Law No. 10,436, of April 24, 2002, is a positive milestone in the fight for the citizenship rights of Brazilian deaf PEOPLE. From this perspective, Brazil has a favorable space for teaching and learning Brazilian Sign Language (Libras) as a First Language, and Written Portuguese as a Second Language, especially in school contexts and in the development of Deaf Literature. Among the precepts presented, the aforementioned Law recognizes Libras as a legal means of communication and expression, with all the linguistic resources that Languages provide. That said, the objective of the present study is to verify how the Escola Bilíngue Libras e Português Escrito de Taguatinga (EBT), located in the Federal District, approaches the contents of Deaf Literature, oral literature and other arts, with the purpose of demonstrating the relevance OF this literary component for the learning of Deaf and Non-Deaf students. As specific objectives, we seek to: i) analyze and record how Deaf and Non-Deaf people perceive the importance of literature and other arts, in the school environment and out of it; ii) verify how teachers work with literary texts when teaching Portuguese and Libras to Deaf and Non-Deaf students; and iii) analyze the positive and negative aspects of the National Common Curricular Base (BNCC), with regard to literature, with a view to its integration into the inclusion policy in Deaf education. In order to develop the objectives presented, regulations and educational documents were mapped and analyzed, such as the Political-Pedagogical Project, the Law of Guidelines and Bases (LDB), the National Common Curricular Base (BNCC), the Currículo em Movimento do Distrito Federal, among others. The methodology favored a qualitative approach, through case studies, and participant observation. To obtain the information, field investigations were used, initially as conversations with the principal and viceprincipal, with the pedagogical coordinators, as well as informal interviews with parents, students and teacher board, during presentations of cultural and pedagogical activities of the school. The results found require a reflection on the importance of developing practical clarification actions regarding literature and other arts, as well as what is understood as Deaf Literature. This conclusion is also reinforced by the informal testimony of some parents and teachers, who point out that there is no teaching of literature in the curricular components of this school. Therefore, it is assumed that they consider only “canonical literature” as literature, without understanding that what they are doing is literature and, equally, Deaf Literature, through a formo f art that reveals the daily life of the Deaf Community, whether in a school environment, or in other contexts. The set of these statements points to the existence of a relationship that needs to be better developed between what is considered literature and how it reflects on the academic performance of deaf students and the construction of their effective citizenship.

The album ‘Da lama ao caos’ (1994) by Chico Science e Nação Zumbi, is a landmark in the manguebit movement. It creates a new rhythm, characterized by a mix of traditional music from Pernambuco, such as maracatu and embolada, with rock, funk and rap. Its impact on Recife, the city that saw the emergence of the manguebit movement , was immense, lasting to this day, thirty years after its launch. In this thesis, I seek to understand where this work of arts strength lies. For this, it is important to understand what it communicates, how it carries out such communication, who it is aimed for and what important legacy it offers to its public. Naturally, in this endeavor it is necessary to be aware of the different arts that, together, form the final product: music, literature and painting, in addition to the external element of performance, a mixture of dance and theater, which is coupled with the experience of consuming this kind of work of art. The research concludes that the album ‘Da lama ao caos’ (1994) communicates a political message, especially to young people from the poor neighborhoods of Recife and its metropolitan area. This message is communicated through a poetic-musical narrative, equipped with a plot, characters, narrator and a determined space and time. The unusual narrative offers its public, especially its target audience, young people from poor neighborhoods, an opportunity to add another characteristic to their hybrid identities : they can also be ‘caranguejos com cérebro’.

This research seeks to apprehend the depressive intricacies through its possible portrayal in literary characters. For this, we traced a path of discussion that begins with the understanding of the power that Literature has to allow us to be in contact with different realities from those in which we are inserted, including pathological realities, and how this forms and transforms us as social beings. This path of investigation continues with the help of the relationship established between Literature and Psychoanalysis, allowed by the theoretical framework of Comparative Literature, with the psychoanalytic view of depressive disorder being what will guide us in our analysis of the characters of the chosen literary works, The unbearable lightness of being, by Milan Kundera, and The general in his labyrinth, by Gabriel García Márquez. 

This work seeks to understand the role of young writers in the formation of young readers, their place in the literary field, actions in social networks and insertion into the young universe. The analytical focus is the trajectory of a specific author, Lavínia Rocha, and her role in an educational context, with direct influence in this niche. An overview of young authors is presented, with notes on notable authors who started writing at a young age, the history of some contemporary authors, their motivations, spaces and work with the reading public. The case study of the writer Lavínia Rocha brings a biography and her emergence in the current scene of writers, an exposition and analysis of her works and the fieldwork of interviewing her on two occasions, in addition to an analysis of the collected data. Finally, youngsters and their place in the world are discussed, their relationship with reading and the canon, knowing their voice and thinking about the positive aspects beyond difficulties. The paper then highlights the relevance of the voice of these young people, a voice that is not always accommodating to the standard of literature at school, but which can have a significant role in the formation of young readers.

The Brazilian Sign Language (Libras), a language which was made official from Law n.º 10.436 of 2002 as the official language of the deaf community in Brazil, as it is a visual-spatial language, is related to the visual poetry that Haiku provides. From this perspective and with the little literary collection available in the natural language of the deaf, an interest arose in approaching this theme together with the translation and analysis of the Haiku visual poetry, in addition to creating didactic material to use as a tool for filling out the gap in literary training and encourage the production of deaf literature in high schools. For this dissertation, which is part of the line of research “Literature and Other Arts”, we will use as a research object the book “Toda Poesia” by the poet, translator, and professor Paulo Leminski (1944-1989), a popular author in literature who is considered an of the greatest Brazilian haiku artists. With this objective in mind, we analyze a trajectory from the history of deaf education, going through important authors of Identity Formation and the deaf community, namely: Ferreira (2004), Gesser (2009), Karnopp (2010), Sacks (2010), Strobel (2009) and Vygotsky (1989). We approach literature authors, going through Candido (1995), Leminski (1995), Paz (1982), Quadros and Karnopp (2004), Skiliar (1999), Soares (2015), Sutton-Spence at all (2016), among others. Based on the theoreticians, we will analyze the translated Haiku by conducting a dialogue on the modalities of translation and translatability of poetic texts, composed by Benjamin (2013), Campos (2013), Compagnon (2009), Jakobson (1975), Plaza (1987) and Ronai (1981). Finally, the didactic material created to immerse Deaf high school students in a literary workshop will be presented, analyzing and explaining the experiences with Haiku created by Deaf high school students from a school in the Federal District. This dissertation makes a link between cultura and linguistic aspects, facilitates access to literature, and stimulates the literary creation of Deaf students in the classroom

This research is a dive into the universe of illustrated books, their parts and their
particularities. Books which, at first, are classified as those with
presence of text and images, which together form a unique message. Although,
there are other elements that make up these books and that are often
undervalued and even forgotten when readers and scholars of literature go
enjoy or analyze these works. Is the cover not part of the narrative? Does
the platform where the work is printed (or published) does not help tell that
history? Title, dedication, type of paper (in the case of works printed on paper),
table of contents and all other elements that make up books are not important in the
construction of their narratives? Another important point is the complexity of these
books that produce a message from the combination of a wide range of
of paratexts. Why is an object so full of possibilities constantly
related to simplicity and a single audience, children? Does this format
book is only suitable for certain subjects and people? To reinforce (or
reject) the importance of the elements that make up the illustrated book (the paratexts),
as well as its diverse (or infinite) possibilities, we analyze examples of
intentional use of these paratexts in the narratives of several works. What
led us to yet another question: is the picture book just literature? Or, who
you know, an autonomous and hybrid language, which mixes literature and other
artistic languages, such as visual ones, for example?

Based on dialectical criticism, this research investigates how the literary work of art incorporates, in bourgeois forms of individual representation, the collective materialized in the historical struggle of workers, avoiding the direct comparison of works with society and among themselves, but focusing on the existing dialectical tension between form and content, under the theoretical support of Marxist criticism. In this way, the main focus of the critical task is on the explanation of the literary text, thus, the understanding of the aesthetic form is what explains the relations between literature and society and how the empiricism is converted, through the artistic work, into a form literary, that is, in what way the element which is in principle external is internalized to compose the structure of the work in an organic way. Considering the figuration of the collective and the strike as thematic focus, the works investigated in order to fulfill this purpose are: The weavers, by Gerhart Hauptmann, and They don't wear black tie, by Gianfrancesco Guarnieri.

