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The paper’s aim is to relate some Portuguese-language contemporary poetry to the most relevant technological phenomenon in the last decades, the computer and digital revolution. Three hypotheses to proceed with such approach are proposed: a) the machine as a poetry-generator, executing the poet’s developed project, as in the work of Antero de Alda and André Vallias; b) the incorporation of tech universe in socalled traditional poetry, such as in the exploitation of barcodes in Manuel de Freitas’ Isilda ou a nudez dos códigos de barra, or the appropriation of advertisement and joke in a visual poem by Patricia Lino, or the cloning of e-mail format in Fabiano Calixto’s correspondence poems; and c) the usage of video platforms and social networks as a means of broadcasting and distributing poetry, especially YouTube, in which formats as videopoem and battle rap registers have become common. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to discuss the relationships between memory, violence, and social inscription of the subject in the novel A verdade de Chindo Luz, by Joaquim Arena, and, based on these points, draw some considerations about the representations of colonialism in the work and its consequences for a state of psychic suffering and non-identitarian belonging of the characters. Joaquim Arena’s novel revolves around a group of Cape Verdean immigrants in Portugal, more specifically focused on the Luz family, which arrived in the country between 1977 and 1978, the only black people in the neighborhood. The structure of the narrative is similar to a detective story, where, from the beginning, mysteries are presented that need to be solved. However, more than the mysteries and their solution in relation to the police investigation, the approach intended here aims to discuss the testimony beyond the legal aspects, in its function of symbolic elaboration of trauma. To do this, it is intended to use authors such as Tzvetan Todorov as theoretical support to discuss narrative structures and the specificities of the detective novel. In addition, authors such as Michele Simondon, Márcio Seligmann-Silva, Sigmund Freud, Vilém Flusser, Cathy Caruth, and Walter Benjamin will be used to think about the relationship between trauma, memory, and testimony in its aspect of symbolic elaboration of extreme events and identitarian belonging. [ABSTRACT FROM AUTHOR]

This paper studies the transfictionalization devices involved in adapting the novel Aparição (1959), by Vergílio Ferreira, to cinema, directed by Fernando Vendrell (Aparição, 2018) and scripted by Fátima Ribeiro and João Milagre. The interest is on the process of transcoding from one communicative system to another, and its consequent potential for (re)interpretation and (re)creation (HUTCHEON, 2011) of the novel. Recognizing the difficulty of transporting a worldview of a reflective, metaphysical, existentialist nature like Ferreira’s to cinema, I start from the analysis of filmic semiotics, focusing on the way in which history, time, space, characters are transfigured in the sense of refocus some axes themes of the “original” work. Among the aspects that receive new critical-thematic vigor in the film is the representation of women in a conservative, patriarchal society, in the context of the Salazar dictatorship. This representation is highlighted, greatly, in the gender performances (BUTLER, 1998) that give survival (REIS, 2018) to the characters Sofia and Ana. [ABSTRACT FROM AUTHOR]

This paper seeks to work with the various images of indigenous musical instruments found within Brazilian information literature from the 16th to the 19th century. They are read as a form of language and we seek for them a place within the history of art. Several were the travelers who left us images of colonial and imperial times in Brazil. The images used by travelers often had the function of confirming written texts from the information literature. These images were seeking a place of speech within the written texts and should also be included and thought within the artistic field. However, how can art history deal with these images? We try to analyze the possible discourses of meaning related to such images and to seek a place for them in the artistic tradition. Our research for this text was based on bibliographic and imagery sources and our analysis sought, qualitatively, to understand the place of such images and their speeches. The partial results show that the images of indigenous musical instruments of the 16th century refer to the exotic, the estrangement in relation to the objects of the Brazilian natives. In the 19th century, such images are more organized and show the creativity and inventiveness of Brazilian natives. [ABSTRACT FROM AUTHOR]

There is in the prefaces of novels by Émile Zola (Thérèse Raquin, 1868) and by the brothers Jules e Edmond de Goncourt (Germinie Lacerteux, 1861; La fille Elisa, 1876 and Les frères Zemganno, 1879) the evocation of a specific place of the writer or the narrator as a researcher or scientist and of a specific methodology of novel construction from the gathering of notes, clippings and observations, thus composing a particular conception of literature and science. Dwelling on these questions, the aim of this article is to investigate the approximations or dissonances between the propositions of naturalisms (BECKER; DUFIEF, 2017) and two works of Brazilian contemporary art - parque das ruínas, by Marília Garcia (2018), and Viajo porque preciso, volto porque te amo, by Marcelo Gomes and Karim Aïnouz (2009) - with regard to the relationship that is established between art and science. From an analysis of textual aspects to extratextual spheres and other elements of visuality, this paper investigates, echoing the discussions of Bruno Leites (2017), the procedures and proposals that may connect French naturalisms and Brazilian art in contemporaneity. [ABSTRACT FROM AUTHOR]

