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Elizabeth Bishop (1911–1979), one of the foremost modern American poets, lived in Brasil during seventeen-odd years beginning in 1951. During this time she composed the poetry collection Questions of Travel, stand-alone poems, and fragments as well as prose pieces and translations. This study builds on the work of critics such as Brett Millier and Lorrie Goldensohn who have covered Bishop’s poetry during her Brasil years. However, most American critics have lacked expertise in both Brasilian culture and the Portuguese language that influenced Bishop’s poetry. Since 2000, in contrast, Brasilian critic Paulo Henriques Britto has explored issues of translating Bishop’s poetry into Portuguese, while Maria Lúcia Martins and Regina Przybycien have examined Bishop’s Brasil poems from a Brasilian perspective. However, American and Brasilian scholars have yet to recognize Bishop’s journey of acculturation as displayed through her poetry chronologically or the importance of her belated reception by Brasilian literary and popular culture. This study argues that Bishop’s Brasil poetry reveals her gradual transformation from a tourist outsider to a cultural insider through her encounters with Brasilian history, culture, language, and politics. It encompasses Bishop’s published and unpublished Brasil poetry, including drafts from the Elizabeth Bishop Papers at Vassar College. On a secondary level, this study examines a reverse acculturation in how Brasilian popular and literary communities have increasingly focused on Bishop since her death, culminating in the 2013 film, Flores Raras (Reaching for the Moon in English). Understanding this extremely rare and sustained intercultural junction of Bishop in Brasil, a junction that no American poet has made since, adds a crucial angle to twentieth-first century transnational literary perspectives.

This thesis examines the articles the Brazilian writer Lima Barreto (1881-1922) published in the popular satirical magazine Careta. It argues that Careta epitomises Lima Barreto’s aim to create social impact through literature, as it provided him with the largest readership he enjoyed in his lifetime, reaching hundreds of thousands of readers weekly nationwide and internationally. The thesis expands the knowledge about the strategies Lima Barreto used to convey his ideas, showing how he endeavoured to engage with mass audiences in order to combat social fragmentation and intellectual alienation in early twentieth century Brazil. The significance of this thesis is evident on two levels. First, I demonstrate throughout the chapters that Barreto fully engaged with Careta to convey his ideas to a mass audience, choosing the magazine as his main periodical voice in the last years of his life. This argument challenges the idea that Lima Barreto was a marginal writer in the First Republic. Second, the originality of this thesis lies in locating and uncovering almost one hundred and fifty hitherto unknown texts, most of them published pseudonymously in Careta. Chapter one discusses the militancy of Barreto's works. Chapter two argues that Barreto elected magazines, more than newspapers, to convey his message to a large audience. Chapter three relates the early history of Careta. Chapter four suggests that Barreto incorporated pictorial strategies into his articles. Chapter five argues that Barreto embraced Careta's central theme derived from the Commedia dell'Arte. Chapter six discusses systematically the pseudonyms attributed to Barreto in Careta and provides robust evidence that he published many hitherto unknown texts pseudonymously. Finally, I conclude that Careta encapsulates Barreto's efforts to reach a mass readership and communicate with readers beyond literary circles.