This research focuses on the comparison of the lyrics of Ernesto Cardenal Martínez and Dom Pedro
Casaldáliga, contrasting their works: on the one hand, the poem “Canto de la hoz y el haz” by the Spanish
poet and bishop naturalized Brazilian and, on the other, the so-called “Salmo 57” by the Nicaraguan
priest, revolutionary and poet. To this end, this research addresses the main characteristics of the so-called
Liberation Theology, a theory to which our poets adhere. In this way, we will be able to ascertain the
social context in which the writers were inserted and then expand on their biographies. We will therefore
focus our work on the individual analysis of two poems from each of them: “Identidad” and “Trovas al
Cristo libertador” by Pedro Casaldáliga and “Salmo 48” and “Reflexiones de un Ministro” by Ernesto
Cardenal Martínez. To this end, we propose an analytical approach to the poetic phenomenon through the
use of the hermeneutic method to proceed with the subsequent interpretation and reflection on the chosen
texts, thus being able to establish the links between the authors’ works. To address the phenomenon, we
will use authors such as: Aristotle (1991), Karl Marx (2013), Octavio Paz (1956), Antônio Candido
(2000), Ezra Pound (2006), Thomas Hobbes (2003), Jean Jaques Rosseau (1999), Nicolau Maquiavel
(2004), Carl Von Clausewitz (2009), Benjamin Abdala Junior (2007) among others that may be necessary.

Não Presta Pra Nada (2016) is a collection of short stories that delves into the complexities of the female experience, weaving narratives that intertwine with social reality and human relationships. The author, Marta Helena Cocco, builds a mosaic of strong and resilient female characters who face challenges and overcome obstacles in an often hostile world. The research is structured in three chapters, the first dedicated to a historical overview of reading and the insertion of women in this universe, based on Lajolo & Zilberman (2019); it investigates the formation of the reader and literary literacy based on Cosson (2006); and analyzes the theories that support the understanding of literary reading, as well as the texts on the aesthetics of reception by Iser (1996) and Jauss (1994). The second chapter delves into the discussion on female writing, focusing on the Brazilian and Mato Grosso contexts. The analysis is based on Gagnebin's (1997) theories, followed by Marina Warner's (1999) view on the role of women as narrators, highlighting sensitivity as a striking characteristic of this role. Historian Michelle Perrot (2005) contributes to the analysis by discussing the silence imposed on women and the expectation that they would exclusively occupy the domestic space. Based on the studies of Walker (2018) and Nadaf (2004), a critical analysis of female literary production in Mato Grosso is made, highlighting the specificities and challenges faced by female writers from Mato Grosso. Finally, the analysis of three short stories from the literary work Não presta pra nada (2016), by Marta Helena Cocco: “Cinco Marias”, “Roupa sujo” and “Palavras difícil”.

This study looks at the work I Believe in Justice and Hope (1978) by Pedro Casaldáliga and investigates the presence of elements that can establish dialogues with the genres of testimonial literature, autobiography, autofiction and diary, which encompass the universe of self-writing. Supported by the studies of Seligmann-Silva (2003) (2005), Philippe Lejeune (2008) (2013), Faedrich (2014), Figueiredo (2022) and Noronha (2016), we sought to delineate which of the aforementioned genres Casaldáliga's work is based on, whose formal structure is different. Our hypothesis that the work is a textual hybrid was proven when we found the presence of testimony in an autobiography, brushed with excerpts from a diary, making it an intriguing narrative to read. As for autofiction, we understand that the reading pact it obeys (ambiguity) does not match the author's writing context. The observations also showed that Casaldal's prose contributes to the resemanticization of literary productions that emerge outside the canonical molds.

This dissertation aims to analyze some poems from the work Jardim de Ossos (2020), written by the author Marli Walker. The selected compositions stand out for using the metaphor of bones as a symbol of the experiences acquired over time, a term used in the title of this work to encompass personal and collective experiences, the marks of the past, and the cultural legacies that shape the identity of individuals. The work deeply addresses issues such as memory, understood, based on Giorgio Agamben (2009), as a critical relationship with time, allowing the individual to revisit the past in order to understand the present; identity, seen as a subjective and socially mediated construction, in line with Antonio Candido (1995), who emphasizes literature’s ability to transpose reality into imagination; cultural heritage, referring to the transmission of traditions and knowledge over time, as explored by Manuel de Barros (2005), highlighting the transformative power of poetry in giving meaning to the ordinary; and the complex connection between past and present, which in Walker's work is expressed by the continuous resurrection of the past in the present, in a process that Jean-Luc Nancy (2005) considers an essential part of poetic creation, always in construction and open to multiple interpretations.

Brazilian children's and young adult literature has historically neglected racial diversity,  perpetuating stereotypes and rendering the Black population invisible. This dissertation  analyzes contemporary children's literature, focusing on the representation of Black girls' hair  through the book Cabelo Ruim? (2006) by Neusa Baptista Pinto. The research is based on the  understanding that structural racism manifests in literature and education, directly impacting  the self-esteem and identity of Black children. The study proposes that children's and young  adult literature, when committed to valuing diversity, can serve as a tool for deconstructing  racist standards and promoting anti-racist education. In this regard, it investigates how the  analyzed work addresses issues of racism and self-acceptance, as well as examines the impact  of narratives on the construction of racial identity in childhood. The theoretical framework  includes authors such as Regina Zilberman, Nilma Lino Gomes, and Stuart Hall, along with  approaches from Decolonial Studies, including Frantz Fanon and Aníbal Quijano. The  adopted methodology is based on qualitative and interpretative analysis, considering the role  of literature in social formation and in building a more inclusive imaginary. The research also  dialogues with the tradition of children's and young adult literature in Brazil, particularly in  Mato Grosso, and its relationship with dominant ideology, highlighting how Black characters  have been historically portrayed. The dissertation reinforces the importance of narratives that  promote the empowerment of Black identity from childhood and the need for more inclusive  educational practices. It concludes that literature not only reflects society but can also act as  an agent of transformation, contributing to a more egalitarian and representative environment  for all children. 

This study discusses literary literacy as a tool for female empowerment and self-development, investigating the impact of Marina Colasanti's short stories on the engagement of adolescent readers. The research explores how narratives addressing themes of gender and identity foster critical reflection and emotional connection, going beyond the technical skills of reading. Stories such as Para que ninguém a quisesse (So That No One Would Want Her), Entre a Espada e a Rosa (Between the Sword and the Rose), Entre as folhas do verde O (Among the Leaves of the Green O), and A Moça Tecelã (The Weaving Girl) served as the basis for reading workshops conducted with high school students, encouraging them to explore and create their own narratives, promoting both reading pleasure and the development of self-awareness. Anchored in theorists such as Soares (2006, 2009), Cosson (2012), Candido (1995, 2011), Lajolo (1993), and Freire (1989, 2007), the research highlights the role of literature as a fundamental social practice for building critical and emancipatory awareness. Inspired by the theories of Beauvoir (1970) and Butler (2003), which address the social construction of gender identity, literature is considered a powerful means for deconstructing stereotypes, offering readers tools to understand the dynamics of power that shape identity. Jouve (2002) contributes the view of reading as a path to self-knowledge, while Todorov (2010) and Zilberman (2009) emphasize literature as a humanizing and emancipatory medium, essential to the critical formation of young people. The study highlights how Colasanti's short stories foster awareness of identity and female empowerment, especially through characters who challenge patriarchal norms and assert their autonomy. It concludes that literary literacy, mediated through narratives such as Colasanti’s, not only promotes empowerment and identity awareness but also shapes engaged and reflective readers, prepared to interact with the world and contribute to building a more just and gender-sensitive society.

This thesis
falls within the area of Literature and Social Life in Portuguese-Speaking Countries of the
Postgraduate Program in Literary Studies (PPGEL) and aims to take a look at the works
written by two black women from Portuguese-speaking countries who have in common the
desire to use writing as a way of deconstructing the stereotype of black women that has been
established in Western society as hypersexualized, subordinated and invisible. The works
analyzed are: Ponciá Vicêncio, by Afro-Brazilian Conceição Evaristo and A Candidata, by
Cape Verdean Vera Duarte. In this study, we identify the similarities and dissimilarities in the
romance production of these writers. The proposal was to conduct an investigation that
addressed the convergent or even divergent recurrences in the selected corpus of both writers,
in such a way as to allow us to elucidate the forms of survival and resistance of female
characters in their societies. Also, through the analysis of the works, we present contributions
that corroborate the advancement of research focused on the study of the bildungsroman in
female literary productions. Since this is bibliographical research, we base our inferences on
a heterogeneous theoretical contribution: Angela Davis (2016), Antonio Candido (2000), bell
hooks (2018), Benjamin Abdala Junior (2023), Cristina Ferreira Pinto (1990), Cuti (2010),
Édouard Glissant (2005), Elaine Showalter (1994), Frantz Fanon (2022), Grada Kilomba
(2019), Homi Bhabha (1998), Inocência Mata (2023), Lélia Gonzalez (2020), Norma Rosa
Lima (2024), Regina Dalcastagnè (2012), Simone Caputo Gomes (2019), Stuart Hall (2016),
among other theorists. Thus, through the authors' writing, we list the strategies that allowed
the characters to resist and survive in essentially patriarchal societies. Both works present a
bildungsroman that breaks away from the traditional model of the concept, as both Conceição
Evaristo and Vera Duarte transfigure and anthropologize it by giving a harmonious outcome
to the female characters.

