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Milton Hatoum’s devoted readership has become an economic asset for crossover audiences the last ten years, and nowhere is this more visible than with his “modern classic,” the Jabuti Prize-winning Dois Irmãos (2000), which has been adapted for television, theater, and comics. Identical twin Brazilian cartoonists Gabriel Bá and Fábio Moon’s graphic adaptation of the same name in 2015 not only won the prestigious Eisner Award, but it was also accompanied by a strong marketing campaign from Hatoum’s editorial press utilizing the brothers’ fraternal status and mass cultural appeal to expand readership bases. Drawing on Angela Landsberg’s “prosthetic memory,” Pointner and Boschenhoff’s exploration of spatial embodiment in graphic adaptations, and recent Latin American comic scholarship linking military dictatorships and the rise of memory discourses, this article demonstrates that Moon and Bá’s hauntingly beautiful rendition, far from being derivative or merely “faithful,” is able to apply medium-specific strategies to even more effectively render Hatoum’s association between individual history and national allegory, in the process introducing new generations of citizens increasingly alienated from Brazil’s darkest period. [ABSTRACT FROM AUTHOR]

The rise and development of Left-wing literature in Brazil is closely connected to the obstacles and dilemmas encountered during the evolution of its nation, and it is also inseparable from international political movements and intellectual trends. From the abolishment of slavery and collapse of empire in the nineteenth century, to the establishment and return of dictatorship in the 30s and 60s of the twentieth century, at every moment of crisis, Brazilian left-wing literature always played a seminal role. While criticizing social injustices, it also invigorates the development of modern Brazilian literature by incorporating different forms of language, thoughts and art. It is safe to say that left-wing literature forms a kind of literary tradition in Brazil, as it not only represents a moral and ethical stand, but also innovates the form and aesthetics.

Orality has always been the main channel through which culture and knowledge has passed onto generations of Indigenous peoples in Brazil. Yet, today, the need to resist cultural assimilation or, even worse, annihilation, has led to the creation of new, written materials where Indigenous people can speak for themselves by relating their history, defending their identity, and their cultural territory. Among these, Brazilian geographer, poet, and activist Márcia Wayna Kambeba of the Omágua/Kambeba people uses literature as a space where decolonial thought and traditional knowledge meet to build a philosophical, political, and poetic view on indigenous identity in general and on the experience of Indigenous women in particular. Drawing from previous studies on Brazilian Indigenous literature, decolonial theory, and decolonial feminism, this paper discusses Kambeba's works and underpins the relevance and need to examine the specificity of the experience of Brazilian Indigenous women writers as fundamental participants in the periphery of the world-literature to discuss the postcolonial configurations of identities in present-day Brazilian society. [ABSTRACT FROM AUTHOR]

Copyright of Ciência & Trópico (03042685) is the property of Fundacao Joaquim Nabuco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Several translations of the novel Ulysses by James Joyce exist in a variety of languages. It was published in 1922 and thereupon translated to German, French, and even Polish and Czech. Three translations of the Irish novel currently exist in Brazilian Portuguese, with a fourth one planned to be published soon. Unfortunately, the circumstances and the translators behind these publications have scarcely been considered outside of Brazil. The analysis of the three Brazilian translations and their usage of proper nouns and Brazilian cultural references reveals important issues according to Lawrence Venuti's concepts of domesticating and foreignizing translations. It addresses current transnational concerns in the fields of modernism, postcolonial literature, and translation by revealing political implications through intertextuality. This analysis is specifically important to marginalized cultures in order to highlight their contributions to Western novels, furthering, thus, the necessity and importance of understanding other perceptions of literary movements. [ABSTRACT FROM AUTHOR]

In Latin America, literary works produced by authoresses seek to contest discourses sacralized by the colonial/modern gender system. In Mulheres empilhadas(2019), writer Patrícia Melo highlights multiple forms of violence against women to perceive Brazilian social constructs through lenses that focus on a different perspective from the one built for centuries regarding female bodies. In this paper, I intend to analyze narrative strategies used by the authoress so that themes such as pain and manifestations derived from traumatic processes are addressed. Based on studies by Rita Segato (2003), who contextualizes the structural elements of Latin American violence; María Lugones (2008), who emphasizes the decolonial perspective and coloniality of gender; Zilá Bernd (2013), on memory and narratives of resistance; and Lúcia Zolin (2019), who stresses Feminist Literary Criticism as a methodology for analyzing literary texts – in addition to other Latin American feminists who depart from the epistemologies of the South –, I conclude thatMulheres empilhadas challenges patriarchal conceptions by representing the collective struggle of women as a possibility of resistance.

