The grotesque has long been utilized in literature as a means for subverting societal constraints and inverting constructions of normalcy. Unfortunately, in many instances, it has been constructed at the expense of disabled characters using their embodiment as metaphorical plot devices rather than social and political agents. Criticism of the grotesque’s use of bodily difference has prompted this analytical project in order to rethink disability as socially and politically positioned within texts, rather than simply aesthetics for symbolic means. The aim of this paper is to explore the ways the literary grotesque can be reread using queer theory and crip theory as frameworks for constructing agential disabled embodiments in Katherine Dunn’s Geek Love. Ultimately, the potential of queer and crip interventions necessitates an examination of the systems of power disabled subjects operate within in these narratives.

O momento histórico em que vivemos nos convida a discutir questões sobre o fim das grandes meta-narrativas da modernidade, a economia de mercado e os direitos humanos. Vários autores, no campo literário, têm contribuído para a intensificação desses debates de forma aberta e comprometida. Entre eles está Anis Shivani, escritor paquistanês/estadunidense que atua como poeta lírico, romancista, contista, ensaísta e crítico literário. Avesso a rotulações, ele é um cidadão do mundo com opiniões contundentes sobre as formas de distribuição de poder em nossa época. O corpus de aplicação desta dissertação é seu livro de contos Anatolia e Outras Histórias (2009), onde encontramos um elenco de protagonistas representativos do que Frantz Fanon classifica como "os miseráveis do mundo", pessoas marginalizadas devido a suas crenças, ou à cor de suas peles, os pobres, os imigrantes, trabalhadores ilegais, refugiados, anarquistas, povos indígenas. O objetivo do trabalho é alimentar a discussão sobre este assunto. A dissertação se articula em três capítulos. Os dois primeiros apresentam uma visão panorâmica da problemática social e política ligada ao questionamento acerca da legitimidade do mainstream. O Capítulo Um trata sobre colonialismo, discurso pós-colonial, resistência anticolonial e descolonização; o Capítulo Dois apresenta os pensadores que teorizam sobre essas questões. Como se trata de um estudo com raízes na área de Letras, eu considerei pertinente abrir também um breve espaço para apresentar ideias sobre uma pedagogia cosmopolita. No Capítulo Três faço a crítica aplicada, com foco voltado para Anatólia e Outras Histórias. Após uma apresentação e comentários sobre a estrutura e o âmbito do livro, ofereço minha leitura de três contos, a saber, “Dubai”, “Repatriação” e “Anatólia”. Trata-se de um trabalho politicamente engajado, pois acredito na função social da literatura e no poder que ela tem para modificar o mundo. Encaro a obra de Shivani como única e transgressora, com suas personagens provenientes de culturas distintas e de diferentes épocas, compondo histórias de vida que ilustram a tendência contemporânea de busca por uma literatura mundial, que se pretende cosmopolita, onde percebemos inovações estilísticas como a mistura livre entre inglês e outros idiomas, reversões de narrativa, o uso inteligente de metáforas e a apresentação de pontos de vista aparentemente conflitantes. A pesquisa se volta para o estudo da dissidência, da transgressão, do não conformismo, convidando para o diálogo global. Ela investiga os temas que permeiam as narrativas, como a alienação, os sentimentos sobre estar em um entre-lugar, ou de falta de pertencimento, ou de não se enquadrar, a sensação de estar sendo perseguido, sentida pela maioria das personagens, cuja expectativa é serem aceitos e se sentirem integrados ao ambiente em que residem. Ao término desta pesquisa, espero haver demonstrado o valor da contribuição do universo ficcional criado por Anis Shivani como sendo um pleito cultural caleidoscópico e humano em favor da necessidade de alcançarmos formas mais eficientes de entendimento entre os países e as civilizações de nossa época. Acredito que se existe alguma força capaz de realizar tal façanha, ela vem a partir do canal aberto pela troca de ideias que a Literatura proporciona. / The historical moment we are living in invites us to discuss issues such as the end of the grand meta-narratives of modernity, market economy, and human rights. There are a number of authors, in the literary realm, who trigger this debate in an intense and committed way. One of them is Anis Shivani, a Pakistani-American author who is a lyrical poet, novel and short-story writer, essayist and literary critic. Shivani shuns labels, yet he is a citizen of the world with strong positions about the distribution of