This is research that investigates the reading practices of women – students at penitentiary school Ana Maria do Couto May- MT, therefore, in the midst of adversity. The study encourages us to reflect on the reading stories recalled by the students participating in the research, in the present time, in order to understand their stories, meanings and meanings that, in an adverse context – serving a sentence –, that institution gives to the readings carried out there. The broader objective of the research is to understand and verify the stories, senses and meanings of reading that women in crisis contexts give to readings carried out in prison situations, and specific ones – to observe the factors that reinforce or limit reading practices in the prison space; observe how reading helps in the process of subjectivation of the interviewees; know which texts help you live in complex times. Although reading is recognized as a fundamental right, we are faced with problems present in a large part of our society, such as the low circulation of written culture in family, school, and prison institutions and the scarcity of reading programs and mediators of reading practice. As well as the absence of libraries in schools and other spaces – such as prisons. In this context, we use methodological approaches that are consistent with the study, in particular, the qualitative ethnographic approach, proposed by Michèle Petit, linked to the anthropology of meaning construction – inherent to the exercise of reading. In order to respond to the data collection proposal, we used Oral History as a “method”, which is “used as the most complete solution of scientific practice, valuing interviews, with essential attention to studies, centralizing them as a central, privileged, basic point of analysis” of students sometimes socially in confrontation with the law (Meihy and Holanda, 2020), just as we seek support in the studies of Petit (2010) who investigates the art of reading in contexts of adverse, as well as in authors who recognize reading as a cultural and social practice linked to the history of readers, such as Chartier (1988) and Horellou-Lafarge and Segré, linked to the sociology of reading (2010). In this universe, we were able to observe that the students interviewed read, in addition to the knowledge they desire, in search of new meanings and meanings through unique appropriations of the books they read, which, in difficult times, according to Petit (2010), can contribute to the reconstruction of themselves, acquiring strength to “sew sadness” and resist diversity

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The present thesis focuses on the study and analysis of the plays Quando as máquinas param, O abajur lilás, Dois Perdidos numa noite suja and Querô, uma reportagem maldita, by Plínio Marcos. These plays are defined as a modern tragedy, according to Raymond Williams (2002) in his theory on tragedy, considering the structure of Greek and Shakespearean tragedies, as well as human experience, rules of conduct, and the behavior of society in the 20th century. Therefore, the guiding questions of this research are: what makes the plays in the corpus of analysis a tragedy? What is it about their form and content that characterizes them as tragedies? Finally: what is innovative about Plínio Marcos' tragedies? In the course of the discussions, the formal aspects mentioned include the presence of a chorus, the existence of the tragic effect, the destruction of the antihero/protagonist, an irreparable action, and an emphasis on evil. In terms of content, the plays explore the experience of those who live on the margins, unprotected by the democratic rule of law. Their lives are exposed to the limits of degradation, culminating in death — physical or metaphorical — as the protagonist transforms. This metamorphosis occurs due to the loss of perspective on life or the impossibility of having a dignified existence, free from violence and exploitation by institutions that perpetuate the infrastructures of power and capitalism. Considering the analyses made, it was concluded that tragedy is a disputed concept, which decisively influences the selection and definition of experiences considered worthy of a tragedy. For Bradley (2009), for example, it is not possible for a work to be a tragedy if it does not deal with the life of a human being of “high lineage.” In contrast, Williams (2002) questions the reasons that define the death of a king as a tragedy, while that of an ordinary man is a mere incident. In this scenario, he refers to Plínio Marcos' plays as tragedies of homo sacer. To this end, authors such as Aristotle (2008), Albin Lesky (2015), Andrew Bradley (2009), Raymond Williams (2002), Giorgio Agamben (2006, 2007), among others, were fundamental in composing the theoretical and analytical repertoire of this research work.

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By articulating the voices that emerge from narratives interwoven with threads of memory, set in the Pantanal plains and in the metropolises of the United States, Tereza Albues draws from everyday life to highlight the human concerns and searches for a place and social standing, revealing the underside of humanity, its cruelties, ambitions, power, exploitation, and mistreatment. In this sense, we seek to demonstrate how Albues constructs, through fiction, narratives of resistance to patriarchal and capitalist social structures. In addition to social issues, we chose exile in its voluntary form, marking a writing with displacements reflected in the characters' wanderings. To locate Albues' writing, we conducted a broad examination of female-authored literature, focusing on the first writings by women in Mato Grosso, situating the writer Albues. To this end, the novels published by the writer are analyzed: Pedra Canga (2019), Chapada da Palma Roxa (2019), A Travessia dos Sempre Vivos (2019), O Berro do Lambem Nova York (2019), and A Dança do Jaguar (2019), under the theoretical framework of studies by Beauvoir (2016), Josef (1989), Hall (2011), Bauman (2005), Bhabha (1998), Schmidt (1995), Fantini (2003), Pang (1979), Said (2003), Teixeria (1979), among others. This thesis aims to demonstrate that the novels of Mato Grosso-born writer Tereza Albues, by highlighting characters who, seduced or deceived, in search of survival and freedom, reflect disturbing social issues of serious social relevance.

This thesis aims to understand how the narrator organizes the gaze on bodies, remnants, and
catastrophe in the works that comprise Ana Paula Maia’s Trilogy of the End: Enterre seus
mortos (2018), De cada quinhentos uma alma (2021), and Búfalos Selvagens (2024). The
investigation sustains the hypothesis that the narrator is configured as the very voice of a
collapsing world, acting as a disenchanted witness of necropolitics and cynicism that structure
contemporary experience. The methodological articulation of the work seeks to expose regimes
of visibility and modes of narrating the catastrophe, engaging with philosophy and cultural
criticism. The analytical trajectory is organized into three complementary movements. The first
chapter establishes the conceptual foundations of the analysis, addressing animality and the
abject to highlight bare life (vida nua), a central category in the work of Giorgio Agamben
(2002). Maia’s literature insists on zones of indiscernibility between human and animal, a
perspective that is expanded based on the reflections of Maria Esther Maciel (2016) on the
bestiary and Jacques Derrida (2002). Subsequently, the second chapter turns to the formal
dimension of the narrative, showing how the narrator operates with a fragmented logic and
relies on the remnant (resto) as a way of narrating the collapse. The analysis demonstrates the
narrator’s approach to cinematic imagery, and discusses the impossibility of totality and the
narrative in remnants, ideas that align with the contributions of Silviano Santiago (2002) and
Theodor W. Adorno (2003). The third chapter deepens the discussion by articulating
necropolitics (the management of death) with the disenchanted gaze (cynicism). The narrator,
by recording events with objectivity and coldness, reflects modern cynicism, as described by
Peter Sloterdijk (2012), and the ethical failure of the present, a theme addressed by Vladimir
Safatle (2008). It is concluded that the narrator, by recording the ethical and social collapse,
becomes the very materialization of an era marked by necropolitics and cynicism, transforming
the act of narrating into a record of devastation.

This research analyzes the poetic works of Aclyse Mattos, published up to the year 2024, namely: Assalto a mão amada: e outras histórias cantadas (1985); Papel Picado (1987); Quem muito olha a lua fica louco (2000); Festa (2012); Com por: poesias (2020). Distinct yet complementary phases in Mattos’ writing are identified, ranging from poetic experimentation influenced by avant-garde movements—particularly Intensivism, Concrete Poetry, and the Poema-Processo—to a more intimate phase that connects his work to the essence of cuiabania, projecting a sense of belonging onto Mato Grosso and its capital, Cuiabá. Subsequently, a phase emerges marked by the confluence of dialogues between tradition and modernity, ensuring the author's poetic maturity. To support the analyses, literary theory on lyric poetry and critical studies on literature produced in Mato Grosso are utilized. Scholars such as Alfredo Bosi (2015), Philadelpho Menezes (2001), Octavio Paz (2012), Isaac Ramos (2011), Haroldo de Campos (1987), among others, provide the basis for the analysis of poems, which exhibit post-avant-garde traits, including verbivocovisual elements. To structure the investigation of the author’s second phase of production and contextualize the literary scene of Mato Grosso, critics such as Olga Castrillon-Mendes (2020), Eduardo Mahon (2021), Mário Cezar Silva Leite (2005), and Cristina Campos (2014) are referenced. Additionally, researchers from related fields of literary studies, such as Heidegger (2006), Byung-Chul Han (2022), and Silva & Silva (1995), contributed to shaping this thesis.