his research analyzed the literary representations about gender violence built on Dona Beja in the historical novel A vida em flor de Dona Bêja(1957) by the Minas Gerais writer Agripa Vasconcelos. The novel analyzed represents the 19th century, a historical moment marked by patriarchy, a social structure in which men hold power, authority and privileges, in this sociopolitical system subordination was expected from women, whether they are mothers, daughters or wives. In patriarchal society, an attempt at male domination over women can be seen, manifested through various forms of violence, which in the novel are expressed through the kidnapping and rape of the protagonist. In this way, from the novel A vida em flor de Dona Bêja, it is possible to rethink the inequalities that have been constituted throughout history between men and women.

This article aims to study the poetics of the name in the stories of the Brazilian writer José Mauro de Vasconcelos (1920-1984). To name represents indeed an important issue in Vasconcelos’ work, and is part of the characters’ recreation of the world. Moreover, the name can be featured by its fragmentation and reflect an identital as well as an existential rip. Finally, it arouses fascination due to its narrative potentiality, emotional value and the love fetishization it brings about.

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This article aims to reflect on the current discussion about the terminologies that define the Afro-descendant presence and identity in the Portuguese and Brazilian literary context: literatura negra, literatura afrodescendente, literatura afro-lusitana/portuguesa/brasileira. In order to acknowledge the process of invisibilisation of Afro-descendant voices in societies marked by the legacies of European colonialism it is important to name what has been removed and marginalised, creating new identity categories. By analysing similarities, differences and influences between Brazil and Portugal, we will try to understand how these categories are assumed and discussed by authors and critics. This discussion can stimulate an Afro-Atlantic dialogue which can both foster the decolonisation and the rewriting of national literary canons in order to open up spaces for reflection on common and transnational dynamics.

In 1938, Graciliano Ramos publishes the work Vidas Secas that fits into Brazilian Modernism, highlighting the tragic life of the migrant. Thus, this research aims to investigate, under the method of French Discourse Analysis and the Ecocritical perspective, the man-environment relations and the representations of the countryside and of the backwoods that the author outlines, also dialoguing with the human feeling. which is awakened in the dialogue with the place and the environment, bearing in mind the concepts of topophobia and topophilia. As main results, it can be said that the discourses present in the narrative predominantly demonstrate the feeling of horror (topophobia) of the Caatinga, in a tone of social criticism, due to the problems resulting from the drought. Therefore, Ecocriticism and Humanistic Geography (topophobia and topophilia) are fertile areas of interdisciplinary knowledge, with a view to revealing human-environment relations. [ABSTRACT FROM AUTHOR]

This essay begins with a comparison of Gayatri Spivak's Can the Subaltern Speak? (1988) and Eni Puccinelli Orlandi's As formas do silêncio (2007). Through a contrastive analysis of these works, I aim to rephrase our critical understanding of the meaning and significance of "silence." From a cumbersomely imposed entity with fixed limits, and a means to dominate and oppress, I suggest that silence is a powerful and illusive passive instrument of microresistance. Subsequently, I locate the operation of these theoretical processes in two works of contemporary African female-authored fiction, Niketche: Uma história de poligamia (2002), by Paulina Chiziane, and Changes: A Love Story (1991), by Ama Ata Aidoo. Ultimately, I draw attention to how these works unpack and enhance our understanding of the representation of silence, which could be read as an effective tool toward contesting annihilation, assimilation, and appropriation. Remarkably, the foremost female characters in Niketche and Changes, Rami and Fusena respectively, succeed in distinct ways to combat societal impositions formulated by androcratic, phallocentric, and male chauvinist communities--all by "simply" cocooning themselves in a divine speechlessness. [ABSTRACT FROM AUTHOR]

