Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-01-22T18:15:25Z No. of bitstreams: 1 danielvalentimmansur.pdf: 1331865 bytes, checksum: f5bb0d7d46a9a32e09b4be36b94f90aa (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-01-25T18:56:26Z (GMT) No. of bitstreams: 1 danielvalentimmansur.pdf: 1331865 bytes, checksum: f5bb0d7d46a9a32e09b4be36b94f90aa (MD5) / Made available in DSpace on 2016-01-25T18:56:26Z (GMT). No. of bitstreams: 1 danielvalentimmansur.pdf: 1331865 bytes, checksum: f5bb0d7d46a9a32e09b4be36b94f90aa (MD5) Previous issue date: 2014-05-16 / Este trabalho tem o objetivo de analisar as formas de criação artística engendradas pelo escritor Julio Cortázar a partir da noção de poética e de desaprendizado que ele retira da musicalidade do saxofonista Charlie Parker, um dos precursores do bebop surgido na virada para a década de 1940. Focando obras literárias e críticas selecionadas, produzidas pelo autor entre as décadas de 1940 e 1960, tentamos demonstrar como a transformação de Parker em personagem de Cortázar (Parker-em-Cortázar), no conto “O perseguidor” (1959), consolida um processo poético de acesso à realidade como fonte de criação artística, em constante tensão com o outro lado de nossa moeda: o processo racional e científico de produção de conhecimento. / This work aims at analyzing the forms of artistic creation engendered by writer Julio Cortázar from the notion of poetics and unlearning he derives from the musicality of saxophonist Charlie Parker, one of the pioneers of bebop, emerged at the turn of the 1940s. Focusing on selected literary and critical works produced by the author between the 1940s and 1960s, we try to demonstrate how the transformation of Parker in a Cortázar‘s character (Parker-in-Cortázar), in the short story "O perseguidor" (1959), consolidates a poetic access to reality process as a source of artistic creation, in constant tension with the other side of our same coin: the rational and scientific process of knowledge production.

Este estudo tem como objeto de análise o romance Vigilia del Almirante (1992), de Augusto Roa Bastos. O eixo temático e o instrumental teórico da dissertação foram definidos visando à investigação das relações entre realidade e linguagem no âmbito da ficção histórica, mais especificamente, no romance histórico metaficcional, gênero que problematiza sua própria natureza discursiva, assumindo-se como construção linguística e opondo-se diametralmente ao modelo clássico, que prima pela plasmação realista de feitos e processos históricos em uma fábula elaborada de modo verossimilhante e linear. Tal projeto romanesco pode ser sintetizado em uma frase do próprio Roa Bastos extraída de Yo el Supremo (1974): Escribir no significa convertir lo real en palabras sino hacer que la palabra sea real. Enfatiza-se nesta pesquisa o emprego do discurso mítico e da condição de desterro transcendental (cisão entre vida e linguagem) como elementos fundamentais da estrutura de Vigilia del Almirante. Roa Bastos explora a incongruência entre realidade e palavra experimentada pelo Colombo histórico, correlacionando-a com dois outros desterros transcendentais: o de D. Quixote e o da civilização guarani. Além disso, o autor retoma nesta obra algumas construções de Yo el Supremo, romance também estruturado em torno do mito e cujo protagonista, um desterrado transcendental, também é associado ao cavaleiro andante cervantino. Tais escolhas são organizadas de modo a gerar um romance inverossímil, não linear e sem o predomínio da invocação dramática, marcado pela presença de diferentes vozes que se contradizem. Isto faz de Vigilia del Almirante uma obra complexa, ambígua, polifônica e autocrítica, que não se apresenta como única visão possível sobre o tema. Essa estratégia ficcional tem como objetivo questionar as representações e historiografias tradicionais, conservadoras e mitificadoras de Cristóvão Colombo, revelando-as em sua natureza puramente linguística e destituindo-as de seu caráter de verdade absoluta. / This study discusses Augusto Roa Bastoss novel Vigilia del Almirante (1992). The thematic axis and theoretical grounds of this dissertation were established with the purpose of investigating the relations between reality and language in the scope of historical fiction more specifically, in metafictional historical novel, a genre that problematizes its own discursive nature, establishing itself as a linguistic construction and directly opposing the classical model that values a realistic account of historical deeds and processes in a fable that is verisimilarly and linearly developed. This Romanesque project is summarized by Roa Bastos himself, in a sentence extracted from Yo el Supremo (1974): Writing does not mean to turn what is real into words, but to make words real. This research emphasizes the use of mythical discourse and transcendental exile (a rupture between life and language) as fundamental elements of structure in Vigilia del Almirante. Roa Bastos explores the inconsistency between reality and words experienced by the historical Columbus, correlating it to two other transcendental exiles: D. Quixotes and that of the guarani civilization. In addition, in this work the author reuses some constructions from Yo el Supremo, a novel that is also structured around myth and whose protagonist, who is in transcendental exile, is also associated to Cervantes roving rider. These choices are combined to originate an unlikely, non-linear novel, without the predominance of dramatic evocation, marked by the presence of different conflicting voices. This characterizes Vigilia del Almirante as a complete, ambiguous, polyphonic and self-critical work that does not present itself as the only possible standpoint on the theme. This fictional strategy aims to question traditional, conservative and mythicizing portrayals and historiographies on Christopher Columbus, unveiling their purely linguistic nature and not accepting them as a universal truth.