The paper studies the trajectory of the writer Virgílio Várzea (1863-1941) and his relationship with the naturalist aesthetics. It proposes that Várzea and his work represent a "Southern naturalism", a naturalist strand with more description than narration, linked to the Goncourt brothers and to a conception of naturalist fiction as "painting of pictures". In Santa Catarina, Várzea led an anti-romantic crusade supported by a broad spectrum of modern and scientific ideas that he called "naturalism". There he published with Cruz e Souza the short story volume Tropos e fantasias (1885), marked by naturalist and evolutionist themes and ideas. When he migrated to Rio de Janeiro in 1890, he brought "Southern naturalism" to the cultural capital of the country, in the context of the post-imperial euphoria and the Old/New x North/South polemic, which he co-starred in with Oscar Rosas (1864-1921) and other Southern writers. The "Southern naturalism" was an alternative to the canonical "Northern naturalism" represented by Aluísio Azevedo (1857-1913) and Adolfo Caminha (1867-1897). Virgílio Várzea's trajectory reveals that there were other conceptions of naturalism in circulation and competition in 19th century Brazil. [ABSTRACT FROM AUTHOR]

In order to pay attention to Raul Pompeia's storytelling, this paper analyses the short story "História cândida". For this, it is based mainly on the idea of David Baguley (1995) that there are naturalisms in literature. Then, it recognizes that the literary production of this writer presents a particular naturalism. In addition, it breaks with the documentary character and its narratives are permanently current. By means of analysis of the protagonist of the plot, it is verified the peculiar way of Pompeia to tell stories about daily events, with a very much ironic prose, which traces a tragic and disillusioned vision of the feminine condition in 19th century, perpassed by questions of gender, race and class, that still continue in contemporary Brazil. [ABSTRACT FROM AUTHOR]

The work of Lygia Fagundes Telles (1923-2022) is the main object of studies in this paper, which aims to propose an introduction to the set of the paulistana writer's short stories, supported by the reading of her critical fortune and the knowledge of her wide literary production, which also includes novel, memory, chronicles and correspondence. The narrative art of the "lady of Brazilian letters" is presented here through examples extracted from her most recent publication, Os contos (2018), an anthology edited by the author herself. The intention is to show her importance and her present situation in the scenario of the Brazilian short story of female authorship, emphasizing her dialogue with masters storytellers of the past and her projections in the contemporary Brazilian literature. This study is part of a research on the works of Lygia Fagundes Telles, interrelated to the analysis of her literary correspondence, and pays tribute to the life and production of this great writer, who would celebrate her centenary in 2023. Her cultural performance is much broader to the scholars who use the various interpretative keys offered by the author to those who dedicate themselves to reading her diligently, seeking to bind her with a legion of fictionists who propose, at the same time, the renewal and the retaking of this legacy. [ABSTRACT FROM AUTHOR]

This paper analyses Theorem's two versions, movie and novel, both from Pier Paolo Pasolini (1922-1975). These narratives tell the story of the coming of a mysterious guest to a bourgeois family's bosom and the consequences of this fact. The socializing with the young guest, whose nature is divine, triggers a chain reaction in the family members. The analysis approach is guided by Algirdas Julien Greimas' De l'Imperfection (2002), which explores the theme of the extraordinary and the aesthetic irruption in artistic simulacrums as well as in the "real life" of "real historical" subjects. Although Greimas favors the transcendental aesthetical aspect of these extraordinary events, this paper's objective is to prove that, in both versions of Theorem, there is a multiple experience, because it congregates many aesthetical, sacred, and metaphysical aspects, thus, creating a re-signifying of the subjects' experiences that modify their worldview. [ABSTRACT FROM AUTHOR]

This paper aims to discuss how the feeling of fear is developed in Júlia Lopes de Almeida's short story "A rosa branca" ("The white rose"), which is part of the work Ânsia eterna (2019). For this purpose, we present a brief theoretical compilation of the main icons in fantastic literature, with a focus on the feeling of fear, which is a feature of the fantastic short story. Besides, we bring to light the writings of Júlia Lopes de Almeida, who is an important 19th-century writer forgotten by literary historiography. Our study will be based on Todorov's (1992) considerations on the fantastic, as well as Cesarani's (2006) perception regarding the construction of this type of narrative. Finally, we connect our research to Julio França's (2011, 2012), Roas's (2014), and Delumeau's (1989) notions of fear. [ABSTRACT FROM AUTHOR]

This paper seeks to analyze the theme of freedom as the elixir of life, weaving, in turn, a dialogue between the short stories "Emancipation: A Fable of Life" (1869-1870) and "The Story of an Hour" (1894), by the American author Kate Chopin. In both narratives, the symbolic setting that delineates the scenery of nature is opposed to the closed space of the cage and the house as a representation of social imprisonment. In this sense, the possibility of breaking through such barriers drives the characters' self-realization, both in the fabled universe represented by an animal that glimpses the possibility of being free and all the implications of the search for survival and in the protagonist Louise Mallard, who, faced with supposed widowhood, imagines a new life metaphorically awakened by the spring scenario. Contesting the imprisonment of individuality and perspectives of the characters confined in claustrophobic spaces, the short stories reveal the author's critical bias towards female limitations imposed by patriarchal ideology. To this end, the analyses will be guided by the considerations of Per Seyersted (1969, 1980), Betty Friedan (1971), Bernard Koloski (1996), among other authors. [ABSTRACT FROM AUTHOR]