power in our time. The corpus of this thesis is Shivani’s short story book Anatolia and Other Stories (2009), in which we meet a cast of protagonists that are representative of what Frantz Fanon calls the “wretched of the earth”, people who do not fit because of their sets of beliefs, or the color of their skins: poor people, immigrants, undocumented workers, refugees, anarchists, indigenous people. The thesis aims at discussing such topics. For that reason, the first two chapters offer a panoramic view of the social and political processes that challenge the legitimacy of the mainstream. Chapter One comments on the issues of Colonialism; Post-Colonial discourse, Anti-Colonial resistance and Decolonialization. Chapter Two presents the thinkers who theorize upon such questions. As this thesis is written from within the realm of a Letters graduate course, I considered it important to open a space, in Chapter Two, for the discussion of a Cosmopolitan pedagogy. Chapter Three, the second section of the work, closes the focus of the research on Anatolia and Other Stories. After the presentation of the author and a comment on the structure and scope of the book, I offer my analysis of three of the short-stories, namely “Dubai”, “Repatriation” and “Anatolia.” This reading is politically committed, because I believe in the social role of literature and in its power to change the world. I see Shivani’s as a unique and transgressive kind of literature. Anatolia and Other Stories introduces characters coming from a variety of cultures and time periods, whose life stories emphasize the contemporary trend towards a world literature, which intends to be cosmopolitan, through the use of stylistic innovations, such as the free mixture between English and other languages, narrative reversals, a clever use of metaphors and apparently opposing points of view. This thesis focuses on the elements of dissent, transgression, and non-conformism, which call for the globalization of dialogue. It investigates the discussion of themes that permeate the narratives, such as alienation, the sense of in-betweenness, of belonging, of outsiderness, the reality of persecution experienced by most of the characters, who long for integration. At the end of the work, I hope to have substantiated the importance of Anis Shivani’s contribution in providing a kaleidoscopic, humanistic, cultural and artistic plea for the urgency and necessity of a better understanding among countries and civilizations.I believe in the power of Art to fulfill such a delicate task.

O escritor mineiro Campos de Carvalho publicou seus principais romances entre 1956 e 1964 tendo uma recepção relativamente fria por parte dos críticos. Escrevendo em um momento em que o nacional-desenvolvimentismo reinava no país e sob a égide da literatura engajada, viu-se excluído das obras canônicas de seu tempo. Com o golpe militar de 1964 começaram a ocorrer modificações significativas no campo cultural brasileiro, quando o engajamento começou a ser contestado. Tal ruptura deu-se abruptamente no ano de 1968 quando, com o decreto do Ato Institucional nº5, o padrões da produção artística nacional passaram a refletir essa nova realidade. Com um Estado extremamente violento e com as liberdades democráticas limitadas por repressão e censura, foram necessários novos espaços de expressão artística como a chamada imprensa alternativa. Nesse novo contexto, marcado por movimentos como contracultura, marginalidade e Tropicalismo, Campos de Carvalho e sua obra passaram a ser ressignificados, encontrando novos horizontes interpretativos para sua literatura. Contribuindo como colunista do jornal O Pasquim, encontrou novos leitores. / The writer Campos de Carvalho published his major novels between 1956 and 1964 having a relatively indifferent reception from critics. Writing in a time when the national developmentalism reigned in the country and under the auspices of committed literature, he was excluded from the canonical works of his time. With the military coup of 1964 began to be significant changes in the Brazilian cultural field, when the engagement began to be challenged. This rupture occurred abruptly in 1968 when, with the decree of Institutional Act No. 5, the standards of the national artistic production began to reflect this new reality. With an extremely violent state and democratic freedoms limited by repression and censorship, it took new artistic expression of spaces such as call alternative press. In this new context, marked by movements such counterculture, marginality and Tropicalismo, Campos de Carvalho and his work began to be reevaluated, finding new interpretative horizons for its literature. Contributing as a columnist for O Pasquim, found new readers.