In this dissertation, a critical and literary study was undertaken of the short stories Farol das almas, Alma, Doramar ou a odisseia and Meu Mar (fé), published in the anthology “Doramar ou a odisseia: Histórias” (2021), by Itamar Vieira Junior. From these narratives, we investigate the construction of black female characters, aiming to reflect on the status of the character and understanding them as memory-bodies in performance within fictional regimes in which violence is intersected. To this end, methodologically, we carried out a bibliographical study, theoretically mobilizing several concepts relating to Literary Studies, but also to other epistemic fields that contributed to the analysis of the selected corpus. Thus, we use the concepts of short story, from Bosi (1974), Cortázar (1974, 2006), Piglia (2004) and Poe (2004); intertextuality, mobilizing Samoyault (2008); memory, based on the assumptions of Ricoeur (2007); body and performance, according to the reflections of States (2001), Sarduy (1979) and Zumthor (1997, 2007); keeping in mind the ideas of resistance and colonization, we used the studies of Bosi (1992, 2002); to analyze the construction of black female characters and literary representations, we refer to Candido (1970, 2009) and Dalcastagnè (2007, 2012, 2014); to deal with the narrators, we relate Leite (2002) and Santiago (2002). Furthermore, we integrate the concepts of intersectionality, whiteness and black women through the studies of Akotirene (2019), Bento (2022), Carneiro (2011, 2019), Davis (2016), Gonzalez (1988, 2020), Lorde (2019 ) and Ribeiro (2018). In light of this, we argue that the discursive construction of the narratives analyzed presents a uniqueness characterized by the empowerment of an insurgent black female who narrates/acts "immersed in her own experience" (Santiago, 2002, p. 45), contesting representations present in the Brazilian literary tradition.

This research analyzes the representation of the body in its fragmentation, eroticism and transience, presented in the novel A Céu Aberto (1996), by João Gilberto Noll, understanding the way in which the narrator establishes the relationship with the social context in which the characters are inserted. It is noted, in this sense, that the Nollian text seems to demarcate a complex and bifurcated territory regarding the homoerotic archeology present in the narrative course of the characters, having as its basic premise the body in transfiguration and itinerancy. In this context, in addition to the analysis of the work in question, an overview is also made of the textualization of eroticism in contemporary Brazilian literature, as well as other works by João Gilberto Noll. We mainly use, as a theoretical basis, the studies of BATAILLE (1987), BARTHES (2003), GARCIA (2004), DUMOULIÉ (2005) and BRANDÃO (2019).

This dissertation examines the relationships between virility, power, and narrative aesthetics in José Eduardo Agualusa's novel 'A Rainha Ginga', focusing on the theme of the virilization of the feminine gender. The general objective is to explore how literature, through Agualusa's work, offers a historical interpretation of gender and power relations. The adopted methodology is an exploratory qualitative literature review, using detailed literary analyses and historical contextualizations to deepen the understanding of the work. 'A Rainha Ginga' goes beyond a simple novel, acting as a narrative that challenges gender norms and encourages reflection on female virility in a historical and literary context. This study highlights Agualusa's ability to recreate the historical figure of Queen Ginga, transforming her into an eternal symbol of struggle for dignity and freedom. Through his narrative, Agualusa not only reveres the past but also challenges the prevailing historical narrative, promoting a renewed understanding of women's role in the spectrum of power. This work interweaves history, literature, and memory, enriching contemporary Angolan literature and providing significant contributions to the global study of gender, empowerment, and Afrocentrism. Thus, 'A Rainha Ginga' is an essential vehicle for the discussion of gender, power, and identity, demonstrating the power of literature in understanding and reinterpreting history. 

This research aims to study the elements of the grotesque present in short stories from the book Resumo da Ópera, from the collection Contos Estranhos, by Eduardo Mahon. It can be seen that these elements are used in the construction of the characters and the plot, and that they suggest representing a social criticism and customs in these short narratives. Thus, taking into account the genre in which the analyzed narratives are inserted, we resort to the theory of the short story with Poe (1985), Cortázar (1993) and Piglia (2004), seeking an understanding in relation to the construction of the short stories. In addition, it is intended to ascertain what theory about the grotesque that Mahon joins and the effect it has on the structure of the text. To this end, with the support of theorists Kayser (1986) and Bakhtin (2010), a study is made of the phenomenon, the historical context, its origin and perspectives and its place in art, especially in literature. We still rely on Ginzburg (2008) and Moraes (2017) for a better understanding of surrealism and the deformation of the body perceived in the narratives. Finally, we present, with the help of Roas (2014), the differences between the unusual and the grotesque, for better delimitation of the work.

This work aims to analyze the work entitled Os (des)ajustes da Palavra, published in 2019 by the poet Márcia Dias. In this sense, by observing some elements that stand out in her language, we identify subjectivity and the construction of the modern female subject. In view of these aspects, we will present a certain temporal linearity of how the work becomes an expression of the growth and development of a lyrical self that oscillates between the coming and going of childhood to the creation of an imagistic maturity. In order to do this, we draw on concepts that promote a brief reflection, based on the considerations of Harold Bloom (1995) and Roberto Reis (1992) on the literary canon, the theoretical conceptions of Hugo Friedrich (1991) and Octávio Paz (1984), as well as the contributions of Maurice Merleau-Ponty (2011) and Gaston Bachelard (2009) on memory in the act of perception and reverie. And Georges Bataille's theoretical contribution on expressions of sensuality, lightness and feminine desires. The aim is to highlight the value and importance of female authorship, specifically in Rondônia.

Currently, promoting interest in reading literary books among elementary school students is a widely discussed topic at scientific events related to education. In this context, the role of the teacher as a mediator in the development of students' critical and literate capacity is fundamental. Official documents assign the school institution the responsibility for cultivating this skill in students. Therefore, this research has the general objective of analyzing how the process of choosing literary books used by teachers in the 6th year of Elementary School II occurs, as well as the effects of these choices on the formation of students as critical and literate literary readers. The specific focus of this research is children's literature, an essential component in elementary education. The research proposes several relevant questions for investigation: What is the meaning of literature in the context of elementary education and its role in the educational process? What are the procedures adopted by teachers for teaching literature? What are the different methodologies that teachers can employ to mediate the reading process and which of them are being used? To answer these questions, the research adopted an ethnographic approach, carrying out a case study with three Portuguese language teachers from the 6th year of Elementary School at a school in the State Education network in Juína-MT, with the aim of promoting interaction direct relationship between the researcher and study participants. A bibliographic survey was also carried out with the authors Zilberman (2009), Cosson (2020), Barthes (2004), Candido (2000), Arroyo (1988), among others, to provide theoretical basis for carrying out field research . The practical research took place through analysis of the literary choices made by Portuguese teachers and a semi-structured questionnaire, in which participants answered questions about literary choices, the selection criteria to be worked on in class, as well as their academic and professional trajectory. In summary, this study contributes significantly to the area of studies on teaching practice and the training of critical and literate readers in the context of elementary school II. Furthermore, by focusing on children's literature and associated pedagogical practices, this research can offer valuable insights into how to improve the teaching of literature in schools.

Awakening a love of reading in students is a constant concern in education. If Literature plays a fundamental role in the cognitive and emotional development of children, reading literary texts must be something of essential importance in school practice. In this sense, it is necessary to understand how Literature is used in the training of readers, cultivating different aspects and addressing some stylistic resources specific to the literary text. The work "What story is this?" by Flávio de Souza, due to its characteristics, can be understood as an important object for research that aims to examine issues like these. In this context, this study aims to point out the importance of literary reading in the training of student readers, using the aforementioned work as a reference to awaken interest and a taste for reading. The work is an example of how creativity in reinventing popular, wonderful or fairy tales can encourage a love of reading. Thus, the research also aims to discuss the importance of the participation of the teacher, family and society in the formation of competent readers who are passionate about literature. The study will follow a qualitative approach, and, in addition to bibliographical research, will consist of work with students in the 3rd Year of Elementary School I at Escola Municipal Cora Coralina and will be supported by the methodology proposed by Cosson (2009). We support our studies in Bakhtin (1997), Bamberger (1995), Bettelheim (1980), Coelho (2000), Candido (2012), Zilberman (2009), among other writers, for offering us important subsidies for the our investigation. The results indicate that, based on the analyzed corpus, students demonstrated significant progress in their understanding of literary texts, revealing to them that it is possible to read literary works without fear and that they are capable of following their own paths as critical, reflective readers. and passionate about literature.