This paper aims to reflect on the possible relations between ethics and aesthetics both in the field of art and of the existence of subjects, through a semiotic investigation that follows the theoretical paths followed by Greimas in his De l'imperfection (1987), in order to better understand the structure of the aesthetic event, as well as its relations with the ethics of existence. Therefore it will be necessary to return to some fundamental authors on whom Greimas has based his arguments, among them Jean Galard, author of La beauté du geste (1986), text that inspired Greimas to write his paper "Le beau geste" (2014), which develops, as we intend to demonstrate, the structural foundations for the phenomenon of happening, outlined in De l'imperfection (1987), the book that established an epistemological turning point in Greimasian thought and in semiotics theory in general. Furthermore, authors of linguistics and literary theory will be explored in this paper, in particular those who have reflected on issues such as ethics and aesthetics, such as Paul Valéry, Roman Jakobson, Joseph Brodsky, among others. [ABSTRACT FROM AUTHOR]

The objective of this paper is to analyze the relationship between language and power in the novel Americanah (2013), by the Nigerian writer Chimamanda Adichie, especially in its constitution as individual valuing in African space. Therefore, our work is limited to analyze the passages of the work that are set in Nigeria, analyzing how the language is itself a space of conflict, oppression, and resistance, which reveals tensions, asymmetric socio-cultural relations among the characters. From this, we will discuss how the language in the work can be characterized as a third space, which enables the negotiation of differences and the mediation of these conflicts. [ABSTRACT FROM AUTHOR]

In Latin America, while some countries already formed as sovereigns have lived their process of identity construction in correspondence with the conquest of their independence, the movement made by Puerto Rican literature is the opposite: they have to found a nation that does not exist in reality, because it was doubly colonized, starting from literature. In this case of Puerto Rico, what would be the "specific characteristics"? This question has obsessed Puerto Rican writers. For this paper, I am mainly interested in analyzing the implications of the colonial period in Puerto Rico and its link with identity through the work of Edgardo Rodríguez Juliá (Río Piedras, 1946), in which the main features of modern Puerto Rican writing converge: the search for identity and the production of historical novels. Although he has an extensive novelist work, his greatest fecundity has been in the chronicle genre. Two of his chronicles will be studied in this work: El entierro de cortijo (1983) and Puertorriqueños. Álbum de la sagrada familia puertorriqueña desde 1989. Juan Duschesne-Winter, Jacques Derrida, and Pierre Bourdieu will support the analysis with some of their theoretical premises. [ABSTRACT FROM AUTHOR]

This work is the result of a post-doctoral internship which focused on studying the poems from the book O canto e as armas (1967), by Manuel Alegre, mainly addressing irony and parody. At that point, we suspected that the use of such procedures enabled to question myths forging the Portuguese identity. Accordingly, the theoretical framework upon which we base our analyses is provided by Linda Hutcheon in the book Uma teoria da paródia (1985), when dealing with ironic discourse and its correlated resources. In addition, we use the studies carried out by Eduardo Lourenço, on Portuguese identity, in the books Mitologia da saudade (1999) and Nós e a Europa ou as duas razões (1988). In this paper, we analyze the poems "A batalha de Alcácer Quibir" and "As colunas partiam de madrugada". The first one takes up the conflict that marked the death of King D. Sebastião, which meant a new annexation of Portugal by Spain. The second one evokes a battle between Portugal and Angola, in the struggle of the latter for its independence. The presence of the figure of D. Sebastião, as well as other texts of the tradition, creates intertextuality with the historical event, indicating, at the same time, a critical positioning in the face of the transformation of the character into a myth. The use of similar procedures in both texts approximates them and suggests the failure arising from the Portuguese position in both war conflicts. [ABSTRACT FROM AUTHOR]

Throughout her novels, Anne Rice comes and goes from simple impressions to complex considerations concerning paintings, poems, short stories, songs, and other artistic mediums. In some cases, such works may be ressignified throughout her prose. In this scenario, such a process may be read as intersemiotic translation. In her novel The Tale of the Body Thief, Rice approaches a painting by Rembrandt, The Syndics of the Clothmakers Guild, as an object which mirrors Lestat's ultimate anguish: the problem of evil. Having the interarts studies as my theoretical background, I reckon that there is a creative and critic notion that guides Rice's artistic rereading's in "The Vampire Chronicles", a notion that Lestat calls The Savage Garden, which I conceived as an "imaginative design". By this means, I analyze The Tale of the Body Thief related to Rembrandt's painting. This study was financed in part by the Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - Brasil (CAPES) - Finance Code 001. [ABSTRACT FROM AUTHOR]

