RCAAP Repository

Relying on the concepts of intermediality, ekphrasis and intermedial reference, the essay discusses Gilberto Freyre´s vast œuvre as that of a multiple artist, working in different áreas_ poetry, painting, literary prose_ as well as the author of groundbreaking contributions to the social sciences. The article especially underscores the close relationships between his output in the verbal and in the visual arts, remarkable for their constant reference to events, characters and landscapes analyzed in his sociological texts. In this context, the whole of Freyre´s production may be taken as a multiple, kaleidoscopic text, which, in different media, explores close- knit themes.  

More than a poetry that re-root the most diverse memories of the sertanejo people, the activity of the singing viola became also a responsible of the political longings of this people. This qualitative and quantitative research, based on a cut of a Festival of Singers occurred in the city of Buenos Aires (PE), in August 2018, investigates - according of the sociology of Antonio Cândido – the relationship established between the triad author-poetry-public, henceforth A-P-P, during the improvisation performances, in a pre election period for the 2018 elections. For the performance and voice models follows that of Zumthor (1993). On the other hand, the ethnographic bases are in Geertz (2008). The data reveal that in the dynamic established in the triad A-P-P, in the improvisations, complex and subjective relations to happen between singers and the public, with this being able to interfere in all moments of improvisation.

The Brazilian folk music (MPB) was shaped during the first three decades of the 20th century and it has been developed from the confluence of theatre, record industry and broadcasting. This time emerged a new generation of composers whose contribution was decisive for consolidating the samba. This context linked the music with strategies for addressing its strengthening of Getúlio Vargas’s political program. Paulo Lins’s book Desde que o samba é samba (2011) represents fiction people figures and situations related to musical emergence and assertion which has become one of the most important Brazilian culture expressions.

The works Dom Casmurro, the novel, and Capitu, the micro series have a mode of transit between them, recently operationalized (2008) by Luís Fernando Carvalho, which reveals the adaptation of the verbal discourse to the visual verb, without disregarding the fact that the whole supply of narrative information comes from a single source: Dom Casmurro, the narrator character. This adaptation instigates us to enter the intricacies of this process in order to understand the different points of view, the illusion of truth, the narrative authors proposed initially by the narrator of the first work and then by the focal-adapter of the second. The axis thesis we propose is that the ostensible speech of the narrator of the novel was not interrupted in the narrative flow of the images, to the point of fragmenting or compromising their meanings, on the contrary, it preserves them and violates them at the same time, constructing a new work and emphasizing the identity of the “other” in which it is protected, without being the same. For the verification and perception of the mode of this transition, we are based on the narrative categories related to narrators and focusers, from theoretical, conceptual and literary supports of vast bibliography

Lília Moritz Schwarcz (São Paulo, 1957) is perhaps the most outstanding female figure in Brazilian intellectual production, inside and outside her country. Brazil. Uma biografia, published in 2015 and translated into Spanish the following year, is a specific example of her Latin American diffusion. The concern for the biography returns in Lima Barreto. Triste visionário (2017). The reconstruction of the life of the Carioca writer registers several particularities that imply a renewal of the genre for literary criticism. Schwarcz’s proposal aims to approach biography as a literarian life of the subject of a biography and self-examination of one’s own work. The development of biography as a critical method, as well as a roadmap for one’s career, requires an evaluation of the critical subject that founds a tendency while fulfilling a task of personal and professional introspection.

A Equipe Editorial da revista Letras de Hoje torna publica as seguintes alteração e substituição, na edição v. 53, n. 3 (2018),DOI:http:/dx.doi.org/10.15448/1984-7726.2018.3 , ID 30988, artigo, “Eu e meus alunos-cotistas na escola pública”: racismo, ethos discursivo, discurso midiático e produção de subjetividade.

A Equipe Editorial da revista Letras de Hoje torna publica as seguintes alteração e substituição, na edição v. 53, n. 4 (2018), DOI: http://dx.doi.org/10.15448/1984-7726.2018.4Inclusão do nome do organizador - Leonardo Tonus no artigo - O contemporâneo é uma praça de guerra, ID 33010. DOI: http://dx.doi.org/10.15448/1984-7726.2018.4.33010 e no artigo Contemporaneity is a war zone, ID 33161. DOI: http://dx.doi.org/10.15448/1984-7726.2018.4.33161 

How is it even possible to bear witness about an event while making clear that you were not present during this event? It is what happens with Marc de Larreguy’s poems, which he wrote during WWI, at the front, and whose subject matter is the war. Larreguy was not a professional writer writing poetry about the war; he was a soldier, and his poems insist on their testimonial value. Our hypothesis is that bearing witness is a speech act; the words “I witnessed” could introduce the content of each of these poems. Marc de Larreguy’s poems don’t seem to bear witness because they are testimonies, but because they state that they are testimonies. A speech act is a stated utterance.

---

The West was produced by the literary regime. In our times, however, the literary regime has lost centrality. These days, culture has a technological predominance, and through this process of mediation, contemporary life is increasingly expressed. In fact, the new territories, landscapes, atmospheres and technological environments led human communities to circumnavigate sites, portals, blogs, videogames, applications, digital repositories, virtual museums, and also virtual realities deployed in immersive environments. This process has resulted in the multiplication of contents and convergence of formats, computerplatforms and languages. The movement of culture technological apparatus has expanded the human experience. We can talk in these circumstances, of a galaxy of new flows, resonances, rhythms, cadences, sounds, durations, vibrations, which allow human communities to be open to setting new future possibilities. The expansion of human experience has also opened the possibility of new narratives about the human. These narratives are called transmedia storytelling, because they rely on digital media convergence. This study examines transmedia storytelling, which unfold across multiple platforms. Let’s try to understand how these narratives constitute a creative and literary writing, that means, a writing that does not just respond to management and political communication needs nor runs out in repetition, adaptation and propagation of the same story.