The research highlights the fundamental importance of memory in the learning process and points to axes of vital connection of corporality in the formative aspects in which cognitive reinterpretations as well as phenomenological micro-cognitions make themselves present in the dimension of formation. Initially, the need for a structured approach in order to think about the context in which learning takes place is highlighted, considering memory as the main tool. After that, the recording category "Amarcord" is presented, highlighting the record as something that enriches history and the anchoring of memory perceptions for adaptation and formative continuities beyond the classroom. The research aims to analyze the practice of Formation Engineering considering the formative context of the Brazilian territory and makes explicit the challenges before the implementation of projects that deal with the construction of methodologies and continued formative strategies. Lastly, the researcher's experience in the socioliterary project Caminho do Sertão is analyzed, illustrating how formative practice can align itself to a transformative and dialogical education involving formative actors and fomenting mutual learning and growth. 

This thesis aims to explore immersive narrative experiences and reader engagement in plots characterised by interactivity. Additionally, the research addresses the connections between interactive fiction (IF) and traditional literature to examine the narrative elements that influence interactive works. For this purpose, the central object of study and the concept of immersion are initially defined. Through an approach centred around the relationship between interactive fiction and literature, this study explores the connections and differences between these two concepts, highlighting their shared immersive and narrative elements. This comparative study is based on a detailed analysis of interactive works created by Emily Short, whose writing allows for the investigation of literary devices employed in IF and for its simultaneous comparison with traditional literature. Thus, in reassessing the relationship between literature and interactive fiction, this study sought to provide a contrasting analysis of the readers' experiences and roles in traditional and interactive narratives. A subsequent inquiry on literary formats and the reader's role emphasises the active role of the reader in interactive works. Overall, this interdisciplinary approach and the analysis of IF works highlighted the artistic potential of interactive fiction and the reader's role as an active shaper of the literary experience.

The reader is an emblematic figure in 19th century literature. Emma Bovary, by Gustave Flaubert (1856), is responsible for crystallizing, in literature, the image of the woman who reads and, in the same proportion, loses herself and causes her own ruin. In order to investigate how the construction of reader characters is carried out, we propose an analysis of the literary route of the first female protagonist of realism, to understand the role of reading – and its effect judged by literary critics as flawed, because it is harmful – not only for the character's path, but also for the representation of contemporary female readers. We start from the hypothesis that Emma Bovary is the precursor – in the conception of Jorge Luis Borges (1952) – of Bella Swan, the protagonist reader of the vampire saga Twilight (2009), responsible for reviving gothic romanticism. When investigating Emma and Bella's reading practices, we suggest an analysis that takes into account three points of connection: (1) the characterization of both as voracious readers; (2) the contrast between realism and romanticism outlined through the characters’ journey; and (3) the distinct nature of the books read by the protagonists: entertainment literature and classics. In a third moment, we try to investigate the relationship between reading and its effects on the construction of loving relationships experienced by women who read, through the careful verification of the constitution of the relationship between Bella and Edward, the ideal craved and never achieved by Emma Bovary. Thus, in this dissertation, we seek to give space to a claim of the possibility of exercising reading as a failed act, denied to women in the 19th century and in contemporary times as well.

This dissertation aims to analyze the multifaceted theatrical work of playwright Romero Nepomuceno, taking as reference three of his fundamental plays: A Fábrica (2005), O homem sem cabeça (2007) and E se a porta não abrir? (2000). This study aims to analyze how its characters and the entire dramatic fabric relate and reflect the customs of contemporary Brazil. Furthermore, we sought to understand the processes of resignification of some aesthetic and sociological elements, including those of an ideological nature, with a view to situating the contribution of this playwright to the formation and consolidation of the Brazilian theatrical canon in the period (2000-2007). In this research, plays that showcase and singularize in an exemplary way the idiosyncratic characteristics of the playwright’s work were privileged in order to allow the proposed socio-historical analytical path, given that Nepomuceno has not yet been investigated and this is the first dissertation work on your work. This work attempts to introduce the author to academia and demonstrate the literary and sociological potential of his theater, as his work is eclectic and deserves to be critically illuminated, given the degree of aesthetic maturity revealed. From a theoretical point of view, several authors who studied sociology, philosophy, literature and theatrical aesthetics contributed to this work. The main theorists are: Cafezeiro (1996), Faoro (2017), Rosenfeld (1985), Costa (2016) Sartre (2022), Albert Camus (2023) and Bauman (2014, 2022). Thus, Nepomuceno summarizes the political conflicts between social classes in Brazil. Furthermore, they propose a reflection on how to change the social and unequal structure of this country. With a political dramaturgy in which aesthetic aspects of modern epic theater are present, the author approaches, in his first play, the political theater of Bertold Brecht. Camus’s philosophy of the absurd exerts a great influence on his writing and contributes to a unique analysis of the behavior of the average contemporary man, of the existing conflicts experienced in a post-modern society. The result is the construction of a dialogue between the aesthetics of the Theater of the Absurd and Existentialism.

In this study, I explore the influence of hegemonic power in shaping Western imaginaries, with a focus on education and, particularly, Brazilian literary production. I emphasize the Sankofa Movement as essential, aiming to reclaim African ancestry and cultural values to foster a more diverse knowledge production. Identifying gaps in existing literature, my central purpose is to highlight the crucial role of Black literature in constructing positive imaginaries about the Black population. To achieve this, I employ an analytical methodology that delves into the works of writers Maria Firmina dos Reis, Carolina Maria de Jesus, Conceição Evaristo, and Lu Ain-Zaila. Utilizing concepts such as "escrevivência," "oralitura," "ancestry," "afrofuturism," and "senioridade," I seek to underscore the circularity of knowledge present in these works and the historical dialogue among them. As a result, I underscore the importance of reclaiming African ancestry in Afrodiasporic literature, promoted by the Sankofa Movement, as a means of experiencing a directed present and envisioning a future. In this way, other Afro-Pindoramic writers and their respective critical bodies may feel encouraged to contribute to a more diverse and historically necessary literary canon.

This dissertation aims to analyze the figuration of the family album in the photoliterary autofiction book A cena interior-fatos (2017), by Marcel Cohen. To this end, we understand that the organization of the book occurs with the engendering of word and image that produces the aesthetic effect of reading as if we had a photo album. This is configured in the narrative based on the attempt of Marcel, a Jewish Turkish author, to reconstitute a family life, since at the age of five and a half, during the Second World War, he witnessed a good part of his family being deported to Auschwitz, when they still lived on Boulevard de Courcelles, in Paris. In this sense, this work, considered here as photoliterary, is made up of facts collected throughout the author-narrator's life, as well as reproductions and descriptions of photographs of his family members and objects relating to his parents. The narrative, thus, emerges through the reciprocal relationship between writing and image, also faced with the flickering of Marcel's memories, a character who, when reminiscing, oscillates between reality and fiction, which in our understanding borders on the autofiction genre, as he, in the absence of a moment lived with his family, starts to fable a daily life and a family life. The pages marked by the flickering of retrospection and the weight of loss are supported by the traces of writing and photography and make up the family album A cena interior-fatos, in addition to demanding the Cohen family's right to memory, it prevails in its Marcel's desire to live a life with his loved ones, even in the limited space of the book.

In this thesis I address the theme titled An Aesthetics of Virtuosity in Memórias Póstumas de Brás Cubas. I propose a reflection on the strategy adopted by the narrator of the novel Memórias Póstumas de Brás Cubas, by the Brazilian writer Machado de Assis, when he presents the characters with attitudes that have two faces. One face turns towards the society in which they live, demonstrating apparently ethical and virtuous attitudes. The other face is exposed to the reader, through a deceased narrator, showing that the attitudes of these characters are not virtuous and ethical as they appear, but that they aim to achieve public glory. In this sense, the work reveals a game between the ethical and the aesthetic, as the narrative shows what the characters really are like, what are the motivations for their attitudes and what they demonstrate to people. The love of public glory and biblical intertextuality are aesthetic elements used in this game established by the narrator and cause this effect of contrast between what is ethical and what is merely aesthetic in the lives of these characters. So that, in this thesis I expose some reflections based on the reading of the books A Racionalidade Estética (1991), by Jayme Paviani, Verbetes da Epistemologia do Romance (2019), Volume I, and Verbetes da Epistemologia do Romance (2021), Volume II, whose authors are members of the Brazilian Research Group called Epistemologia do Romance (Epistemology of the Novel), Textos Básicos de Ética: De Platão a Foucault (2007), by Danilo Marcondes, O que é Estética? (1999), by Marc Jimenez, A Arte do Romance (2009), by Milan Kundera and Crítica da Razão Prática (2017), by Immanuel Kant.