The paper proposes a study of the short story "Larvas e prodígios", initially published in the novel O mandril (1988) and republished in Região (2012), by Zulmira Ribeiro Tavares. The research objective is to reflect on the use of irony as a discursive strategy to address and approach the sexual violence practiced by the protagonist of the narrative. For that purpose, I resort to the artist's critical fortune, more precisely to the studies produced by Guedes (2020), Schwarz (1987) and Massi (2012). Furthermore, I seek support from female scholars who tackle discussions about literature written by women and gender-based violence, namely Schmidt (1995), Muzart (2004) and Segato (2003). And when it comes to perceiving irony as a discursive strategy, I derive from the theoretical framework provided by Jankélévitch (1964), Duarte (1994), Pavis (1999), Minois (2003) and Hutcheon (2000). As a result of the research, I conclude that it is through irony, from the authoress's proposing to tell a seemingly random story, among so many prodigies, that the writer creates in a few paragraphs a narrative of enormous potential as social critique and denunciation of the injustices that underline Brazilian society in the last decades of the 20th century. [ABSTRACT FROM AUTHOR]

Copyright of Caravelle: Cahiers du Monde Hispanique et Luso-Bresilien is the property of Presses Universitaires du Mirail and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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The poem "As coisas têm alma" by Maria José de Queiroz (1934-2023), and the book Lição de Coisas by Carlos Drummond de Andrade (1902-1987), illuminate the reading of Mameloshn: memória em carne viva (2004) and O padeiro polonês (2015) by Halina Grynberg. The eleven-year time that separates the two novels does not make their reading more palatable. On the contrary, the doubling of the number 1 (one) points symbolically to the double condition of the narratives. In both, "the memory in the flesh" translates to "the violence of being a survivor," as stated by Nilton Bonder (2004). The Holocaust, he adds, generates cruelty, exile from one's homeland and, mainly, exile from human territory, humans' most primitive language. In this sense, the things or items referenced, cited or listed bring into play objects and things that are part of a ruined world that is mobilized through memory by writers and narrators. [ABSTRACT FROM AUTHOR]

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Copyright of Abriu, Estudos de Textualidade do Brasil, Galicia e Portugal is the property of Abriu, Estudos de Textualidade do Brasil, Galicia e Portugal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article seeks to point out intrinsic relationships in the works of writers César Aira (1949) and Sérgio Sant’Anna (1941-2020), two names that make up the panorama of Latin American literature in the second half of the 20th century and the beginning of the 21st century. His works, which are guided by the short form (the short story, the novel, the essay), seek to bend the limits of genres and bring into the literary text several other narrative forms that influence his writings and interpenetrate in his techniques: the plastic arts, cinema, photography, music appear in his texts as elements for the construction of his visions of the world. With careful reading of the critical fortune of both authors, in addition to own texts and comments that an author has over the other, we tried to establish and discuss approach points regarding the handling of the techniques of the avant-garde of the twentieth century, in a possible game endless.

Article review about the Oswaldian Anthropophagy. Starting from the rediscovery of the Modernist Manifesto Antropófago and the work of Oswald de Andrade, this article aims to describe the trajectory of the several uses of Anthropophagy in Brazilian culture, art, critic and literature, also trying to reconstruct the critical success it had and focusing on the new meanings that have been acquired in the last fifteen years. The article shows the transformation of this metaphor-theory-concept, from Brazilian anticolonial paradigm to exemplary model of construction of new globalized subjectivities.

The following essay analyzes "As enfibraturas do Ipiranga", the final poem of Paulicéia desvairada, by Mário de Andrade. The poem written in 1921, which imitates the form of a secular oratory performed by the entire population in the center of the city of São Paulo, offers an anticipatory, allegorical, and problematic vision of the modernist movement of 1922. Here, the aesthetics disputes are presented as permeated by social clashes in the open amphitheater of the city. The impasses of the modernization process in Brazil that are present in the poem continue to resonate, like an echo, a hundred years after its writing. [ABSTRACT FROM AUTHOR]

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Resenha sobre o mais recente romance de Marco Lucchesi, que conclui sua trilogia de romances protagonizados no Rio de Janeiro de fins de século XIX e início de XX. Adeus, Pirandello centraliza-se no relato das duas semanas em que o grande dramaturgo italiano, Luigi Pirandello, passa na cidade do Rio de Janeiro junto com sua companhia teatral. O romance traça relações com o próprio corpo de obras de Lucchesi e demonstra a profundidade e o alcance de sua escritura, conjugando temas como solidão, literatura, amor, melancolia, fins e recomeços, comentando ainda sobre a pandemia e sobre a condição primordial de liberdade que toda grande literatura exerce em seus leitores.

