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This article presents the preliminary results of a research developed in order to present an investigation of the way in which the Canadian writer Michael David O’Brien made wide use, in the novel “Voyage to Alpha Centauri” (2013), of literary devices to convey theological ideas. For the analysis of the role of the diary’s writing - made by the character Neil Ruiz de Hoyos - the reflections presented by Blanchot (2005) about the main elements that are part of a diary were used. As memory is one of the fundamental components of writing a diary, Assman’s (2011) observations regarding the relationship between writing and memory will be used. As for the definition and use of the symbol in literary writing, thereflection developed by Frye (1973) will be applied. The relations between the Sacred Scriptures and their figures present in literary writing will be read from Frye (2004). Finally, the symbols and their theological and mystical implications will be analyzed according to the studies made by Chevalier & Gheerbrant (1993), Léon-Dufour (1970) and Morgain (2003). It was seen, therefore, that O’Brien’s writing in this novel makes extensive use of theological and mystical symbols to represent ideas that pursue Neil Ruiz de Hoyos.

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No. of bitstreams: 1 romero_ld_me_assis.pdf: 1255122 bytes, checksum: bc1794cbef29e226f6ee12a46c2b4123 (MD5) Previous issue date: 2020-02-05 Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) Este trabalho objetiva analisar a obra The Wives of Bath (1993), de Susan Swan, trazendo à luz questões relacionadas ao gênero. Gênero, pois, é uma palavra ambígua e possui diferentes definições. Para a análise proposta, este estudo se deteve em duas delas: uma relativa ao corpo e outra ao texto. O romance analisado nesta dissertação é composto por personagens que desafiam estereótipos e padrões normativos tais como a feminilidade, a heteronormatividade e o próprio conceito de gênero, enquanto que seu corpus também aponta para a heterogeneidade. Para as análises relacionadas ao corpo das personagens, foram elaborados panoramas sobre a crítica feminista e sobre o movimento feminista a fim de ilustrar suas histórias, seus diferentes desdobramentos e suas contribuições para os estudos feministas e de gênero. Virginia Woolf, Elaine Showalter, Kate Millett, Adrienne Rich, Michel Foucault, Judith Butler e Todd Reeser são alguns dos referenciais teóricos utilizados nessas análises. Uma pesquisa sobre o contexto literário no qual a autora Susan Swan se insere também foi realizada, haja vista que a literatura canadense tem suas especificidades. The Wives of Bath é escrito majoritariamente em prosa, no entanto, o gênero epistolar também se faz presente e uma característica do foco narrativo é o modo dramático. Desta forma, a obra se apresenta como híbrida. Afirmando sua pluralidade, o entre-lugar se apresenta com elementos da narrativa gótica e a paródia também faz parte do romance. Norman Friedman, Tzvetan Todorov, Paulina Palmer, Tiphaine Samoyault e Linda Hutcheon são alguns teóricos que embasam as análises do corpus do romance. Assim, conclui-se que The Wives of Bath é subversivo tanto no corpo quanto em seu corpus, pois as questões de gênero presentes na obra permitem que as concepções normativas referentes ao gênero sejam questionadas e desconstruídas e que, desta forma, novas possibilidades sejam criadas. This study aims to analyze Susan Swan’s The Wives of Bath (1993), bringing to light issues related to gender and genre. In Portuguese, “gender” and “genre” refers to one ambiguous word, “gênero”, which has different meanings. For the proposed analysis, this study focused on two of its meanings: one related to the body, and other related to the text. The novel analyzed in this thesis is composed of characters who challenge stereotypes and normative patterns, such as femininity, heteronormativity and the concept of gender itself, while its corpus also points to heterogeneity. For the analysis related to the body of the characters, it was developed sceneries about both the feminist criticism and the feminist movement in order to illustrate their history, their developments and their contribuitions to feminist and gender studies. Virginia Woolf, Elaine Showalter, Kate Millett, Adrienne Rich, Michel Foucault, Judith Butler and Todd Reeser are some of the theoretical