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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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 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.

Não há.

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.