The main purpose of this study is to discuss Yvonne Vera‟s representation of various aspects of women‟s identity in a patriarchal and colonial context as they manifest themselves through the women‟s relationships. I explore ways in which the question of self for some of Vera‟s women seems characterised by marginalisation across racial, cultural, ethnic and generational divides. The short stories and novel studied seem to emphasise that for women, under patriarchy and colonialism in Zimbabwe, seeking an independent and fulfilling identity seems to be interpreted as defying society‟s expectations and dictates. However, even as Vera tells of the various women‟s failure to make breakthroughs, she points at a less gender- inflexible future where both men and women will be valued for their true worth, and not their mere biology, through foregrounding the women‟s stories as they challenge and subvert their societies‟ received norms, traditions and values. / English / M.A. (English)

Summaries in English and Afrikaans / Text in Afrikaans / Die boek Job verwerp vergelding as enigste verklaringsbeginsel van goed en kwaad, maar sluit vergelding en beloning nie heeltemal uit nie: Onmiddellike straf op sonde is onversoenbaar met God se genade, maar indien daar volhard word in kwaad, sal God dit uiteindelik straf net soos Hy uiteindelik die goeie beloon. Die klem op 'n histories-kritiese uitleg van die boek Job, het in die verlede daartoe gelei dat die moontlike literere eenheid van die boek dikwels uit die oog verloor is. Hoewel die boek sander enige twyfel saamgestel is uit verskillende bronne, impliseer dit nie noodwendig dat die auteur nie sy bronne tot 'n sinvolle geheel gei'ntegreer het nie. Die boek Job toon tekens dat dit hoofsaaklik die werk van een auteur was wat sy. bron(ne) net as 'n vertrekpunt gebruik het, maar nogtans 'n heeltemal nuwe werk gekomponeer het met 'n basiese eenheid in struktuur en inhoud. Histories-kritiese eksegete beskou gewoonlik die redevoerings met die drie vriende en die Godsrede as 'n eenheid, maar beskou die raamvertelling en die Elihu-rede as afsonderlike bronne met 'n eie siening van die teodisee-probleem. Die boek Job moet egter as 'n literere-eenheid verstaan word, met 'n enkele geintegreerde standpunt oor die teodisee-probleem. Die raamvertelling kan in sy huidige vorm slegs in samehang met die poetiese deel verstaan word en hied nie 'n afsonderlike siening oor die teodisee-probleem nie. Die Elihu-karakter vervul 'n antler funksie in die boek as Job se drie vriende. Die Elihu-rede vorm 'n hegte eenheid met die res van die boek en hied 'n inleiding tot die Godsrede. Die Godsrede kan gebruik word as 'n samevatting van die Job-auteur se standpunt oor die teodisee-probleem. / The book Job rejects retribution and reward as the only principle for explaining good and evil, but acknowledges it's existence: Immediate punishment for sinning can not be reconciled with the love of God, but repeated wrongdoing will ultimately be punished by God, just as the good will be rewarded. In the past the emphasis on a historical critical explanation of the book Job, possibly caused that the literary entity of the book was overlooked. Even though the book is definitely compounded from different sources, it doesn't necessarily mean that the author did not integrate these sources to a meaningful entity. There are certain aspects in the book that indicate that the book was written by one author who used his source(s) as a basis, from which he created a new narrative. In this new creation, the contents and structure of all parts form a basic entity. Historical critical exegetes usually see the speeches of Job's three friends and the Lords' Speeches as an entity. The framework and the Elihu speeches though, are seen as coming from different sources with it's own view on the problem of theodicy. The book Job must, however, be seen as a litermy entity with one integral viewpoint on the problem of theodicy. Although Elihu plays a different role from that of the three friends of Job, his speeches are tightly interwoven with the rest of this book and he can be seen as the forerunner of the Speeches of the Lord. The Speeches of the Lord can be used as a summary of the author's viewpoint on the problem of theodicy. / Th.D.(Old Testament)