This thesis studies the poems of contemporary Portuguese-language writers Lucinda Persona, Brazilian literature produced in Mato Grosso and Conceição Lima, and African literature from São Tomé and Príncipe. The research is mobilized due to the perception of a latent set of images that is generated from the figure of the house, an insistent topic in the verses of both poets. A finding that drives us to understand the persistent purpose in erecting and sublimating the image of the house in the poetic universe of the writers, as a source of values, experiences, reflections and meanings in their poetry. Therefore, we understand it is necessary to highlight the different perspectives that this element systematizes as the poetic in the poets' literary writing. We selected as corpus the books published until the beginning of the research by the poets, to be cited by Lucinda Persona – Por Imenso Gosto (2018), Ser Cotidiano (1998), Sopa Escaldante (2001), Leito de Acaso (2004), Tempo Comum (2009 ), Between One Night and Another (2014), The Step of the Instant (2019); Conceição Lima with the works O Útero da Casa (2004), A Dolorosa Raiz do Micondó (2012), O País de Akendenguê (2011). In this comparative study in which the house appears as a locus where other motivations that make up the writers' poetry are articulated, each with their own written diction, we investigate the set of poems, under the hypothesis that the fundamental house to be erected is writing itself. . As theoretical support for the analysis, we resort to the contributions of Gaston Bachelard (1978), Heidegger (2012), Merleau-Ponty (1999), Ricoeur (2000), Glissant (2021), Hall (2006), Brandão (2002) , Bosi (1977), Melo e Castro (1973), Collot (2013), Mata (2006), among other critics who collaborated in deepening the discussions.

This study examines the converging force that works as a mainspring in the literary project of Valter Hugo Mãe, 

specifically in the works o apocalipse dos trabalhadores (2008), a máquina de fazer espanhóis (2010), O filho de

mil homens (2011), A desumanização (2013) e Homens imprudentemente poéticos (2016). An attempt is made 

to understand in a panoramic way the mottos that enliven narrators and characters in complex relationships, 

extreme situations, considering the perception resized by distance and cultural specificities interposed by

 geography unusual for novels. In Valter Hugo Mãe's literary project, the potency of poetics that rises through

 the language and questions that surround and bring into discussion the humanistic theme in this author's 

fictional production.  Narrative analysis has the following critical-theoretical referential assumptions: Antonio

 Candido, Antonio Dimas, Benjamin Abdala Junior, David Damrosch, Edward Said, Gaston Bachelard, 

Giorgio Agamben, Ian Watt, Luis Alberto Brandão, Maurice Blanchot, Mikhail Bakhtin, Walter Benjamin

 entre outros.

This paper presents a study on literary literacy, with a focus on teaching Afro-Brazilian literature in elementary education, using the short stories from Conceição Evaristo's "Olhos D’água" as a foundation for contextualizing the theme of Black acceptance in society. Our research aims to demonstrate the functioning of literary literacy within the context of Afro-Brazilian literature. We employed methodologies such as Jauss's (1967) Aesthetic of Reception, Solé's (1998) Reading Strategies, Thiolent's (1986) action research, and Rildo Cosson's (2021) Basic Sequence. The analysis of results follows Bardin's (2002) principles of Content Analysis. In doing so, we present the experiences observed in the classroom and the students' learning outcomes. Our goal is to promote increased dialogue, the exchange of thoughts, information, and experiences between teachers and students in the final years of elementary education. We strive for a deeper integration of literary reading with a curriculum focused on Afro-Brazilian literature, achieved through the reading of texts addressing issues related to race, gender, color, prejudice, and social inequality. This approach aims to encourage critical thinking among students. Afro-Brazilian literature plays a pivotal role in acknowledging the uniqueness of this literary production, giving voice to Afro-descendants, and addressing profound social issues. This contribution significantly enhances our understanding of Brazilian literature and aids in building a more inclusive and just society. The development of literary readers not only nurtures a love for reading within the classroom but also provides avenues for personal expression and self-affirmation beyond it. Simultaneously, reading becomes a vital space for reflection, inquiry, and the strengthening of Brazilian identities.

Em elaboração

Literacy in general is one of the great challenges of Brazilian education, resulting in many functional illiterates. Literature can be pointed out as one of the ways to resolve this scenario. However, it is necessary that actions of literary literacy be carried out by educators and the school in general, promoting in these individuals the "taste" and motivation for reading. Within this context, the objective of this study was to introduce literary literacy to students in the 9th year of Elementary School (13 and 14 years old), through the presentation of two short stories, and using the basic methodology of Rildo Cosson (2006). The study was carried out in a State School in the city of Sorriso/MT. After the application, it was possible to observe that this age group has great resistance to reading, however, the introduction through stories that are of collective interest can be an important tool for this student to become a reader. To support the research, theoretical and critical foundations of some researchers were used, namely: Candido (2011, 2002 and 1972), Hunt (2006), Jouve (2002), Colomer (2007), Soares (1999) and, Bordini and Aguiar (1988), among others who helped in the proposed study.

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In this study, we propose the use of literary adaptations in Comics for an approach to the literary text in elementary school II, with the aim of bringing the reader closer to literary texts. We present in our work activities developed with a group of the 8th grade of elementary school in a school in Várzea Grande- MT, with the text Conto de Escola by Machado de Assis and adapted for comics by Francisco Vilachã. In this perspective, a literary literacy strategy was developed, based on the basic sequence of Cosson (2014) on the elements that constitute Comics, based on Ramos (2022) and Rama and Vergueiro (2022) that point to the comic narrative reading, an alternative to present the reading of the literary text. We present the description of the activities and the works developed by the students, who adapted the story from the perspective of other characters and also for the comics. To support our work, we sought theoretical and critical foundations in some researchers, such as Zilberman (1984, 1986, 1990, 2005, 2007, 2009), Aguiar and Bordini (1993), Candido (2000, 2006, 2011), Colomer (2003 , 2007, 2017) among others.

El presente trabajo de investigación busca discutir, en foco, temas controvertidos abordados por la novela “Dois Irmãos” (2006), del escritor brasileño Milton Hatoum, tanto en la historia constitutiva del narrador y los personajes, como en la historia cultural y económica. que define parte del imaginario de la Amazonía. En el centro de la narración, la historia de la incomprensión y el odio fraterno, de las relaciones producidas por una familia de diferentes personas, comanda el drama que se desarrolla entre Manaos, el Líbano y cualquier lugar que represente alguna forma de desagregación. Los dos hermanos habitan el mismo hogar, la misma casa, pero viven dramas seculares que involucran cuestiones familiares que trastocan la convivencia, moviendo toda una estructura familiar convencional que lleva al derrumbe del modelo patriarcal. Para ello, se adoptó una investigación bibliográfica, buscando entre pensadores críticos y teóricos como Adorno (2012), Bachelard (1979), Bauman (2005), Candido (2000), Canclini (2003), Del Priore (2004), Hall ( 2003), Lacan (1987), Lukács (2000), Mendes, Maquêa (2021), Pellegrini (2004), Pizarro (2012), entre otros autores que sustentan y sustentan nuestra investigación. En la novela, el narrador, Nael, narra la saga de los hermanos gemelos Yaqub y Omar, quienes atraviesan sus conflictos de espacios e intereses, además de no comunicarse, lo que da lugar a una rivalidad que el tiempo no borra, en un trayectoria de ruina, en la que la casa se desmorona como metáfora de eventos más grandes. También se utilizaron la composición de la investigación, supuestos literarios, históricos, sociales y psicológicos. Se espera, con esta investigación, abordar y mostrar a la familia como núcleo que estructura la obra Dois Irmãos, de Milton Hatoum (2006) y, aún, contribuir a la fortuna crítica del autor.