referentials used in these analyses. A research about the Canadian literary context in which Susan Swan belongs was also carried out, because the Canadian literature has its own characteristics. The Wives of Bath was written mainly in prose, however, the epistolary genre is also present, and a characteristic of the narrative focus is the dramatic mode. Therefore, the novel presents itself as hybrid. To affirm its plurality, the hesitation presents itself with elements of the gothic narrative and the parody is also part of the novel. Norman Friedman, Tzvetan Todorov, Paulina Palmer, Tiphaine Samoyault and Linda Hutcheon are some of the theorists who give the base for the analysis of the corpus of the novel. Hence, it is concluded that The Wives of Bath is subversive in both body and in its corpus, since the gender issues presented in the novel allow the normative conceptions related to gender to be questioned and deconstructed, and, thus, allow the creation of new possibilities. FAPESP: 2017/21765-6

In 2014, the Quebecois writer Catherine Mavrikakis published Diamanda Galas, a tribute to the American artist performer of Greek origin, Diamanda Galas – at the Montreal Publishing House, Héliotrope, inaugurating a new collection, “Guerrières et Gorgones” (Warriors and Gorgons). At the same time and in the same collection, Martine Delvaux published a tribute to the American photographer Nan Goldin, in an eponymous essay. “What survives from/through artists who are prophets of the contemporary?”, inquires Mavrikakis. Acting on the tragedy of history and transgressing it, how can literature and art play with experiences of memory transmission and “survival” without necessarily working “to fix” them? What is at the heart of this link between history and creativity, reaffirmed by Georges Didi-Huberman in Survivance des lucioles? Through reflections on transcultural transference, multiculturalism and the power of women to transgress traumatic experiences, this article explores the question of memory transmission in two contemporary narratives on art and the AIDS period of the 1980s. Résumé En 2014, l’écrivaine québécoise Catherine Mavrikakis publie Diamanda Galas, un récit hommage à l’artiste musicienne américaine d’origine grecque, Diamanda Galas, aux éditions Héliotrope à Montréal, inaugurant une nouvelle collection intitulée “Guerrières et Gorgones” À la même époque et dans la même collection, une autre écrivaine québécoise, Martine Delvaux, publie un récit hommage à la photographe américaine contemporaine Nan Goldin. “Quel culte peut-on porter aux artistes prophètes du contemporain ?”, interroge Mavrikakis. En puisant dans le tragique de l’époque du SIDA des années 1980 pour tenter de le transgresser, la littérature peut-elle transmettre des expériences traumatiques et de “survivance” sans se donner pour but de les “régler”? Et quel lien entre histoire, créativité et mémoire, tel qu’évoqué par Georges Didi-Huberman dans Survivance des lucioles ? Par des réflexions sur le transculturel, le multiculturalisme et la force des femmes à passer au-delà des traumas personnels et collectifs, nous explorons la question de la transmission de la mémoire dans la littérature contemporaine canadienne en nous attachant à deux récits publiés récemment au Québec. Resumo Em 2014, a escritora quebequense Catherine Mavrikakis publica Diamanda Galas, uma narrativa em homenagem à artista e musicista americana de origim grega, Diamanda Galas, pela editora Héliotrope de Montréal, inaugurando uma nova coleção intitulada “Guerrières et Gorgones”. Na mesma época e na mesma coleção, outra escritora quebequense, Martine Delvaux, publica uma narrativa em homenagem à fotógrafa americana contemporânea Nan Goldin. “Que culto podemos reservar aos artistas profetas da contemporaneidade?”, interroga-se Mavrikakis. Insperando-se no trágico da época da AIDS dos anos 1980 para tentar transgredi-lo, a literatura poderá transmitir experiências traumáticas e de “sobrevivência” sem ter a finalidade “regulá-las”? E qual o vínculo entre história, criatividade e memória, tal como foi evocado por Georges Didi-Huberman em Survivance des lucioles? Através das reflexões sobre o transcultural, o multiculturalismo e a força das mulheres em passar além dos traumas pessoais e coletivos, exploramos a questão da transmissão da memória na literatura contemporânea canadense tendo por base essas duas narrativas recentemente publicadas no Quebec.