This paper is an analysis of the novel K. Relato de uma busca by Bernardo Kucinski. Its purpose is that Literature is a recall of an event for which there's no memory: death. Thus, it makes it possible to bring the novel's narrative closer to the Brazilian military dictatorship period, when the state of exception, even after the torture and disappearance of hundreds of Brazilian citizens, denied to their relatives and parents the historical truth about their deaths. Therefore, death becomes impossible for those victimized by the state's terrorism. In Kucinski's novel, the narrative becomes a territory of an infinite dying, which conducts to the limit the impossible death of the people who disappeared for political reasons. So, this work analyses the ongoing discussion of post-Auschwitz theorists on writing and it highlights the impossibility of testimony and of fiction in the light of an event in which History astonishes and burns itself. [ABSTRACT FROM AUTHOR]

This paper approaches the Brazilian cis-straight-military dictatorship (1964-1988) as represented in the homosexual newspaper Lampião da Esquina (Corner Lampion, 1978-1981), reflecting on the representation of sexual policies adopted by the Brazilian dictatorial regime of 1964. The objective is to present the socio-political profile of the literary column published in that newspaper, in order to demonstrate the relevance of researches on newspaper literature in dictatorial governments. First, I contextualize the creation of Lampion, presenting it as a possible rupture of the established canon through its literary column, since it tensioned the "universal" reference regime: cis-straight, urban, bourgeois, Christian, white man. Then, I analyze the particularities of literary texts published in newspapers, aiming to highlight their heterogeneity and analytical-interpretative specificity. After a detailed description of its literary column, I interpret the historicity and the ethical-aesthetic sensitivity that constitute these texts as the LGBT+ resistance to the dictatorial regime, since the relation between dictatorship and "homosexualities", I believe, should be read with a theoretical-conceptual foundation capable of showing the intensification, by the regime, of the symbolic practices of production of bodies in reference to cis-heteronormativity. [ABSTRACT FROM AUTHOR]

1° de abril - Estórias para a História, by Mário Lago, written and published in 1964 after the arbitrary arrest of the author, is one of the first literary records of the violence of the civil-military dictatorship established in Brazil in the second half of the 20th century. This paper analyzes the narrative plot of the first edition of the book, focusing on the relationships between the narrated stories and the record of historical facts. [ABSTRACT FROM AUTHOR]

In this paper, we aim to pursuit some of the transformations on the concept of cinema, to which the notions of art, market, industry, and author were aggregate during the 20th century. From the silent film, we allude to the first attempts of "cultural elevation" of the cinematographic form and, among those, to the theoretical propose of Ricciotto Canudo, who attributed to cinema the double condition of scientific and esthetic event. We also describe the authorial ambiguity of the classic Cabiria, today credited to Giovanni Pastrone while, in the past, it was credited to Gabriele D'Annunzio. Then, we point to the affirmation of the art-industry binomial in the theoretical discussions made by the Cahiers du Cinéma and the Nouvelle vague, indicating its reverberations in the underground and New Hollywood cinema of United States. Based on those premises, we show Alberto Moravia's critical resistance to the conciliation between art and market, signalizing the dichotomy between what he considered author cinema (made by Morrissey, Markopoulos, and Warhol) and commercial cinema (made by Kubrick, Coppola, Altman). By the end, we confront Moravia's to Jameson's thinking, observing the confluence of both around the idea of reification, a mark of the consumer society pictured by Andy Warhol. [ABSTRACT FROM AUTHOR]

This paper presents a reading of Dead Man (1995), a film by the American director Jim Jarmusch, from the position of Jacques Rancière on the aesthetic regime of arts. We considered the disfigurement as the main category, which has allowed us to conclude that Jarmusch operates displacements not only in the western genre but also in the historical narrative of the official construction of the discourse about the nation through aesthetic, narrative and discursive strategies. [ABSTRACT FROM AUTHOR]

Starting from the understanding of gender as a social and discursive construction, this paper's proposal is to analyze the description of the (trans) gender from the narrating protagonist of Mar paraguayo (1992) and in "as yararás", a story from Jardim zoológico (1999), both works by Wilson Bueno (1949-2010). In the discussions about the conceptualization of gender the theoretical considerations of Rogério Puga (s.d.), Heloísa Buarque de Holanda (1994), Roberto Echavarren (1998; 2007), and others are used. Thus, is it from a brief literary course of the writer Wilson Bueno that we present both stories and finally analyze the existing connections between Mar paraguayo and "as yararás", associating them to the (trans) gender - androgynous and mutant - from the hybrid definitions of gender attributed to both the faceless doll and the "yararás". We conclude that both characters can be arranged in a general in-betweenness, as creatures out of gender that exceed the notions of men and women, male and female. [ABSTRACT FROM AUTHOR]