The current work aims at demonstrating common elements of the Brazilian literary tradition in some contemporary novels. The selected books cover authorial eclecticism in the midst of an extended period of time, which reinforces the perception that there is a theme that communicates among successive generations. As result from this observation, the study turns to questions related to the reasons why different writers lined up so often. In all chapters, it is demonstrated that the verified recurrence responds to the demands of literary criticism in the process of structuring the Brazilian identity. Therefore, the fictional construction of Brazilianity (Brazilian Identity) is the pivot for the national romance, which inclines the narrative towards descriptivist reiteration, even under different aesthetic shades. Land, race and social condition are themes that run through the Brazilian novel, leaving little room for psychologically more complex characters. It will be seen that some common characteristics compress fiction to the detriment of exposing the national reality, more especially linked to space and local types. Faced with critical demand and the public's difficulties, the Brazilian intellectual complex is formed seeking uniqueness/singularity, but points out the shortcomings of this diegetic itinerary. The aesthetic synchronicity of various narrative resources is configured as a discipline of taste in which the ethical appeal competes with the dynamics of the narrative. The theory that supported this investigation includes work by Alceu Amoroso Lima (1957), Araripe Júnior (1960), Sílvio Romero (1960), José Veríssimo (1977), Silviano Santiago (2004), Antonio Candido (1987, 2014, 2017), and others

This doctoral thesis seeks to compare the views of some reading mediators, since they are the ones responsible for presenting literary works in the school environment. The research arose from the desire to observe how the reading of literature has been discussed within the school environment and how Portuguese Language teachers, reading mediators, have seen and become involved with aesthetically elaborated works, that is, emancipating works and marketable works, also called mass literature. Through the Reception Method, described by Aguiar and Bordini (1988), based on the Reception Aesthetics, which was initially presented by Jauss (2003) and Iser (1996, 1999), we entered the school environment and had direct contact with nineteen mediators whom we invited to be part of the research. From this contact it was possible to determine the horizon of expectations of these mediators and after offering them two works for reading, "O abraço" by Lygia Bojunga and "Fale!" by Laurie Halse Anderson, with the aim of verifying the reception of these works and whether they met, broke, questioned and expanded their horizons of expectations. As a theoretical support, we rely on the following authors: Candido (1972, 2011a, 2011b, 2011c, 2013a, 2013b); Jauss (2003); Adorno (S/D); Lima (2001); Eco (1993, 2013a, 2013b); Campos (2010); Iser (1996, 1999); Caldas (2000); Sodré (1985); Rudiger (1996); Magnani (1997, 2011); Bordini and Aguiar (1988); Abreu (1999); Lajolo and Zilberman (1991a, 1991b, 2019); Zilberman (1986, 1991, 2004), among others. The result of the research was surprising, because by analyzing the reception of the works we were able to visualize the historical relationship that the mediating teacher has with the book, the barriers built due to social devaluation, the gaps left by academic training, the requirements on the part of the documents of the Government of Mato Grosso that guide the action in the classroom, and that at the same time distance the mediator from literary works, and perceive how this set of actions dulled the perception that they should have to expand their horizons of expectations.

This thesis was dedicated to the study of the first phase of writing by the Amazonian Milton Hatoum. His work takes place in the Amazon or has it as a reference for displacements and settlements. The author makes the interesting movement of giving voice to the colonized by putting themselfs in motion advancement in the fabric of the narratives. And, within this perspective, the proposed analysis was carried out in the context of decolonization that puts into question the "leftovers" of colonization and the ills arising from this process, riddled with greed, allied to the colonizer's sharpest teeth, stuck in the colonizer's throat. , ready to suck up until the last drop. It is not a very extensive work, however, full of subjectivities and conflicts that mark the voices of those excluded from the modernization process, making his novels, tales and essays an extremely dense literary production. The works that make up the corpus of this research are: Relato de um Certo Oriente (1989), Dois Irmãos (2000), Cinzas do Norte (2005) and Órfãos do Eldorado (2008). And, to support the analysis, we propose authors of literary, cultural, post-colonial studies, subaltern studies and colonialism as: Aníbal Quijano, Edward Said, Gayatri Spivak, Aimé Césaire, Frantz Fanon, Humberto Eco, Alfredo Bosi, Zygmunt Bauman, Octávio Paz, Georg Lukács, Milton Santos, Homi K. Bhabha, João de Jesus Paes Loureiro and others.

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This doctoral thesis investigates the telluric in the novels Levantadao do Chão (1999), by José Saramago and Os Flagelados do Vento Leste (1959), by Manuel Lopes, in order to identify the presence of natural elements, water, earth, fire and air , as well as their influences on the character and conduct of the characters. The telluric, in these narratives, is understood as a primary substance that transcends simple materiality and becomes a kind of bridge between being and the world, that is, the four fundamental elements are apprehended in their symbolic intimacies and conceived in the active imagination of their essences. In this way, the earth element is taken as a hard matter that, through the clash, teaches to remain. Water is analyzed in its restless and dense substance, often violent. Air, the aerial element of freedom, is discussed in the detachment from matter. The fire element, in turn, is perceived in the two opposing valuations: good and evil. As a theoretical reference, to elucidate the discussions, the studies of Gaston Bachelard (1988), (2001), (2008), (2018) and (2019) are taken, the theoretical framework necessary to understand the material imagination of these elements and the perception of their actions as a possible narrative power in the novels under study.

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This work is based on the analytical and bibliographic review of the text ''Poesia e composition – the inspiration and the work of art'' by João Cabral de Melo Neto, published for the first time in 1956, in Revista Brasileira de Poesia. The analysis is mainly focused on the dimension of his compositional theory, and its implications for the construction of his antilyricism. Starting from Poesia e composition: A inspiration e o trabalho de arte (2003) by João Cabral de Melo Neto, we made a detailed review of how the theorist thinks about the poem, the poet, and the ways of producing the poem object, and its implications in the dialogue with modernist poetry. Our objective is to highlight the inherent relationship between the theory and the Cabraline poetry, as the Cabraline metapoetry is deeply intertwined with its compositional theory. To elucidate these questions, we analyze the elements that build the spider metaphor as a simile of poetic making, as well as the “violent and vigilant gesture” of the creational act pointed out by Cabral. Finally, we analyze ''O Engenheiro'' (1945) and the last poem written by the poet, ''Pedem-me um poema'' (1998) to demonstrate the timelessness of his theory of composition as an aesthetic project. To give critical-theoretical foundation to our work, we will use João Cabral de Melo Neto (2013), João Alexandre Barbosa (1975), (1986) and (2002), Hugo Friedrich (1978), Antonio Carlos Secchin (1999), (2014), (2018) ) and (2020), Paul Valéry (1996) and (2018), Antonio Candido (2006), Benedito Nunes (2007), Tzvetan Todorov (2009), Antonio Miranda (2013), among others.

 A presente dissertação procura fazer um estudo aprofundado das características da narrativa moderna contemporânea nas obras Alegria (2018) de Eduardo Mahon e A peste (1947) de Albert Camus com foco na configuração dos narradores. Tendo como principal ênfase o sujeito solitário e a subjetividade construída a partir do isolamento, este se justifica pelo fato de que os romances apresentam personagens principais com comportamentos que se assemelham. Embora este seja narrado em terceira pessoa e aquele em primeira procuraremos desenvolver um estudo analítico-comparativo entre essas duas narrativas tomando como ponto de partida os contextos de produções, a composição estética e como esses aspectos das obras se presentificam na configuração do sujeito contemporâneo. Objetivando compreender socialmente as produções em seus momentos históricos e literários estabeleceremos liames entre os autores e suas fortunas críticas, bem como refletir sobre a configuração do narrador solitário nesses romances procurando compreender os sujeitos sociais dos séculos XX e XXI. Para a fundamentação teórica da pesquisa lançaremos mão dos estudos de Adorno (2003), Benjamin (1994), Bakhtin (1990), Auerbach (2002), Watt (1997) entre outros a fim de fundamentar o desenvolvimento da dissertação.

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The purpuse of this thesis is the study of the classical Japanese work Kokinshū, noting that it is a precursor of aspects that typify Japanese lyric poetry. The guiding principle that will move the arguments is the assumption that the work Kokinshūreflects animic characteristics of Japanese aesthetics that constitute indelible presences in later Productions, especially in the representative haiku. It is intended to highlight and illuminate the singularities of the work that are configured in specificities of Japanese lyrical production. Classic arguments about the work and modern critical trends will be taken into account. What are called classical arguments here are mainly the studies of W. G. Aston and Donald Keene, in addition to Portuguese scholars, suck as Wesceslau de Moraes. The relationship between the work and the cultural and historical aspects will be observed starting from the assumptions established by Yuri Lotman and the presence of semiological, phenomenological and semiotic principles; those marked by the contribution of Yuri Lotman. The contribution of A. G. Greimas and Denis Bertrand, regarding the semiotic presence; Roland Barthes in relation to semiology and, in relation to phenomenology, the contribution of the Japanese philosopher Tetsuro Watsuji is added. Regarding poetry itself, the contributions of several poets will be observed, with emphasis on the poet and editor Ki no Tsutayuki and the poet Miss Ise. Kanajo, na essay that Ki no Tsurayuki published concomitantly with the collection, contributes to the study od poetic production by observing the origins and cultural aspects that support it; in addition, it exposes essential aspects of Japanese poetry. Aspects that are observable in the poems Tsurayuki who, like the other organizers of the collection, has poems published in it. Ki no Tsurayuki’s arguments in the essay he published along with the collection foreshadow aesthetic principles that have echoed in poetry through the ages. Ki no Tsurayuki’s contribution to Japanese literature goes beyond these two aspects, since the author is also a precursor of the literary travel diary. The female contribuition to the Japanese literature of the Heian Era is an aspect worth mentioning, especially because we are talking about the 10th and 11th centuries of the Christian era, and in this period, nowhere else on the planet was there a literary contribution as intense as that of Japanese poets. In the work Kokinshū this contribution was quite democratic, since it has poems wirtten by princesses and concubines, servants, prostitutes. The thesis aims not only to discuss the poetry of Kokinshū, but also to awaken to the need for knowledge about classical Japanese literature. 