Submitted by Diego dos Santos Borba (dborba@uffs.edu.br) on 2017-04-13T20:24:22Z No. of bitstreams: 1 BICICGO.pdf: 888938 bytes, checksum: 9e08aa182a91775247bea991fadc01bc (MD5) / Made available in DSpace on 2017-04-13T20:24:22Z (GMT). No. of bitstreams: 1 BICICGO.pdf: 888938 bytes, checksum: 9e08aa182a91775247bea991fadc01bc (MD5) Previous issue date: 2014-06-25 / A partir do conceito de met?fora e da no??o de efeito metaf?rico fundamentados no trabalho do franc?s Michel P?cheux, esta disserta??o prop?e analisar as met?foras de leitura no discurso da Cr?tica Liter?ria, para compreender o funcionamento do pol?tico-ideol?gico no discurso metaf?rico. A disputa ideol?gica na produ??o do conhecimento, segundo P?cheux, est? na materialidade das met?foras que uma ci?ncia usa para ?compreender e se fazer compreender?. Questionando, ent?o, as met?foras de leitura, como est?o formuladas no discurso da Cr?tica Liter?ria, o presente estudo leva a considerar que a constitui??o hist?rico-discursiva das met?foras n?o possui uma origem, e sim diferentes formas de funcionamento, conjunturalmente tomadas pela disputa entre diferentes concep??es de leitura. A partir desse entendimento, surgem duas considera??es: a primeira ? que n?o existe uma mem?ria homog?nea que estaria na ?origem? da met?fora; a segunda ? que a met?fora ? produzida conforme o contexto de produ??o, podendo se deslocar para dentro de diferentes forma??es discursivas. O funcionamento do discurso metaf?rico marca um posicionamento pol?tico-ideol?gico, cujo resultado aponta para a rela??o entre uma pr?tica cient?fica e uma pr?tica pol?tica, materializadas nas met?foras de leitura. Trata-se, dessa maneira, de um estudo que problematiza o discurso metaf?rico a partir do posicionamento pol?tico-ideol?gico que o sujeito cr?tico liter?rio assume ao interpretar. Esta pesquisa traz uma contribui??o importante para os estudos sobre a met?fora, na perspectiva da An?lise de Discurso, al?m de subsidiar a pr?pria Cr?tica Liter?ria, na compreens?o do processo hist?rico que marca as met?foras que ela usa para compreender o funcionamento dos sentidos numa obra liter?ria. / From the concept of metaphor and metaphorical effect?snotion based on Michel P?cheux?swork, this dissertation proposes to examine the metaphors of reading on the discourse of literary criticism to understand the functioning of the political-ideological discourse in metaphorical discourse. The ideological struggle in the production of knowledge, according to P?cheux, is the materiality of metaphor that a science uses ?to understand and be understood?.So, questioning the metaphors of reading, as they are formulated in the discourse of literary criticism, this study leads to the conclusion that historical and discursive constitution of metaphors does not have a source, but different ways of working, conjuncturally taken by the dispute between different conceptions of reading. Based on this understanding, two considerations arise: the first is that there is no homogeneous memory that would be the ?origin? of metaphor; the second is that the metaphor is produced according to the context of production and can move within different discursive formations. The functioning of metaphoric discourse marks a political-ideological stance which the results points to the relationship between scientific practice and political practice, embodied in the metaphors of reading. It is, thus, a study that discusses the metaphoric discourse from the political-ideological stance that the literary critic subject assumes when he interprets. This research makes an important contribution to studies on metaphor, from the perspective of discourse analysis, in addition to supporting the literary criticism itself on understanding the historical process that marks the metaphors it uses to understand the functioning of the senses in a literary work.