O seguinte estudo observa como a escritora e crítica literária Salish Lee Maracle faz uso da palavra literária nos romances Daughters are forever, Ravensonge Celia’s song como instrumento na desconstrução de estereótipos enraizados no imaginário coletivo canadense,os quais distorcem os costumes indígenas no Canadá.Em seus ensaios, Maracle aborda temas ligados à sua realidade enquanto cidadã ameríndia, como a oratória Salish e reflexões acerca do Feminismo ameríndio.Em seus romances, Maracle introduz personagens femininas que colaboram para a formação de uma identidade feminina indígena distante das imagens criadas pelos colonizadores durante o período colonial. Para a realização desse trabalho, primeiramente, apresentaremos a história da nação Salish no Canadá e o surgimento da autoria indígena responsável por introduzir personagens femininas inseridas em contextos sociais e culturais ameríndios. Em um segundo momento,abordaremos o surgimento e a consolidação de um Feminismo ameríndio. Logo após, será exposto como a ensaísta Lee Maracle define o Feminismo ameríndio,o papel da mulher e a oratória Salish, conceitos que estão disseminados nos romances analisados. Analisamos os romances que compõem o corpus literário deste trabalho enfatizando os aspectos culturais Salish incorporados pela escrita de Maracle e o percurso realizado pelas protagonistas para superação de seus dilemas pessoais através do resgate dos valores tradicionais Salish e os papéis sociais da indígena em sua comunidade. Dessa maneira, o seguinte estudo mostra como Maracle transforma a palavra literária escrita em um instrumento de resgate da oratória e da consciência indígenas.Mesmo ocupando uma posição periférica em seu país, as protagonistas de Maracle não são representadas como pobres vítimas da sociedade canadense. Elas são mulheres que anseiam transformar sua condição e encontram nas tradições ameríndias as ferramentas para o seu empoderamento. The following study observes how the Salish literary critic and writer Lee Maracle uses the literary word in the novels Daughters are forever, Raven song and Celia’s song as a tool to deconstruct the stereotypes rooted in the Canadian collective imaginary which have distorted the Native customs and society in Canada. In her essays, Maracle approaches issues related to her life as a Native woman such as the Salish oratory and the reflections about Indigenous feminism. In her novels, Maracle introduces female characters who collaborate to the creation of an Indigenous identity different from the images created by the colonizers during the colonial period. To write this thesis, firstly, I Will introduce the history of the Salish nation in Canada And the emergence of Native authors who are responsible for introducing female characters inserted in Native social and cultural contexts.In the second moment, I Will discuss the importance of defining the women and the feminine according to Indigenous Social, cultural and historical aspects.Iapproach how the critic Lee Maracle defines Native Feminism, the role of Native women and Salish Oratory, subjects which are present in her novels. Then analyze the novels which constitute the literary corpus of this work emphasizing the Salish cultural aspects incorporated by Maracle and the way the protagonists overcome their personal dilemmas by recovering the Salish traditional values and women’s social roles in their community. Hence, the following study shows how Maracle transforms the written literary word in an instrument for the recovery of Indigenous oratory and awareness. Even in a subaltern position, Maracle’s main characters are not portrayed as poor victims of the Canadian society. They are women who desire to change their condition and find in their Native traditions the tools for their empowerment.

