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In line with feminist criticism, this article focuses on the theme of the black body taking as reference the work Insubmissas lágrimas de mulheres, by Conceição Evaristo. The short stories that make up this volume, all of them entitled by the name of a woman, deal with themes that refer to the female body and its violation, whether by the husband, the father or the partner, whether they are young, mature or old women. The objective of the article is to analyze the thematic of body and writing, from the experiences-stories of the female main characters. When relating both issues, we understand that the body of the lived experience becomes a matter of narration, in a process of identification and self-definition of black women.

This text aims to reflect on the autofictional tale of Veronica Stigger, showing how the author overcomes this concept when verifying its wear in contemporary literature. For this, we will analyze three short stories by Stigger: “The book”, published in Sombrio Ermo Turvo, “True image” and “200 m2”, published in Os anões, texts that present themselves as parodies of autofiction. Thus the writer, when transmuting herself into a character, distorts her own image, in a specular process of her texts and authorship. When considering the characteristics of the contemporary tale and the specificities of Stigger's tale, we seek to highlight, taking as a theoretical contribution, above all, the studies on Vicent Colonna's autofiction and the essays on Umberto Eco's mirrors, as Stigger forges unusual lives for herself for show that everything is fiction.

Tatiana Bubnova's reflection in the field of Bakhtinian studies and her contributions to the Spanish translations of the works of Bakhtin and his Circle are already well known among experts in the area. In this interview, Bubnova addresses questions involving the translation of the work, the reception and the exegesis that received in the West. The interview consists of seven questions in which Bubnova discusses about how she began to translate the Russian authors; how to understand the problem of the translator's voice in the translations; the issue of specialized terminology for translations into different languages; the understanding of the Circle's texts in unforeseen times by their authors; the reverse translation; the theme of the “Bakhtin Industry”, gives indications of readings by other bakhtinists and designs a kind of reading itinerary for someone who will be introduced to these texts.

The current article aims at studying a few iconic aspects in Conceição Evaristo’s tales, highlighting the aspect of orality and the writer’s talent as a storyteller that reflects in her writing. That’s why we chose three tales from the author: “Mansões e puxadinhos” (2017), “O sagrado pão dos filhos’ (2017) and “A moça do vestido amarelo” (2017), all from the book of tales: “Contos de leves enganos e parecenças” (2017) from Conceição Evaristo. Every tale will be analyzed from one or two iconic aspects such as: the denunciation of injustices, the depiction of resilience, the evocation of the ancestrality and the afro-brazilin resistance. To this end, we will rely on Michael Pollak’s concept of underground memories (1993) and the concept of resilience, develop by Eurídice Figueiredo (2020).

This article analyzes “The husband's shirt”, by Nélida Piñón. It is intended to demonstrate that this text offers a suigéneris representation of women, which is no longer seen as a socially handicapped (weak, passive, dependet), but is presented as someone who has agency, that is, that he is capable of problematizing his circumstance and, furthermore, he does something to overcome it. Likewise, we want to prove that, in this story, the "bad mother" is represented, understood as the female character who is not willing to follow the social mandates that motherhood imposes. This "bad mother" privileges her individual condition rather than that referred to her children. Finally, it also wants to show that "The husband's shirt" is a story in which the difficulty of family relationships is problematized, those that do not ensure affection or harmony between the people who make up a family.

Recently, black women’s literature has gained social prominence and proved to be a reference to question white, patriarchal and LGBTQIphobic supremacy structures both in the literary field, through different themes, perspectives and styles, and in society as a whole. Among the several  issues that can be highlighted in these writings is the construction of black masculinities. In this article, we analyze two short stories by Cristiane Sobral published in her book Espelhos, miradouros, dialéticas da percepção (2011): “Afrodisíaco” and “Memórias”. Our objective is to verify how they contribute to counter-hegemonic debates by destabilizing stereotyped views about black male bodies, from themes such as stigmatization and objectification, affection, paternity and ancestry. In addition, they bring a renewal to the set of short story productions written by female authors in Brazil.

In a sociological reading of “The night does not let me sleep” (2018), we will explore the ambiguity present in the tale that, just as Piglia (2004) points out as a striking feature of the genre, narrates two stories by merging the real with the fantastic, ranging from a lover frustrated by abandonment to the bearer of a mysterious curse. To analyze the verbal game, as observed by Bosi (1974), present in the narrative that updates the vampire archetype according to the permutability of the theme (HUMPHREYS, 2018), we will resort to the vision of Hall (1992), on the fragmentation of the identity of the post-subjectand Bauman (2004), in reference to the troubled sexual relationships present in the narrative, besides Augé (1994) and Benjamin (1987), in the discussions about the spaces and their representation in the autodiegetic conflicts narrated in the tale.