The object of this thesis is the presence of the Bible in contemporary literature, focusing on the character as a reader of the Bible. We analyzed the characters of two novels in Portuguese: Galileia, a novel by Brazilian writer Ronaldo Correia de Brito, published in 2007, and the debut novel by Portuguese writer Faíza Hayat, O evangelho segundo a serpente, published in 2006. The main objective is to provide new data on biblical reception in contemporary times. Theoretical frameworks are concepts of intertextuality and reception theory. Two major reading trends were identified: The first is projection, prominent in Galileia, in which the narrator projects biblical figures and events onto his own identity and the events around him. The second is rewriting, prominent in O evangelho segundo a serpente, in which the characters make their comments, question the text and its nature, and even propose rewritings and "reformulations" of parts of the Bible. We also suggest three forms of the presence of the Bible in which intertextuality can develop: an object of mystical imagery, a target of commentary, and biblical text as a template. Based on reception theories, we consider that the text is not produced in a vacuum, as its author belongs to and is the product of a localized culture that influences its space and time, and that the text is also not received in a vacuum, because its reader is also a product of its reality, and it approaches a piece of literature from a horizon of expectations and a particular repertoire. A descriptive process was employed: identifying the biblical allusions in the novels, individually, and then analyzing each excerpt based on the following elements: the excerpt from the novel, the excerpt or biblical theme to which it refers, the character making the reference (identified as a Bible reader), and a brief analysis of the relationship between the two texts, the reading made by the character, and the interpretative processes involved. We concluded that the characters in the novels analyzed read the Bible motivated by external events. Their reflections do not have the Bible as their ultimate goal: they traverse the biblical text as they interpret other matters and, in the process, offer an interpretation of the biblical text itself. "Projection" and "rewriting" readings types are proposed to describe the main reading trends found in the two novels are just two of the many possibilities that can still be found. Finally, for future research, we propose the analysis of other fictional works that contain characters reading the Bible, to identify other trends in reading and contemporary reception of the Bible.

This doctoral thesis analyzes five translations from English into Brazilian Portuguese of the play The Importance of Being Earnest: A Trivial Comedy for Serious People (1895), by Irish playwright Oscar Wilde (1854-1900). These translations were carried out by Guilherme de Almeida and Werner L. Loewenberg (2005, fourth edition by Civilização Brasileira); Oscar Mendes (1975, published by José Aguilar); Eduardo Tolentino and Brian Penido Dutt-Ross (2007, published by Peixoto Neto); Sonia Moreira (2011, published by Penguin/Companhia das Letras) and Petrucia Finkler (2014, published by L&PM). With the exception of the translation by Eduardo Tolentino and Brian Penido Dutt-Ross (2007), entitled “A importância de ser Fiel”/“The importance of being faithful”, the other four translations carry the title “A importância de ser Prudente”/“The importance of being Prudent”. In this research project, it is mainly considered how the humor in the play and the proper names of the characters were translated. This thesis fits into Descriptive Translation Studies and is based on the Theory of Polysystems, by Itamar Even-Zohar (1990), on the works of Gideon Toury (1980, 1995) on descriptive studies, on the precepts of André Lefevere (1992), who schematizes literary systems, and in the theorizations of Sirkku Aaltonen (2000), who theorizes theatrical systems. In a practical way, when analyzing the five translations of the play, the description scheme of literary translations developed by José Lambert and Hendrik Van Gorp (1985) is used. Regarding proper names, it was evident that the name “Ernest” is mainly presented in the work in a “loaded” way (HERMANS, 1988), that is, it has several implications in the text. These implications are not met by the translation option of “Prudente” (Almeida/Loewenberg, Mendes, Moreira and Finkler) and are more frequently met by the option of “Fiel” (Tolentino/Dutt-Ross). Regarding the comic aspects of the play, Oscar Wilde uses various resources and strategies to create humor in the text and, based on the data and the examples addressed in the thesis, it was evident that the translators' choices influence, positively or negatively, the perception of the comic when reading the translations. Strategies used to translate the jokes into the text range from omission to the use of Brazilian idioms in place of English expressions.

This PhD dissertation aims to propose the topic of failure as the axis of analysis and reading of literary repertoires in Urupês (1918), by Monteiro Lobato, Triste fim de Policarpo Quaresma (1911), by Lima Barreto, Os Sertões (1902), by Euclides da Cunha, Cuentos Frágiles (1883), by Manuel Gutiérrez Nájera, El Bachiller (1895), by Amado Nervo and Asfódelos (1897), by Bernardo CoutoCastillo. In order to analyze failure in the Brazilian Pre-Modernist and Mexican Modernist repertoires, the research first reflects on the general notion of system (BERTALANFFY, 1986), of literary system (EVEN-ZOHAR, 2007-2011), of literary field (BOURDIEU, 1989), and of the limits that these proposals offer. In this way, the abstract and concrete relations of literary products, the conditions of production and reception, and the possible textual presences can be understood (GENETTE, 1989). This would point from the outset to the possible link between authors and potential readers of the works; but, above all, it would point to the understanding of the relations existing in the repertoires in question. After such reflections, it is proposed to observe literature as a multidimensional utopian reality, while the repertoires as a construction product of that multidimensionality. Furthermore, the notion of failure and its link with literature is explored, leaving the term “failure” for the conditions of production, and making use of the concept of “entropy” for the conditions of reception. The methodology consists on the analysis of the texts based on the theoretical proposals of Gilles Deleuze and Félix Guattari (2010). Thus, failure is sought as a block of sensations ⎯affects⎯, which, in turn, are contained in the repertoires of the above-mentioned works. The analysis, properly speaking, highlights this failure and the rereading that can be offered for each of the Brazilian and Mexican works, in addition to highlighting how this failure moves the entire literary system and circuit in the direction of the renewal of the canon.

The thesis deals with a study of the adaptation of romance by Mario Vargas Llosa entitled: “The Time of the Hero” (literally "The City and the Dogs") for the homonymous film directed by Francisco Lombardi. In the first chapter we described how the writer's life is reflected in the first romance. Research on the life trajectory of Vargas Llosa made us pay special attention to the author's childhood memories. His father's absence in the first years of his life and his abrupt return left painful marks on the writer's life. Although memories are gradually diluted without resentment for the past, they were enough for the author to find a refuge in literature. In the second chapter, we dealt with romance itself. We studied the fiction trajectory until verifying how the memories are embodied in the work's pages. We verified how the author creates microsomes, placing the diversity of social classes in the military college. It shows the central drama that unfolds after the theft of test questions inside the military college. In the third chapter, we studied the approximations and distances between the literary and the cinematographic works, presenting how the joint work of author and film director is beneficial for both the readers and the moviegoing public. It is worth noting that the work was read in the original language, Spanish, and that the quotes from the thesis were translated by the author. The film was also analyzed in the original language. It is worth mentioning that most of the authors consulted are Peruvian or Spanish-speaking. The paths of the investigation were enriching because we learned how the words of reality, fiction and action are intertwined. Twenty years after the publication of the romance, the film gave us the same sensations that we felt when reading, the story of the students in a military school who are disciplined, but who hide many situations so as not to tarnish their image. In the end, we conclude that life and work are also intertwined, and that the literary universe gains a lot from this procedure when it comes to a great writer like Mario Vargas Llosa.