Esta dissertação propõe uma leitura do romance Admirável Mundo Novo (1932) de Aldous Huxley sob a luz dos conceitos de Zygmunt Bauman da Modernidade Líquida. A narrativa ocorre em uma Londres futurística no século 26, no ano 2540 de nossa Era Comum, ou – na narrativa no ano 632 AF (Após Ford). Subjacente ao cenário distópico de avanço tecnológico e organização altamente desenvolvida, porém, os temas discutidos no romance remetem à circunstância do tempo e lugar de sua produção, o início dos anos 1930, em um contexto de desenvolvimento industrial, tensão política e crise econômica. Nesta pesquisa, eu busco a resposta para a seguinte pergunta: “De quais maneiras a ficção de Huxley antecipa o tipo de sociedade seus leitores vivem no tempo presente, três-quartos de século após sua publicação? Com ajuda das teorias do Professor Zygmunt Bauman, eu construo minha interpretação das metáforas encontradas no romance, que prognosticam as atuais condições de capitalismo de mercado livre, consumismo, obsolescência programada que determinam a ética, a estética e a forma de pensar de nosso tempo presente. As hipóteses de Bauman concernem a liquidez do mundo atual, no qual nada deve durar muito. Esta premissa gera um grande número de consequências, tais como: fragilidade dos laços humanos, pensamento crítico superficial e supremacia dos contatos virtuais sobre ocontato de fato entre as pessoas. A dissertação está dividida em quatro capítulos. No primeiro, eu contextualizo o conceito de distopia. No segundo, eu trago a contextualização necessária sobre o tempo, a obra e o autor. No terceiro, eu introduzo os conceitos de Bauman sobre modernidade sólida e líquida e os conecto com o estudo de Admirável Mundo Novo. No capítulo IV, apresento minha leitura da obra. Ao final da pesquisa, espero encontrar respostas para a questão proposta estabelecendo inter-relações entre os aspectos ficcionais do romance e os traços sociais de nosso tempo atual. / The present thesis proposes a reading of Aldous Huxley’s Brave New World (1932) in the light of Zygmunt Bauman’s concept of Liquid Modernity. The plot of the novel unfolds in the futuristic London of the 26th century, in the year 2540 of our Common Era, or – in the narrative – in the year 632 AF (After Ford). Underlying the dystopian scenario of technological advancement and highly developed organization, however, the themes discussed in the novel actually address the circumstances of the time and place of its own production, the beginning of the 1930’s, in a context of developing industrialization, political tension, and economic crises. In this research, I pursue the answer to the following question: “In what ways does Huxley’s fiction anticipate the kind of society its readers would be living in at our present time, three quarters of a century after its publication?” With the help of Professor Zygmunt Bauman’s theories, I build my interpretation of the metaphors found in the novel, that prognosticate the current conditions of free-market capitalism, consumerism, programmed obsolescence, that determine the ethics, the aesthetics and the ways of thinking of our present times. Bauman’s assumptions concern the liquidity of the contemporary world, where nothing is meant to last long. This premise generates a number of consequences such as overconsumption, frail human bonds, superficial critical thought, and supremacy of online over factual contacts among people. The thesis is devised in three chapters. In the first, I contextualize the concept of dystopia. In the second, I bring the necessary contextualization about the time, the work and the author. In the third, I introduce Bauman’s concepts of solid modernity and liquid modernity and connect them with the study of Brave New World. Finally. In Chapter IV, I present my reading of the novel. At the end of the research, I expect to find the answers to the posed question by establishing critical interrelations between the fictional aspects of the novel and the social features ongoing in our present time.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Este ensaio de pensamento social brasileiro tem por objeto de análise as críticas literárias sobre a obra de Machado de Assis, publicadas em jornais e revistas imediatamente após o lançamento de cada um de seus livros. Portanto, são publicações de critica literárias escritas por contemporâneos do próprio Machado de Assis, e que, ao resenharem suas obras evidenciam o cenário e os modelos de interação vivenciados pelos artistas e intelectuais do período. Assim como expõem ainda as compreensões de literatura e de artista que fazem parte de seus repertórios analíticos. Este ensaio busca identificar, através das categorias mobilizadas para retratar Machado de Assis, as transformações ocorridas nestes modelos de interação social do período, e como a sociabilidade intelectual e artística, inicialmente vinculada ao padrão de gosto cortesão estabelecido no Rio de Janeiro, foi cedendo espaço para outros modelos de interação, e assim permitiu o desenvolvimento de diferentes compreensões de literatura e do papel da crítica literária, contribuindo diretamente para a alteração nos discursos retóricos das resenhas literárias. Portanto, este ensaio tenta identificar e entender os