Abstract David Damrosch argues that world literature is the locus of negotiation between a source and a host culture, with works increasingly being favored for exhibiting identities based on racial, ethnic, or cultural differences. We examine racial perspectives on Joaquim Maria Machado de Assis (1839-1908) by English-language critics, largely in North America, from the late twentieth century to the present. In the twentieth century, Machado was successful among academics and critics but not the general public. In the twenty-first century, re-translations of his works have widened his visibility among the general English-language readership. His recent critical reception also reveals greater interest in his racial background. As a multiracial individual of partial African descent and the grandson of freed slaves, Machado has been situated in an African diasporic or Black literary canon as he is read from a racial perspective by North American critics.

The article analyzes recommendations of Brazilian literature in three contemporary reading guides organized by Masina (2013), Masina, Langer, Jacobsen and Rosp (2014) and Masina, Barberena and Carneiro (2015), seeking to understand how authors and books lists are built within an alleged literary experience that runs through criticism and the representation of the reader. From the theoretical perspectives of Robert Belknap (2000) and Umberto Eco (2010), with notions that approximate listings and literature; and by the thoughts of Carlos Nejar (2014), Regina Dalcastagnè (2012) and Arnaldo Cortina (2014), who work with the canon, the most recent literary production and the contemporary Brazilian reader, it is observed how the literature produced in the country becomes legitimate for readers in general, but specifically for students and professionals in the field of Language and Literature, implicitly placed in the introductory texts of books as the target audience of the lists in question. Methodologically, we developed a bibliographic-documental research with quali-quantitative analysis of the corpus, in other words, we organized a comparative chart of suggestions and analyzed excerpts in which the listings are presented. In association with foreign works and authors that are included in publications, we can see, finally, some paths regarding Brazilian literature: that the guides' lists induce the reader to an initial interaction with this literature; then they try to insert into this contact a more discerning view of what was read; and that this literary production has its presence reduced due to the small number of indications to make room for foreign productions. [ABSTRACT FROM AUTHOR]

This article addresses the concept of literary form according to Antonio Candido and Ángel Rama, emphasizing the formulations published by Candido during the first half of the 1940s in Brigada Ligeira and Clima. These formulations are key to understanding the same concept during both critics’ later decades, especially from 1970 onward. The article focuses on texts such as “Dialética da malandragem,” in Candido’s case, and “Sistema literario y sistema social en Hispanoamérica,” by Rama. Initially binding the concept of form to the psychology unveiled by the narratives, Candido sought to discern in its aesthetic foundation certain ideological dynamics of the Brazilian bourgeoisie. The article demonstrates how such a link between social class and literary form would have been preserved, with the appropriate adjustments, by Rama in his understanding of the transcultural literature in Latin America. One conclusion concerns efforts to systematize the (Brazilian or Latin American) literary corpora, which would have led to different understandings of literary form. The second comprehends the dimensions of negativity and positivity in the later concepts of Cândido and Rama, a factor responsible for the theoretical disruption of the critical dialogue here addressed. [ABSTRACT FROM AUTHOR]

This article examines three short stories by Clarice Lispector in order to discuss how they suggest a brutalist aesthetics that, although strange in her works, seems to pervade most of A Via Crucis do Corpo (1974), the book in which they were published. In its preface, Lispector reveals that a critic labelled her book as “trash” – and replies that “trash”, too, can be enjoyed; revising the features of a brutalist aesthetics, I contend that this “trash” is Lispector’s own experimentation with such aesthetics, one largely grounded on abjection and which mirrors the violence typically found in Brazil’s metropolitan underworlds.

This essay considers Prof. Wasserman as a practitioner of the field known, variously, as inter-American literary study, hemispheric literature, and the literature of the Americas. It also argues that she is a leader in this field because of her discerning critical observations but also because she proves the singular importance of Brazilian letters in this comparatively American perspective. My study especially celebrates her work on two Brazilian authors: José de Alencar and Mário de Andrade. Wasserman makes clear how these two writers make major contributions to our better understanding of nineteenth and twentieth-century literature in the Americas.

