Doutorado em Letras
URI Permanente para esta coleção
Nível: Doutorado
Ano de início: 2010
Conceito atual na CAPES: 5
Ato normativo: Homologado pelo CNE (Portaria MEC Nº 609, de 14/03/2019).
Publicação no DOU 18 de março de 2019, seç. 1, p.136 - Parecer CNE/CES nº 487/2018, Processo no 23001.000335/2018-51)
Periodicidade de seleção: Semestral
Área(s) de concentração: ESTUDOS LITERÁRIOS
Url do curso: https://letras.ufes.br/pt-br/pos-graduacao/PPGL/detalhes-do-curso?id=1503
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- ItemA antinegritude em O Alegre Canto da Perdiz, de Paulina Chiziane(Universidade Federal do Espírito Santo, 2024-04-12) Lopes, Michelly Cristina Alves; Schiffler, Michele Freire ; https://orcid.org/0000-0001-9198-468X; http://lattes.cnpq.br/9912476303376712; Martinelli Filho, Nelson ; https://orcid.org/0000-0002-6956-5400; http://lattes.cnpq.br/9186790476855298; https://orcid.org/0000-0002-1365-5300; http://lattes.cnpq.br/1382634891316230; Ribeiro, Adelia Miglievich ; https://orcid.org/0000-0001-9736-2996; http://lattes.cnpq.br/6821974709618583; Marcilino, Ozirlei Teresa ; https://orcid.org/0000-0001-6694-8687; http://lattes.cnpq.br/9548763641862588; Caprini, Aldieris Braz Amorim ; https://orcid.org/0000-0003-0431-4691; http://lattes.cnpq.br/7365705316481729; Rocha, Luciane de Oliveira ; https://orcid.org/0000-0001-9576-5847; http://lattes.cnpq.br/7510057754988239The author Paulina Chiziane, the first black woman to publish novels in Mozambique and the first African to win the Camões prize (2021), has been standing out in Portuguese-language African literature, mainly because she deals with topics considered taboo in her country – namely: witchcraft, polygamy, racial issues, rape, prostitution, colonization, among others. In this thesis, we chose the novel O alegre canto da perdiz (2008), in which the author collects stories narrated by other women and uses her writing as a way of denouncing the problems faced by women in Mozambique. The objective of this study is to analyze the experience of the black characters in the work who use anti-blackness – a concept coined by João Costa Vargas (2017) from Afropessimism – as a mechanism to resist the oppression imposed on their bodies and minds by colonization. To do this, they absorb eurocentric ideals and put into practice an anti-black experience, thus accepting the narcissistic mirror of the white man with the aim of surviving within this society. Anti-blackness understands that the black/non-black dyad is fundamental to understanding the relationships carried out in the lives of black people. In this sense, the concept differs from racism and will be the primary element for studying Chiziane's work. Regarding theory, among several authors, the studies Fantz Fanon (1952), Homi Bhabha (1994), Achille Mbembe (2018), João Costa Vargas (2017; 2020) and Osmundo Pinho (2020) will be fundamental; to deal with the history of Mozambique Cabaço (2007) and Mindoso (2017); dealing with the post-colonial and Kimberlé Crenshaw (2004) dealing with intersectionality. At the end of this study, it will be possible to verify that when using anti-blackness as a mechanism to survive and resist in that society, the main character fails in all instances, as the system that has this concept as its foundation does not allow the victory of a black woman. Precisely because, as Costa Vargas (2017; 2020) postulates, black people represent the non-human, but they are necessary for humanity to exist as it is
- ItemHumor e história em mendigos : narrativas de Alphonsus de Guimaraens(Universidade Federal do Espírito Santo, 2024-04-17) Fernandes, Danielle Fardin; Salgueiro, Wilberth Claython Ferreira ; https://orcid.org/0000-0003-3817-4738 ; http://lattes.cnpq.br/4872315380917914 ; https://orcid.org/0000-0002-7002-9234; http://lattes.cnpq.br/6945741688204156; Ricieri, Francine Fernandes Weiss ; https://orcid.org/0000-0002-4541-3090; http://lattes.cnpq.br/7785345123349630; Amaral, Sérgio da Fonseca ; https://orcid.org/0009-0009-8382-733X; http://lattes.cnpq.br/9383077540938356; Pontes Junior, Geraldo Ramos ; https://orcid.org/0000-0003-4669-3992; http://lattes.cnpq.br/6514258191906759; Arendt, Joao Claudio ; https://orcid.org/0000-0003-1155-4968; http://lattes.cnpq.br/4108580744111952Alphonsus de Guimaraens published the book Mendigos in 1920, shortly before his death (in 1921). In the book, there are 44 chronicles and a poem. These are narratives that address multiple subjects, but have a very frequent resource, which is humor, in the broadest sense. This is because the humor he creates does not provoke easy laughter, but requires reflection and deciphering elements not always visible to the reader, especially the contemporary reader. The thesis proposes to examine a large part of these chronicles, analyzing them in the light of humor. Before, however, we make considerations about Symbolism (Brazilian and European) and the concept of humor, using in particular texts by Sigmund Freud, Henri Berg son, Vladimir Propp and Elias Thomé Saliba. The analysis of the chronicles brought to light the existential, philosophical and even epistemological conflict of the writer who, living in a hegemonically religious world, even more residing in the baroque environment of Minas Gerais, does not fail to criticize Christian values and characters, without, however, disconnect everything from the metaphysical imagination. The thesis seeks, then, to point out the emer gence of humor precisely in this in-between place where the fissure of faith allows humor to break out, in the form of laughter, irony, wits, mockery and even jokes