Nostalgic memory is evoked in response to a distressing present and, thus, guides the future of the reminiscent subject. With a strong effect on the construction of identity - collective and individual - nostalgia proves to be especially fruitful in Russian society. Something that is notably reflected in the mnemonic narratives of the work Secondhand Time: The Last of The Soviets (2016), by Belarusian journalist and writer Svetlana Alexievich. In the work, the privileged collective narrative within the myths and ideologies that governed the Union of Soviet Socialist Republics (USSR) gives chance to a wide variety of history facets through private narratives. With this in mind, the aim of this study was to analyze the autobiographical chapter “Remarks from an Accomplice”, from the perspective of dialogic discourse analysis, with special attention to the way Alexievich positions herself discursively as an author. Therefore, we mobilized Bakhtinian concepts, and we base ourselves on the Soviet ideological setting examined in works by Svetlana Boym and Orlando Figes. Then, we found an authorial voice that recognizes its power of historical construction in deep dialogue with the community of which it belongs. Based on that, at the same time she distances to give a certain aesthetic finish to her autobiographical character, the author developed her identity discursively by empathetically approaching the other with whom she shared the expectations and pains of the vigor and downfall of the Soviet regime.

The growing engagement of companies to the LGBTQIA+ cause faces a conservative force, from which the expression “Get woke, get broke” is born. To better understand this discourse clash, we aim to analyze how this expression is (re)built, in terms of meaning, on an advertising film launched on June 26 of 2020, by the Brazilian branch of the Burger King franchise. This is a qualitative research, framed in the interpretative paradigm. As theory support, we lean on the writings of the Bakhtin Circle (BAKHTIN, 2002, 2010, 2011; VOLÓCHINOV, 2017) and the publicity concept of outvertising (MOZDZENSKI, 2019). The analysis’ results show the expression is brought, at first, by the voice and value assessment of conservatives, but, when faced with some textual and discourse strategies, it is weakened until, finally, it is resignified as a supportive discourse to the LGBTQIA+ community.

From the revision of the theoretical and critical tradition on the tragic drama, the present text seeks to analyze the story "Feliz Aniversário" by Clarice Lispector associating its narrative construction with the tragic model coming from the exceptional poets of the past. To do so we will use the conception of Fenomenologia das emoções da tragédia grega by Ronaldes de Melo e Souza (2017) in order to clarify our course in the contraposition of the definition of tragic drama spread by Aristotle in his Poética.

The article presents and discusses the results of a research on the 689 novels by Brazilian authors published by the most important publishers in the country between 1965 and 1979 and between 1990 and 2014. The data show that contemporary Brazilian novel favors the representation of a small social space. Its characters are, in its majority, white, male, and middle classes. Stereotypes prevail over other groups. White women appear as housewives; black women, as domestic servants or prostitutes; black men, as criminals. The changes over time, although not absent, are not of great importance. Thus, the literary field, although it remains almost immune to the criticisms that other means of symbolic expression usually receive, tends to reproduce the exclusion patterns of Brazilian society.

The present work analyzed two poems by Maria do Carmo Ferreira: As parcas and De mim pra mins, aiming to give the poet the historical recognition that belongs to her, besides the concrete poets, as someone who leaves nothing to be desired neither in poetic references nor in critical articulation. In order to do so, the fact that she has already published with the concrete poets in the magazine Invenção 5 was raised and it was admitted that her poetic creation remains loaded with aspects dear to concrete poetry. In order to demonstrate that the poet was aware of the fences that made her invisible and that it was through her poetics that she sought to transcend them, the poems were read in the light of the texts of The Feminine Mystique, by Betty Friedan, which seeks to delineate what is the feminine and how dangerous it is for women. Thus, if Maria do Carmo intended to eat the world with her poems, here, she will be given a fork and knife.

In this paper we bring some elements that exemplify the ways in which childhood is represented in the books Teresa que esperava as uvas and O deus dos insetos, which make up the work of Monique Revillion. To this end, we begin our analysis with some notes about the concepts of childhood and memory, in the social and literary contexts.  Memory, here, interests us from the idea of an adult narrator who recounts a childhood event. In the following, we select the short stories that deal with this theme and analyze those that feature children characters and their actions. The analysis perspective starts from an understanding of the corpus, which showed the intimate relationship between childhood and violence as the most recurrent sub-theme in the narratives. From this reading and these examples, the work lets us see the diversity of experiences presented by childhoods in the work of Monique Revillion, as well as some implications of this relationship between childhood and violence, characterizing what we understand as a "non childhood".

In the article, it was investigated the fantasy and the imagination, used as resources in the creation context of the contemporary short story destined to the children and occurred throughout bibliographical research of qualitative approach, which allows approximate the theoretical considerations of the book Tua mão na minha [Your hand in mine], written by Eloí Bocheco, Brazilian author, overall Catarinense. The path outlined for the article starts from a brief consultation to consider the short story, which is done by Charles Kiefer (2004), towards the considerations of Vera Teixeira de Aguiar (2001), Marta Morais da Costa (2006, 2007), Bruno Bettelheim (2007), Diana Lichetenstein Corso and Mario Corso (2006) and Regina Zilberman (2005, 2014), among others. This framework allows us to understand, the short story and the specific characteristics of this narrative, in other words, the importance of fantasy and imagination in its constitution. Then, a reading of Bocheco’s short story is presented, exploring the aspects in which fantasy and imagination are enhanced in the plot and the actions of the protagonist of the narrative named Dúnia. In the end, from the many possibilities and suggestions that the short story in question inventively inaugurates and provokes, it is attested that Tua mão na minha [Your hand in mine], which was weaved from memory and, therefore, able to invest as much in the imaginative resources, it is a narrative that, in its plot, doubles, as it is allowed to imagine, and, in a genuine childhood activity, mobilize resources from the inner world when it is necessary to deal with limit situations that are found in the reader’s trajectory/crossing.