The article debates the relationship between rurality, modernity, and the the dynamics of capital accumulation, with a particular focus on the Brazilian author Graciliano Ramosʼs novel São Bernardo. The main interest of this study is in exploring what happens when the narrative device of the voluble, domineering first-person narrator that various critics – such as Roberto Schwarz, Franco Moretti, or the members of the WReC – have identified as a frequent device in peripheral literary works – is transposed to Brazil’s own peripheries, its rural hinterlands. [ABSTRACT FROM AUTHOR]

Copyright of Intersecoes: Revista de Estudios Interdisciplinares is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay considers Prof. Wasserman as a practitioner of the field known, variously, as inter-American literary study, hemispheric literature, and the literature of the Americas. It also argues that she is a leader in this field because of her discerning critical observations but also because she proves the singular importance of Brazilian letters in this comparatively American perspective. My study especially celebrates her work on two Brazilian authors: José de Alencar and Mário de Andrade. Wasserman makes clear how these two writers make major contributions to our better understanding of nineteenth and twentieth-century literature in the Americas. [ABSTRACT FROM AUTHOR]

Copyright of Moderna Sprak is the property of Institutionen for Moderna Sprak and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay explores how the Brazilian novel Corpos secos (Geisler et al. 2020) employs the discourse of toxicity, condensed in the metaphor of zombification, to imagine what Jason Moore has called the Capitalocene. My analysis of Corpos secos shows how, in its current iteration, capitalism as an ecological regime is pushing against the limits of environmental sustainability, against the limits of what Moore calls Nature, as it seeks continuous growth. In the novel, the coproduction of nature, impelled by greed (a recurring allegory of capitalism), goes terribly wrong, generating toxic biomes and, ultimately, destroying humanity or humanness as zombies take over Brazil. Beyond ecological crisis, in Corpos secos, zombification also becomes a metaphor for the necropolitical dimension inherent in late capitalism. [ABSTRACT FROM AUTHOR]

This paper explores the connection between a contemporary global catastrophic imaginary and an imaginary of a Brazilian territory impregnated with the future. It attempts to shed light on the epistemological tie between current ecological, social, and political devastation, on the one hand, and a colonial, industrial, monumental, and extractivist order, on the other. A spatiotemporal imagination has emerged in contemporary aesthetics that questions the basic tenets of Western modern epistemology through survival and material remains. Focusing on the film Serras da desordem (2006), directed by Andrea Tonacci, and the novel Dentes negros (2011), by André de Leones, both centered on the figure of the survivor, I argue that this figure and the materiality of what remains after the "end of the world" enable an anachronic and nonbinary vision of time and space--the basis from which to refute the epistemological core of the modern and colonial project. [ABSTRACT FROM AUTHOR]

Taking as its starting point the enthronement of the Anthropocene concept in human science discourses, the article links the new narrative impulse generated by the awareness both of the destructive impact of human action upon planet Earth, and of the threat of depletion of natural resources – ultimately directly linked to the extinction of the human species itself – to the emergence of narratives of depletion committed to situated practices of resistance. The aim is to emphasize the performative aspect in this new gesture of narration, which invariably implies rewriting Brazilian literary history from perspectives beyond the human. From the methodological point of view, the article is based on the dialogue between neomaterialist theories (HARAWAY 1989; 2015; 2016) and Amerindian perspectivism (VIVEIROS DE CASTRO, 2009; 2014) with theoretical constructs proposed by the École des Annales and revisited by contemporary historians (CHAKRABARTY, 2009; SAWYER, 2015).

The history of Brazilian literature recorded in compendia and reference works presents, in successive movements, the writers, the works and their circumstances, from the colonial period until the end of the last century. From this last period on, however, a certain incompleteness can be observed in these works, resulting, among other reasons, from the time necessary for the procedures of selection, analysis and interpretation of data on the varied and voluminous literary production. After two decades of the 21st century, this article proposes the resumption and completion of recent production trends, such as hybridism and multiplicity, in their relations of continuity or rupture with the last century ́s production. It is hoped to gather in this text subsidies to complement the construction of Brazilian literary historiography.

In this article, first of all, a reading of the profile that defines the history of Brazilian literature is presented, accounting for its white-centeredness, with few exceptions. Also, is carried out an analysis of the historical and conceptual bases that were forging a circuit and a literary scene of black authorship. At the same time, the operations on the archive of slavery carried out by writers of black authorship in dialogue with the hegemonic canon are analyzed. The corpus of poems that make up this article focuses on authors of the 20th century: Carolina Maria de Jesus, Edimilson de Almeida Pereira, Eliane Marques, Oswaldo de Camargo, Cuti, Conceição Evaristo, Carlos Assumpção, Mel Duarte. The article starts from an expanded conception of literature, so that along with black authorship literature mention will also be made of non-literary cultural practices (such as photography and plastic arts).