This study argues that the nueva narrativa hispanoamericana instituted the trajectory of a new literary thought, from the “inaesthetics” of Alain Badiou (2008), and not a mere poetic rhetoric called "magic realism". The innovative relational logical experimentation between the sense effects "real" and "marvelous", of intercalary conjunction, produced an undecidable space between contradictory signs, from materials and layers of the past or the future merged in the present, thus conforming a phantasmal form. In this sense, a series of novels developed a radically new literary form, capable of making visible the invisible Hispanic American spectres, unfolding as literary thought a realism of the ghosts of the periphery or a spectral realism, in which the novels perceptively investigate modern power, defacing the idea of a progress in the history of global capitalism, through the diegetic exposition of a complex mythical structure of power, in the sensitive distinction of various ritual and sacrificial procedures. To this end, we analyze Asturias El Señor Presidente (1946), which proves to be the work of irruption of the new form; El reino deste mundo (1949) and Pedro Páramo (1955), which gave existence to and developed the first formal consequences of spectral realism; Cien años de soledad (1967), which presents a negative standardization of the new form; and, finally, McOndo (1996), which attempts to destroy the thought of the ghost realism of the periphery

This dissertation aims to comprehend how the signifier Maelstrom – as well as its crossing - are constituted in the novel One Two (“Uma Duas” in Portuguese), a novel written by Eliane Brum. First published in 2011 by Leya Publishing House, the book was a finalist for the Portugal Telecom, São Paulo Literature and National Conference of Literature Awards. In 2014, its version in English was published in both printed and e-book formats. In 2018, a second edition was published by Arquipelago Editors. The novel shows us the narrative of a daughter, Laura, who takes care of her mother, Maria Lúcia, who is terminally ill. Although both return to live in the same space, it is as if they were still separated, due to the lack of dialogue between the two. Due to this separation, the reader starts to deal with two versions of the story, and, according to the process of telling the story itself, mother and daughter put the pieces together through this writing. In this maternal scenario, there is a silence in which the pain of the human condition is hidden, highlighting an unromanticized maternal relationship. In chapter twentytwo, the word Maelstrom appears, in the course of the narrative, isolated from the other pages on the page. Through this aesthetic choice I notice a narrative strategy that permeates from the layout of the book to the themes that involve the protagonists Laura and Maria Lúcia. Based on these considerations, I developed the first part of this research identifying the maternal Maelstrom and showing how its formation takes place through a Maelstrom that is present in the structure of the narrative. The vestiges of choices in the novel's organicity - such as the color of the letter - the mixture of narrators and the uncertainty of who narrates not only demonstrated the Maelstrom presence but also put myself, as a reader-researcher, in a game of suspicion that absorbed me. I still emphasize in this part issues that involve the universal discourse of the role of mother, and how Eliane Brum intends to subvert the ideal of mother in the conflicting relationship between Maria Lúcia and Laura. In the second part, I approach Eliane Brum's body of work, demonstrating that the term Maelstrom is part of a project of the author's aesthetic choices, being an expression that permeates the author's life and work. In addition, I point out how Eliane Brum has her experiential laboratory by publishing certain contents in her reports, interviews and events that are repeated and anticipate the publication of her books. In the third part, I work with Maelstrom in instances that concern “Uma Duas”, thinking about the condition of Being. I also try to pay attention to aspects related to the aesthetic effect in the novel. Considering the ideas and meanings involving a Maelstrom, I get into issues in which the present elements not only claim, but provide reflections on the confrontation between the aesthetic and the ethical in the work of artistic creation. In order to understand this study, it will be important to interconnect reflections within the scope of the discussions raised by the Epistemology of the Novel theory regarding the idea of play by Hans-Georg Gadamer (1997), What can I know? by Immanuel Kant (2016 ) and about the novel he thinks of Milan Kundera (2016). Supported by the perspectives of EN, my reading of One Two encouraged in me the possibility of creating strategies, as a reader-researcher. This research demonstrates that strategies creativity is born from the experience of the aesthetic object and raises, in turn, questions that led me to problematize how the Maelstrom can reach a source of knowledge about the human.

This is a work that deals with the word. Word as movement and possibility of inscription in the world beyond fixed images and limiting categories imposed on black women. Part of an academic and subjective journey, the research that culminates in this thesis is based on the crossroads, understood here as a theoretical and embodied operator of the black experience in the diaspora (MARTINS, 2021). Having as a literary corpus the novel O crime do Cais do Valongo (2018), by Eliana Alves Cruz, it evokes the voices of black women in the flows of what I called word-tide. In this way, it analyzes the novel as a work that seeks to intertwine definitions, choices and literary categories with the historiographical production of the Afro-Atlantic territories, especially with regard to the social history of slavery and the narratives of freedom undertaken by black subjects in their processes of subjectivation and imagination. freedom radical. I understand that the work studied here sheds light on fractures, but also sheds light on scenarios that can be faked. Narrating the history of Brazil focusing on the experiences of the black and enslaved population subverts the way in which the functioning of the country and its social dynamics is understood and perpetuated. The hypothesis defended is that the words of black women are part of a temporal circularity and give rise to the recognition of the complex subjectivities that these women have always claimed for themselves

This research aims at studying the black character in Lima Barreto's literature and analyze its shift from transmediality to soap opera. The perspective is to identify how the city and the black character were portrayed and are the basis of connection between the fictional universe and the humanistic perception in the Brazilian social context, transposed to the soap opera “Fera Ferida” (1994) of the Globo Television Network. Lima Barreto's work portrays the city and the individuals of a society that excludes and marginalizes them. Our intention is to verify how the thought of Muniz Sodré and Ortega and Gasset, in the works “O Império Grotesco” and The revolt of the masses (1930, first edition), contributed to the understanding of the text that transits between media and other kinds of art of Lima Barreto’s literary universe to the script and performance in the soap opera “Fera Ferida”. The analysis will be centered, above all, on the study of the social, cultural, political conjunctures at the time and in the context of the soap opera's reception in the early 1990s. The script is authored by Agnaldo Silva, Ana Maria Moretz and Ricardo Linhares. It was presented by the Globo Television Network in 221 chapters, from November 15, 1993 to July 16, 1994. The initial plot was based on the adaptation of the short story “A Nova Califórnia” (1915, first edition) by Lima Barreto. In addition to this founding narrative, the other short stories and novels by Lima Barreto were used to develop the plot. the short stories “O homem que sabia Javanês” (1911), “Memórias de Isaías Caminha” (1917), “Numa e Ninfa” (1915, first edition) and “Clara dos Anjos” (1948, first edition) were among them. In the literary texts and in the adaptation for the soap opera, we are interested in identifying the black body, verifying how it is treated by the author in the literary universe and how the reception occurred in the transposition to the soap opera Therefore, we will address every aspect of literary construction that may be of interest to the research objectives.

This study began with the translation of three short stories from Sagarana into French: "Sarapalha", "A hora e a vez de Augusto Matraga" and "Duelo", considering that the translation allows a critical reading of the work. In fact, the translation process requires a broad understanding of the text, the way it was conceived and all the elements that compose it in order to recreate them in the other language. In addition, translation is in a space "between places", in liminality – thinking with the Theory of Geopoetry, creating a relationship between two cultures, two worldviews, highlighting similarities and differences. In this way, the translation process has allowed us to grasp the various aspects of the culture and landscapes of the Sertão and to understand the relationship that the inhabitants of the region build with their environment and how these elements become integral parts of the poetry and metaphysical thought of the author. This creates a dialog between the translator, the work, the critics (readers) of the work and the readers of the translation. Within the scope of theories of geopoetry and field literature, which seeks to study the stories of these people from the interior of Brazil, often marginalized and poorly represented in national literature, we analyze how the different aspects of the life of the people from the Sertão are portrayed poetically by João Guimarães Rosa. The writer from Minas Gerais, as a Benjaminian narrator, retains a strong bond with the place where he was born. He returned later to his homeland to work as a doctor. Then he accompanied a cattle drover and, as an ethnoflâneur, continued to write down in notebooks what he saw, heard and felt, collecting the material that would allow him to create a rich and complex work, whose purpose is to reflect and lead the reader to reflect on the human condition.

 Chico Buarque and Fabrizio De André are two iconic artists from their respective cultures. Although they belong to very different contexts from peripheral capitalism, it is possible to draw some parallels between their educations and careers that lead to deeper reflections about the Brazilian and Italian song systems. In this sense, the objective of this work is thinking about the political function of music and the aesthetic performance of historical events, specifically within the context known as “years of lead”, in which songs are responsible for a militancy that is now exhausted. Following a comparative literature methodology, we approximated songs taken from two albums by each author, observing the relationship between the artist, intellectual and bourgeois, and national life in each context and interpreting the function of music in relation to reality, as an agent of history, as a tool for describing history and as a source for its study. Our theoretical bases were the studies of Theodor Adorno, Walter Benjamin and György Lukács, in addition to other contemporary scholars who claim the same critical tradition. We conclude that the song played a determining role in social life both at the time, contributing to the enlightenment of the masses, as well as today, being cultural baggage of an imperitable collective imagination.

