During the period of military government in Argentina, Brazil (1964 –1982) and the present day communist Cuban regime, a machinery of cultural repression was established in these countries, these states had a systematic plan of cultural repression of any kind of opposition, dictatorships had an organized and sophisticated operating control over the press and all publications. The dissident writers examined in this dissertation developed strategies of resistance that depended largely on allegory to carry their messages against their respective oppressive regimes. By means of a detailed rhetorical analysis, our study examines the lookings of allegory and cultural resistance under the constraints of repression. Our corpus includes six novels written by dissident writers during the period studied in this dissertation. The fictional narratives selected in this study are divided into novels from Brazil, Argentina and Cuba. The Brazilian novels: of Jorge Amado Dona Flor e seus dois maridos (1966) and Érico Verissimo, Incidente en Antares (1971); two Argentine novels: Ricardo Piglia’s, Respiración artificial (1980) and Martin Khoan’s, Dos veces junio (2002); and by two Cubans: Jesús Díaz, Las iniciales de la tierra (1987) and Zoé Valdés, La nada cotidiana (1995). This dissertation demostrates that allegory and ghosts, as literary figures, can evolve and assume new functions of resisting oppressive governments through confronting, denouncing, identifying and conjuring national traumas as well as adapting themselves to the different political circumstances in which they are used.

This study aims to examine a group of South African novels that have received very little critical attention. Part of the problem is that these works have never been grouped or assessed as belonging to a sub-genre, the South African small-town novel. Although individual texts have been treated to cursory commentary, the joint impact and significance of these works with regard to South African literature in English have never been properly assessed. It is suggested that clustering the works together as small-town novels of the Union period raises important issues and provides valuable insights on a significant period in South African (literary) history. The study’s theoretical orientation is based on a model that J.A Kearney proposes in his book Representing Dissension: Riot, Rebellion and Resistance in the South African English Novel (2003). Kearney (xv) suggests that an important criterion in the study of historical novels is the degree to which the writers’ recreation of particular events/historical phases leads them to an awareness of the gap between actual and ideal society. In the introductory chapter a comparative analysis of South African town and farm cultures and their respective representations in literature are used to throw some light on possible reasons for the critical neglect of the novels. A brief historical background is provided with regard to the momentous Union period (1910–1948) which forms the setting for all the novels which are discussed in chronological order in the successive chapters: Stephen Black’s The Dorp (1920), C. Louis Leipoldt’s The Mask, written in the 1930s though only published posthumously as part of his Valley Trilogy in 2001, Alan Paton’s Too Late the Phalarope (1953) and Herman Charles Bosman’s Willemsdorp, written in the early 1950s but also only published posthumously in 1977 in a censored version and in 1998 in full. The authors uniformly use the small-town milieu effectively as a microcosmic setting from which to comment on the larger social and political issues affecting South Africa during this period. They provide a socio-political critique on a period in South African history marked by politically volatility and reactionary ideological developments. Black’s The Dorp satirizes social intrigue in a fictional town ironically yet appropriately called Unionstad. It reveals the ill effects of historical events such as the Boer War and the 1914 Rebellion (specifically the animosity that it created between English and Afrikaner townsmen) but suggests the possibility of reconciliation. In The Mask, Leipoldt reveals a bleak picture of South African town life that is emblematic of the collapse of Leipoldt’s utopian ideal for an egalitarian South African society. In Too Late the Phalarope, Paton dramatizes the devastating personal effects of racially discriminatory laws, which criminalized sexual congress between whites and blacks. Paton’s essentially Christian view exposes hypocrisy and moral corruption in the attitudes of racist townsmen (and by implication the national architects of institutionalized racism), but offers the possibility of restoration by means of personal acts of forgiveness. In Willemsdorp Bosman offers probably the most sophisticated exposé of small-town culture as exemplary of everything that was wrong in the society from which apartheid was emerging. The concluding chapter invokes Bawarshi’s notions on the value of genre classification and briefly focuses on post-1948 novels, confirming the notion that a continuum exists within the small-town novel sub-genre of the South African novel. Copyright / Thesis (DLitt)--University of Pretoria, 2010. / English / unrestricted