This paper studies the work of Brazilian writers Lourenço Mutarelli and Marçal Aquino to consider issues related to text and image. The selected works are O grifo de Abdera (“Abdere’s griffin”, 2015), and O Invasor (“The Trespasser”, 2002). To analyze the complexity of these novels we mainly rely on the typology of intersemiotic transposition proposed by Leo H. Hoek and the concept of novelization introduced by Jan Baetens. We also mention the research of Vera Lúcia Follain de Figueiredo, in order to replace the dialogue between literature and cinema in the Brazilian context.

The "Movimento Armorial" (Armorial Movement), an artistic proposal idealized by Ariano Suassuna, turned fifty in 2020. It is based on the integration of popular and erudite art, and between various artistic modalities. Suassuna adopts "folheto de cordel" (printed oral poetry) as a symbol of the movement, since it integrates woodcuts, literature and music, as well as being manifestation of art typical of the Brazilian Northeast, whose origin lies in the medieval Iberian Peninsula. This article discusses the main characteristics of the Armorial Movement from the point of view of two of its best-known members, Ariano Suassuna and Antonio Nóbrega, who was part of Quinteto Armorial for a decade. [ABSTRACT FROM AUTHOR]

This work proposes a study of the way in which the writer Luiz Ruffato – in They were many horses –challenges and reinvents various poetics of the western literary tradition. It analyzes, in particular, the aesthetic affinities of this book with the proposals of the Italian futurist vanguard. For that, we used the theoretical support of authors such as Gilberto Mendonça Teles, Maria Adélia Menegazzo, José Mendes Ferreira and Augusto de Campos. Presenting itself as a literature constructed under a fragmented, rapid, imagistic and multifaceted poetics, They were many horses proposes many reflections on the urban and contemporary Brazilian society. Through collages and short narratives that represent several stories of a chaotic metropolis, Ruffato configures an unbalanced and dirty mosaic, composed of crimes, family breakdown, disease, consumerism, underemployment, addictions and other ills that permeate this modern society. Making use of a language close to futuristic poetics, composed of words in freedom in relation to the syntactic order and the formal use of punctuation; as well as the use of typographic and onomatopoeic resources; Ruffato proposes a spatiotemporal relationship that seeks to provoke in the reader a feeling of dynamism typical of the modern city. Given this complex literary materiality, this work proposes an analysis of the social reflections and aesthetic innovations proposed in They were many horses. [ABSTRACT FROM AUTHOR]

Copyright of Letras de Hoje is the property of EDIPUCRS - Editora Universitaria da PUCRS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article analyses how form and content are intertwined in the story My Uncle, the Jaguar (1961) by Brazilian writer João Guimarães Rosa. In the first part, I use the fourteenth episode of Ulysses (1920), 'Oxen of the Sun', as an example of how language and form can convey ideas. The next section deals with Rosa's efforts to create a character-narrator who seems to be on the verge of becoming-animal. The character's transformation into a jaguar-like being is ambiguous, seeming to be both psychological and behavioural. In this sense, there is no evidence whether his metamorphosis is physical. However, the language of the narrative conveys his transformation, transcending him from Portuguese to Tupi-Guarani, to an animal snarling onomatopoeic language. To support my argument, I use a theoretical framework derived from Animal Studies and Anthropological Studies as a means of giving a better explanation of the variable cultural background concerning human-animal relationships. [ABSTRACT FROM AUTHOR]

There is a trend in contemporary Brazilian literature to illustrate in a novel way the transnational matrix of identity and belonging which characterizes Brazilian society, as it was formed in waves of free and forced migration and displacement. To address the struggles over identity formation in/as diaspora, this paper close reads three contemporary novels depicting characters from Middle Eastern diasporas and their actual or imagined returns to the ancestral homeland, namely Dois irmãos by Milton Hatoum, Os Malaquias by Andrea del Fuego, and A chave de casa by Tatiana Salem Levy. By addressing tensions, frictions, incompleteness, or even the impossibility of the travel "back home", these literary texts invite the reader to question the meaning of 'home' within the framework of migration history and to explore different forms of mobility which can be used in the (re)creation of signifying places. [ABSTRACT FROM AUTHOR]