Literature and cinema are two arts that are increasingly obtaining space in discussions among literary and film critics, as they often relate to each other. This relationship can be observed in film productions such as Os Maias: cenas da vida romântica (2014), directed by João Botelho. This film, along with the literary work entitled Os Maias (2017) by Eça de Queirós, originally published in 1888, constitute the focus of this thesis. The main objective is to analyze the cinematographic resources used by director and screenwriter João Botelho in the mentioned film, with emphasis on the image, in order to demonstrate the reconstruction of the visual messages identified in Queirós’ text and verify the aspect of "capture" of photography in João Botelho's screenplay, as a consequence of the rupture in the linearity of the film narrative. From this investigation, we also explain how the film dialogues with the work and with other intertextual references present in it, such as those written by Victor Hugo, Spencer and Baudelaire. To do this, we conducted readings of texts belonging to theorists Robert Stam (2008), Linda Hutcheon (2013), Thomas Leitch (2004) and James Dudley Andrew (2002) which provide the basis for this work. Therefore, from this analysis, it is possible to identify the imagetic relations between João Botelho's film and Eça de Queirós' literary work, revealing the functioning of Portuguese society at that time and the reconstruction of the characteristic psychological elements of the characters.

This thesis explores the concept of deaf theater based on my experience in the Performing Arts. In the thesis, I analyze theatrical genres and investigate signed dramaturgy elements and deaf theater. Contemporary deaf theater established connections between epic theater and dramatic theater, seeking models of reflection that enrich the deaf theater practice. This study incorporates theater concepts, meanings, perspectives, and historical events. These elements unify both visual and accessible theater. This study aimed to expose a dramatic study that incorporates deaf theater as a recognizable form of art and dramatic literature. It analyzes the role of theatrical production when forming the concept of deaf theatre. This study is based on renowned scholars in theater and dramaturgy, including Bertolt Brecht, Jean-Pierre Ryngaert, Jean-Pierre Sarrazac, Eugenio Barba, Patrice Pavis, and others. After the theoretical framework, I focused on analyzing the play O Grito da Gaivota, based on the autobiography of Emanuelle Laborit, a deaf French author. The analysis starts with the dramatic text's production based on the autobiography and then examines its performance exploring the deaf theater and signed dramaturgy model. It also evaluates the script and the sign language recorded video, concentrating on the major role of the deaf community. In addition, this study questions bilingual theater interpretations in the deaf context. Finally, I demonstrate how my experiences, sensitivities, and background as a deaf researcher and director have enriched my understanding of adopting a political, cultural, linguistic, and identitarian perspective when examining the narratives and theatrical practices of deaf subjects.

This research is about orality, indigenous writing, myth and literature, theater and also about ancestry and how a female element, the “Uncreated”, the one that creates itself and that after creating itself, initiates the creation of the world and of all things. She invokes five thunderbolts; the "Grandfathers of the World" together with the "Great-Grandson of the Universe" or Umukonehkü, who has no physical body, created by her sludge later and gives the order for them to board a great Thunder-Snake-Canoe and travel across the Lake of Milk and into the river, creating the world and all the things that inhabit it. This creative force, which is initially feminine, loses its power to the masculine and matriarchy gives way to patriarchy, themes contained in the work analyzed here and which was passed through the ancestral orality of this nation from the father, Umusi Parõkumu (Firmiano Arantes Lana) to the son, Tõrãmu Kehíri (Luiz Gomes Lana), with illustrations made by the latter and his cousin Feliciano Lana. Luiz Lana was willing to transcribe to paper the stories of this nation through the bias of one of its four clans: the Desana-Kehiriporã (the children (of the drawings) of the dream). These stories were narrated by his father in the early 1960s, and the work resulting from these writings was published in two versions; one in 1980, for the external public, and another in 1995, aimed exclusively at the indigenous public, as part of the collection entitled Narrators of River Black, initially composed of eight works, of which the one analyzed here is number 1. This dialogue between myth and literature will be done through the work resulting from the narrative: Before the world did not exist-Mythology of the ancients Desana-Kêhíripõrã (1995) published with the help of a Catholic priest, Casimiro Beksta, who for many years lived with the Desana and with the peoples of the Alto Rio Negro, in the municipality of São Gabriel da Cachoeira. with the play. Dessana Desana (Teatro I, 1997), written by Marcio Souza, who also helped in the publication of this indigenous work and also in its dissemination. A qualitative approach of an exploratory nature was used with technical procedures of documentary and bibliographical research. The theorists chosen to base the research were mainly those who dialogue with its theme, namely: Mircea Eliade, with Myth and reality (2019) among other works of his cited here that deal with the subject in question; Bronislaw Malinowski, who wrote Argonauts of the Western Pacific: an account of the enterprise and adventure of the natives in the archipelagos of Melanesian New Guinea (1976), a theoretical treatise that laid the foundations of the participant-observer, who, in order to understand the culture of a people, needs to establish a relationship of conviviality with it; Marcos Frederico Kruger, with his work Amazonia: myth and reality (2005), will establish a dialogue between myth and literature, also analyzing the myths of the Desana. 

This thesis investigates the influence of literary aspects of the biblical text, such as, imagery, stylistics and narrative found in the work of American writer Flannery O'Connor, mainly in her last novel The Violent Bear It Away (2007). Departing from concepts developed by Canadian literary theorist Northrop Frye — in Anatomy of Criticism: Four Essays (2006) and The Great Code: the Bible and Literature (2004) —, as well as from some contributions by American critic Robert Alter (in The Art of Biblical Narrative (2007) and Pen of Iron: American Prose and the King James Bible (2010)), we seek to demonstrate how the author’s novel converses with artistic procedures of the Bible, such as, typology and biblical archetypes, as well as its central myth, in the creation of a novel meticulously correlated to the biblical text. In our trajectory, we present the fictionist's ability in dealing with the biblical impetus in her composition.

This research aims to perform a comparative analysis of the novel Ponciá Vicêncio (2017) by Conceição Evaristo and the short stories "Desencanto" and "Cais-do-Sodré", from the book Cais-do-Sodré té Salamansa (1974) by the Cape Verdean author Orlanda Amarílis. It seeks to reflect on the construction of the subject within the processes of domestic displacement and diaspora, in order to understand how cultural and social conflicts and diasporic movements participate in the construction of identities, based on literary representation. Memory, historical context, and the coloniality of power are highlighted as essential elements for the discussion of the research corpus. The theoretical corpus is based on the theories developed by Stuart Hall (2003; 2006), Homi Bhabha (1992), Achille Mbembe (2018), Benjamin Abdala Junior (1999; 2006), and other authors. It was aimed, with this research, to contribute to the critical fortune concerning the literatures of Evaristo and Amarílis, which provided a reflection on the results of colonizations in Brazil and Cape Verde, and also to understand the identity process through the characters represented in the works.

This Master’s Thesis analyzes the work A Encruzilhada, by the Togolese playwright Kossi Efoui, which portrays the universe of four characters: the Ponto, the Woman, the Poet and the Cana at a crossroads without exit. In the late 1980s, this play won the prize at the Inter-African Theater Competition of French Radio International - RFI, which made it one of the main African works in contemporaneity, since its dramatic poetics breaks with the traditional form of a African theater, which generally has characteristics related to folklore in view of the condition human being and its relations in society. In this way, the play had its first translation into Portuguese and staged on Brazilian stages by the Teatro Coletivo En Classe et En Scene from the University of Brasilia. This group is composed of students and external members from the University, which are interested in the production and staging of theatrical texts of Frenchspeaking African playwrights from Sub- Saharan Africa. In this sense, the objectives of this Master’s Thesis are present in the analysis of this dramaturgy by Kossi Efoui, with the perspectives of afro-brazilian cosmovisions centered on the candomblé religion of the nation Ketu. In this way, the analysis is based on the epistemologies of the orixá Èṣù, which is one of the most controversial entities in the pantheon of African-based religions. The epistemologies about this orixá are present in the theoretical approach of the following chapters: Èṣù Yangi, who portrays the dynamic principle; Èṣù Lonan, the dispatch present in the staging and Èṣù Bàrá, the analysis of the dramaturgical corpus of the play. These different nomenclatures exposed in the chapters represent the qualities of Èṣù, which were invoked in this dissertation, in order to understand the complex poetic dimension of Senhor dos Caminhos, present at the crossroads African and Afro-Brazilian. For these discussions, we turn to the theorists Sylvie Chalaye, Aimé Césaire, Abdias do Nascimento, Jean-Pierre Sarrazac, Patrice Pavis, Kossi Efoui, among others, that allowed us a theoretical reflection on this drama in contemporary times. Finally, this research follows one path, but others may arise at this theoretical crossroads, as we are committed to reinventing and reinterpreting the world.

