O protagonista multifacetado : uma leitura p��s-moderna de Estorvo e Budapeste, de Chico Buarque

Disserta����o (mestrado)���Universidade de Bras��lia, Instituto de Letras, Departamento de Teoria Liter��ria e Literaturas, Programa de P��s-Gradua����o em Literatura, 2015.

A cidade da fl��nerie, do vazio e da err��ncia em Estorvo, de Chico Buarque

This article aims to perform a reading of Estorvo (1991), by Chico Buarque, trying to show that you have in the work, setting up an urban poetics of emptiness and wandering through the individual unfolded the protagonist wandering dazed and without the right direction, performs on the streets of a big city. In this respect, it is interesting to observe how a fragmented narrative - in whole and in language that conforms - is consistent with the picture of the experience of a character who, in the midst of an urban setting - with brief references to elements of the universe rural - through the experience of mutual incomprehension, violence and the impossibility of a full communication with each other, always in a dazed condition and lost fl��neur.

Babel subjetiva ou a mais completa tradu����o: considera����es sobre Budapeste de Chico Buarque

This paper discusses aspects of Budapest, by Chico Buarque, published in 2003. In the novel, a contingency takes the protagonist, a Brazilian, to Hungary. There, involved within a culture quite distinct from his, he has experiences in a strange language, which ���even the devil respects���, and with an interesting woman, who teaches him the language. Both, language and woman, turns into mirrors that refract and put his subjective experience, as babelic as the Hungarian, up side down. Considering contingency as a category from the Real (Lacan) and translation as mechanism of subjective search of a blot origin (Derrida), at the same time transcreation (Haroldo de Campos), we will pinpoint some ways to the novel reading.

O olho m��gico, o abrigo e a amea��a: convul����es - Ruy Guerra filma Chico Buarque

Desde a d��cada de 1990, o ��cinema da retomada�� focaliza a viol��ncia social, a corrup����o e a crise institucional no Brasil. S��o poucos os filmes que se afastam desta postura de transpar��ncia e de ajuste aos c��digos dominantes no mercado, trabalhando dentro de um estilo afinado ao cinema moderno de autor. Um dos melhores exemplos nesta dire����o �� Estorvo (2000), de Ruy Guerra, adapta����o do livro de Chico Buarque. O artigo demonstrar�� como o filme, tal qual a obra original, opta por uma narrativa que nos desconcerta ao trabalhar na pr��pria forma a crise do sujeito na atualidade, repondo nossa interroga����o sobre o percurso das personagens ��� e da ordem familiar ��� em seu peculiar envolvimento com aspectos contundentes da viol��ncia social no Brasil.

M��quinas desejantes e presente hist��rico: as cr��nicas de Clarice Lispector

Coordena����o de Aperfei��oamento de Pessoal de N��vel Superior (CAPES)