[pt] Pessoas presas a olhar imagens projetadas e chamando-as de realidade. O discurso alegórico atravessa o tempo e é presença constante em diversos momentos da história cultural. Este trabalho tem como objetivo analisar os pontos de toque e de distância entre a alegoria da caverna de Platão e Ensaio sobre a cegueira de José Saramago. Neste trabalho analiso as possíveis relações entre as alegorias, sustentado pelas aproximações entre literatura, história e filosofia. Me interessa revelar de que forma os autores se apropriam do recurso alegórico e de referências próximas para construir o sentido de seus pensamentos. O trabalho faz uso de referenciais propostos por Wolfgang Iser, através de seus atos de fingir, as definições de alegoria propostas por João Adolfo Hansen e Flávio Kothe, e dialoga com a obra de Luiz Costa Lima. Em Platão, para além da alegoria, analisa a questão do simulacro proposto por Gilles Deleuze e de que forma admite-se o discurso alegórico em uma teoria que pretende neutralizar a dobra da palavra. Em Saramago, analisarei de que forma a visão marxista de ideologia aparece nas situações narradas pelo autor no romance. Por fim, demonstro em que pontos o exposto em Ensaio sobre a cegueira admite a possibilidade de uma alegoria hermenêutica da caverna platônica. / [en] Prisioners looking at projected images and calling them reality. The allegorical speech crosses the time and is a constant presence at different moments of the cultural history. This work aims to analyze the points of touch and distance between the Plato s cave and José Saramago Blindness. In this paper we analyze the possible relationship between allegories, supported by the similarities between literature, history and philosophy. I m interested in revealing how the authors appropriate the allegorical feature and nearby references to build the sense of their thoughts. The work makes use of reference proposed by Wolfgang Iser, through its pretending acts, the definitions of allegory proposed by João Adolfo Hansen and Flavius Kothe, and converses with the work of Luiz Costa Lima. In Plato, besides the allegory, it examines the question of the simulacrum proposed by Gilles Deleuze and how it is assumed the allegorical speech in a theory which aims to neutralize the words dubiety. In Saramago, analyze how the Marxist view of ideology appears in the situations narrated by the author. Finally, we show that the points set out in Blindness admits the possibility of a hermeneutic allegory of Plato s cave.

Orientador: Maria de Fátima Morethy Couto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T11:13:41Z (GMT). No. of bitstreams: 1 Mendes_Talita_M.pdf: 6181643 bytes, checksum: 13de2f327820836fe396de02355bc780 (MD5) Previous issue date: 2014 / Resumo: Esta pesquisa tem por objeto a análise de três instalações realizadas pela artista brasileira Rosângela Rennó ¿ a saber: Imemorial (1994-1995), In Oblivionem (1994-1995) e Hipocampo (1995) ¿ com o propósito de compreender as investigações da artista em torno da imagem fotográfica e das implicações de seu uso no que concerne aos conceitos de memória, deslocamento e estética da desaparição na arte contemporânea. Além das citadas obras deve-se considerar, para efeito analítico, o work in progress da artista, seu Arquivo Universal (desde 1992), por se tratar de coleção pessoal de notícias de jornal que, frequentemente, é revisitada para a elaboração das obras. Fundamental para a pesquisa é a análise do posicionamento de Rennó enquanto colecionadora de ruínas (fotografias descartadas e outros resíduos culturais), de modo a problematizar a tensão existente entre duas formas de coleção que implicam maneiras diferentes de lidar com o tempo e a história: têm-se a dimensão singular e afetiva das coleções da artista como uma prática da memória ¿ fragmentária por excelência ¿ e a organização de suas instalações nos espaços destinados às exposições de arte (galerias e museus), em que prevalece o discurso pautado na linearidade histórica. O papel da artista, que é discutido na pesquisa, coincide, a meu ver, com o contratipo positivo do colecionador, definido por Walter Benjamin como aquele que descarta a função utilitária dos objetos ligando o ato de colecionar a uma percepção dialética do tempo, não linear. A este posicionamento da artista está associado o conceito de desaparição do teórico da cultura e urbanista Paul Virilio, importante para a análise das manipulações que Rosângela Rennó exerce nas imagens das quais se apropria / Abstract: In this research were analyzed three installations made by the Brazilian artist Rosângela Rennó ¿ Imemorial (1994-1995), In Oblivionem (1994-1995) and Hipocampo (1995) ¿ aiming to understand the artist's investigations about the photographic image and the implication of its uses when related to memory, displacement and aesthetics of disappearance concepts in contemporary art. Besides the mentioned works, the artist's work in progress Arquivo Universal (since 1992) is also considered in the analysis, once it consists in her personal collection of news articles which are usually consulted during the conception of her works. It¿s fundamental for this research the analysis of Rennó's position as a collector of ruins (wasted photos and other cultural remains) to problematize the tension