A tradição oral pode ser considerada como a base da transmissão do conhecimento de uma geração para a outra dentro das comunidades indígenas. Foi através das narrativas orais que os povos nativos mantiveram seus laços coesos e suas estórias em constante movimento. O objetivo da oratória indígena era transmitir as lendas, os mitos e as canções das comunidades, fazendo com que os aspectos culturais e identitários dos grupos fossem compartilhados e preservados ao longo do tempo. Contudo, as narrativas orais não eram moldadas para serem lidas, mas antes compartilhadas por meio de performances de contação de estórias. Ou seja, a literatura das sociedades ameríndias era uma literatura de caráter oral, idealizada e difundida pelos mecanismos da tradição oral. Assim sendo, a presente dissertação tem por objetivo analisar a obra Legends of Vancouver (1911), de Emily Pauline Johnson, levando em consideração o modo como a autora por meio do texto literário em um formato escrito resgatou o gênero folclórico lenda e a tradição oral para construir lendas literárias que espelham a performance oral. Pauline Johnson permeou suas narrativas lendárias com as marcas da oralidade, ao recriar dentro do texto literário escrito a ambientação da contação de estórias mediante a presença de um contador e um ouvinte que por muitas vezes é também um interlocutor. Oral tradition could be considered as the foundation of the transmission of knowledge from one generation to another in the indigenous communities. It was through oral narratives that Native Peoples kept their cohesive links and their stories in constant motion. The aim of indigenous oratory was to convey the communities‘ legends, myths and songs, making the cultural and identity aspects of the groups shared and preserved over time. However, oral narratives were not designed to be read, but rather shared through storytelling performances. In other words, the Indigenous literature was an oral literature, idealized and diffused by the mechanisms of oral tradition. Therefore, this master thesis aims to analyze the literary work Legends of Vancouver (1911), by Emily Pauline Johnson, taking into consideration how the author through the literary text in a written format rescued the folkloric genre legend as well as oral tradition to construct literary legends which mirror oral performance. Pauline Johnson permeated her literary legends with the orality feature by recreating within the written text the setting of storytelling with a teller and a listener which is often an interlocutor.

A proposta deste artigo é de analisar alguns romances canadenses de língua inglesa e francesa que têm como personagens ameríndios e Métis, os quais ocupam um lugar marginal na sociedade que não os aceita no seio da comunidade majoritária e os envia de volta ao mundo dos “selvagens”. O mestiço, por mais branco e integrado que seja, é sempre visto como um índio, pois as sociedades norte-americanas não concebem a mestiçagem à maneira brasileira. The purpose of this text is to analyze some Canadian novels – both in French and in English – whose characters are Amerindian and Métis. I intend to demonstrate that they occupy a peripheral place in society which does not accept them inside the mainstream community and sends them back to the “savage” world. The Mestiço/a, even when he/she is almost white and integrated, is always seen as an Indian because NorthAmerican societies do not conceive mestizaje in a Brazilian way.

O presente estudo busca compreender a relação entre os mitos indígenas do fogo e de gênese humana e os romances Habitante irreal, do brasileiro Paulo Scott e The lesser blessed, do escritor indígena canadense Richard Van Camp. Ao longo das narrativas apresentadas nos dois textos literários analisados, duas personagens, Donato e Larry, constroem suas próprias histórias e sua identidade a partir da tradição oral derivada de sua ancestralidade esquecida, resgatando os mitos de gênese humana e do fogo criador em cada uma de suas respectivas nações e povos. Para tanto, a ideia de mito foi pensada não apenas a partir das lentes da teoria ocidental, mas especialmente a partir da própria visão indígena de mitologia. The comparison between literary works written by indigenous and non-indigenous writers constitute a valuable field for questioning the encounter between western and indigenous cultures, from which results a heterogeneous literature as defined by Antonio Cornejo Polar. When indigenous works are written in the language of the colonizer, as is the case of literary works written in French and in English in Canada, they portray a heterogeneous reality in which indigenous people are forcefully integrated into the colonizing culture. At the same time, they point to singular possibilities to reconstruct identity by the recovery of traditional oral narratives, as we observe when we analyze the recovery of mythical narratives about fire and human genesis in the novels Habitante irreal (2011), by Brazilian writer Paulo Scott, and The lesser blessed (1996), by Indigenous Canadian writer Richard Van Camp. Although characters Donato and Larry are immersed in a reality impregnated with non-indigenous references, they are able to deconstruct traditional narratives and construct their own story as they re-signify collective myths so that they become personal narratives that unveil the violence against indigenous peoples in urban centers.

