A ang��stia de Prometeu: a Cr��tica Liter��ria e os conflitos de Harold Bloom

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

A representa����o da natureza no romance franc��s do s��culo XIX

Busca-se determinar as caracter��sticas da representa����o da natureza no romance franc��s do s��culo XIX, analisando-se Paul et Virginie de Bernardin de Saint-Pierre, Les travailleurs de la mer de Victor Hugo e L�����ve future de Villiers de l���Isle-Adam, por meio da teoria s��cio-cr��tica e do embate com o texto. Na primeira parte, faz-se um retrospecto da representa����o nas artes e na literatura, destacando-se as concep����es de Arist��teles e as do Romantismo. Apresenta-se tamb��m um panorama das concep����es da natureza no tempo e no espa��o e reflete-se sobre as rela����es do homem com o mundo natural, bem como sobre as teorias a elas referentes no ��mbito da história, da pintura e da literatura. Na segunda parte, analisam-se os tr��s romances escolhidos, buscando-se neles os modos e os sentidos da representa����o liter��ria da natureza. Conclui-se pela exist��ncia, nas tr��s obras estudadas, de uma atitude amb��gua do homem diante da natureza, que havia sido anteriormente detectada na história. Embora diferenciadas entre si, sob alguns aspectos, as representa����es da natureza no corpus estudado demonstram o registro, no universo liter��rio, de marcas do contexto hist��rico, pol��tico e social em que os tr��s romances foram escritos, publicados e usufruidos.

O romance como ve��culo de preenchimento da falta humana: Repara����o de Ian McEwan

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

A Guerra do Paraguai conforme Roa Bastos

This paper analyzes texts on the Paraguayan War (1864) written by Roa Bastos, Alexandro Maciel, Omar Prego Gadeia, Eric Nepomuceno, published in the book O livro da Guerra Grande (2002), translated from the Spanish Los Conjurados del Quilombo del Gran Chaco (2001).

O estilo de Jo��o Ubaldo Ribeiro em Viva o Povo Brasileiros e An Invincible Memory

This paper aims at observing a particular case of an author���s and self-translator���s style in the pair of works Viva o Povo Brasileiro and An Invincible Memory. Our investigation has its theoretical starting point based on Corpus-Based Translation Studies (Baker, 1993, 1995, 1996, 2000; Camargo, 2005, 2007), and works on cultural domains (Nida, 1945; Aubert, 1981, 2006). The results showed that great part of cultural marks may be classified as the material, social, and ideological cultural domains, which reflects the context of the source text. It was also possible to observe that normalization features tends to reveal conscious or unconscious use of fluency strategies by the self-translator, making the translated text easier to read.

A tradu����o dos olhos em Clarice Lispector: uma investiga����o baseada em corpus

This investigation has as an objective to observe the translation of the word ���eyes��� and its collocates, in similar and (re)used fragments extracted from two books written by Clarice Lispector, A Descoberta do Mundo, translated by Giovanni Pontiero as Discovering the World and Uma Aprendizagem ou o Livro dos Prazeres, translated by Richard A. Mazzara and Lorri A. Parris as An Apprenticeship or The Book of Delights.Another objective is to identify aspects of normalization found in the respective translations of these fragments. The metodology is situated in the field of Corpus-based Translation Studies, (proposed by Baker, 1993, 1995, 1996, 1999, 2004; studies on normalization by de Scott, 1998); research and project by Camargo 2003a, 2003b, 2004, 2008), and in Corpus Linguistics (studies by Berber Sardinha, 2004); also, it is based on the author���s critical heritage (studies by Gotlib, 1993, 2009; Nunes, B., 1995; Sant���Anna, 1997; Ruggero 2000; S��, O., 2000; Franco J��nior, 2000; Ranzolin (1985), Varin, 2002; e Cherem, 2003). The results found in this research enabled to carry out a comparative study among the respective translators concerning tendencies to normalization and show Pontiero���s smaller tendency in relation to the couple of translators Richard A. Mazzara e Lorri A. Parris.

Zweckm��ssigkeit ohne Zweck: ideias kantianas presentes na est��tica de Goethe

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

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. In��s Bilbat��a, 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 In��s��� 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.

A identidade feminina em The Magic Toyshop: estudos de g��nero no texto e na tela

Besides producing a vast literary work, Angela Carter (1940-1992) participated of the screenplay���s production for two movies based on her books, The Company of Wolves and The Magic Toyshop. Either through the influence that cinema had in her life or through the very own style of her writing, the relation of the British author with the seventh art is visible. Considering the importance of significations in literary works, this paper proposes a comparative study between Angela Carter���s The Magic Toyshop (1967) and the film of the same title, based on Carter���s novel, directed by David Wheatley and produced by Granada Television, in 1987. Based on Tania Carvalhal���s conception about intertextuality and film theories, the focus of this paper is the gender study, since its ideology is subscribed, represented and reproduced in every cultural practice, including literature and cinema. The characters construction in both cases, especially the female characters, is filled with symbols which are going to bring the film closer to the literary work and contribute to express the critics suggested in the work���s leading: the complaint to the patriarchal system. However, given the different nature of each work, it is necessary to stress that this present comparison doesn���t intend to establish a total identification between novel and film, but to set a dialogue between both, observing the approximation and distance of these two instances.