between the two types of collection, which mean different ways to deal with time and history: there is the unique and affectionate dimension of the artist's collection as a memory practice ¿ fragmentary par excellence ¿ and the organization of her installations in spaces for art expositions (galleries and museums), where the historical linear discourse is predominant. The role of the artist, which is discussed during this research, coincides with the positive countertype of the collector, defined by Walter Benjamin as the one who discards the utility functions of the objects, connecting the action of collecting to a nonlinear dialectical perception of time. The artist's position is related to the disappearance concept thought by the cultural theorist and urbanist Paul Virilio, important for the analysis of the alterations Rosângela Rennó does in the images she appropriates / Mestrado / Artes Visuais / Mestra em Artes Visuais

In Brazilian writing of the colonial era, the essay is traditionally defined by its historical, documental and descriptive nature and purpose; however, this type of text, consisting of ―narrative-letters‖ and ―chronicles‖, through which the reader is invited to comprehend the desires and hopes of some of the protagonists in the drama we call ―colonial life‖, also has an esthetic-literary dimension. The flexibility of this literary genre is rooted in the relationship between thought and word, and in the passage from experience to observation. Seen in these terms, this dissertation will analyze a text in which two intimately interconnected dimensions of knowledge – literature and history – can be readily identified, and which are deployed as a means of providing a better understanding of how established Portuguese narratives influenced the first literary productions in Brazil. The analysis focuses on the work of Luís dos Santos Vilhena, a Portuguese teacher of Greek living in Brazil, who cultivated the aesthetic norms established by Classical Antiquity, and whose testimony was published in a narrative entitled Recopilação de Notícias Soteropolitanas e Brasílicas (1802) (―A Compilation of News from Salvador and from Brazil‖). As an intellectual adherent of Enlightened Reformism (reformismo illustrado), Vilhena anticipated the crisis of the colonial system and, at the same time, provided a social, political and economic diagnosis of Brazil, on the basis of which he proposes to the Colony a series of reforms. In contrast, in his descriptions and his reporting of news from the ―captaincies‖ of Bahia, he alludes to the Classical world, evoking Roman and Greek myths, heroes and events, the names of poets and philosophers, and highlights their relations with both the celebrities and the common people of their time. Reflecting this duality, the dissertation begins by providing a dialogue between literature and history, in recognition of the fact that 18th century Enlightenment thought had established that, in the specific context under scrutiny, in order to comprehend the cultural history of the relations between metropolis and colony, the only literary material worthy of consideration consisted of resources drawn from the historical record. The publication and reception of Vilhena‘s manuscript is used to illustrate and test this characterization. Subsequently, we identify and evaluate the fictional elements that constitute ―enlightened discourse‖, above all the coexistence of the production of meaning and the metaphorical mechanism that together reflect the hybrid character of the essay genre. The historical-literary analysis, based on the methodology adopted by Antônio Candido (2005), using the first edition of Braz de Amaral (1921), examines allegorical schemes with a view to recuperating and re-evaluating the role of the fictionality of ―narrative-letters‖ in the constitution of Brazilian literature. These works, by adorning discourse in a literal-figurative manner, reveal the meaning of the things, the men and the real events of that time, and allow us to perceive how values and feelings are reflected in literary works. / A natureza do ensaio própria da escrita colonial brasileira é tradicionalmente vinculada ao caráter histórico, documental e descritivo, porém é inegável a dimensão estético-literária das cartas-narrativas e dos cronicões que nos convidam a compreender os desejos e as esperanças de alguns personagens no ―viver em colônias‖. A flexibilidade desse gênero expressa uma relação entre pensamento à palavra, de experiência a observação. Nesse sentido, analisaremos um testemunho no qual há a existência de duas linhas engenhosas - literatura e história - do saber reconhecíveis no texto, uma subordinada à outra, visando compreender o caráter que modelava as narrativas portuguesas e influenciava as primeiras produções no Brasil. Daremos destaque ao professor de grego Luís dos Santos Vilhena, um intelectual português que cultivava os padrões estéticos da antiguidade clássica, e que deixou seu testemunho na narrativa intitulada Recopilação de Notícias Soteropolitanas e Brasílicas (1802). Como um pensador do Reformismo Ilustrado, Vilhena antecipou a crise do Sistema Colonial e, ao mesmo tempo, realizou um diagnóstico social, político e econômico, apresentando propostas de reforma na Colônia. Por