In this paper we attempt to problematize some of the limitations of queer theory, proposing a more unrestricted theoretical view, capable of establishing correlations between gender, race, ethnicity and class. In order to articulate such identity cleavages, we address the contributions of intersectional thinking and quare studies, an interventionist disciplinary project which amplifies the prototypical, analytical and epistemological dimensions of queer studies to incorporate key issues faced by lesbians, gays, bisexuals, and transgendered people of color. From the analysis of Blackberri's song Beautiful Blackman (1989), Giovanni's Room (1956), a novel by African-American writer James Baldwin, and the photographic text of Érica Malunguinho (2018), by Sérgio Fernandes, we depict the operational potential of such a new proposal, allowing clearer readings of quare identities, forcibly restrained by hegemonically instituted regimes. [ABSTRACT FROM AUTHOR]

Is this paper we considerate the image of the character Emily, from Tim Burton's "The Corpse Bride" from the motif of the Lady of Darkness, a female character, a muse, a "beloved dead", who manifests herself in the amalgamation between the grotesque and the sensible connected to the figures of Edgar Allan Poe's fiction, focusing on the model of morbid female characters from his unheimlich tales, within the perspective of gender and gothic studies. The characters are close to each other, whose images are archetypal and reverberate an imaginary that goes beyond the limits of time and space. This discussion provides the understanding of the imaginary composition of the gothic character through Emily, whose perspectives find roots in a traditional manner of representing the feminine. This model of representation provides the interpretive key, benefiting the discussion about the ways of projecting the image of the inanimate woman in her verbal and visual representation. [ABSTRACT FROM AUTHOR]

In 1816, Lord Gordon Byron and his few guests spent the summer at Villa Diodati, in Switzerland, and as amusement they made a competition of fantastic narratives. The classic novel Frankenstein, by Mary Shelley, emerged from this amusement, but the less well known short story "The Vampire", by John William Polidori, Byron's personal assistant, also emerged from this. This paper assembles some inferences about fantastic literature and female gothic literature by analyzing the novel The Merciful Women, in which the Argentine author Federico Andahazi reproduces the fantastic universe of the classic gothic narratives of the nineteenth century and reveres the female gothic genre in narrating the process of elaboration of the short story The Vampire, by Polidori. [ABSTRACT FROM AUTHOR]

The current paper aims at investigating the relation between the English writer Virginia Woolf (1882-1941) and the Gothic and its aspects. First of all, Virginia Woolf wrote an article on the gothic romance in 1921, in which she analyses the book The tale of terror, written by Edith Birkhead and published in 1921. In the same year, Virginia Woolf also wrote another article on "Henry James's ghost stories" in which she investigates Henry James's mastery in building his ghostly stories. The text "The supernatural in fiction" was written in 1917, in which Woolf examines the book The Supernatural in the Modern English fiction, by Dorothy Scarborough. At last, it aims at exploring how Woolf makes use of the supernatural, one of the aspects of the Gothic, in her fiction, such as in "Kew Gardens", "A haunted house", "The widow and the parrot", To the lighthouse, "The mysterious case of Miss V." and "The lady in the looking-glass: A reflection". As for theoretical framework, the text will be based on the ideas of Diana Wallace e Andrew Smith in The female gothic: New directions and Donna Heiland in Gothic and Gender: An introduction. [ABSTRACT FROM AUTHOR]

Despite claims that the Gothic and other terror-related genres are produced and consumed primarily by men, and that they promote patriarchal values, there has been an important and long-standing tradition of Gothic fiction produced and consumed by women. From the 18th and 19th centuries, right up to more recent times, many women writers, particularly radical women writers, have been drawn to this narrative mode. It is from some of the earliest examples of Gothic novels, written between 1764 - 1820, in Great Britain, that this paper seeks to discuss matters of sexual politics in a group of novels primarily produced by women. [ABSTRACT FROM AUTHOR]

This paper analyses the books Contos gauchescos by João Simões Lopes Neto, Lereias by Valdomiro Silveira and Grande sertão: veredas by João Guimarães Rosa, which are all written in first person. The analysis aims to understand the construction of a fictional subject who imitates orality, in order to simulate the typical speech of Brazilian regions: the South, the inlands of São Paulo and the bush ("sertão") in Minas Gerais, respectively. Orality is one of our main interests, as these books use adaptations of the written language to simulate oral expression. The paper examines also how these books deal with subjectivity, taking into account that first person writing encourages emotional, intimate situations, directing the text towards a confessional tone. Lastly, we state that writing the self leads to writing the Other, showing that regionalist literature produces, in the heart of narrative, an otherness discourse, considering regionalism a self-conscious language that works to mediate internal differences in national culture. [ABSTRACT FROM AUTHOR]