This thesis investigates the (re)readings of the historical discourse proposed by the writer Mia Couto in the trilogy As Areias do Imperador. The bonds of memory and identity underlie the research corpus that develops from the hypothesis that Mia Couto, through fiction, revitalizes the various versions of the past of revolutions and Mozambican struggles, especially in the 19th century scenario. Mia Couto is one of leading names in Portuguese-language literature, with awards in the National and international. The Emperor's Sands trilogy provides the reader with a place of listening, reflection and questioning about heroes and subordinates by the official speeches of the winners. Comprised of the titles Women of Ashes (2015), Shadows of Water (2016) and The Horizon Drinker (2018), the series dialogues with the context of territorial dispute between the Portuguese Crown and the Gaza Empire, commanded by the protagonist Ngungunyane, occurred between the late 19th and early 20th century, in the southern part of Mozambique. At Narrative voices are predominantly constituted by the experiences and memories of the characters Imani Nsambe (a young African woman from the VaChopi tribe) and Germano de Melo (soldier representing the Portuguese Official Forces). In between oral and written, the environment is redesigned by the different perspectives of the who were/are on the fringes of history. As theoretical and critical support, studies by Leite (2018), Abdala Jr (2004), Santos (2001), Said (2007), Hall (2005), Bauman (2005), among other theorists and critics of the literature and cultures.

Focused on the universe of literature produced in Brazil, this thesis focuses on the study of the perspective of orphan narrators in three Brazilian novels and, through Comparative Literature, to understand to what extent the narrators dialogue with society and translate the country and its people. For that we selected: O Menino de engenho, (1923), by José Lins do Rego, São Bernardo, (1934), by Graciliano Ramos and Grande sertão: Veredas, (1956), by Guimarães Rosa, to establish some counterpoints, approximations and. distances. In these three novels, they belong to the modernist aesthetic, more precisely to regionalism, their narrators are orphans and move within a temporal space between the end of the 19th century and the beginning of the 20th century, on the back of this displacement they present a Brazil, until then, little narrated in Brazilian literature, tells of a rural reality little known to readers until then. In the social context, we have a country leaving the slavery regime, in transition to a Republic, seeking to strengthen itself in the search for a national identity. Each of these novels offers the reader the literary representation of a part of the country, be it the world of the planters, or the reality of farmers, cattle owners and people who build their power through the force of capital, or a gang of jagunços who they vie for power in struggles and wandering wars in the backlands of Gerais. From the perspective of these three authors, we come into contact with a rural, sertanejo universe, with its ecology populated by strong men, colonels, jagunços, blacks, boys and kids, large houses and slave quarters, sertões, struggles, aggregates, bastards and orphans who live and a Brazil, which as Flora Sussekind says; "It's not far from here". It encourages us to understand how these novels and their orphan narrators dialogue with this society and, to what extent these narrators translate the country and its people, what is the relationship between this literature and social life. And so to be able to understand more clearly the relationship between these portraits of Brazil and orphanhood, as well as the weight and mark that this sign of orphanhood imposes on the literature, culture and identity of the country.

The present work aims to analyze how the work Açúcar Amargo (2001) by Luiz Puntel and the short story A Moça Tecelã (1999) by Marina Colasanti was received by students of the 8th grade of Elementary School of the Parecis State School of Campo Novo do Parecis, aiming to learn about female empowerment through the habit of reading in the aforementioned male and female students. This empowerment allows women to be a subject of rights. Five reading workshops were held in the class, based on the didactic sequence of Rildo Cosson (2018). For these sequences, we used the works mentioned above, the film Valente and the text 10 empowered women who in 2015 proved that it is worth fighting in order to visualize women in different situations. We also observed how students interact and dialogue with the narratives in the school routine. To support our work, we sought theoretical and critical support from some researchers, who recently discussed this issue, namely: Jauss (1994), André (2004), Coelho (1982, 2000, 2012), Naspoline (1996), Antunes (2003), Lajolo (2007), Zilberman (1984, 1986, 1990, 2005, 2007, 2009), Aguiar and Bordini (1993), Candido (2000, 2006, 2011), Colomer (2003, 2007, 2017) among others to understand the topic. After the application of the workshops and the analysis, we realized that the students relate the work to the experiences they know in life, through a relative or through himself. The literary work dialogues with the reader making him feel part of the story.

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The research which embodies this dissertation was developed with the aim of analyzing the strategies used by the author Lygia Bojunga Nunes from the interactionist perspective of language and reception aesthetics to evoke the reader's participation in the literary work. In the novel which served as the corpus of this analysis, Sapato de Salto (2006), it is clear that the communicative verbal action is socially oriented as it deals with fracturing themes such as sexual abuse, prostitution, pedophilia, homo-affection, domestic violence, without being erotic, lewd or vulgar though, allowing the young person to go on attributing meanings and building meanings to the reading at the same time he is captured for it. For this, we tried to identify discursive, symbolic and intertextual signs in Sapato de Salto (2006) which intertwined with the personal and professional maturity of the writer in constant interaction with her audience, allowing critical and humanizing provocation effects on those who read it. Our studies were based on the theorists Mikhail Bakhtin (1993, 1997, 2003, 2006, 2010), Hans Robert Jauss (1994), Wolfgang Iser (1996), Brazilian researchers and essayists Aguiar & Bordini (1988), Marisa Lajolo (2007, 2011), Regina Zilberman (2007, 2011, 2012), Perrone-Moisés (1990) and in the exponent of Brazilian literary criticism, Antônio Cândido (1972, 1988, 2004, 2006, 2009), among others. It could be verified that Lygia Bojunga endorses the thesis of social interactionism and the aesthetics of reception in reading and literature, as it was found, in  Sapato de Salto, dialogism between work and the reader, valorization of prior knowledge, expansion of this knowledge through breaking paradigms, and activating their responsive participation in empathetic reflections on issues barely discussed with young people, but much experienced by them, favoring the understanding of oneself, the other and their (trans) literary formation.

BARRETO, Maria Neli. Speaking about love e and betrayal: Divorce, of Ricardo Lísias. Master thesis. Graduate Program in Literary Studies – PPGEL/UNEMAT. Tangará da Serra/MT, Brazil, 2021. Advisor: Walnice Aparecida Matos Vilalva.

This research aims to analyze the novel Divórcio, by Ricardo Lísias. By reading this plot, published in 2013, which has fifteen chapters titled kilometers, we suggest a discussion about Lysias' novel making from the mechanism of counter-discourse inserted in the novel that appears to respond writing a journal. To carry out such inquiries, we will investigate: the composition aesthetics undertaken by the author to model her narrative, the figure of the narrator, the characters and plot, as well as the discourse undertaken in the diary and the counter-discourse which is consolidated in response to the discourse of this intimate agenda. To carry out the In this study, some of these works were chosen as part of the theoretical foundation: Bakhtin (1998), Barthes (1981), Benjamin (1987), Blanchot (2005), among others. 

Esta dissertação possui como objetivo um estudo analítico do narrador, dos personagens e outras características estéticas como: “o efeito de estranhamento”, o tempo-espaço, a caracterização de circunstâncias, a ambientação distópica e a intertextualidade geradas a partir das alusões realizadas a escritores e cientistas referente aos nomes e sobrenomes dos personagens Violet, Klaus e Sunny, sendo estes os Baudelaire, Sr. Poe, e seus filhos Edgar e Albert. Um outro aspecto, será o de esquadrinhar a expressão in loco parentis aludida em alguns momentos da narrativa. Constata-se que todos esses aspectos se encontram inerentes à obra Mau Começo - The Bad Beginning e Serraria Baixo-Astral - The Miserable Mill, ou seja, no primeiro e no quarto volume, respectivamente do romance Desventuras em Série. Nessa esteira, esses detalhes conspícuos possuem o propósito de vislumbrar como princípio o histórico da obra, a orfandade em relação ao questionamento da dignidade humana mediante à constituição dos próprios personagens, advindo de reflexões e comparações no romance. Nessa concepção, desenvolvemos um estudo bibliográfico a partir da ótica e da análise do romance A Series of Unfortunate Events - Desventuras em Série, do autor Lemony Snicket ― heterônimo de Daniel Handler. Nossas análises estão fundamentadas em teorias imprescindíveis para o entendimento desse estudo. Deste modo, utilizamos a pesquisa bibliográfica de metodologia analítica, efetivada pela utilização de materiais teóricos registrados e já trabalhados por outros pesquisadores. Essa pesquisa foi realizada de duas formas. O primeiro é o de efetivar a leitura sistemática de apontamentos do romance escolhido e, por fim, a dos referenciais teóricos que sustentarão nossa tese. O segundo prosseguimento desse processo, que compreende a composição de escrita do trabalho, dar-se-á posteriormente ao realizar à fortuna crítica como uma introdução abrangente da narrativa dos 13 volumes do romance, no ato contínuo realiza-se a análise dos possíveis livros: 1-The Bad Beginning- Mau Começo e 4- The Miserable Mill- Serraria Baixo-Astral, no qual, o estudo analítico refere-se tanto aos seus aspectos estéticos literários, quanto as suas temáticas sociais.