Submitted by OISE DE OLIVEIRA MATTOS BAZZOLI null (oise.bazzoli@yahoo.com.br) on 2016-07-13T02:16:10Z No. of bitstreams: 1 Dissertação final conferida.pdf: 1405978 bytes, checksum: b7fb12e30e61115862c45b416fe0cf44 (MD5) Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-07-14T16:52:42Z (GMT) No. of bitstreams: 1 bazzoli_oom_me_arafcl.pdf: 1405978 bytes, checksum: b7fb12e30e61115862c45b416fe0cf44 (MD5) Made available in DSpace on 2016-07-14T16:52:42Z (GMT). No. of bitstreams: 1 bazzoli_oom_me_arafcl.pdf: 1405978 bytes, checksum: b7fb12e30e61115862c45b416fe0cf44 (MD5) Previous issue date: 2016-05-20 Esta pesquisa tem como objetivo principal analisar, sob o ponto de vista da narratologia, três contos: “The Peace of Utrecht”, “Meneseteung” e “Fiction”, presentes, respectivamente, nas coletâneas Dance of the Happy Shades (1968), Friend of my Youth (1991) e Too Much Happiness (2009), da escritora canadense contemporânea Alice Munro, vencedora do Prêmio Nobel de Literatura em 2013, cujos contos, elaborados de forma renovada, são caracterizados pelos finais em aberto, contém descrições realistas do sudoeste de Ontário, retratam cenas familiares que facilitam a introdução do estranho, do misterioso, do desconhecido e até fantástico. Esta união, do familiar e do estranho, cria um senso de ironia e duplicidade de observação em relação a lugares e às pessoas, permitindo que se explore a luta canadense com a identidade evidenciada na escritora. A ambivalência que Munro sente como escritora é uma de suas preocupações pessoais que contribuem para essa profundidade emocional e vivacidade em sua ficção. Algumas de suas melhores histórias expressam sentimentos que provocam questionamentos em qualquer leitor mais sensível e que são, ao mesmo tempo, explorações e descobertas da própria emoção da autora. Para o desenvolvimento deste estudo, apoiamo-nos nas reflexões de Osman Lins, Bachelard, Ozíris Borges Silva no que diz respeito à espacialização da narrativa, como também em estudos de Bakhtin que explora a ideia de cronotopo. Também constitui objetivo identificar os momentos de epifania e os elementos góticos que atuam na configuração das personagens de Munro. The main goal of this paper is to analyse, from the point of view of narratology, three short stories: “The Peace of Utrecht”, “Meneseteung” and “Fiction”, present, respectively, in the collections Dance of the Happy Shades (1968), Friend of my Youth (1991) and Too Much Happiness (2009), from the contemporary Canadian writer Alice Munro, winner of the 2013 Nobel Prize in Literature, whose short stories, elaborated in a renewed way, are characterized by open ends, have realistic descriptions of southwest Ontario, depict familiar scenes that facilitate the introduction of the strange, the mysterious, the unknown and even the fantastic. This connection of the familiar and the strange, creates a sense of irony and duplicity in observation concerning places and people, allowing that the Canadian fight for identity is evidenced. The ambivalence Munro feels as a writer is one of her personal concerns that contribute to emotional and vivacious depth in her fiction. Some of her best stories show feelings that raise a lot of questions in any sensitive reader and that are, at the same time, the writer´s explorations and discoveries. To the development of this study, we will base our reflections in Osman Lins, Bachelard and Ozíris Borges Silva concerning narrative space as well as Bakhtin that explores the idea of cronotopos. It is also the aim of the paper to identify the epiphanic moments and the gothic elements that act in the description of Munro´s characters.