In this paper we propose an interpretative reading of the text Patinho surdo (KARNOPP; ROSA, 2011), a culturally adapted translation for deaf people as a classic retelling of The ugly duckling. From the point of view that the literary work is a vibrant space of relations, processes and events experienced by characters that interact in overlapping time-spaces related to one another, the proposed reading considers the notions of chronotopia (BAKHTIN, 1993), topophilia (BACHELARD, 1972; TUAN, 2012) and topoanalysis (BORGES FILHO, 2007), terms that include social interrelations in space-time, the feeling towards the environment and the symbolic representations present in the time-space of the literary work. We inferred in our reading that: (i) the literature for deaf people seeks, through culturally adapted stories, to tune the reader with the perspective of world of the deaf people; (ii) the narrative space is configured as a place of affirmation of values, habits and formation of the deaf people ethos and also (iii) that the deaf literature, still emergent and little socially (re)known, intends to mark its space within the literary field; therefore, the literary work can serve as a valuable tool in this process. [ABSTRACT FROM AUTHOR]

This paper aims to present an analysis that focuses on James Joyce's character Marion Bloom. Our main issue is to look at Molly's loneliness which manifests itself in social, affective and sexual spheres and in the novel's structure. In order to enrich our analysis, we will take into account Galindo's (2006, 2016) perspective and feminist critics such as Sternlieb (2002) and McMullen (2005). [ABSTRACT FROM AUTHOR]

This paper investigates how Persius, Roman author from the Neronian period commonly characterized as obscure and neglected by the critics, offers in his Saturae a new style for the genre Satire, in which he emulates traditional themes shared by Lucilius and Horace, such as the delimitation of the audience, the libertas, and the latinitas. It also aims at reinforcing that the study of Persius' poetry and his reinterpretation of tradition is fundamental for the understanding of the development of Satire as a genre in Rome, creating elements that will be fundamental for later satirists. [ABSTRACT FROM AUTHOR]

This paper has two objectives: first, to present a new proposal of poetic translation to the first satire of Persius, Latin poet from the first century A.D., with brief comments on the translation procedures. Then, the subject of the poem is interpreted, in contrast to some traditional views of the author's work, such as Scaliger's and Casaubon's, as well as to the works of Horace and Juvenal. [ABSTRACT FROM AUTHOR]

This paper investigates the reception of Ovid's Metamorphoses, Ars amatoria and Tristia in meta-literary passages of "Tristia", where Ovid becomes a reader of his own works. In this first collection of exile elegies, the first-person speaker, commenting on his verses, adopts two different kinds of reception of his works: sometimes he considers the poetic text as truth and performs biographical readings, sometimes he remarks its fictional nature and proposes a distinction between life and poetry. Thus, we intend to show how the first-person speaker, proposing and performing different kinds of literary interpretation, actually makes rich discussions about writing poetry and about poetic reception. [ABSTRACT FROM AUTHOR]

This paper presents a semiotic study on the expressiveness of an 18-verse extract of Seneca's Oedipus tragedy - the excerpt is part of the first speech of the protagonist (verses 52-70) - followed by a poetic translation. We study how expressiveness and text content are connected to the composition of meaning effects present in the excerpt. Therefore, we 1) make an analysis of the expressiveness, showing the poetic procedures used by the author (figures of speech, meter, rhythm, word games); 2) check the translation possibilities of these effects, seeking to provide a translational response to the Latin text. [ABSTRACT FROM AUTHOR]

This paper intends to discuss the reception of Aristophanic comedy in contemporary Brazil by analyzing a specific staging. As nuvens e/ou um deu$ chamado dinheiro (The Clouds and / or a god called Money) was staged by the Parlapatões company in 2003, the first year of the government of Luiz Inacio Lula da Silva, to whose electoral campaign it seems to respond. This analysis will be guided by the following features: a) direct observation derived from experience as a spectator; b) consulting paratexts (the show program, press release, etc), c) theater reviews, and d) photographic and filmic records. The play will be examined from the following topics: a) genesis of the staging; b) the context of the production; c) the adopted performing solutions, thus seeking to encompass the various features of this unique assembly. [ABSTRACT FROM AUTHOR]

This paper aims at analyzing the different approaches to terror in the novels Players (1977), Mao II (1991) and Falling Man (2007), by the American writer Don DeLillo. In Players, terror is shown as something attractive and exciting to a character who leads a very tedious personal and professional life; in Mao II, it is connected to the kidnapping of a poet and the text brings up relevant debates focusing on the contrast related to the power of novelists and terrorists in society; and in Falling Man, the author reviews the tragedy of September 11, in an attempt to try to understand the reasons why the attacks happened. The novels show terrorist actions connected to historical processes and also to the present form of capitalism and globalization. Theoretical texts by Bauman (1998), Eagleton (2005), Freitas (1989), Fraser (2000) will be used to discuss the issues addressed in this paper. [ABSTRACT FROM AUTHOR]

This paper is a critical reading of the novel La casa de los conejos, by Laura Alcoba, published in 2006 and originally entitled Manèges: petite histoire argentine and translated to Spanish by Leopoldo Brizuela in 2008. Our interest is to reflect on the place of the writer regarding, on the one hand, how she started the narration of her argentine childhood and, on the other, how she reported the experience of being a survivor of what was the last argentine military dictatorship, which took place in the late 70s. [ABSTRACT FROM AUTHOR]