Brazilian children's literature, in its beginning, was composed of fantastic narratives, being strongly influenced by European wonder tales and, later, by Brazilian folklore. From 1920 onwards, the scenario began to change, mainly due to the presence of Monteiro Lobato, who innovated children's plots by mixing reality with fantasy, in addition to bringing other elements that facilitated the identification between his characters and the children's audience. . Until 1960, the presence of the marvelous was easily perceived, in many authors besides him, however, from 1970, there is a rupture of this approach, giving space to texts that aimed at the representation of reality in an objective way, leaving aside, in the most of the time, any remnants of childhood myths.

Thus, this research proposes, firstly, to reflect on the builders of literature for children in Brazil in these two important periods for the definition of Brazilian social identity; then, to analyze some works by representative writers of the 1970s and 1980s, considered realists, or Marxists, as some called themselves, with the main objective of reflecting on the role of the marvelous, or the lack of it, in these narratives: O menino e o pinto do menino and Os rios morrem de sede, by Wander Piroli; Lando das Ruas, by Carlos de Marigny; Pivete, by Henry Corrêa de Araújo; Os meninos da rua da praia, by Sérgio Capparelli; and Tchau, by Lygia Bojunga Nunes.

Jules Verne's work is a body of knowledge and information. Over time, his work was considered science fiction and even futuristic accounts. However, when we look at the novelist's writing process, new perspectives open up about the author's literary project. Thanks to his painstaking documentary work, Verne was able to gather various kinds of knowledge and information to develop his plots. His interest in documentation accompanied him throughout his life, providing him with encyclopedic material to develop his novels, characters, and other nonfiction productions. In addition to travels in the world of fiction, Verne traveled and sailed widely alongside his professional career, which gave him perspectives for the creation of a multiple, borderless work. Despite being influenced by great names in literature, such as Victor Hugo, Alexandre Dumas and Edgar Poe, Verne developed an original working method that led to worldwide recognition and success. Having initially written for the theater, the detail, technical precision, calculations, machines, and extraordinary journeys in his novels transport the reader and those who see him as a prophet of the future and his work as futuristic science fiction. The fact that some of Verne´s journeys and inventions became reality some time after the publication of his novels, such as the electric submarine, which appeared fifteen years after the publication of Twenty Thousand Leagues Under the Sea, reinforces this idea; it is the same with the rudiments of videoconferencing, which appeared sixty-nine years after In the Year 2889, with the arrival of man on the moon, a hundred years after From the Earth to the Moon, among other examples. Are these examples sufficient to classify Jules Verne as an author who wanted to produce science fiction? We raise the hypothesis that the writer´s scientific imagination – a man of theater and a traveler, passionate about geography and documentation – is above all part of his own machinery and the game he encourages his reader to play

Life is always lurking, with its unpredictability not always friendly, its chances and unlikely incidents. Faced with a reality that is often hostile, we find ourselves looking for a return to well-being, some kind of cure or at least some relief. For some people, literature has already demonstrated this power. In this sense, this dissertation is a
therapeutic journey through literature, without delegating to it the miraculous cure of the world's problems, but seeking to disseminate some of its therapeutic properties and modalities to discuss its effects and reverberations. In the process, it was necessary to
think about the definition of literature as something that transcends human rights, value, power, canon. In addition, we talked about meaning, interpretation and the possibility of rationalizing and feeling literature as ways of experiencing it. This dissertation is also crossed by the literature of Clarice Lispector, who dialogues with us side by side theory and transmits its therapeutic potential, especially about the work The passion according to G.H.

A literatura tem um papel transformador na sociedade, pois a partir de diferentes representações ela ajuda o indivíduo a compreender e estar em contato com os seus sentimentos e também com os sentimentos do outro. As associações que acolhem imigrantes na França podem se beneficiar da literatura para realizar a integração deste público, levandoos a entender os sentimentos que fazem parte desse processo imigratório e os empoderando através de suas próprias histórias. Para tanto, realizamos uma formação com a abordagem do livro “Là où vont nos péres” de Shaun Tan, com o objetivo de verificar como a literatura faz emergir os sentimentos e contribui para a compreensão do sujeito em situação imigratória, bem como colabora para a criação da empatia entre formador e imigrantes.

This dissertation analyses critically and contextually the work of the priest José de Anchieta ‘O Auto de São Lourenço’, considering the sociocultural relevance of the Catholic Church at that time and its role in the attempt to westernize the native people from the new discovered land. Under this perspective, this work resumes artistic characteristics of that time, as well as the colonizing role of the Ignatians, into a reflection on the patterns that can be observed in the priest’s text and its practical meanings to the attempt of acculturation of the Brazilian Indigenous. Besides, it also analyses the possible reception of concepts previously unknown by the natives (e. g., ‘sin’), to identify the process of religious syncretism that happened at that moment. The textual interpretation on this work was done mainly using ‘close reading’, to have a more precise microtextual outlook, and analysis of contemporary to the priest and modern bibliographies.

This dissertation presents as a working hypothesis the presence of the pictorial image in the scenic text through the canvas Pleine Lune (~1856) by Victor Hugo (1802-1885). To prove this assertion, a theoretical investigation was carried out to verify how the French artist moved from one art to another in his creative process during the period of exile. The techniques and materials used by him are listed, as well as two works in apparently different artistic areas, namely: de La Forêt mouillée (1854), (performing arts) and Pleine Lune (~1856), which were created in the same period. From this methodology, it follows the biographical context and the visual and dramaturgical production of Victor Hugo in the period of exile, which covered in three chapters. The first chapter talks about Victor Hugo's relationship with the personal, sociopolitical and arts context in general, in the period from 1851 to 1856 for the construction of the character in this scenic dramaturgy. The second chapter explains how Victor Hugo created the canvas Pleine Lune (~1856), in the period of exile, paying attention to the techniques and materials used in the composition of the canvas, through iconographic analysis, to then assess the artistic dialogues that resulted from this work, both in the visual arts and in literary creation, in the photographic experience and in the artist's dramaturgical production, thus establishing a parallel with the creation of the scenography, and the third chapter guides the possibility of how to move from the pictorial work Pleine Lune (~1856) for textual dramaturgy through the language of performance. For this, we will stick to the specific case of the play La Forêt Mouillée (1854) and the photography technique, both materialized by Victor Hugo in the period of exile, in order to understand to what extent the elements of the translation of the painting for textual dramaturgy through the transcreation process of Haroldo de Campos. Furthermore, we will focus on the artistic current called supernaturalism and the way in which it imposes itself on Hugo as an ideology in his creative process and in the materials experimented with Cohen's performance as a result of a dialectical game. reflected by Kant, Schiller and Didi-Huberman. This dissertation concludes by stating that by investigating and analyzing the multiplicity of elements transposed in the visual and verbal work of Victor Hugo, establishing a connection between the scenic and literary theorists in the possibility of transition from one art to another art without establishing housing distinctions between these artistic areas (literature, plastic arts and scenic art).

O objetivo deste trabalho é entender como realizar uma sensibilização com livros-álbuns sobre temas relacionados à imigração, plurilinguismo e multiculturalismo pode ajudar a valorizar idiomas e culturas e iniciar um caminho para o desenvolvimento da competência intercultural dos alunos no primeiro grau. Para alcançar este objetivo, a formação de professores da educação primaria é um passo essencial e ao qual demos um lugar importante através da engenharia de formação. Além disso, construímos sequências pedagógicas com base em quatro livros-álbuns destinados ao público infantojuvenil. Neste trabalho, primeiro analisaremos o contexto da imigração na França, o plurilinguismo, a multiculturalidade e a competência intercultural. Depois passamos às características dos livros álbuns e seu potencial para uso em sala de aula. Finalmente, exploramos a engenharia de formação e a abordagem pedagógica da Árvore do Saber-aprender, e da Gestão do Tempo (Trocmé-Fabre, 1996, 1999) para a criação da proposta e sua implementação.

The dialectics of colonial process is featured by political, economical and social dilemmas whose own boundaries depict different temporalities. Alternatively, according to hungarian philosopher György Lukács, the historical novel estabilishes connections between the interpretation of past, the human emancipation and current time intelligibility. Therefore, we appoint as objects of this study O feitico da ilha do Pavao (1997), written by the brazilian Joao Ubaldo Ribeiro; Choriro (2009), written by the mozambican Ungulani Ba Ka Khosa; and Cronica do cruzado Osb. (1976), written by the portuguese Agustina Bessa-Luis, which figures, respectively, portuguese colonial empire’s beginning, colapse and end. Once they connect, interconnect and link the colonization and the decolonization as adversities and inconsistencies, our hypothesis is that is possible to frame a specific artistic form involved to realist aesthetic named postcolonial historical novel, that estabilishes and explains these links, whom become more evident with a comparative analysis of selected books. To achieve this, we employ Lukacs consolidated assumption about Realism and historial novel form; we contrast the chosen historical novels in manner to emphasise common and divergent aspects related to Brazil, Mozambique and Portugal historical and cultural development. Finally, we hope to verify aesthetical and ideological subsidies regarding to portuguese colonization particularities in the examined literary creations, since as art expression that reflects the possibilities of change and induces independent pensiveness, it glimpses the continuous perspective of overcoming an intricated web of oppresive social, historical and intersubjective relations.

