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In this essay, I analyze the relationship between literature and exile from the point-of-view of the renowned Brazilian engineer and writer Euclides da Cunha (1866-1909). I chose this author for his unique use of the concept of exile pertaining to his own human condition, but also for his paradoxical perspective on the Amazonian rubber tappers during the 1900s. Da Cunha himself did not experience personal displacement in the conventional sense of being expatriated. However, his work and ideas often touched upon the notion of exile, especially in the context of cultural, emotional, and intellectual separation. As a writer, sociologist, and journalist in Brazil, Euclides da Cunha was always critical and provocative. He also held various academic and governmental positions, as his work continued to explore themes related to Brazilian society, history, and culture. And while not a traditionally exiled individual during two dictatorial regimes, his ideas and perspectives sometimes put him at odds with the predominantly intellectual and political norms of fin-de-siècle Brazil. His analytical and critical approach to Brazilian society, as evident in his magnum opus Rebellion in the Backlands (1902), challenged prevailing beliefs and led to conflicts with established authorities. His book exposed the brutality of the government’s military campaign against Canudos and raised questions about the treatment of marginalized communities in Brazil. [ABSTRACT FROM AUTHOR]

Brazilian writer Carolina Maria de Jesus (1914–1977) was born in a rural community and spent most of her life in a slum. Despite this, her literary work achieved remarkable editorial success, having its value recognized by critics and academic circles. This paper analyzes Carolina Maria de Jesus's autobiographical narratives in the light of John Dewey's aesthetic theory, with the purpose of investigating the factors responsible for the development of her aesthetic sensitivity – intellectual and emotional dispositions favorable to involvement with artistic practices. The results suggest that Carolina Maria de Jesus's literary skills, which express not only individual but also collective yearnings, resulted from the incentive she received to think about things that do not exist and from her relationship with people who favored the formation of a personality open to varied experiences. Such results are presented as requirements for a democratic and humanist education that aims at the flowering of aesthetic sensitivity and encourages educators and students to believe in their creative potential. [ABSTRACT FROM AUTHOR]

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]

Clarice Lispector's A hora da estrela is primarily a work of self-critique. As in several of Lispector's earlier texts, the theme of 'not-knowing' as a method of spiritual transcendence forms an integral part of the narrative. What distinguishes A hora da estrela is the fact that through the marginalized figure of Macabéa, Lispector intertwines the theme of not-knowing with its less-attractive underside: naïveté and ignorance. In the novel Lispector reveals how Macabéa's not-knowing/ artlessness limits her life choices and leaves her more vulnerable to abuse. Within the multilayered fabric of this metafictional text, the spiritual and philosophical not-knowing that serves as the focus of Lispector's earlier questing novels forms a part of what is being reassessed. Thus, in her final hours Lispector critiques the privilege inherent in her previous questing works and wholeheartedly engages with the ways that issues of class intersect with questions surrounding the purpose and value of artistic expression. [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.)

Copyright of Building the way - Revista do Curso de Letras da UEG/Itapuranga is the property of Universidade Estadual de Goias 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]

The article both presents how, from the end of the 1980s onwards, native peoples have begun to occupy certain spaces of textual production and circulation that they had not previously occupied in the Brazilian cultural scene (for social, linguistic, and cultural reasons, but also political and juridical) and discusses how this process has provoked a vigorous movement of dilation of traditional textual and discursive borders in Western culture. Texts deriving from indigenous peoples in the sphere of academic discourse are, in general, bilingual, and are structured in ways that combine aspects of intellectual production with those of artistic creation. Moreover, they are also structured around a rather complex conception of the notion of authorship (considering that they are written by an author but represent the voice of their people). As examples, the article analyzes the case of Os cantos tradicionais Ye'kwana [Traditional Ye'kwana Chants ], by the indigenous teacher and researcher Fernando Ye'kwana Gimenes, winner of the 2020/2021 edition of the Dirce Cortes Riedel Masters Dissertation Award by the Brazilian Association of Comparative Literature, as a typical example of the cultural phenomenon discussed. The traditional Ye'kwana chants present significant transgressions in relation to the traditional notions of narrative logic and the dominant forms of narration in the fields of literature and history. The awarding of this academic prize to an indigenous inhabitant of the forest, on the border between Brazil and Venezuela, by the largest association of comparative literature in Latin America, in addition to being an important act in political terms, demonstrates how urgent it is to rethink processes of global literary dissemination beyond the restricted frameworks configured by the logic of hegemonic cultures, which are based on closed divisions and hierarchies. With this, we intend to contribute to the process of including Amerindian texts in the repertoire of Comparative Literature and World Literature. [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.