Academic studies about immigration, exile and otherness have increasingly expanded in different areas of knowledge, including literary criticism and literary theory. The figure of the immigrant and his or her representation in the literary space arouse great interest, since they present us a variety of themes and questions. All of this require from the literary critic a greater sensitivity and a plurality of views. In the Brazilian literary scene, the appearance of the figure of the immigrant is closely related to the intensification of immigration in late nineteenth and early twentieth centuries. In light of this, our intention in this paper is to give relevance to a subject that is part of the formation of our literature and our society. We selected as our corpus the consecrated work of Guimarães Rosa, one of the greatest Portuguese-writing authors, in order to show the recurrence of this theme even in a canonical work. As we shall see, issues such as otherness, identity, hybridity and the tensions that stemmed from differences are of crucial importance in his narratives on immigration. We hope to show how the discussion of this topic can be enriched with the support of culturalist or post-colonial theories. [ABSTRACT FROM AUTHOR]

This paper aims to interpret how world spaces are designed in Avalovara (1973), a book by Osman Lins, a writer from Pernambuco (Brazil). In order to do so, we consider concepts such as "world" and "worldliness", by German philosopher Martin Heidegger, which are deeply developed by Foucault's discussion about "heterotopia" and "similitude". Deleuze's and Guatari's "map" concept will be also studied, and also Lins' literary theory itself. Thus, we interpret that the fictional world structure depends on articulating hermeneutic frames or dimensions: 1) factuality performed by the writer; 2) how the writer understands such factuality; 3) narrative text structure, which demands knowledge of narrative art; and 4) the interpretation of those three dimensions' by the reader. [ABSTRACT FROM AUTHOR]

This paper is a panoramic view of the first decades of composition of fables in Brazilian literature, starting off with an allegorical poem by Francisco Vilela Barbosa published in 1848, and extending until 1907, when Coelho Neto edited his Fabulário. This chronological approach presents seven writers, whose texts, composed in verse or in prose, helped to shape the Brazilian fable. [ABSTRACT FROM AUTHOR]

This paper analyzes the making of Japanese-Brazilian writer Oscar Nakasato's novel Nihonjin (winner of 2011 Benvirá Literature Prize and Jabuti Prize 2012, both Brazilian literary prizes) starting from the notions of identity and culture. The novel tells the story of a Japanese immigrant, Hideo Inabata, and his family, from his arrival in Brazil to his grandson's departure to Japan, decades later. The novel's title itself, which means "Japanese person" in Japanese language, reveals the duality in the text - one reassuring his Japanese nationality in a strange place, other finding himself a typical Brazilian in a Japanese family, and the impossibility of being defined either as Japanese or Brazilian, being both (or none). As for theoretical basis, this work follows Stuart Hall's study on cultural identity in his book The question of cultural identity (1996). First, the elements that attribute cultural identity aspects to the characters will be observed. Next, we will examine some passages where the subject's displacement can be perceived, causing conflicts motivated by cultural shock. Finally, we will examine the synthesis of the conflicts, the result of this dialectical relation: the groups' intersection, where the characters finally find themselves not as Japanese or Brazilian, but as cultural hybrids. [ABSTRACT FROM AUTHOR]

Following a line of contemporary theoretical thought about migratory movements, construction of identity shaped among displacement influxes and in border spaces, this paper aims to investigate the representation of a wandering map that takes place in the novel Fundador of the Brazilian Writer Nélida Piñon, relating the retrieval of the underground memories of the character Johanus. In this sense, we are going to analyze, critically, the walking process performed by the main character of the narrative in order to discuss how the foreign subject constructs his singularity through the experience of nomadism. [ABSTRACT FROM AUTHOR]

This paper analyzes, in the novel Essa terra, by Antonio Torres, the journey of the character Nelo, who migrates to São Paulo in search of opportunities for social mobility, returning twenty years later to his homeland, in the backwoods of Bahia, where he ends up committing suicide. From the consideration of the individual story of this character as a representation of a collectivity, this text discusses the pessimistic view that the novel transmits about the condition of the northeastern migrant in Brazil, for whom there is no place in society. The narrative discusses the backcountry man situation, who is looking, with the flight to the cities, for a way to escape drought and misery. On the other hand, it also focuses on the circumstances arising from the migration process, such as the marginalization of the poor northeastern man in urban space. On the journey of the character, we evaluate as well the psychological consequences of the social and cultural influence process undergone by him from the contact with another reality, such as the impossibility of readaptation to the place of origin. Leaving Nelo in a state of deterritorialization in relation to the backwoods and not belonging in relation to the city, this relativized space places him in a kind of threshold zone, triggering the identity crisis and the subsequent suicide of the character. [ABSTRACT FROM AUTHOR]