- ItemTradução integral das Heroides de Ovídio em dístico elegíaco vernáculo(Universidade Federal do Espírito Santo, 2024-03-20) Melo, João Victor Leite; Salgueiro, Maria Amélia Dalvi; https://orcid.org/0000-0002-8729-2338; http://lattes.cnpq.br/9399371418356916; https://orcid.org/0000-0002-8683-2179; http://lattes.cnpq.br/2618375087243327; Salgueiro, Maria Amélia Dalvi; https://orcid.org/0000-0002-8729-2338; http://lattes.cnpq.br/9399371418356916; Silva, Arlene Batista da; https://orcid.org/0000-0001-8153-5776; http://lattes.cnpq.br/2371977118070548; Juliani, Talita Janine; https://orcid.org/0000-0003-1043-6564; http://lattes.cnpq.br/0895728018497772; Barbosa, Tereza Virgínia Ribeiro ; https://orcid.org/0000-0001-8449-0411; http://lattes.cnpq.br/9710472636673874; Avellar, Júlia Batista Castilho de ; https://orcid.org/0000-0003-3676-833X; http://lattes.cnpq.br/5501684320469328Considering the idea that a significant part of the surviving elegiac corpus of the Augustan age (1st century BC), starring Propertius, Tibulus, Sulpicia and Ovid, is translated into Portuguese through a structural homological model of vernacular couplet, in which Latin hexameters and pentameters are transposed by the alternation of verses formed by twelve and ten poetic syllables, this thesis aims to demonstrate that, despite coexisting with other arrangements, this format represents a tradition and a translation school in the Portuguese language. For this purpose, our work is divided into two analytical approaches: the first is a diachronic approach, in which we gather and comment on examples of metrical versions of Ovidian elegiac works (between the 16th and 19th centuries), highlighting the heterogeneity of the modulations carried out in the Renaissance, Arcadianism and Romanticism; the second is a synchronic approach, in which we collected samples from several translators (between 1964-2022) who have in common the choice of the 12/10 pattern in transpositions of Latin elegies. Keeping in mind specific rhythmic and stylistic differences among each of the authors, the chronological analysis of these works and the theoretical paratexts that accompany them reveal that, for more than half a century, the search for structural homology with the Latin elegiac couplet, carried out by the vernacular couplet 12/10, manifests itself in the translations through five discursive characteristics: metric, rhythm, compensation, isostychy and polymetry. Therefore, using theoretical-methodological parameters, as well as practical examples offered by this historical and living tradition, we present, in the fourth part of the thesis, the twenty-one poems that compose Ovid‟s Heroides, fully translated with the referred model.
- ItemLa Constante Revelación de La Literatura. Escritura Performática Y Voces Narrativas en La Obra de Milagros Socorro(Universidade Federal do Espírito Santo, 2024-02-28) Zerlin, Solveig Josefina Villegas; Schiffler, Michele Freire; https://orcid.org/0000-0001-9198-468X; http://lattes.cnpq.br/9912476303376712; Oliveira, Ester Abreu Vieira de; https://orcid.org/0000-0001-9959-1418; http://lattes.cnpq.br/3293718089972581; https://orcid.org/0000-0001-7824-6316; http://lattes.cnpq.br/8643218952895307; Caser, Maria Mirtis; https://orcid.org/0000-0001-9247-8199; http://lattes.cnpq.br/1341358191671907; Pizol, Rafaela Scardino Lima; https://orcid.org/0000-0002-6025-1026; http://lattes.cnpq.br/8597229308090828; Kienzler, Juan Luis Manzano; https://orcid.org/0000-0002-9045-0915; http://lattes.cnpq.br/; Arcuri, Silvia Inés Cárcamo de; https://orcid.org/0000-0002-1633-0077; http://lattes.cnpq.br/4215242828663489En la presente tesis emprendemos un análisis crítico de la obra de la escritora venezolana Milagros Socorro (Maracaibo, 1960) a partir de sus textos El abrazo del Tamarindo (2008), Cuentos guajiros (2011) y Actos de salvajismo y otros relatos (2009), teniendo como norte abordar las voces narrativas y los rasgos performáticos de su escritura (RAVETTI, 2002). Destacamos el posicionamiento situado de la autora al prestar oídos ante quienes han sido poco o mal escuchados privilegiando a las mujeres y a los pueblos originarios venezolanos. Las problemáticas de las mujeres recreadas y sus historias resultan consistentes con la colonialidad imperante en nuestras sociedades occidentales en las instituidas formas de la lógica del capital. Las mujeres ficcionalizadas dialogan desde sus orígenes étnico raciales, sus papeles sociales de género y sus circunstancias. La voz narrativa predominante en la construcción de las tramas es la de la enunciadora protagonista, misma que puede compartir su rol con otras voces en simultáneo. Los principales rasgos performáticos en las piezas abordadas son el gesto autobiográfico y la marca performática musical. La recreación de las naciones indígenas y sus cosmovisiones ancestrales prefigura, a su vez, la crítica de la violencia del mundo criollo y del Estado hacia los descendientes de los primeros pobladores que aún perdura. Por último, en la tradición de importantes autores venezolanos como Rómulo Gallegos, Antonia Palacios y Miguel Otero Silva, la literatura de Milagros Socorro fabrica imaginación territorial, con Machiques y la Sierra de Perijá como centro y tematiza el proyecto educativo de nuestro país como instancia inacabada.