---

Saramagian scholars are aware of the close relation between this Romantic’s fiction and History, better yet, the truths told by Official History. In this paper the threshold between fictional and Historic speeches is dissected according to liturgical and historic times – present on the work Baltasar and Blimunda (1982). To Saramago, it is fundamental “To see yesterday’s time with today’s eyes”. This phrase highlights the thematic on which several of the author’s works are based. The objective was to analyze the importance of liturgy and History on his works’ plots through bibliographic analysis of narratology and Historic theorists, not excluding the religious character, background both in 17th century Portugal and of Baltasar and Blimunda.

The aim of this paper is to propose a discursive analysis of a text produced by a teacher who works at Cefet/RJ, that triggered controversy in social networks. The testimony of the teacher, which went viral on social networks, was about her experience with high school quota students. It was initially welcomed as an emotional and touching report and as the result of an “empathic and generous” attitude. Later, however, when it was ‘republished’, it came to be read as the result of the structuring racism that organizes social relations in Brazil. Besides that, its author came to be regarded as a racist person. By focusing on the materiality of discourse and its effects of subjectivity production and on a given quality of real(ity) (ROCHA, 2006), we seek to problematize meanings that are built on the tension between racist and antiracist discourses in contemporaneity in the construction of an ethos (MAINGUENEAU, 1997, 2006, 2006, 2008) of a teacher who points to a figure that emerges to save the quota students – who are necessarily black according to common sense – in an evident racist world view that opposes teacher and students to ‘quota students’.

Editorial

This paper continues the published research on the dialogue between Michael Dobbs’ House of Cards trilogy, by Michael Dobbs, and the BBC and the Neflix series, and Shakespeare’s plays – Richard III, Macbeth and Othello. The last volume of Dobbs’ trilogy, The Final Cut, and its adaptation makes references to Shakespeare’s Julius Caesar, a subject not previously explored. We turn our attention, therefore, to Dobbs’ last novel and to the BBC series, emphasizing the protagonism, the volubility of the people, and the rhetoric in speeches delivered by Shakespeare’s and Dobbs’ characters, as well as to the viewer’s focalization in the series.

In the present article, I intend to analyze Nanda’s ethics through the Control intrigue, by Natália Borges Polesso. Narrated in the first person by Maria Fernanda (Nanda), the psychological novel expresses the existential drama that sets in contrast a unknown to herself Nanda who is resentful of life and a self-conscious Nanda willing to live.

This work aims a (new)reading of novel Brave New World, by Aldous Huxley, in ordem to discuss the “formation of a love couple myth” Žižekian concept. This myth is proposed by Slovene philosopher Slavoj Žižek, one of the important names of Lacanianism, which applies Jacques Lacan’s ideas on Dialectic Materialism, in order to discuss about politics, cinema and other themes. Therefore, it is qualitative, biographical work, based on Slavoj Žižek›s theories and Lacanian materialism. Žižek presents the love couple formation myth as a ramification of ideology’s Family myth, which works as a powerful mechanism of ideological dissemination, very popular in movies and specially in Hollywood. Starting from Žižek’s ideas, it was found that Brave New World denies creating a love couple, because it first creates such possibility only to frustrate this idea.

The significant increase, in recent decades, of the production of literary works strongly marked by the inclusion of photographs, the appropriation and collage of documents, and graphic and typographic manipulations, among other operations carried out at the textual, paratextual and perigraphic levels, has required a reexamination as we approach analytically them. If thinking about the relationship between literature and image meant predominantly reflecting on the production of poetic images through linguistic tropes, the increasing processes of image fixation and other forms of visuality on the printed page today require the reader to consider literature as a complex object, marked by the transit of languages and by technical modes of articulation of meaning. It is within this perspective that this article will seek to map the emergency conditions of this phenomenon within the contemporary Brazilian literature and propose some forms of analytical articulation between literature, image and visuality today.

The aim of this paper is to recover and analyze some short stories written by Cândida Fortes, more specifically, the ones that were published in periodicals that are not remembered by biographers, in order to contribute to the insertion of the author in the history of literature and to an increase in her critical and biographical considerations. Feminist criticism and literary theory theoretical approaches were consulted for reaching this goal. The methodology used consists in bibliographical research and literary hermeneutics as a reading support. It was observed that this writer contributed to lots of periodicals that are not mentioned by scholars. Furthermore, even though she is rarely remembered as a writer of short stories, she demonstrates a high quality technique when writing in this genre, especially when dealing with language, time, space, and other aspects of creative writing.

In this work are investigate the characteristics of the Jewish condition in the work of two contemporary Brazilian Jewish writers: Cíntia Moscovich and Michel Laub. By reading the novels Por que sou gorda, mamãe? (2006) and Diário da queda (2011), the characteristics of Jewish identity found in the narratives are compared with the position of the authors themselves, known through interviews conducted in September 2018. Both interview responses and observation of literary texts are interpreted in the light of Moacyr Scliar’s A condição Judaica (1985). It is concluded in this work that the Jewish identity is not a biological / hereditary or religious data, composing itself from cultural landmarks, such as customs, rituals, speech, humor and food, and that the presence of these elements or belonging of authors to Judaism does not condition a work, by itself, as Jewish literature