A rainha Margot em duas vers��es

This paper presents a comparative study concerning the novel The queen Margot (1845), by Alexandre Dumas father, and the homonymous movie (1994), by Patrice Ch��reau, mainly considering its historical character, the production conditions of each ���discourse��� and the personages��� performances in both narratives. The novel has been originally published in the form of feuilleton in the French newspaper La presse, during the years 1844 and 1845, what explains its long extension and the correlation among the chapters. It constitutes a trilogy, the action of which takes place during the religion wars, affording to the text the classification of a traditional historical novel, having the episode of St. Bartholomew carnage as its most striking event. Regarding the movie, which has been awarded five Cesar prizes, two rewards in Cannes Festival and an indication to the Oscar for the best costume design, it also counts with Isabelle Adjani as the protagonist actress. With a few relevant differences regarding the novel, it is remarkable that the action in the movie happens in august 1572 in a Paris that is the center of conflicts among Catholics and Protestants. In this scenery, the comparison between the two artistic manifestations is based strictly on the analysis of the personages��� profiles, the circumstances in which they have been produced and the historical aspects surrounding the two works.

As guerras de independ��ncia no romance hist��rico brasileiro contempor��neo: conflitos, fissuras, dissen����es

Sectores tradicionales de la historiograf��a brasile��a, siguiendo la idea de la cordialidad de ese pueblo, defendida por importantes intelectuales, suelen presentar la independencia del pa��s como un proceso pac��fico. El siete de septiembre de 1822, el hijo del rey de Portugal, que entonces viv��a en Brasil, proclama la independencia del nuevo pa��s e instaura un r��gimen mon��rquico que perdura hasta 1889 y mantiene unido en esa corona la inmensa extensi��n territorial que constituye actualmente el pa��s. En realidad el proceso de construcci��n del estado brasile��o no fue tan pac��fico como cuentan los manuales de historia ni tampoco dej�� de cosechar conflictos a lo largo de casi un siglo. En las ��ltimas d��cadas historiadores y novelistas se han encargado de apuntar fisuras y disensiones en dicho proceso. La historia aparece as�� reescrita en varias novelas, desde paradigmas escriturales diversos. En ese sentido, el presente trabajo muestra como tres escritores trataron de aspectos de las guerras de independencia en el pa��s en novelas hist��ricas. La lectura de Viva o povo brasileiro (1984), de Jo��o Ubaldo Ribeiro; Lealdade (1997), de M��rcio Souza e Anita (1999), de Fl��vio Aguiar, muestra como la literatura puede leer de modo privilegiado los signos de la historia.

Entre a nostalgia e o dever de mem��ria: a narrativa memorial��stica de Alfons Cervera

Tras la publicaci��n de una serie de novelas caracterizadas por la experimentaci��n formal y la innovaci��n lingu��stica, el valenciano Alfons Cervera (1947- ) inici�� un proyecto literario de rememoraci��n de la posguerra espa��ola, centrado en una trilog��a de novelas: El color del crep��sculo, (1995), Maquis (1997), La noche inm��vil (1999). La trilog��a reconstruye la memoria del cotidiano de los habitantes de Los Yesares, nombre fict��cio atribu��do al pueblo de Gestalgar, tierra natal del escritor, en Valencia. Las narrativas presentan semejanzas tem��ticas y estruturales, as�� como tienen personajes en com��n. En El color del crep��sculo, la protagonista Sunta, por medio de un relato rememorativo, intenta recuperar el tiempo perdido, el entorno seguro de la infancia y de la adolescencia. Maquis, segunda novela de la trilog��a, por medio de una narrativa fragmentada, relata la historia del cotidiano de los habitantes del mismo pueblo, marcado por la represi��n y el miedo, y la vida de los guerrilleros, los maquis, que sobreviven en las monta��as. F��lix, el abuelo de Sunta, es el protagonista de La noche inm��vil que est�� a la espera de la muerte, atormentado por el recuerdo de su hijo muerto y por las voces de los amigos que ya se fueron. Memoria y ficci��n construyen un imaginario ambivalente en las novelas, borrando los l��mites entre la memoria personal, la memoria colectiva y la hist��rica.

Janelas mais que indiscretas: Hitchcock e Woolrich em confronto

Considerado una verdadera lecci��n de cine, ya que es una pel��cula que se refiere al propio arte cinematogr��fica, La ventana indiscreta (Rear Window), dirigida por Alfred Hitchcock en 1954, tuvo como base para el gui��n de John Michael Hayes el cuento ���Ten��a que ser un asesinato��� (���It had to be murder���, 1942), de Cornell Woolrich. Reconocido como uno de los mayores escritores del g��nero policial noir, Woolrich profesaba la ���po��tica del fracaso, [...] conduciendo gradualmente la angustia de la v��ctima al centro del cuadro, en contraste con la indiferencia mec��nica de una sociedad que no se molestaba con su suerte���. (OLIVA, 2003, p.116- 7). La pel��cula tuvo un gran ��xito de p��blico y cr��tica, pero esto no hab��a ocurrido con el cuento, que solo se hizo conocido despu��s de su adaptaci��n para el cine. El prop��sito de este trabajo es realizar un an��lisis comparativo entre los dos textos, subrayando los siguientes aspectos: 1) la caracterizaci��n del g��nero noir (cuando la investigaci��n ya no es un juego para mentes refinadas, como hab��a sido en la narrativa policial cl��sica) y del suspense (narrativa de tensi��n que se caracteriza por el aplazamiento de la resoluci��n del enigma), tanto en la narraci��n literaria como en la pel��cula; 2) la autorreferencialidad en la pel��cula y en el cuento mediante el uso de la metaficci��n; 3) el problema de la transposici��n del foco en primera persona de la narrativa para el cine; 4) los diferentes desenlaces, se��alando en qu�� medida indican visiones del mundo tambi��n divergentes.

A narrativa visual de Louren��o Mutarelli: o uso fragmentado da linguagem dos quadrinhos em seus primeiros romances gr��ficos

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

O c��none visual: as belas-artes em discurso

Funda����o de Amparo �� Pesquisa do Estado de S��o Paulo (FAPESP)