Letras

URI Permanente desta comunidade

http://repositorio.ufes.br/handle/10/17524

Programa de Pós-Graduação em Letras

Centro: CCHN
Telefone: (27) 4009 2515
URL do programa: http://www.letras.ufes.br/pos-graduacao/PPGL

Navegar

Agora exibindo 1 - 3 de 3

Da negação do nacional ao nacional negativo : a crítica sobre Machado de Assis (do oitocentos ao contemporâneo)
(Universidade Federal do Espírito Santo, 2017-09-26) Alcantara Filho, Wolmyr Aimberê; Salgueiro, Wilberth Claython Ferreira; Dalvi, Maria Amélia; Trefzger, Fabíola Simão Padilha; Cardoso, Marília Rothier; Delmaschio, Andréia Penha
The national was always relevant to the Machadian critique of various times. Silvio Romero, José Veríssimo and Araripe Júnior were the first to address the problem. Machado, who did not use to write according to a romantic and nationalist tradition, had his Brazilianness studied, scanned and even questioned by these researchers. However, there was also a feeling that the representations of the country in his work followed a more "inner and intimate" movement, and therefore were more difficult to observe. A second generation of scholars, under the historical and cultural context of the Estado Novo, brought up the national aspect again. The writer's negritude, a previously off-limits subject, was now a demonstration of his value. Machado would have won despite being black, said Lúcia Miguel-Pereira, who sees in the novels of the first phase an attempt by the author to represent, in an encrypted way, his experience. More recently, new literary critics have reflected on the national problem in Machado. No longer understood as non-existent, the national gains now the adjective of negative, in the reading of Roberto Schwarz. For the critic, the writer, with no need to participate in the formation of Brazilian literature, can devote himself to the work of problematizing, in novels and short stories, our peripheral condition. A "turnaround" in the Machadian readings can thus be observed, being more important than the so-called "universalist" readings. John Gledson, Sidney Chalhoub, and Eduardo de Assis Duarte would be examples of scholars who, like Schwarz, have given consistency to this new view of the writer, which brings to the stage of debates such terms as blackness, slavery, and social class. As a crowning of this way of reading Machado, there is the problematization of the first-person narrators of the novels. The interpretations that Memórias póstumas de Brás Cubas, Dom Casmurro and Memorial de Aires received from these scholars have subverted the way of reading the novels and brought discussions that we consider to be relevant today.
História e política no Memorial de Aires, de Machado de Assis
(Universidade Federal do Espírito Santo, 2009-12-11) Alcantara Filho, Wolmyr Aimberê; Salgueiro, Wilberth Claython Ferreira; Cardoso, Marília Rothier; Oliveira, Bernardo
Commonly remembered as the last novel, the swan-song of the “wizard of Cosme Velho” , The Wager: Aires´Journal, by Machado de Assis, has been considered, in its various interpretations, as a semi-autobiographical novel. However, with the passing of time, other biases began to make their way in the critical reviews of the novel, pointing to a work that, far from being just writer´s farewell, also raised important questions, such as the role of the reader, the interstices of authorship and narration, and the possible link between literature and history. Thus, the analyses proposed by this study of the The Wager: Aires´Journal, joins the critical chain represented by Roberto Schwarz and John Gledson, that is, aims to reflect on the work of the writer in relation to issues of his time and his country. More precisely, it intends to look at the writings of counsel Aires with the same suspicion we would have with the ones from Bras Cubas and Bentinho. This is how the diary of the retired diplomat, apparently interested in homely home life facts, proves not to be at all disjointed from the public sphere. In fact, the end of the institution of slavery is a subject of the novel, that takes place between 1888 and 1889. And if the old diarist does not give due attention to the fact, even commenting that there are many other more interesting subjects in the world, it is necessary to read his comments as a representative of the common ideology of the class to which he belonged, the seignorial. Aires, this way, ends up reproducing in his speech a way of being that may not be more than one variant of the "tip of the nose" of theory of Bras Cubas. Reserved, skeptical, good listener, he still helps write a story in which the slaves did not wish to part away from the "missy" Fidelia because they feel "captive" of her affection. While possibly they just feared to starve or to be abandoned to their fate.
O ESPELHO EM CONTOS DE MACHADO, CRULS E ROSA
(Universidade Federal do Espírito Santo, 2021-10-29) Polonini, Dayna Suzelli; Amaral, Sérgio da Fonseca; https://orcid.org/0009-0009-8382-733X; http://lattes.cnpq.br/9383077540938356; https://orcid.org/0000-0002-0561-922X; http://lattes.cnpq.br/5687514576386881; Alcantara Filho, Wolmyr Aimberê; https://orcid.org/; http://lattes.cnpq.br/1588463250720348; Vermes, Viviana Mónica; https://orcid.org/0000-0002-4077-3302; http://lattes.cnpq.br/3806495173897941
In the light of literary criticism, David Roas' studies on the fantastic genre, Tim Ingold and Heideigger's conception of thing, as well as Emanuelle Coccia's ideas about sensible life, this work intends to observe in three homonymous tales, entitled “The mirror”, by Gastão Cruls, Machado de Assis and Guimarães Rosa, what an effect the mirror, as a thing, comes to produce in the introduction of the stranger into the narrative and its role in the construction of the fantastic genre.