The ideas of Mexican Machismo have been crystallized in the image of the Macho, a virile man who represents the ideals of masculinity in a determined time and space. This work aims to examine how four Mexican Novels (Juan Rulfo’s Pedro Páramo, Elena Garro’s Los Recuerdos del Porvenir, Yuri Herrera’s Trabajos del Reino, and Fernanda Melchor’s Temporada de huracanes) present their unique macho ideals, and how the male characters fail to fulfill them. Through a textual examination of the four novels, this work asks: how is a macho image formed in each pair of novels? And most importantly how do male characters react when they are unable to uphold the masculine values? Chapter one examines Juan Rulfo’s and Elena Garro’s novels, focusing on the downfall of the machos due to the loss of a loved woman, and the strategies the men use to control their towns. Chapter two analyzes Yuri Herrera’s and Fernanda Melchor’s novels, explaining how masculinity is tied to a social performance, and how the machos lose the approval of their group. Chapter three deals with the reaffirmation of power through isolation of female characters and the concept of emasculation as a social and psychological phenomenon. Emasculation, this work strives to prove, is a key element in the four novels, uniting the texts through the social disgrace of a man who does not perform as expected.

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A tese apresenta uma leitura aprofundada do poema “O Navio Negreiro”, de Castro Alves, valorizando os ricos aspectos imagéticos, narrativos e sonoros presentes na obra, assim como trazendo à luz o caráter holográfico de sua estrutura. Estudam-se as metáforas empregadas, as mudanças na atitude e no posicionamento geográfico do eu-lírico, bem como os recursos estilísticos que propiciam o encantamento do falar em voz alta característico do poema, no contexto de sua organicidade. This thesis presents an in-depth reading of the poem “O Navio Negreiro,” written by Castro Alves. It analyzes the complex metaphors, narrative strategies and sound effects employed by the romantic poet, as well as the holographic aspect of the general structure. “O Navio Negreiro” is thus studied in the context of its organicity, taking into consideration the rich imagery, the multiple changes – both interior and exterior – which occur in the lyric-voice, and the manipulation of sounds, which leads to the fascinating stylistic effects that allow for the magic enchantment produced by the reading of the verses aloud.

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First published in 1989 in Spanish and then in 1992 in English, Laura Esquivel's Like Water for Chocolate is one of the best known Mexican literary works in the United States. Set against the backdrop of the Mexican Revolution, Esquivel's novel has inspired great diversity of critical analysis among critics and scholars. Based on the author's comment regarding her intention to tell entertaining stories, critic Jay Corwin warns against the search for hidden layers to her work. Using as a framework Barthes's notion of the "death of the author" as well as cultural theory's argument that "discourse writes through the author", this work unfolds a diverse array of discourses, such as that of feminism, patriarchy, and parody, that liberate Like Water for Chocolate from the despotism of a single authority controlling the truth of the text and show that the readers are capable of intervening in the work's meaning.

This dissertation examines how Latin American intellectuals and artists identified with the 1960s and 1970s counterculture engaged with the idea of the "Third World", and incorporated elements usually identified with Africa, Asia and Latin America to their experimental practices in writing, performance and film. Drawing from an archive of experimental films, underground publications, alternative books, independent documentaries in 16mm and Super8, festival and conference documents, personal letters, travel diaries and notebooks, this dissertation analyzes how cultures and ideas from the Third World were depicted, reimagined and experienced by important Latin American countercultural figures from Brazil and Argentina: Miguel Grinberg, Glauber Rocha and a group of filmmakers and artists that visited Afro-Brazilian religious sites alongside the U.S. American group Living Theater in the 1970s. The dissertation examines the engagement of these countercultural intellectuals with three specific transnational political projects in circulation during the Cold War – Inter-American, Tricontinental, and Afro-Asian– as instances of geographic imagination. The dissertation concludes that, in doing so, these Latin American countercultural intellectuals put forth an alternative internationalist vision for Latin America and the Third World, articulating a worldview that went beyond the political frames of the Cold War and the traditional forms of Latin American nationalism.

This dissertation explores Early Modern cosmographical imagining and historical writing in the Andean region of the Americas. Following the European invasion of the Americas in the sixteenth century, prominent Western cosmographical and historical treatises like Sacro Bosco's de Sphera Mundi and the Nuremberg Liber Chronicarum became outdated regional works that lacked any information about American landmasses and indigenous people. The voids shown by these previously authoritative sources create a need for new ideas.In this dissertation, analyzing written and visual sources, I investigate how Indigenous, mestizo, and European scholars in the Early Modern Andes from the 1550s to the 1650s reinvented cosmographical and antiquarian practices to envision the world as an integrated entity in time and space. They combined non-written pre-Columbian structures, ruins, fossils, monoliths, megaliths, mythical landscapes, and indigenous narratives with ancient Biblical and Classical knowledge. By doing so, they established a new archive that became the foundation for further antiquarian and cosmographical knowledge, and revealing the that the so-called New World was full of history. I examine how innovative imaginings of historical time and cosmographical spaces were created in the Early Modern Andes. Authors demonstrated how the world was one since the very beginning of time by tracing connected world landscapes (worldscapes) to explain the geographical unity of the different continents and entangled chronological architectures (chronotectures) that linked the ancient ages of various societies, including places and people previously unthought of as part of the same world history.