In 1905, Brazilian writer João do Rio published the crônica "Visões d'ópio" (Visions of opium), an account of his forays into the Chinese opium dens of Rio de Janeiro. While opium is often emblematic of both Parisian cosmopolitanism and exotic Orientalism in fin-de-siècle literature, I argue that the drug is less a replication of these coordinates in Brazil than a method of geopolitical thinking. Drawing from opium's extractive history in China and its versatility as a material thing – plant, commodity, drug, alkaloid – I argue that opium as theory and praxis not only reconfigures the writer's experience of Rio, but also makes stark the strategies behind and costs of Brazil's colonial formation. While opium sustains a desire for modernity through its exotic and cosmopolitan imaginaries, its destabilising effects on the body disrupt fantasies of colonial amalgamation, exposing histories of extraction and racialised labour implicit in the drug's circulation. Through an analysis that bridges empirical and new materialisms – and from a Chinese geographical axis that puts Brazil into a transnational dialogue beyond Europe – opium becomes a medium for thinking through Brazil's colonial roots and its place in the world among other nation-states during a period of transition from empire to republic. [ABSTRACT FROM AUTHOR]

Copyright of Revista Maracanan is the property of Revista Maracanan 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.)

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco 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.)

Copyright of Revista Cuadernos de Literatura del Caribe e Hispanoamerica is the property of Revista Cuadernos de Literatura del Caribe e Hispanoamerica 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.)

Copyright of Building the way - Revista do Curso de Letras da UEG/Itapuranga is the property of Universidade Estadual de Goias 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 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]

Between 1961 and 1962, Carolina Maria de Jesus travelled to Argentina, Uruguay and Chile to promote her book Quarto de despejo (Child of the Dark: The Diary of Carolina Maria de Jesus). The record of her journey was published in the appendix of Casa de Ladrillo, under the title Diario de viaje. This article presents the writings on her travels through Buenos Aires, Rosario, Córdoba and Mendoza. In addition, the paper discusses the effects caused by a Black intellectual in transit through Latin America. In dialogue with theorists of ethno-racial issues, we seek to demonstrate the importance of the Brazilian author's international tour in providing legitimacy to Black people as traveling and intellectual bodies that think of the region from their base. The discussion proves relevant given the need to expand studies on the narratives of black women in displacement. [ABSTRACT FROM AUTHOR]

Copyright of Tempo (1413-7704) is the property of Universidade Federal Fluminense, Departamento de Historia 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 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.)

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.)

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]

Copyright of Odeere is the property of Edicoes UESB 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.)

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]

In Brazil, Romanticism had its rise in the bourgeoisie, in the nineteenth century; funk, in turn, emerged in the periphery, at the end of the 20th century, increasing in the 19th century. Both movements, however, started from a social group that was not included in the current forms of representation of the literate culture, suffered prejudices at the beginning and, little by little, became marketable products, until they left their places of origin and reached the entire Brazilian society. The objective of this research is to bring together the historiography of Romanticism with that of Brazilian funk, from an interdisciplinary approach, bringing together Literature and Media Studies. For this, a historiographical discussion of the two movements is carried out, based on authors such as Candido (2002), Moisés (1989), Lopes (2010), and Pedro (2015), to provoke intersections between two movements from different times and with different goals, but with similar characteristics. [ABSTRACT FROM AUTHOR]

Copyright of Sociologia & Antropologia is the property of Sociologia & Antropologia 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.)