This paper presents a reading of Claro enigma, by Drummond, adverse to the opposition between this book and A rosa do povo. The key for the reading is the epigraph in Claro enigma, "Les événements m'ennuient", by Valéry. The study amplifies Arrigucci Junior's opinion about the relationship between exterior and interior in Drummond's poetry: there are poems of sensitive interiority in A rosa do povo, and the historical thought permeates Claro enigma. As paratext, the valerian epigraph is approached according to Genette's theory. Thus the epigraph is not read literally, but according to their possible sources: "Propos me concernant" and a letter to André Gide published in Histoire-Politique. The study proposes the poem "O enigma", included in Novos poemas, as a bridge between A rosa do povo and Claro enigma, essential to perceive the exterior and interior expressiveness as the poetic unit in Drummond writings. [ABSTRACT FROM AUTHOR]

This paper intends to be an exercise in comparative morphology. Studying an important element of three Brazilian plays of the 19th century - the get-away scene -, it aims to demonstrate how its variations are able to make visible the symbolic solutions found by the literary form in order to deal with real social contradictions. So, it can be said that its more liberal use in Martins Pena's play, when it can be read as a sign of individual autonomy against a despotic authority, is progressively downgraded in Joaquim Manuel de Macedo's and José de Alencar's works, in the process of what was known as 1850's conservative reaction. [ABSTRACT FROM AUTHOR]

This paper aims to discuss how the fictional trajectory of the Florentine writer Vasco Pratolini (1913-1991) expresses his literary project, highlighted by the relations between Ethics and Aesthetics. The thematic and aesthetic course of his works, when read together, enlighten the intellectual crisis of the Left, which goes from the adherence to the project of the communist revolution - and the role of Literature in this context - to the perception of the impossibility to fulfill it. Therefore, the text focuses on Una trilogia italiana, because in the writing of the three novels that integrate this work (Metello, 1955; Lo scialo, 1960; Allegoria e derisione, 1966), it is possible to perceive the gradual loss of the revolutionary perspective and the rising of a melancholic state that overlaps the Utopia of Pratolini's earlier texts. [ABSTRACT FROM AUTHOR]

Umberto Eco is the author of several theoretical texts that are fundamental for understanding contemporary art work. In 1980, he had his first experience as a novelist with the publication of The name of the rose, which was followed by six other novels. In this paper, we will focus on Eco's fifth novel, entitled The mysterious flame of queen Loana (2005), an edition that is full of illustrative material and a mixture of documents that refer to the years 1930-40, which present an overview of Italy at that time. The protagonist, a bibliophile who is called by his nickname, Yambo, loses personal memory, but keeps the bookish one intact. To try to retrieve it, he returns to his family's old house, located in Solara, in the mountains of Piedmont, where he ends up finding objects and information that relate to his youth - Fascism and World War II in Italy. Thus, our goal will be to verify how the presence of these elements results in a literary text that is able to discuss the relationship between individual memory and collective memory, as well as the constitution of individual and national Italian identities. [ABSTRACT FROM AUTHOR]

In this paper we present some considerations about Yuri Lotman's semiotics of culture in the context of his dialogue with the Italian semiotician Umberto Eco in the theoretical field, by comparing Lotman's model of cultural dynamics with Eco's concept of "closed" and "open work", and also on the occasion of the publication in the Soviet Union of Eco's first novel The name of the Rose. Lotman's essay "The exit of the labyrinth", dedicated to this novel, brings an opportunity to follow the dialogue between two great scholars of sign, one of which, to exemplify his theoretical constructs, mainly relies on Russian culture, while the other chooses a genre of mass literature, the detective novel. This comparison shows clearly the expansion of the field of semiotic studies in the second half of the twentieth century as a result of which semiotics starts to analyze culture in general and mass culture in particular. [ABSTRACT FROM AUTHOR]

The present paper aims at analyzing the book I, Tituba, black witch of Salem, by Maryse Condé. The book encourages a reflection on how supernatural forces/witchcraft - which in the book, are represented by the character of the witch, in her transgressive and inquisitive character, mainly towards mechanisms of power (present in Magic Realism) and the dramatization of the "self" (present in that "posthumous autofiction") - contributed to upset and destabilize the socially imposed identity of the narrator. This identity is constructed on the basis of stereotyped representations (slave, black, female, witch, etc) so as to give voice to the subjective narrator, through fresh and unusual constructions of both subjective and identitary value. [ABSTRACT FROM AUTHOR]

Aware of the contribution of the literate elite to British imperialism, this paper investigates, by examination of fictional texts and essays by Victorian writers and literary critics such as Alfred Tennyson and Matthew Arnold, the instrumentality of gender in the invention of racial difference that sought to justify the colonization of Ireland. Through the sources investigated, we found that the Celts were feminized as antitheses of the "manly" Anglo-Saxons because of their alleged emotional and intellectual weakness, being thus equated to metropolitan women in representations which amalgamated racism and sexism. Thanks to the concatenation between racial and gender stereotypes, the antinomy male/female allowed the elaboration of disjunctions aimed at naturalizing asymmetries between empire and colony under the alibis of "natural" gender complementarity and hierarchy. [ABSTRACT FROM AUTHOR]