The presente thesis aims, trough a discussion on the multiple discoursive nature of the novel Riverão Sussuarana (1978), by Glauber Rocha, distinguish two possible readings of the text. The first one shows the characteristics which would make the novel a true “tropicalista novel”, while the second reccognizes it as a surrealista novel. The research was fundamented in the following authors: Mikhail Bakhtin (2003), Homi Bhabha (2013), Ismail Xavier (2007), Raquel Gerber (1982), among others. We aim to add a new opportunity to the reading and interpretation of Glauber Rocha’s literary work and see that it is recognized also also in the realm of literature due to the richness of language that can be found in this work.

The present thesis has asits object of study the time within the novel Terra Nostra (1975), from the author Carlos Fuentes. The analysis begins in the propositions presented by the studies of The Epistemology of The Novel, from a method known by serio ludere, method that searches for the epistemological axis of a novel. The main objective is to investigate how the time in the novel Terra nostra presents an aesthetic form that transgresses the linear conception we have of time. In this perspective of the reader-researcher of the ER, we do an analysis of time in this novel presenting an overview of time in the novel and, through a cut made from the narrative voices of some selected characters, we present the transgressed time. This thesis is divided into three parts: the first part addressesthe origin of the research idea and the place of the reader-researcher and his methodology, and aesthetics, the second part presents an overview of time in thenovel Terra nostra followed by, the perspectives on reading the novel and our viewpoint of the author's correspondence at the time the novel was written, from 1965 to 1975, the third part shows how we found the epistemological axis of the novel in the research we carried out around a few characters and their temporal narratives in the novel, focusing our considerations on the measurements of clocks that show the transgression of the linear structure of the time in the narrative. The conclusion deliberates about the epistemological knowledge of time in the novel, reflecting on the temporal dimension that the novel transgresses.

This work identifies, in the fifth narrative of Nove, Novena (1994), by Osman Lins, originally published in 1966, the Mysteries that shape its poetic fabric, stitched together in patches of sanctity. The objective is to analyze the intertwining of the narrative excerpts of the Santa Joana Carolina Altarpiece¸ echoed by the voices that alternate in the midst of the heroine’s silence – revealing the spirituality of the “rosary with which she prayed her whole life for those she loved and for those who persecuted her”. Observing the structural pillars (visual, spiritual and scenic) of the plot - in which the marks of the Middle Ages and the Baroque traces pulsate, contrasting with the modernity of the Osmanian narrative -, the instance of the word stands out as the definitive foundation, configuring the gesture creator of the literary text and whose semantic force extends to the correlation with the act of the Creator in the Western Christian cosmovision. In a comparative perspective, the approximation between the studies on Literature and Spirituality configures the theoretical basis of this work, whose methodological contributions are based on the phenomenological dimension of philosophical thought, particularly research in the areas of Philosophy of Religion and Theology; in the contributions of Literary Theory, notably the thoughts of José Ortega y Gasset, Alfredo Bosi, Otto Maria Carpeaux and Ernest Curtius, among others; and consultation of specialized Dictionaries, such as the Dictionary of Spirituality, organized by Ancilli, which also appears as an important support for the development of this thesis. Instigated by the astonishment caused to the main tormentor of the protagonist, which he himself characterizes as his “share of astonishment in a poor life of Mystery”, I propose a reading of the corpus that examines the state of sanctity of the main character, considering theological, dogmatic and catechetical texts on the processes of canonization conducted by the Catholic Church, and that is not averse to the breath of transcendence and existential immateriality.

This thesis presents aspects related to the numerous perspectives on Deaf Theater in Brazil, considering the deaf culture as the main point in the realization of this theatrical act, from the plural deaf and non-deaf identities involved in the scenic act. My experiences as an actress in the plays Crepúsculo do Tormento (Torment Twilight) and O Grito da Gaivota (The Seagull's Cry) are described here, contextualizing the theatrical practices shared both in the scenic operationalization and in the observation of the development of the plays produced by the Theater Collective En Classe et en Scène. The research has as a general objective: to analyze the bilingual theater with Deaf and Non-Deaf people, in the plays Crepúsculo do Tormento and O Grito da Gaivota, from a cultural and identity perspective; and, as specific objectives: to theorize Theater under a Political and Emancipatory perspective; to describe some deaf identities, showing how they manifest themselves in the process of theatrical construction; to show how Deaf theater can contribute to the process of emancipation of Deaf and non-Deaf people by means of cultures in contact; to discuss the processes of scenic and lighting staging of these shows; to discuss the Deaf theatrical direction of the play O Grito da Gaivota. As for the methodological processes, the research has a qualitative approach, making use of participant observation, by means of a semi-structured interview script. The research locus was the University of Brasília – UnB, where the Theater Collective En Classe Et en Scène presents and produces its shows. For data collection, a video camera was used to record in Sign Language, which was later interpreted and transcribed into Portuguese. Finally, my experiences as an actress and researcher have broadened my understanding of how to look at the other from a political, cultural, linguistic and identity perspective of subjects who impose themselves by their difference: the Deaf.

Since its foundation, Brazilian literature has been configured as a privileged space for masculine writing, including literary productions developed by women from what is conventionally called the literary canon, naturalizing, this way, the erasure of Women’s writing, regardless of ethnicity. and social class. However, throughout the 19th, 20th and 21st centuries, women adopted literary writing as a strategy in the construction of their identity and autonomy, becoming the subject and object of their writings. Initially, we read Ritmos de Inquieta Alegria (1998 [1935]), by Violeta Branca; Alameda (1998 [1963]), by Astrid Cabral; Marari: a Princesinha dos Manaus (1996 [1972]), by Albertina Costa Rego de Albuquerque, works considered the founders of literature written by women in the Amazon. In this sense, this research aims to investigate the emergence of women's writing in contemporary Amazonian literature through the analysis of the characterization of the characters, a delimited discussion for the works: Ay Kakyritama: Eu moro na cidade (2018), by Márcia Wayna Kambeba, O Encontro das Águas (2011), by Sylvia Aranha de Oliveira Ribeiro, Entre Nós Dois... (2014), by Izis Negreiros, Histórias do Rio Negro (2007), by Vera do Val, O Poder da Fé (2016), by Sandra Godinho. In addition, we seek to understand the narrative strategies adopted by these authors, and how such strategies intend to deconstruct the representations of female characters, already established by the literary tradition of the 19th century, which still persist in some Brazilian works of the 20th and 20th centuries. XXI. It is also intended to verify the extent to which these authors show a critical and/or prejudiced attitude towards the representation of female protagonists created by them and whether these fictional women are characterized from the transformations that have taken place in the Brazilian intellectual and artistic-literary field. Finally, identifying how the relationship between representation, female writing, literary production, dissemination and reception of contemporary works published in a peripheral literary region is constituted is also the objective of this thesis. For these reasons, the analyzes of the literary works selected for this research are based on Postcolonial and Decolonial Studies, such as Duarte (2003), Muzart (2000; 2004; 2009), Beauvoir (2019), Figueiredo (2020), Spivak (2010), hooks (2019), Lerner (2019), Perrot (2021), Said (1995), Bhabha (2014), Hall (2008), as well as studies of contemporary Brazilian literature, with the studies of Dalcastagnè (2012), among others. It is concluded that the presence of the female figure as the protagonist in a significant number of Amazonian novels is an indication of changes in contemporary literature written by women who become the subject/object of their own writings. In addition to highlighting the insubordination of women poets, short-story writers, novelists and their characters who are confused with the insurgency of the authors of the works, as well as problematizing official histories and Brazilian literature itself.