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This dissertation aimed at analyzing some poems by Sangue Negro (2016), by the Mozambican Carolina Noémia Abranches de Sousa, and Poems (2014), by the Angolan Alda Lara, emphasizing the poetic way that the authors used to denounce and oppose the Portuguese imperialism. The work pointed out how, even silenced by a patriarchal and colonialist system, these characters stood out as two great voices, who contributed to the construction of a libertarian thought in Angola and Mozambique, through literature.

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South African writer John Maxwell Coetzee, when publishing Disgrace in 1999, offered humanity the aesthetic articulation of a significant range of knowledge and experience. This fact impacted and motivated us to choose the work as an object of research. José Rubens de Siqueira translated the novel into Portuguese - Desonra - by Companhia das Letras. The objective of this study is to analyze how the aesthetic aspects conform in Desonra (2000), considering the tragic, the cultural shock, speciesism and the body in the narrative set. The analytical path tended to interpret the aesthetic of the Coetzeean novel, guided by a tragic sensitivity, that is, we did not force the imposition of knowledge and theories on the approach taken. On the contrary, we allow the artistic work to reverberate the pertinent knowledge to the interpretative process, and we articulate them in search of establishing an understanding of the higher unity of Desonra. The theoretical framework related to the tragic, based on Friedrich Nietzche, Raymond Williams among others, focused on the other aspects of the novel, catalyzing its central issues. Thus, we used authors of literary theory such as Mikhail Bakhtin, Antonio Candido, Norma Friedman and others to address the structural elements of the narrative, postcolonial theorists to understand the representative figures of the novel, and authors from other theoretical fields such as Michel Foucault, Zygmunt Bauman, Peter Singer, Melanie Joy, David Le Breton among others, to reflect on the various contents inscribed in the artistic universe of Desonra. The forms of articulation of knowledge indicated how the tragic process takes place in the novel, making it possible to visualize a path of transformation of the protagonist, David Lurie, in a tragic sense.

The Movement of Independent Writers of Pernambuco-MEIPE was created by teenagers and young people, in the 1980s, in the city of Recife, characterized by resisting the oppressive, post-dictatorial system that Brazil was going through at the time and, by its avant-garde forms in the mode of reading, seeing and writing poetry of apparent rebellion and insubordination to pasteurized models, building a literature outside what was established by the classical poets, thus moving away from the Brazilian literary canon. Among names such as Francisco Espinhara, Cida Pedrosa, Fátima Ferreira, Héctor Pellizzi, among the founders, militants and resistance in MEIPE, the poet Eduardo Martins stands out, one of the members who promotes the Movement and continues to produce art literary and academically. His poems carry MEIPE's thoughts and, in addition to subjectivity, semanticity and polyphony, typical characteristics of poetry, irony presents itself as a mark in his works, not only the irony as linguistics promotes, but a situational irony, of an imprint philosophical, psychoanalytic, romantic and sensitive as poetry and literature more broadly, expressed in various ways, whether in the self-irony of the lyrical self in front of human life, its perception of the world and how to experience it, interfering in the ways of seeing it. think-act. A metaphysical irony, but also involved in mythical and cosmic issues that reflect existential issues, faith, love, death and positive and/or negative sufferings to which the human being is subject, as a living and thinking being. When not, it surprises us with its poetic intention, leading us to produce ironic effects, making us ironists. Therefore, the objective is to evidence the presence in MEIPE and the irony in the trajectory of Eduardo Martins' poems, through symbolic or metaphorized effects, strategically produced by the poet, in the works Eczema no lírico (1985), The open side (2004) and Dry signs (2021). For this purpose, qualitative, exploratory, bibliographiccomparative and documental research was used, with an analytical-descriptive orientation, compared to consultations in various publications, including the twelve books published by Eduardo Martins, in the last four decades. Thinkers like Adorno (2003); Aristotle (1993 and 1998); Arrigucci Jr. (1997, 2002 and 2003); Bosi (1992 and 2015); Campos & Cordeiro (2005); Campos (1977) Candido (1996); Espinhara (2000); Friedrich (1978); Kayser (1963); Kierkegaard (2006); Paz (1982); Rorty (2007); Sanches & Martins (2019); Valery (1991); Williams (1987) among others who add to the support and defense of the arguments intended to be inferred. Thus, as a result, in addition to fulfilling the proposed objectives, connections were established between the poet and society, recognizing his production as Rondo-Pernambucan, since he was born in Pernambuco and produces a large part of his works in the state of Rondônia, leading to o the condition of national poet, having irony and independence as essential elements in his poetic trajectory.

This work aims to analyze the work Primeiras Estórias, by João Guimarães Rosa, based on the Theory of the Imaginary. Thereby, we sought to understand the possible meanings of the stories, from the symbols that rule the narratives and also the internal organization of the book. With this in mind, we seek to interpret the symbolic elements that make up the stories, as well as understand and discuss how the Day and Night Regime, proposed by Gilbert Durand, are presented in the structuring of the work, mediated by the central story: O espelho. Thus, starting from the symbolic imagery and the layout of the texts in this collection, we try to reflect about the human being and their experiences represented throughout the narratives that make up this work. In view of this, according to the hypothesis of "mirrored parallelism", the symbolic elements of each narrative were extracted, which, in turn, were understood with the help of symbol dictionaries and in relation to Durand's theory, in order to check this readability. Therefore, we believe that symbolic hermeneutics can help us to interpret how these stories tell us about the psyche and the structures that helped to sustain the human evolutionary process, whether from an individual or collective perspective, and also to perceive representative fractions of the process of individuation and the transcendent function, described in Carl Jung's thought, which will support the reflections proposed throughout the analyses. That said, it is necessary to emphasize that the word mythessence is related to this tangle of archetypal, symbolic and mythical energies that permeate us, forces without which we would not have so many stories (and history) to tell. It is, therefore, in midst of the primitive and essential potencies and structures that founded and found stories that, in turn, are part of both the conscious and the unconscious of people, as they continue to provide us with experiences that are never neutral and, consequently, become part of us, even though they are invisible. In view of this, the systematization of the stories, from opposing and complementary symbolic constellations, offers us the opportunity to reassess "certainties", discover cracks in the reality and notice that life and, in this case, especially, the human being is composed of many fragmented parts. Therefore, the ambiguity and ambivalence of the composition of the narratives in this collection favors the construction of multiple meanings in the texts and, in this way, stimulates reflection on what is in the essence of our constitution, what is beyond externality or what we know physically, therefore, in the most hidden paths of the psyche of our being. Consequently, we could say that the meanings proposed when analyzing these stories are like human beings themselves, fluid, transitory and in search of complementarity, as they spring from our own intimate experiences and, therefore, continually expand with our readings in fiction or in real life.

The process of pornographic configuration of the novel Lori Lamby's Pink Notebook (1990) occurs through the establishment of a narrative strategy, namely that of pornographic manipulation. This is the term that seems to define the narratological and thematic body of the Brazilian writer Hilda Hilst. This is also our moving axis and guiding thread for the investigation of this narrative and, above all, of the protagonist's understanding in this game of manipulation of verbal-pornographic creation that the character creates. In this perspective, this dissertation investigates the Hilstian work in the light of the theories of Georges BATAILLE, Lynn HUNT, Susan SONTAG, Mikhail BAKHTIN, among others, for the conception of literary pornography and the understanding of how it is configured in the novel in question. The present study reaches relevance in that it gives the examination of diegesis an analytical posture that seeks to see the subject of pornographic manipulation as an aesthetic value, perceiving it as an important narrative-discursive operator in the novel in question.

The late 1980’s impacted the capital of Mato Grosso, generating cultural initiatives of reaction. The transformations in the urban scene, the migratory flows, the decay of  the cultural hegemony of Casa Barão de Melgaço and the strengthening of a new intellectual center that gravitated around the Federal University of Mato Grosso, were responsible for the birth of a new literary generation, entitled in this work “Geração Coxipó”. Irreverent young people, gathered around collective publications, inspired by Wlademir Dias-Pino's anti- academic non-conformism, improvised the first publications and established themselves with the launch of Revista Vôte! and other journals. The literary path of the authors of the Generation Coxipó is marked by ambivalence. On the one hand, they fought against the aesthetics related to the Academia Mato-grossense de Letras; on the other hand, identifying with modernity, they rejected the transformations arising from the process of migration, occupation and questioning of local tradition.