outro lado, nas notícias e descrições das Capitanias da Bahia de Todos os Santos, verificam-se a alusão ao mundo clássico, principalmente ligado a mitos, heróis e eventos gregos, latinos e romanos, bem como nomes de poetas e filósofos, estabelecendo relações entre estes e pessoas comuns e ilustres de seu tempo. Centrado nessa dualidade, nesse trabalho propomos, inicialmente, um diálogo entre História e Literatura, entendendo que, até o século XVIII, considerava-se a matéria literária um recurso nos relatos históricos, para, em seguida, compreender a história cultural entre a metrópole e a colônia ditadas por ideias iluministas. Para alcançar esses objetivos, faz-se necessário o estudo das edições e da recepção do manuscrito de Vilhena. Feito isso, realizaremos o levantamento e a apreciação dos elementos ficcionais que compõem o próprio discurso ilustrado, cujas produções de sentidos coexistem em seus mecanismos metafóricos, que remetem ao caráter híbrido do gênero ensaístico. Para essa análise histórico-literária, baseada em Antônio Candido (2005), será utilizada a 1ª edição do Acadêmico Braz do Amaral (1921). Com isso, buscamos nos esquemas alegóricos resgatar a ficcionalidade das cartas-narrativas na formação da Literatura Brasileira, que por meio de um discurso literal figurado orna, mas desvela os sentidos das coisas, dos homens e dos reais acontecimentos naquela época, permitindo, dessa forma, uma reflexão de valores e sentimentos através do instrumento literário. / São Cristóvão, SE

Orientador: Eduardo Sterzi de Carvalho Júnior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T13:30:16Z (GMT). No. of bitstreams: 1 Paiva_JulianaZanettide_M.pdf: 24170742 bytes, checksum: 3d3f48b1a21422af2dcf63d63f7ccaa0 (MD5) Previous issue date: 2015 / Resumo: O objetivo do nosso estudo é refletir sobre as três personagens principais da obra Os nossos antepassados como figurações alegóricas do sujeito moderno. O percurso que escolhemos percorrer foi apresentar alguns elementos sobre Calvino e a relação entre real e ficional na sua trajetória a partir do ponto de vista da crítica italiana. Em seguida, como existem várias definições e entendimentos acerca do que se pode definir por modernidade, explicitamos em quais concepões nos apoiamos neste estudo. Quanto à discussão acerca das concepções de alegoria, foi mais frutífero para nosso estudo problematizar esse conceito com base nas elaborações de Walter Benjamin. Por acharmos que a obra calviniana em análise mantém uma relação tensa com o contexto social da época de sua escrita, buscamos situar tal contexto, notadamente a especificidade da modernidade italiana, destacando alguns acontecimentos históricos na época da escrita das três histórias, com destaque para o debate sobre o neorrealismo italiano. Em seguida, apresentamos algumas das análises realizadas sobre a obra em estudo e procedemos à nossa análise. A divisão de Medardo, entendida por nós como mutilação, é relacionada aos conceitos de indivíduo concreto, particular e forma-sujeito burguesa abstrata e universal. Para nós, a dinâmica da vida social moderna é também uma dinâmica da subjetividade, em que a forma social pretende exigir dos indivíduos o constante apagamento de seus rastros de individualidade em proveito de uma forma de subjetividade geral e abstrata. Entretanto, os indivíduos concretos não são máquinas que apagam sua história de vida em proveito do social, ou seja, existem tensões que para nós são advindas dessa mutilação entre as exigências do todo social universal e a vida particular. Cosme, por sua vez, é por nós interpretado tanto como uma alegoria do sujeito moderno da Razão Instrumental com sua tendência a submeter o mundo aos imperativos da Razão quanto como uma desilusão-aporia em relação a essa racionalidade: não se sabe se Cosme está desiludido porque não conseguiu fazer o mundo ser guiado pela Razão ou porque notou na racionalização do mundo também as raízes da irracionalidade. Agilulfo nos parece uma imagem alegórica do que se poderia chamar de armadura de caráter do sujeito moderno, de uma abstração de subjetividade, pois o cavaleiro expressa a negação da individualidade do ser humano, em proveito de uma forma-sujeito apta à vida moderna, um sujeito que tem ações e pensamentos em consonância com o ritmo moderno, com a aceitação da realidade vivida sem realizar atritos com ela / Abstract: The aim of our study is to reflect on the three main characters of the work Os Nossos Antepassados as allegorical figurations of the modern subject. The route we choose to follow was to present a brief overview of Calvino and the relationship between the real and the fictional in his trajectory from the point of view of the Italian criticism. After that, as there are several definitions and understandings of what can be defined as modernity, we made explicit in which conceptions we are supported in this study. For the discussion about allegory conceptions, it was more fruitful to discuss this concept based on Walter Benjamin¿s elaborations. As we think that Calvino¿s work, in analysis here, keeps a tense relation with the social context of his writing period, we seek to situate such context, notably the specificity of Italian modernity, highlighting some historical events at that period when those