O imaginário sertanejo no Romance d‘A Pedra do Reino e o príncipe do sangue do vai-e-volta: memória e invenção em uma imagística quadernesca

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

O romance como veículo de preenchimento da falta humana: Reparação de Ian McEwan

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Intertextualidades, símbolos e mitos entre o romance Mygale e o filme A pele que habito

The award-winning and controversial movie by Pedro Almodóvar “The skin I live” (2011) is an adaptation of Mygale’s novel (1984), the French writer Thierry Jonquet (1954-2009), translated into Portuguese in 2005 as Tarântula. It is a horror story, full of suspense, in which a renowned surgeon, Robert Ledgard, played by Antonio Banderas, switches, without any scruples, the sex of the young Vincent. What it shown to the viewer since the first images of the movie is, therefore, Vicente/Vera in her new and perfect female body. Flashbacks clarify during the movie the events that culminated in the opening scene that is presented to us, surprising us and, of course, shocking us. References to myths and symbols can be noticed in the movie. They bring with them, to be recognized by the viewer, issues related to the creation or metamorphosis, among others, as the Pygmalion and Galatea myth, which binds to artistic creation. Artistic metamorphosis operated equally by the filmmaker in his modern version of the doctor and the monster, for example, but, especially, in the rereading of the Jonquet’s novel. This study seeks to highlight some of the major myths and symbols inserted in Almódovar’s movie and what interpretations such insertions may ensue.

O mar e as viagens: épico e romance antigo em Galáxias, de Haroldo de Campos

The aim of this paper is to discuss the presence of epic and ancient romance as construction’s mechanism of the poem Galáxias by Haroldo de Campos, whose work was, all of the time, dedicated to both: innovation in poetry forms and rescue of tradition. It is quite important to investigate how epic and ancient narrative elements contribute to the meaning construction of poem Galaxias, written by Campos during thirteen years. This investigation appears to be very challenging because seems to be an opportunity to think about post-modern and post-antique, at the same time, making both instances dialogue. Galáxias seems to be exemplary to show this dialogue between present and past: it is a sea voyage book and a book as sea voyage, not only because the epic and ancient narrative have strong presence in the poem, but also because the poem central theme is the sea voyages – and the book.

Madness and the Illusion of Happiness in Quincas Borbas

“Ao vencedor, as batatas” era o lema de Humanitas, princípio filosófico concebido por Quincas Borba, um rico e excêntrico filósofo que se apresentava como o maior homem da terra. Usando ironia, paródia, recursos satíricos e tendo uma aguçada visão da existência humana, Machado de Assis retrata um quadro impressionante das condições políticas e sociais não apenas da decadência do império brasileiro, mas também do gênero humano. O ensaio analisa o romance machadiano - narrado em terceira pessoa e publicado em livro em 1891 - utilizando os recursos fornecidos pelos estudos de literatura comparada. As ressonâncias das leituras de Erasmo (Elogio à loucura), Cervantes (Dom Quixote), Voltaire (Cândido) e Darwin, no tocante à teoria da seleção natural das espécies, demonstram o impacto da presença da cultura europeia no pensamento do escritor brasileiro e sua aclimatação aos costumes do Rio de Janeiro num curto e turbulento período histórico em que a nação experimentava profundas mudanças políticas: a abolição da escravatura (1888) e proclamação da República no ano seguinte.

São Bernardo: construção do romance pela memória

This paper concentrates on demonstrating that the novel called São Bernardo ,written by Graciliano Ramos, utilizes some literary strategies that cause the effect of being built by rememorizations, which is a vital aspect of several of the author’s titles. Such objective is reached via the analyses of how the following narrative categories: focalization, narrator, characters, story and time converge toward the elaboration of the memory and the comparison between this construction on São Bernardo and Angústia. In order to be successful on this task, three groups of study constitute our theoretical basis: a) critical essays concerning Graciliano Ramos; b) theoretical propositions about the narrative categories; c) academic articles on the constitution of memory. Papers composed by Antonio Candido, Alfredo Bosi, Sonia Brayner, Luís Costa Lima and others are part of the first group. The second one is constituted by propositions of Gérard Genette, Benedito Nunes etc. Finally, on the last one, we find Paul Ricouer and Henri Bergson

Macedo e o romance romântico

Joaquim Manuel de Macedo was a highly acclaimed writer among nineteenth - century readers, although posterity treated his work with many reservations. Despite the severity of his critics, Macedo’s contribution undeniably cannot be limited to his books, but extends to the very concept of the novel as a genre during Brazilian Romanticism. This novelistic concept is fueled by the observation of everyday life as well as by aesthetic ideas brought to light by European Romanticism. Differently, however, in A luneta mágica [The Magic Looking Glass] Macedo employed aspects of the fantastic to produce a daringly critical and creative novel that contrasts vividly with other Romantic works in Brazil

Romance romântico e teoria do romance: Lucinde, de Friedrich Schlegel

Friedrich Schlegel’s novel, Lucinde, is here discussed as being part of a whole project for the establishment of the basis for a theory of modern novel. At the same time we try to point out some possible descendants of Schlegel’s ideas on the theory of the novel, as in Lukács and Walter Benjamin.

O jogo de intermediações enunciativas no romance de Alan Pauls

The novel O passado (2003) by Alan Pauls presents many isotopies which would deserve to be investigated: there is a varied construction of loving relationships among the characters, who reveal different feelings, that would allow a mapping of passions to be studied; there is an activity of translation (role performed by Rimini and Carmen) that engenders a very rich reflection on the literary activity which is taking place. There is also the presence of a visual artist, Jeremy Riltse, revealing a poetic work which was created by this discourse. Due to the dimension that a research of this kind would require, it is not possible to deal with all the isotopies. Thus, the last one was chosen to be investigated, that is, to verify how the fictional visual artist and his singular work operate in the novel.