The objective of this research is to analyze the memorialistic approach used in recent literary fiction that deals with the experience of the Chilean, Brazilian and Argentine dictatorships. The aim is to verify in the literary texts the narrative strategies and textual procedures that try to update and keep the discussion on the theme of the military regime active. La dimensión desconocida, by Chilean Nona Fernández; Cabo de guerra, by Brazilian Ivone Benedetti; and Cómo enterrar a un padre desaparecido, by the Argentinian Sebastián Hacher, are the analyzed works that search for this way of dealing with memory. In addition to these works mentioned, the research establishes a dialogue with other works such as Formas de volver a casa, by the Chilean Alejandro Zambra; La resta, by the Chilean Alia Trabucco; Noite dentro da noite, by the Brazilian writer Joca Reiners Terron; Kramp, by the Chilean Maria José Ferrada; and A ocupação, by Julián Fuks, which articulate with theories about literary language and studies on memory. The hypothesis of this work is that, in these recent narratives, it has been observed that memory, as a narrative element, has been used to update and maintain, above all, the agonistic character around the representation of the military period. From an expanded perspective of the notion of “dismantling”, we seek to demonstrate, for example, how the mnemonic account as a fictional narrative and testimony undergoes an inventive systematic disarticulation. Among the critics and theorists who guide the work are Paloma Vidal, Jacques Derrida, Maurice Blanchot, Peter Pál Pelbart, Josefina Ludmer, Beatriz Sarlo, Leonor Arfuch and Idelber Avelar.

The act of reading the poetic and prose work of the São Paulo writer Hilda Hilst (1930-2004) seems to take the form of a walk through the corridors of a library. There, names, titles, dates and textual fragments are revealed to the attentive – or even to the careless – eye of the reader. A Casa do Sol (The House of the Sun) – a resort in Campinas where Hilda Hilst moves away from a life of social encounters and starts to dedicate herself entirely to writing her texts – whose walls are decorated with photos and images of her preferred writers, is also built in a similar fashion. Hilst's House and Work are, therefore, assaulted by her writing companions and are, moreover, consciously constructed in their presence, a simple invitation for these names to become their guests, and to permanently inhabit its space. It is, therefore, the objective of this dissertation, divided into three chapters, to go through the hilstian texts – and here A Casa do Sol will also be included – in the active search of these writers and other texts that reappear between the lines of Hilst’s texts. The writing of this dissertation is, in this sense, an attempt to understand the intersections of Hilst's work, based mainly on the works of Judith Schlanger, Jacques Derrida, Antoine Compagnon, Roland Barthes, Deleuze & Guattari and Didi-Huberman, who will allow us to analyze the hilstian text through the concepts of memory, intertextuality, archive and, finally, living together. The hilstian text seems to compose an inventory of admired names that appear both in Hilst’s writing and in the walls that surrounds her house. It will also be the objective of this research to seek to understand Hilda Hilst's desire to archive, to keep for herself and in her texts the passages once read, now imbricated in her personal memory, forming also what can be understood as a memory of literature.

This thesis investigates the autobiographical narratives of the writers Carolina Maria de Jesus and Françoise Ega. From the first, I analyze the books Quarto de Despejo (1960) and Diário de Bitita (1986). From the second, Le temps des madras (1966) and Lettres a une noire (1978). The aim is to analyze the correspondences between the works of Jesus and Ega from aspects present in the paratexts of the works, such as issues of editing and publication, in the light of theories about the literary field, as well as exploring structuring elements of the narratives (incipit, time, spaces, characters, themes), in addition to approaching the construction of narrative identities that reveal diasporic transits and affinities. I am interested in knowing how the works question patterns of authorship, in relation to literary fields, as well as how they dialogue with the literary tradition. I also seek to understand how the conditions of the authors - working-class women, mothers and blacks - interfere in literary production, from the selection of the themes addressed, through the reconstruction of times that recover and re-update traumatic experiences, the creation of spaces that denounce failures of democratic projects in Brazil, France and Martinique, while presenting resilient and creative ways of occupying both the countryside and the city, as well as occupying the literary text. All these questions are placed in comparative perspective in order to identify similarities and differences between works, authors, narrators and their realities. To support the entire analysis, an investigation of literary genres and the issue of authorship allows us to draw horizons of reading that cross the narratives and also guide the investigations present in this thesis. Furthermore, the careful observation of the internal elements of the narrative construction highlighted above is related to issues of gender, race and class, linking the literary construction to its historical time. I seek to analyze both the literary object, in its aesthetic and poetic aspects, as well as to offer interpretations of the reality that emerge from it. This thesis also researches how the literary narrative produced by Carolina Maria de Jesus in Brazil and that of Françoise Ega, Martinican living in France, authors outside the white male middle class standard, give literary body and voice to the effects of the colonial enterprise in contemporary times, disputing spaces with other narratives of interpretation of Brazil, Martinique and France, places in which they are inserted, still revealing kinship based on diasporic experience.

This thesis presents a study on the impacts of the penalty redemption project by reading in the Federal District, Brazil, as determined by the Federal District Trial Courts (FD/TC), based on the Ordinance TC n. 010, November 17, 2016, which priority aims to meet inmates that are unclassified for studies or professional qualification, and it covered the prison population of seventeen thousand people who are deprived of freedom. In this thesis, it is defended the reading formation in prison as a way to the resocialization of the incarcerated individual by means of the access to general reading, literary reading, and textual practices, since the penalty redemption by reading needs to be understood and ensured as a socio-educational public policy. Thus, this study had as a general objective: to investigate to what extent reading practices as a public policy to encourage reading in prisons can influence the reading formation of the people deprived of freedom as a resocialization tool for them. And as its consequences, there were the specific objectives: a) to describe the profile and formation of the deprived of freedom in spaces of extreme confinement; b) to analyze and describe the penalty redemption project by reading, as to the legal basis and the mediation strategies, as well as its execution in three prisons of the Federal District; c) to relate and analyze the indicators of adhesion, of the critical summary production, and the evaluation result between the approved and failed texts per prison unit; and d) to investigate whether the access to books and literature promotes resocialization in the lives of people who are deprived of freedom. As a theoretical contribution, the main guidelines of this study are based on the Aesthetics reception and the Reading Sociology, as well as they are articulated to contemporary studies on education in prisons. As for the methodological path, a case study was carried out with twelve deprived of liberty subjects. Mixed methods were adopted, using a combination of qualitative and quantitative approaches. The tool that was used for data collection was the application of a questionnaire. In addition, this study used a field research which was developed in the three Federal District penitentiaries, namely: Penitentiary of the Federal District I, Penitentiary of the Federal District II, Female Penitentiary of the Federal District. The inmates were selected by level of education: 1st level (literate people and those with incomplete elementary school), 2nd level (those with complete elementary school), 3rd level (those with complete or incomplete high school), 4th level (those with complete or incomplete higher education and postgraduate), according to the Ordinance n. 010/NOV-2016. For treatment and analysis of the data, a content analysis was performed, based on Bardin (2009). The results presented as profile: a prisoner bulk of 30 to 39 years of age among men and women, with a predominance of the black race (brown and black). It was also identified a low level of education, since mostly of the inmates participating in this study have only the Elementary School I (complete or incomplete early years of Elementary School). As for reading and literature in prison, the most read books by level of education were, respectively: at Level I (Elementary School I), the most popular books were: "The Saint and the Sow", by Ariano Suassuna; and "The Colors of Slavery", by Ieda de Oliveira. Next, at Level II (Elementary School II), the most read books were: "The man who counted" (by Malba Tahan); "The love story of Fernando and Isaura" (by Ariano Suassuna); and "Captains of the Sands" (by Jorge Amado). In sequence, at level III (High School), the inmates read "Hamlet", by William Shakespeare. Finally, at level IV (Higher Education or Post-graduation), two literary works stood out: Dom Casmurro, by Machado de Assis; and Hamlet, by William Shakespeare. It was also found that there is a great limitation and repetition of the literary collection at levels I and II, as well as at levels III and IV, a factor that reduces and damages the inmate time of participation in the project for purposes of penalty redemption by reading. Moreover, it was identified that literature and reading in prison enable the process of the inmate re-socialization, being understood in two dimensions, namely: the first as a fundamental right and a state of law which needs to be ensured and guaranteed the physical, material, economic and social well- being of the prisoner. The second, related to the alteration of the inmate's behavior, as it enables greater access to books, literature and reading as a tool to enhance reading education in prison, and it can make the individual more harmonious, accepted and productive in social experiences within the prison walls. It is urgent to improve the effectiveness of public educational management regarding the distribution and application of public resources from the Fund for Development of Basic Education (FUNDEB) to implement the educational public policies provided in the National Education Plan (NEP 2014-2024) and the District Education Plan (DEP 2014-2024) for penal establishments in the Federal District.