three stories were written, emphasizing the debate on the Italian neorealism. Then, we present some of the performed analyzes on the work in study and proceeded to our analysis. Medardo¿s division, understood by us as mutilation, it is related to the concepts of concrete individual, particular and abstract bourgeois and universal subject-form. For us, the dynamics of modern social life is also a dynamic of the subjectivity, where the social form intendeds to require the individuals the constant erasing of their traces of individuality in favor of a form of general and abstract subjectivity. However, the concrete individuals are not machines that erase their life story for the benefit of social, i.e., there are tensions that for us come from this mutilation between the demands of the whole universal social and the private life. Cosme, in turn, is interpreted by us both as an allegory of the modern subject of the Instrumental Reason with his tendency to submit the world to the imperatives of the Reason and as a disappointment-aporia for this rationality: it is not known if Cosme is disappointed because he could not make the world be guided by the Reason or because he also noticed in the world's rationalization the roots of irrationality. Agilulfo seems an allegorical picture of what might be called the modern subject character armor, a subjectivity abstraction as the cavalryman expresses the denial of the individuality of the human being, in favor of a subject-form capable to the modern life, a subject that has actions and thoughts in line with the modern rhythm, accepting the experienced reality without making friction with it / Mestrado / Teoria e Critica Literaria / Mestra em Teoria e História Literária

The year 1880 was rife with nationalist fervor and a general glorification of the French nation through imagery, literature and legislation. However, at this same time, Les Soirées de Médan, a collection of stories concerning the Franco-Prussian war also appear, bringing with them a distinctly anti-nationalist, harsh, and unforgiving view of the war and France's role in it. This thesis will examine personifications of France within L'attaque du Moulin and Boule de suif, the first two texts of Les Soirées de Médan, and their definite lack of the nationalist enthusiasm that characterized the time of their creation. The study of these allegorical representations reveals the place in the mentality of the French people of the concept they represent, a shorthand for a complex and evolving idea. Though others have mapped out the historical appearance and place of representations of France, I will delve into the possible reasons for the necessity of the feminine in this allegorization, the connotations and conventions that make it an effective tool for fighting nationalist tides for both Zola and Maupassant, and the historical and political context that allow us to trace a general shift in the concept of the nation through these female symbols. Furthermore, given the prevalence of female allegories at the time, and the monopolization of their usage for political purposes, the choice of these authors to employ allegory (a rhetorical mode characterized by its official status with the very regime they are criticizing) takes on further levels of criticism and satire. Exploring the opposition and relationship of these two literary female allegories to contemporary allegorical and visual representations will reveal how they relate to-and eventually criticize and reject-the prevailing political and nationalist discourse of their day.

Depuis le début des années 2000, l’un des traits distinctifs de la littérature nigériane tient dans son utilisation du genre littéraire du Bildungsroman , dont cette thèse considère les différentes évolutions chez les romancières et romanciers dits de la troisième génération. En examinant une vingtaine de romans, de Waiting for an Angel (2002) de Helon Habila à Freshwater (2018) d’Akwaeke Emezi, ce travail se propose de brosser un portrait panoramique d’un pan de la littérature nigériane ultra-contemporaine par le prisme du Bildungsroman. Prenant appui sur les études de genre, cette étude considère tout d’abord les différentes variations féminines d’un genre littéraire au penchant androcentrique. Les réécritures féminines du Bildungsroman mettent en lumière le développement (ou son échec) d’un point de vue et d’une voix individuels alors que les héroïnes tentent de (se) construire un moi unifié. La tendance allégorique du Bildungsroman sous sa forme traditionnelle est également centrale, et l’Histoire de la nation nigériane, depuis la guerre civile (ou guerre du Biafra, 1967-1970), jusqu’au début des années 2000, est au cœur des intrigues tissées par les ouvrages du corpus : la Bildung des protagonistes se fait en parallèle de celle de la nation. Enfin, au XXIè siècle, les frontières nationales ne semblent plus être tout à fait pertinentes pour les romancières et romanciers nigérians qui, de par leur propre expérience en tant qu’individus, détaillent les nouvelles conditions de développement dans une société mondialisée, multiculturelle, ou transculturelle, où les frontières (géographiques, identitaires, génériques) tendent à s’estomper voire à disparaître. Nous proposons donc de nous interroger