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The article studies the co-presence of literary and constitutional realism in the Latin American narrative of violence, in this case, City of God (1997) by the Brazilian author Paulo Lins and Bicentenaire (2004) by the Haitian Lyonel Trouillot. Both realistic texts, in line with Aristotelian requisites, that treat marginalized characters in a space-time with local marks, and 'realist' texts, in line with Rousseauian requisites, that treat the governed subject to citizen norms to be accepted and practiced, allow an appreciation that goes beyond the convened socio-verbal genre to both literary and political meaning. Noting that the category of 'political identity' and the experience of social exclusion unite these realisms in literary-cultural studies and constitutional studies, it is intended to 'read' as a 'democratic act' the writings that fictionalize: the absence of the Brazilian state in the face of peripheral violence, and the repressive violence of the Haitian parapolice State during street protests. When comparing the realisms and situating the constitutional contexts, an 'enlightenment' and 'modern' master language is observed whose exercise (re) produces the 'democratic' imperative. [ABSTRACT FROM AUTHOR]

This essay focuses on the representation of the female body in the short story O ponto do marido (The husband stitches) by Carmen Maria Machado. The author uses aesthetic resources that invite the reader to become physically involved with the text, in addition to resorting to mise en abyme to bring American popular stories of female bodies in tragic situations. This will be thought of as corps en abyme. Based on the idea that literature itself is a body, the argument is that the denial of what is canonical in the body-text is intertwined with the radicalization of the female body in writing by female authors such as Carmen Maria Machado's. This reading will be based on Feminist Theory (CONBOY et al., 1997) and Feminist Literary Criticism (FELSKI, 2003). [ABSTRACT FROM AUTHOR]

The 1970s began surprisingly for the author in 1968, amidst anti-war protests and critiques at Columbia University in New York. Pondering over his trajectory during that decade, three dimensions (academic, biographical, and poetic) interlaced as he emigrated to Europe, and as he passed from literary studies through American and later to British anthropology. The critical revelations of the great realists echoed within the title and contents of the London journal Critique of Anthropology, just as the ferocious critical tone of ethnographers such as Cutileiro and Bourdieu echoed within the author's monograph of an apparently "communitarian" hamlet in Trás-os-Montes, composed between 1974 and 1982. Critique became a veritable life-style. Delayed consciousness of his own double ethnic identity as both a Hispanic and an "assimilated white" did not obscure the possibility of all these multiple dimensions having subtly fused together. Can we accumulate two, if not three, identities? [ABSTRACT FROM AUTHOR]

Toda empresa autobiográfica exige cierto grado de verismo (la "realidad" aludida por Kramarae) por parte de la persona literaria: el "peso de la realidad" en palabras de la poeta. Al reclamar su autoría, Helena Ospina cumple cabalmente con este cometido en Andadura de vida porque nombra y renombra los artificios estéticos que son pilares de la posmodernidad. Al hacer justicia a este juicio, se debe recordar que tanto poetas como autobiógrafas (Helena Ospina es ambas) se interpretan a través de múltiples lecturas. El discurso crítico se simplifica o se complica con la investigación y la actividad textual desplegada en la obra literaria como espacio socio-cultural del lenguaje del "yo", acompañado del socorrido retrato y el autorretrato esparcidos por el libro. La escritura ospiniana da coherencia a la fragmentación consciente o inconsciente del sujeto desenmascarado en una técnica discursiva que hace de su vida cotidiana e incluso de su profesión un acto público como lo es la autobiografía poética.

This article is part of a wider project on the persistence of Realism in Brazilian literature. It stresses the ideological and moral aspects of Realism in Portugal which were more pronounced than its aesthetic character. It is based mainly on Eça de Queirós and his relation with criticism at the moment of publication of the novels 0 crime do Padre Amaro and O primo Basílio. Those novels opened the way to the dissemination, rooting and consolidation of Realism in Portugal as well as in Brazil. [ABSTRACT FROM AUTHOR]

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Visconti is one of the first neorealist Italian directors and his relationship with literature is analyzed here, particularly in his adaptation for the cinema of Italian author Tomasi di Lampedusa's novel O Gattopardo. The movie has some characteristics which are inherent to the novel and that clash with cinematographic neorealism and, in the same way, the director brought to his adaptation other characteristics that are not seen in the novel. Aiming to describe these differences, this paper takes into account the gap between the novel and its adaptation as a key moment to comprehend the different facets of all themes involved. [ABSTRACT FROM AUTHOR]

An evaluation of the New Realism in literature in the work of three Brazilian writers that have produced short stories since the second half of the twentieth century, as it concerns the main characteristics of the postmodern narrative. Among them are: the referent of the narrative; the questioning of the very act of storytelling from the standpoint of a detached relationship between the referent and the world; the alternation between fictional and non-fictional languages that leads to the exchange between literature and journalistic narrative, painting, cinema, historical writing, chronicle, among so many other literary genres and expressions of the tradition of Western thought. Therefore, the article has the objective of reevaluating the conventions from the return to the historical and personal past, so as to provoke ruptures and establish new relationships between life and art in contemporary Brazilian narrative. [ABSTRACT FROM AUTHOR]

The present study proposes an analysis of the toilette or, the clothing representation, in the short stories written by Machado de Assis during his mature literary phase. This investigation comprehends the complex symbolic meanings involving some of those garments, as well as the importance they acquire in the author's renowned narratives. It may be observed that the representation of such elements exceeds the more traditional realist experience. In other words, Machado de Assis does not only describe the garments in his narratives but indeed dresses them up with much ampler meanings that, when uncovered, provide us with a much more precise comprehension of the narratives they are part of. [ABSTRACT FROM AUTHOR]

Vergílio Ferreira began his literary journey in 1943, with O caminho fica longe [It's a long road]. The year after he published another novel, Onde tudo foi morrendo [Where everything died], in the Novos Prosadores [New Prose Writers] collection (linked to with Portuguese neo-realism), and in 1946, also in this collection, the novel Vagão 'J' [Wagon T] was published. In 1974 the writer republished the last title; in the preface he informs the readers that, after many years of hesitation, this was the novel he had chosen to represent his so-called neo-realist phase, and he excluded the first two volumes of the work. Without intending to attribute Vagão 'J' an aesthetic and anthropological importance that the author himself does not acknowledge, there is however a technical-narrative mastery in this novel, put at the service of the neo-realism mindset, which cannot fail to be pointed out, as I shall seek to show in the reading that I present. [ABSTRACT FROM AUTHOR]

Taking as a guideline the short story "Auf der Galerie", included in the volume Ein Landarzt, the author attempts at showing how "realism" is materialized in the work of Franz Kafka. It is stated that the deformation of reality that could be suggested by the work of the author follows an acute perception of the world. Kafka shows, in the body of such masterpieces, things as they are and how they are perceived by the alienated look. [ABSTRACT FROM AUTHOR]

António Ramos Rosa, the neo-realist Portuguese poet, resorts to the word as a tool to better express his creativity. As a result, the process of writing for him becomes not only a way to discover the world itself, but also helps him create it. However, the world which is described in his poems doesn't resemble to a mere copy of the real world, since it is represented as something new, as a world of endless possibilities. [ABSTRACT FROM AUTHOR]