Through the approximation of readings of short stories by two Brazilian writers, Helena Parente Cunha and Lucilene Machado Garcia Arf, this article deals with what we consider narratives of the female body, expanding the understanding of 'body' for its multiplicity of meanings and forms of constitution  , as a discourse and object traversed by discursiveness, by language, literally and metaphorically.  The proposal to read the short stories “O pai” (The father) and “Novembro em menos cores” (November in few colours) traces a symbolic path between time and narratives, with a focus on the writing process and the meanings of the text and authorship.  Throughout the considerations, the reflection also encompasses the process of narrative identification under construction, and highlights the strength and potency of contemporary Brazilian short story writers, in the figure of these two writers and their texts.

In this paper, I analise “Fios de ouro” (p. 49-52) and “O sagrado pão dos filhos” (p. 37-40), short stories by Conceição Evaristo, published in Histórias de leves enganos e parecenças (2016). In such narratives, the writer thematizes the secret and/or the mistery in situations related to the Afro-Brazilian culture, facts that drive me to approach them  from the interseccionality, empowerment, ancestrality perspectives, among others.  I take as grounds some theoreticians’ viewpoints, among them Carla Akotirene, Djamila Ribeiro, Joice Berth e Lélia González. I look into the stories with the aim of expanding their boundaries especially throughout their intrsections with race, gender, class and culture.

This article proposes to analyze Conceição Evaristo's poetics - escrevivência - as a performance of a black corporality, marked by traumas and scars inherited from a culture of slavery colonization. We aim to show how the escrevivência operates a counter-narrative in the face of a monocultural and monorational history, changing the perspective and the protagonism of the narrated experiences and memories. To this end, we adopted as a literary referent of this approach the work “Olhos d'água”, whose reading and analysis allow us to conclude that the escrevivência is a political-discursive strategy of resistance and promotes the deconstruction of images and alteration of the places reserved for black bodies, from perspectives epistemicidal and eurocentric.

This article proposes to map the idea of ​​(non-) belonging of black characters portrayed in the storybook Olhos d’água (2014), by the Minas Gerais writer Conceição Evaristo. In our analysis, we will focus on three short stories of the work, “Duzu-Querença”, “O cooper de Cida” and “Hey, Ardoca”, in which the nuances of the work are revealed, such as racism, silencing, suffering, pain, anonymity, violence and suicide. It is intended to foster the debate about how paths are denied (or at least made difficult) for black subjects within society and, on the other hand, it seeks to emphasize the literary bias as a space of visibility for anonymous beings repeatedly cantoned. In a more detailed way, we intend to observe aspects of Conceição Evaristo's textual fabric, notably with regard to the constitution of narrative voices. For that, we adopt the decolonial perspective (Almeida, Césaire, Kilomba, Salgueiro), we highlight the reflections around black feminism (Akotirene, Kilomba, Ribeiro), necropolitics (Mbembe), the presence of blacks in contemporary female literature (Dalcastagnè) , besides going through literary works and interviews by Evaristo, as well as theoretical criticisms about his work.

The present work aims to analyze the gender violence category from the study of the short stories “Aramides Florence” and “Shirley Paixão”, extracted from the book Insubmissas Lágrimas de Mulheres (2011), by the writer Conceição Evaristo. We proceeded to a qualitative analysis, starting from the analytical category that involves two complex social phenomena: gender violence and the power dynamics exercised by men over women. The theoretical basis comes from Pierre Bourdieu (2012) and Heleieth Saffioti (2015) studies. In a preliminary analysis, we observed that the violence practiced against the characters in the studied stories, wich are victms of beatings and rapes, represents the objectification of these women’s bodies and the perpetuation of female domination-exploitation, legitimized by a sexist and patriarchal discourse.  

I present here some notes on two books (Os anões e Sul) and two short stories (Imagem verdadeira e A verdade sobre O coração dos homens) by Veronica Stigger. In these notes, I try to look to these works not from literary concepts, but from contemporary art concepts (especially, the Brazilian Neoconcretism). With ideas from Donald Judd and, mainly, with ideas, concepts and works form Hélio Oiticica and Lygia Clark, I try to read Stigger's works with keys from visual arts field. This experiment is part of project that looks for approaches between literature and visual arts - not only looking to the contents, but thinking in formal, conceptual and aesthetical procedures that, I believe, can offer important tools to work with contemporary literature.  Keywords: short story; contemporary literature; conceptual art; neoconcretism; Veronica Stigger