en 1996, bajo el ttulo de Pequeas epifanas, las crnicas de Caio Fernando Abreu son el relato de los avatares y sucesos de su mundo contemporneo. Estas crnicas estn trazadas bajo el amparo desolador de la violencia de sentirse plenamente consciente de ser lo otro. En tanto que la crnica irrumpe como el tipo de registro de la nueva experiencia urbana, posibilitando la incorporacin de ciertas zonas de la cotidianeidad, el presente trabajo pretende analizar de qu modo se representa la ciudad de San Pablo en las crnicas de Caio Fernando Abreu
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This article presents a short study about the literary work of Brazilian writer Caio Fernando Abreu (1946-1996). In order to study his formal and thematic choices, we established criteria based on concepts like motif and plot (dramatic situation), as developed by Tomachevski (1976). A specific articulation between motives and dramatic situations establishes four nuclei of Abreu's literary production, which is characterized by a literary experimentation with these elements and it constructs an organic work that makes itself and/or is made in a dialogic way (Bakhtin, 1981). Firstly, the main characteristics of the four nuclei and the books that embody them will be presented. Then, we will describe how the motives and dramatic situations are re-elaborated from one nucleus to another. Not only does each nucleus features some new elements, but also contains remainders of previous ones. As such, each of Abreu's works can be considered as both the same and unique.
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Coordenao de Aperfeioamento de Pessoal de Nvel Superior (CAPES)
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The Brazilian writer, Caio Fernando Abreu, was strongly influenced by a period of changes in social values and perspectives. When he enters the Brazilian literary scene using a writing style free from form and content, he applies in his works all the affliction of the contemporary values. His work embodies all the spirit of a generation that, despite its anxiety for freedom, was still suffocated by the military dictatorship period. Abreus narrative also reveals an author with an extreme ability to shift between the erudite and the popular. In his short stories, he develops a performative language mingled by references that turns his text into a sort of Pop Art iconography. Just like Pop Art paintings, full of Coke images, cigarettes, tooth paste and food cans, Abreus literary discourse is painted by many symbolical references to modern consumerism, as well as to movies, music and to pop stars. This trace in the writers works exerts a great deal of attractiveness on the contemporary reader. In this work, we attempt to analyze this resource in Abreus literature under the concepts of cultural studies; thus, we aim at analyzing the various forms of the mass culture expression inside Abreus literature, recognizing his allusions as a stylish resource in his writings and highlighting its relevance in the study of the author work. In order to do so, we are based essentially on the reflections of theoreticians: Lipovetsky (1996) and Adorno (2011) who debate the culture and social formation in contemporaneity.
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Quand on se plonge sur l‟oeuvre de Caio Fernando Abreu, on est forcement men faire une profonde analyse social qui rsulte dans une grande bataille entre l‟amour, la socit et la politique. Cette Memoire de Master, Politique, chanson et thtre : Le conte Ces deux-l de Caio Fernando Abreu rpercute au quotidien brsilien, montre que la plong faite ici cherche analyser, partir d‟une perspective comparative, les angles observs par l‟auteur dans son oeuvre crite pendant les annes de la Dictature Militaire brsilienne, l‟influence des Beatles et du musicien/pote Caetano Veloso avec le mouvement du Tropicalismo. Dans ce travail, on observe le rle du narrateur au sein du dveloppement du conte comme reprsentation de la socit irrmdiable et comme cette narrative s‟ajuste en mode thtral. La lecture de cette memoire est base sur l‟analyse du conte Ces deux-l , du livre Fraises Moisies, et l‟influence de la musique Strawberry Fields Forever, des Beatles chez l‟criture de l‟auteur, ainsi que les discussions sur les images prsentent dans la narrative comme la structure essentielle pour le processus du montage du spectacle homonyme par la Cia. Luna Lunera, Minas Gerais, partir du mcanisme de la traduction, du littraire au scnique, appuye sur les ides de Patrice Pavis
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In this dissertation, we analyze, in a comparative perspective, the link between the short stories: Dama da Noite‟ and O Rapaz mais triste do mundo‟, of Caio Fernando Abreu. In order to reveal, analyze and establish relevant dialogues with Queer Theory, it‟s important, above all, make a misreading guided in the discursive contextuality of postmodern literature. In order to justify and clarify the many issues that arises in the emblematic relationships of characters that are present in the text and in the cultural context, historically and socially. It also highlights the utterance comparative value identified in the works, given the peculiarities of each one of them, not being possible to classify them as `figures of language` with which the comparison can be cited as an example. In this case, they serve to inspire the ways that may lead us to a better understanding of the parallels created between a world of the binary value and adjectives suggested by society and so well portrayed in the ideas and writings of Caio Fernando Abreu
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This text aims to study the literary representation of homoaffectivity in short stories of Caio Fernando Abreu in the context of brazilian redemocratization, specifically in the narratives published between 1982 and 1988. To understand the relation between literature and historical context in the tales, we betake, principally, to a notion of Literature and Society, as proposed for Antonio Candido. Relating the narratives of Caio Fernando Abreu with the military dictatorship and the redemocratization processes, as well as a generational project named contraculture, we aim to verify as the search for affection for men that desire others men may be conditioned for specific socio-hystorical conditions, understanding the literary work as a privileged field of representation and comprehension of reality
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Neste artigo, estudaremos a integrao e a elaborao de textos literrios e/ou no-literrios feita por Caio Fernando Abreu para compor seu ltimo romance, Onde andar Dulce Veiga? Um romance B, de 1990. Por meio da utilizao de textos diversos, pertencentes a vrios gneros do discurso, este romance produz uma reflexo metalingstica sobre o fazer literrio do prprio texto, sobre o trabalho de escrita e criao do autor e, num aspecto mais amplo, sobre as relaes entre artista e criao artstica no contexto contemporneo.
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The work of Caio Fernando Abreu has a very vast and impressive thematic horizon , which is usually the core of the papers on the work of this author . This paper proposes to understand this characteristic of a more intricate point of view : perceive and analyze how the work of the author builds itself thematically , but mainly textually . I n other words , as the text enacts his own writing . From this it is noticeable how the text of Abreu plays with some senses through textual constructions that do not impose directly sense to the reader . Thus, the research sees in the chosen corpus , the collection Os drages no conhecem o paraso ( 2014 ), the neutral as proposed by the French essayist Roland Barthes (2003 a ). This neutral is understood by Barthes as a possibility to suspend the paradigms that constitute the sense, what exactly justifies the noticeable game in the work of Abreu . This game , to Roland Barthes , is precisely the literature. If the paradigm involves transforming the language , and all language expressions, in a way to propagate ideologies , the literature does not escape this fate . In order to escape this fate , you must fight the language internally ; we must play wit h the language . The neutral is the possibility of the game. Thus , the study sought neutral in Caio Fernando Abreu short stories , presenting it and analyzing it through " figures" which, for Barthes , is a way of perceiving the neut ral through texts , but not in a prescriptive manner. It was proposed , in the analysis , then understand the " Subjectivities ", the " Default ", the " Body " and " Disease " , for example, as possibilities of the game . Finally , in many Abreus work instances , the neutral is achieved by textual operations that are not in themselves neutral , but which achieve a " neutral effect ", which explains the game , the literature, in the texts of Caio Fernando Abreu .