- ItemViolência e autoritarismo na literatura testemunhal de Bernardo Kucinski(Universidade Federal do Espírito Santo, 2023-07-03) Dadalto, Weverson; Trefzger, Fabíola Simão Padilha; https://orcid.org/0000-0002-6361-7134; http://lattes.cnpq.br/7299183790903513; https://orcid.org/0000-0003-0597-1474; http://lattes.cnpq.br/8645829114288837; Salgueiro, Wilberth Claython Ferreira; https://orcid.org/0000000338174738; http://lattes.cnpq.br/4872315380917914; Ginzburg, Jaime; https://orcid.org/0000-0003-2413-9085; http://lattes.cnpq.br/2979125182455792; Martinelli Filho, Nelson; https://orcid.org/0000-0002-6956-5400; http://lattes.cnpq.br/9186790476855298; Sastre, Luciana IreneThe collection of Bernardo Kucinski's work witnesses the military regime authoritarianism (1964-1985) as a paradigmatic manifestation of the barbarism that persists in Brazilian society, a society that has been founded and sustained by violence. This study proposes an analysis of the novels and short stories of the author while it suggests the association between the horror of dictatorship and the widespread catastrophes in the modern world, which cannot be dissociated from dehumanizing political-economic orders and which have been pushed to the extreme in the unspeakable terror of the Holocaust. From the 1970s onwards, Kucinski produced a vast non-literary bibliography devoted primarily to reporting state crimes, politics, economics, and journalism. This research introduces the most representative books of this phase, which provide theoretical, critical and historiographical elements to examine his later literature. Kucinski debuts in fiction by publishing the serial Mataram o presidente (2010). His major novel, K. (2011), is the subject of notable critical studies. Until the release of O congresso dos desaparecidos (2023), the writer's intense dedication to literary activity results in the publication of twelve works. Throughout this dissertation, comments are made to each of these fictional works, identifying the main marks of the collection and highlighting aspects related to the testimony of repression victims. Afterwards, such interpretations refer to the theoretical discussion on the unstable delimitations of violence and authoritarianism concepts. Certain propositions contribute to the debate, such as the ones of Walter Benjamin, along with investigations of philosophers who differently or even divergently seek to understand these problems; among which Hannah Arendt, Jacques Derrida, Giorgio Agamben, Slavoj Žižek, Byung-Chul Han, Judith Butler and Theodor Adorno stand out. The contributions of these thinkers are brought to the particular analysis of the selected fictional works. Analyzed texts show that Kucinski defies forgetting both the unspeakable effects of Nazi totalitarianism and the intense anti-Semitism in Poland at the time of World War II. These works present the inexpressible suffering of survivors of the catastrophe from the perspective of Jewish immigrant refugees in Brazil. The understanding of this face of Kucinski’s production establishes theoretical and historiographical foundations in the research of Paul Ricoeur, Marianne Hirsch, Nachman Falbel and Regina Igel, among others. Finally, this thesis seeks to demonstrate that, by relating the dictatorship in Brazil to other violent events, Kucinski's writing takes a sympathetic stand regarding the testimony of the victims and denounces the continuity of authoritarianism in supposedly democratic periods. The need to elaborate on memory and the impossibility of representing traumatic experiences through conventional languages demand the overcoming of traditional narrative forms and the thematization of ethical and aesthetic impasses faced by the witness. In this sense, studies by literary critics such as Márcio Seligmann-Silva and Jaime Ginzburg are pertinent to the interpretation of Kucinskian fiction. The politically compromised reception of Kucinski's testimonial literature mobilizes literary studies to participate in the elaboration of the past and to resist the authoritarianism that persists in contemporary times.