Sob o Signo do Logro : a Mulher e o Amor na Ficção Queirosiana

Centrada na obra de Eça de Queirós, a presente dissertação tem como principal finalidade perceber de que forma o logro, a desilusão e a solidão se encontram associados à imagem da Mulher e à temática do Amor. Assim, partindo de uma análise às personagens femininas dos romances deste escritor, chegamos a temas como as “máscaras” do indivíduo na socie-dade, as quais estão intimamente ligadas à hipocrisia, à mentira e, por vezes, ao ridículo. Será este o fio condutor que percorrerá todo o texto, ligando os assuntos supracitados a questões tão abrangentes como a interrogação identitária, decorrente da projeção do Eu no Outro, ou os valores da sociedade oitocentista, onde as mulheres assumem um papel cen-tral – para o melhor e para o pior.

O trágico em lavoura arcaica

El escritor de São Paulo Raduan Nassar, lanza en 1975, su primera novela intitulado Lavoura arcaica. En su narrativa de estreno, el escritor nos trae la historia de un adolescente, André, que intenta destruir la plantación de su padre, Iohána. A través de sus sermones, el patriarca predicaba la moderación, la disciplina y la obediencia a las leyes impuestas por él, construyendo así, un mundo de ilusiones, donde el amor era una máscara para la hipocresía. En esta tensa relación, padre e hijo, representaciones místicas de Apolo y Dionisio, emprenden una contienda discursiva sobre la negación y la afirmación de la existencia. De ese modo, considerando la relación de lucha e integridad entre el impulso apolíneo y dionisiaco existentes en el romanticismo nassariano, la propuesta de este trabajo es presentar una lectura de lo trágico en Lavoura arcaica a partir de la perspectiva nietzscheana sobre el género trágico. Para eso, recorrimos al concepto desarrollado por Nietzsche en su obra, desde su primer libro O nascimento da tragédia (2007a), A visão dionisíaca do mundo (2005 a) y Ecce homo (2008 b).

O Mandarim (Eça de Queiroz): a sociedade portuguesa do século XIX à luz da sátira menipéia

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Um mergulho nas águas verdes de Lygia Fagundes Telles

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A ironia de Geni e o Zepelim: sujeitos, poderes e mundos no tempo da suspensão

The purpose of this article is to analyze the song "Geni e o Zepelim", by Chico Buarque, from the point of view of the social voices present and orchestrated by the narrator. The hypothesis is that the image of the song uncovers the nation´s prejudice by criticizing the hypocrisy conducted by the narrator. In order to do so the song is used as the corpus of analysis, which is taken as a discursive arena where social voices discuss and combat. Therefore, it is possible to analyze the criticism regarding prostitution prejudice and Geni a transvestite inflicted ironically by the narrator’s voice – projected by the authorship in the song. Based on the dialogism present in the subjects voices in the lyrics, considering Bakhtin´s Circle perspectives. The center of analysis is the ironic relationships of power because the subjects position symbolize distinct social power spheres, which by irony are relativized. Therefore, thinking about these relations means reflecting about the construction of a certain speech in time and space, which collaborates with the reconstruction of subjects and social realities.

Os dramas na prosa onírica de Artemidoro

The objective of this paper is to present a Portuguese translation, with notes and commentary, and the corresponding Greek text of a small excerpt of book I (Onir. I. 56.25 -45), of Artemidorus’ Interpretation of dreams, Oneirokritika, based on Pack’s edition (1963), and on Houlihan’s (1997a,b) reviews and of Bowersock (1994)’s. It is a particular and important passage, focused on dreams about tragedy, comedy, choruses and hymns. To this translation, which serves as the basis for the present study of the onirocritic text, other excerpts were added in order to examine the (re)configuration of the dramatic action or hypokrisis into dream interpretations, within the author’s model of analysis, and its relationship with truth and falseness on physis, ethos and tekhne levels; all on a common denominator, memory. A rhetoric basis for author’s onirocritic vision and the keys to onirocritics in the dramatic scenes are discussed.

Retratos da Espanha em Os fantasmas de Goya

1792, Madri. After years of inactivity, the Spanish Inquisition is born again with the mission of containing the laic winds that blow from the revolutionary France. Inês Bilbatúa, a rich merchant’s daugther, is victim of the inquisitorial machinery which tortures and violates her, through one of their abetters, the Dominican monk Lorenzo. Before being arrested, the young lady had served as model for the painter Francisco of Goya, who had also portrayed the monk Lorenzo. The Aragonese painter’s figure serves as narrative conductor of a history that narrates the young Inês’ via crucis and, at the same time, it recreates the historical scenery of the Napoleonic invasion (1808), through a basic element, the painting. Our work intends to analyze the relationships among movie, painting and history present in “Goya’s ghosts” (2006), of the Czech director Milos Forman (1932) - whose script was adapted to a homonymous book in 2007 -, a movie that is based on the artistic production of Francisco of Goya y Lucientes (1746 -1828), official painter of Carlos’ IV (1788 -1808) court and the most lucid columnist of his time, that knew how to capture in his works the religious fanaticism, the populist fervour, the governor’s hypocrisy and the horror and the violence of the war.