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.

Brazilian novelist Érico Veríssimo (1905–75) was an ambiguous subject of the Good Neighbor Policy: invited to the United States by the Department of State, he was also accused of anti-Americanism by the Federal Bureau of Investigation (FBI). An international police investigation into Veríssimo shows a Brazilian-US network in which literature is questioned both as a potential vehicle for subversion and as representative of its political context. Archival sources related to this investigation reveal how police agents searched for clues within fiction and how ideology often got lost in translation. Through a close reading of these sources, I explore the function of literature and the processes for its interpretation in political culture. This essay, by probing the contradictions of the Good Neighbor Policy and the transition from World War II to the Cold War, reveals how Brazilian and US police in collaboration applied the anti-Axis counterintelligence apparatus to the surveillance of Allied literature. [ABSTRACT FROM AUTHOR]

The Indian literary production was in constant dialogue with history by referencing past events and exalting nature and the Indian. Under this prism, José de Alencar (1829-1877) published O Guarani (1857), a novel that narrated the relationship between the Goitacá Indian Peri and the Portuguese family Mariz in the 17th century. As a historical novel, it was based on extensive documentary research, with emphasis on the scrutiny of Gabriel Soares de Sousa's Tratado Descritivo do Brasil em 1587. The objective of this study is to analyze how Alencar appropriated the colonial writers for the figuration of the Indian in O Guarani. By mobilizing the chronicles of Soares de Sousa and Simão de Vasconcellos, as well as the historical text of Balthazar da Silva Lisboa, Alencar brought his novel closer to the 19th century historical-ethnographic practice, using the colonial descriptions of the Tupinambá to parameterize the habits and customs of the Goitacá and Aimoré, a choice that had an impact on the description of Peri as a tall and perceptive indigenous man. This ethnographic gesture made it possible to integrate the indigenous populations of Brazil's colonial past and to inscribe a written culture based on the elaboration of a national rhetoric. [ABSTRACT FROM AUTHOR]

It is undeniable that the stereotype about the female figure in the social context is permeated by repressive and normative patterns, which restrict women's freedom and further reinforce the already existing inequality between the male and female genders. Thinking about it, this article aims to bring together the short stories "I love my husband" by Nélida Piñon and "Amor", by Clarice Lispector. The intention is to identify how the figure of the woman is represented in these tales, recognizing similarities and differences of these presentations. For this, authors such as Beauvoir, Funk, Bordieu and Saffioti, among others, were used. [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]

Written by João Guimarães Rosa and published in 1961, the short story “My uncle the Jaguar” remains a unique fictional text in the Brazilian Literature. By means of a monologue in a dialogical situation and written in an oral Portuguese entangled with expressions and words in Tupi, a becoming-jaguar of a previous jaguar-killer is progressively enacted. This jaguar killer finally recognizes the jaguars as his real folks, as his kinfolk. The article emphasizes the untamable character of Rosa’s short story and develops its antimetaphysical and political implications. [ABSTRACT FROM AUTHOR]

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 reading suggests to deal with what has been denominated as holy space, understanding it as the literary representation of beliefs and and its ritual manifestations present in the works of Ruth Fuentealba Millaguir, Cherrufe (2008) and Ana Maria Gonçalves Um defeito de cor [2006] (2009). We propose that this space emerges within the Afro-Brazilian and Mapuche narrative a female individual that related with symbolic system of its community interweave the traces of genre, race and sexuality in the subjective constitution. In addition, we claim that through the link between women and the sacred, the subjectivity that emerges in the works analyzed is presented as preserving and reproducing the culture and their most precious knowledge, indispensable for the individual and collective survival of their peoples. [ABSTRACT FROM AUTHOR]