The theoretical framework used in the research covers Maffesoli's concept of generation, the fields of symbolic power and Bourdieu's (2018) definitions of hegemony and Latour's (2013) and Compagnon (2011) definitions for modernity and antimodernity. Regarding the Brazilian identity construction in literature and its ambivalence in modernism, the bibliography of Antonio Candido (2017), Carlos Berriel (2000), Flora Süssekind (1994), Gilberto Mendonça Telles (1972), Sérgio Miceli (2012) was consulted , among other critics. Specifically regarding literature from Mato Grosso, Rubens de Mendonça (1970), Hilda Gomes Dutra Magalhães (2002), Mário Cézar Silva Leite (2005), Marinei Almeida (2012) and Carlos Gomes de Carvalho (2004), in addition to the Institute's periodicals Historical and Geographic of Mato Grosso, from the Mato Grosso Academy of Letters from 1922 to 2015 and from the literary magazines Vôte !, Estação Leitura e Fagulha.

This study, which attends to the approach of Literature research, History and Cultural Memory, also involves literary translation. Basically, this study is organized in two main parts, as the first covers the study of the influences, characteristics and analysis of E.M. Forster’s short stories and the second part deals with the commented translations of some short stories, whose titles have been translated as como “O Caminho de Colono”, “A História de um Pânico”, “O Outro Lado da Sebe” e “O Amigo do Pároco”. While analysing forsterian short stories, we were able to observe that the writer stands out for his irony, making usage of the most variable themes to criticize the British society, specially the middle-class members. In order to develop his critical writing, he uses the literature classics as a background and presents his main characters travelling around several places, which might be real or fantastical ones. The short stories which are analyzed and translated through this study, may be considered fantastical ones, yet presenting a typical Forster’s writing characteristic, a fantastical that come from the real, not following a completely unusual context as it often happens in short stories classified as fantastical. Besides the analysis of the short stories, which could have been done in their original language, we translated them into Brazilian Portuguese language. Amidst the possible translation approaches, we chose the illusionist approach on the grounds that we believe these short stories translations may offer for Brazilian readers a very close text to the original language, however, we highlight that reaching wholeness through their translation is an impossible assignment.

The Brazilian literary works from the beginning of the 21st century allow, for analysis, an increase in perspective in relation to fictional production and also the way in which the works and authors were received by the literary field. The profusion of aesthetic tendency appears, in this scenario, as a line that deserves a closer look from the critic regarding the narrative strategies used. The purpose of this thesis is to investigate the novels Dois Irmãos, by Milton Hatoum, and O Irmão Alemão, by Chico Buarque. In Milton Hatoum's work, to investigate the metafictional aspects present in the narrative construction and, in Chico Buarque's work, the self-fictional signs. The study follows the approximate narrative construction of a sub genre coined by Freud (1909), which culminates in the family novel and aims, through the investigation of the narrator and characters, to highlight the narrative points that rest on the role played by family members in both novels. The study follows an overview of contemporary trends in the Brazilian novel; followed by the analysis of the novel Dois Irmãos, pointing out the metafictional strategy; next, the analysis of the novel O Irmão Alemão, identifying the self-fictional strategy; and an analysis of the characters and narrators of the two novels in relation to the literary construction process. Contributes to this study the concepts of Metafiction, from Linda Hutcheon (1991), to investigate the novel Dois Irmãos, and Autofiction from Doubrovsky (1977), to ascertain the novel O Irmão Alemão; in addition to the observations of Schollhammer (2010), Beatriz Resende (2008) and Bentivoglio et. al. (2017), on contemporary Brazilian fiction; and also statements from Lynn Hunt's (1992), Yi-ling (2001) and Dell (2005) about the construction of family romance.

This thesis proposes an investigation about the configuration of dystopia in the narratives Animal Farm (1945), by George Orwell and Fazenda Modelo (1974), by Chico Buarque, from a comparative perspective. For the development of the theme, it was necessary the theoretical-critical recovery regarding utopia, as well as the rereading of significant works on the theme, such as: A república, by Platão and Utopia, by Thomas More. Our study is support by theoretical and critical works by authors such as: Szarchi (1972), Berlin (1991), Gordin (2010), Booker (1994), Berriel (2011) and Coelho (1981). The hypothesis formulated in this thesis is that there is a distinction between utopian and dystopian forms in the research corpus; however, what prevails is the complementarity between these two antagonistic places (positive and negative), since, while utopia is characterized by man's desire for a better and more egalitarian space, the dystopia is understood as a criticism of rationalization of life established in utopia. The representation or description of dystopian social organization seems to promote the extinction of freedom and, consequently, support the creation of totalitarian systems. In view of the above, we start from the assumption that dystopia is configured, from the 20th century, in its political and human spheres, based on the World Wars, Auschwitz, totalitarian and dictatorial regimes. In this perspective, theorists such as Adorno (2012) and Benjamin (1984) provide support for understanding how these contexts reached the literary material. These factors can be found in Animal Farm (1945) and Fazenda Modelo (1974), and will be analyzed in the light of literary studies, focusing on the elements of the narrative and the confrontation with events in the official history, in order to identify and prove ruptures and continuities, both between literary works and between fiction and history.

This Doctoral Thesis, among its objectives, seeks to present the paths taken by Angolan literature when it focuses especially on children and youth in Angola. For this, the writers' works were analyzed: Dario de Melo with Quitubo, a terra do arco-íris and No país da Brincaria; and Maria Celestina Fernandes with Kalimba and A árvore dos Gingongos, observing the contributions of the author and the work, in particular of these two writers, to the strengthening of an Angolan literary system for the childhood and youth of Angola. Among other aspects, the form and content approached by the authors was verified, revealing whether the content and the way it is presented in the narrative interferes with the aesthetic quality of the text. It was also analyzed in what way / way the valorization of the language and culture, so present in the works for children and youth studied here, reaffirm the Angolan identities, promoting the valorization and the protagonism of the Angolan child and youth. To analyze the works cited, it was necessary to first understand the historical context of Angolan literature, observing and reflecting on other writers and their narratives, available in the Angolan publishing market. One of the objectives was also to verify the formation of the literary system for Angolan youth, based on literary theories that research works aimed at the public in question. With this, we sought to arrive at an aesthetic interpretation, taking into account the social dimension as an art factor, evaluating whether the published literature meets the main role of literature as art, which Antonio Candido (1995) defines as the humanizing role. Some of the theorists who guide this research are: Zilberman (1981; 2007; 2008), Lajolo (2000; 2007); Gregorin Filho (2009; 2012), Pinto (2008), to deal with literature aimed at children and young people; Macêdo (2007), Santilli (2007), Chaves (1999; 2000; 2007), Secco (2007), to address African literatures, specifically Angolan literature; and to support the discussions about aesthetics of literary art and the literary system, we chose: Bakhtin (1981; 1990), Bourdieu (1996), Candido (1995; 2004; 2006), Chartier (1996), Benjamin (1987), among others. Thus, this research has relevance in discussions about the aesthetics of literature for children and youth, in understanding the literary system of Angola, in the dissemination of works whose interest in reading is configured in children and young people, in addition to valuing and promoting Portuguese-speaking African literature. Studying Angolan literature for children and young people makes it more accessible to readers, especially the youth of Brazilian schools, expanding / re-signifying the imagination, the fabulation, the horizons of expectations and the world view of these readers, promoting a meeting immersed in pluralities and meanings.

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This thesis investigates the aesthetic trajectory of Luiz Ruffato's literary project that is inscribed under the rubric of Provisional Inferno. In search of a novelistic composition that inserts him in a revolutionary way in the context of contemporary Brazilian literature, Luiz Ruffato embarks on his literary project when publishing the work Histories of remorse and rancor (1998). Continuing it with (the survivors) (2000), the writer reaches the series of five volumes that are interconnected by the rubric Provisório Inferno. In 2016, the novelist's romanesque project culminates, then, in the single volume work entitled Inferno Provisório. Taking the eight works as the corpus of analysis of this investigation, I infer that Luiz Ruffato's artistic-literary creation is based on what I call ‘palimpsychic aesthetics’. His humble origins, his experiences in the world of work, linked from an early age to the habit of reading corroborated the intellectual and critical training required of a literature writer. With an apparently defined literary content, Luiz Ruffato had faced a relatively common concern to the literate, that of ‘how’ to write. From this concern, a concern arises that makes him revisit the works that make up his literary project and put them back in tension. In the pursuit of this tension, I seek to ascertain an aesthetic that is shaped by dissatisfaction with its own finish. Aesthetics that finds in the image of the palimpsest a metaphor capable of showing both the successive inscriptions of the project Inferno Provisório, and the effect of transparency in their respective updates.