sur l’existence d’une spécificité nigériane du Bildungsroman en ce début de XXIè siècle. / Since the beginning of the 2000s, one of the distinctive features of Nigerian literature has been the use of the literary genre of the Bildungsroman . This thesis considers the different evolutions of this genre among male and female third-generation Nigerian novelists. It examines more than twenty novels, from Waiting for an Angel (2002) by Helon Habila to Freshwater (2018) by Akwaeke Emezi, thereby providing a picture of contemporary Nigerian fiction. This study aims at analysing contemporary Nigerian fiction through the genre of the Bildungsroman. By using gender theory, it considers the feminine variations on an androcentric genre. These feminine rewritings put forth the development (or lack thereof) of the heroines from an individual viewpoint as they try to build a unified self. The allegorical tendency of the traditional Bildungsroman is also central, and the History of the Nigerian nation, from the civil war (or Biafra war, 1967-1970), to the beginning of the 2000s, is at the heart of the plots woven by the novels chosen in the corpus: the Bildung of the protagonist parallels the Bildung of the nation. Finally, in the 21st century, national borders do not seem to hold any longer for the third-generation writers who, because they experience mobility themselves, describe the new conditions of development in a globalized society, which is increasingly multicultural or transcultural; borders (whether they be geographical, linked to identity, or generic) tend to fade away, or disappear. This thesis examines whether or not a Nigerian specificity of the Bildungsroman exists in the 21st century.

Romantic symbolism is a poorly understood concept. It was first formulated by the Romantics in a variety of contexts. Goethe develops his theory of the symbol most notably in his scientific works. Schelling's approach to the Romantic symbol is firmly rooted in his philosophical writings. Coleridge articulates a Romantic notion of symbolism across his extensive literary criticism. The foundational influence of these related theories of Romantic symbolism can be seen in the artistic, literary, and scientific productions of Romantic minded individuals all over Europe in the late eighteenth and early nineteenth century. However, the nature and scope of the Romantic symbol as originally formulated by Goethe, Schelling, and others has been obfuscated in unfortunate ways by the contemporary theoretical assumptions and narrow interpretations of recent academic scholarship. This thesis restores the original connotation of the Romantic symbol by identifying the common way in which it is misconstrued: the ontic fallacy.

The object of this thesis is to analyze the presence of the pedagogical ekphrastic elements in the novel The Story of The Predestined Pilgrim and his Brother Reprobate by Father Alexandre de Gusmmão. In the past this novel has been an obscure masterpiece outside the circle of those who study early Portuguese language works. In the last half century there has been a crescendo of the study of this novel as more scholars have taken an interest in the pilgrimage motif and in particular using this novel in comparative literature. A monumental contribution to bring this novel out of obscurity is the recent publication of its English translation by Christopher C. Lund. His efforts make this work more accessible to students and scholars who will become enlightened by its contents. His English translation has been used exclusively and is the enabling factor for this study of pedagogical ekphrastic elements contained in the novel. Pilgrimage is a frequent motif in seventeenth-century literature. His pilgrimage is the narrative of two polar opposite brothers whose journeys take them to six cities. As they traverse these cities, the brothers make choices that lead them to their final destinations of Jerusalem, the symbol of heaven, and Babylon, which depicts hell. Gusmmão emphasizes early on that their choices will cause them to be separated forever. Ekphrases are used to enrich and capture the reader's attention to the teachings of Gusmmão through the choices placed before each brother. Gusmmão employs whit, charm, characterization, ekphrases, vignettes, and allegory, with the poignant pedagogical objective to cause the reader to decide if he or she is a predestined or a reprobate and would be satisfied with the inevitable outcomes. I review the socio-historic presence of the Jesuits in Brazil as well as their remarkable pedagogical influence. Ekphrasis is studied as to its origins and its longevity throughout the centuries and how scholars have defined ekphrasis. The essence of this thesis is the extraction and examination of two hundred and forty-one ekphrastic passages from the novel and the analysis of their pedagogical value along with their pictorial elements. It is important to note that the findings of this study loudly affirm Gusmão's use of pedagogical ekphrastic elements as they were detected abundantly in all but ten of the sixty-three chapters included in his novel. The literary richness created by Gusmão's use of ekphrasis so predominantly throughout his novel is indicative of his stature as a pedagogical literary master.