modelos retóricos inscritos na crítica, e como estes discursos estão correlacionados à transformações de ordem mais profunda, principalmente com o processo de modernização social e a construção da autonomia do universo intelectual e artístico no fim do século XIX e na primeira década do século XX / The object of this thesis on Brazilian social thought is the literary criticism of the works of Machado de Assis published in newspapers and magazines immediately after the release of each of his books. Thus, they are literary criticism written by the contemporaries of Machado de Assis that stresses the scenario and the interaction patterns experienced by the artists and intellectuals from that period in their reviews. They also show the comprehension of literature and of the artist that are part of their analytical repertoire. Recurring to the categories utilized to interpret Machado de Assis, this essay aims at identifying the transformation that occurred in those patterns of social interaction from that period and how intellectual and artistic sociability - initially bonded to the pattern of courtesan taste established in Rio de Janeiro - lost space to other interaction patterns and thus allowed the development of different comprehensions of literature and the role of literary criticism, directly contributing to the change in rhetorical discourses of literary reviews. Thus, this essay tries to understand the rhetorical models that were present in the criticism and how these discourses are related to more profound transformations of order, mainly the process of social modernization and the construction of the autonomy of artistic and intellectual universe of the late nineteenth century and the first decade of the twentieth century

This thesis examines the close and complex relationship between dress, feminism, and British New Woman novels. It provides in-depth analysis of six New Woman novels and draws comparisons with numerous other works. The case study texts are Olive Schreiner's The Story of an African Farm (1883) and From Man to Man: Or Perhaps Only ... (1926, posthumously), Sarah Grand's Ideala: A Study from Life (1881) and The Heavenly Twins (1893), and Grant Allen's The Woman Who Did (1895) and The Type-Writer Girl (1897). I explore why dress was so important to such novels, and examine the diverse, individual, developing, and shared ways in which authors engaged with dress as a feminist strategy and feminist concern. Areas considered include From Man to Man's use of functional clothes and dress production to celebrate female labour, Grand's interest in both dress reform and dressing to impress, Allen's shift in focus from the white-clad free lover to the sensibly-dressed working woman, and authors' use of deceptively clean clothes to address male immorality and disease. The thesis looks beyond as well as within New Woman narratives, demonstrating that writers, and publishers, were broadly concerned with dress in its various literal and more metaphorical manifestations. Focuses include self-styling, authorial cross-dressing, and bindings. Dress does not, however, always seamlessly support these texts' feminisms, I argue. For example, Grand elevated cross-class feminism, but she belittled middle-class women's taste, side-lined poor women's most pressing sartorial concerns, and dressed to impress. I also stress that dress, being so closely bound up with New Woman novels' feminisms and their ambiguities, is a revealing lens through which to read such texts, and one often capable of prompting re-readings. Attention to Allen's rejection of sartorial realism in parts of The Woman Who Did problematises the dominant conception of this novel as straightforwardly pro-free union, for instance. The thesis, as well as gesturing towards dress's centrality to the production and interpretation of literary feminisms and anti-feminisms broadly, emphasises the importance of dress to New Woman literature and its analysts, and uses dress to provide fresh readings of various novels and genre-wide issues.

Made available in DSpace on 2014-06-11T19:32:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-06-06Bitstream added on 2014-06-13T18:44:16Z : No. of bitstreams: 1 jaschke_olzm_dr_assis.pdf: 1608277 bytes, checksum: ce6d2dd02ef36122e70c14c6873c4b6f (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Secretaria da Educação / O objetivo desta tese consiste em estabelecer um panorama da crítica sobre Macunaíma, por meio do cotejamento do material, constituído em sua maioria de ensaios e resenhas sobre a obra no período de 1928 a 1954, com ênfase para a delimitação dos pontos em comum abordados pelos articulistas, no intuito de posicionar os artigos em questão como integrantes de uma fase embrionária da crítica, de cunho impressionista, na qual o crítico procura captar as sensações despertadas pelo fluir constante da leitura, carregado de um subjetivismo alicerçado nas impressões pessoais sem recorrer, necessariamente, a um pressuposto teórico condizente à obra estudada. Da leitura dos pronunciamentos críticos, percebemos que estes se alternavam ora sobre o autor, ora sobre a obra, detectamos, então, que o enfoque estabelecido pelos críticos variava, especialmente sobre três aspectos de Macunaíma – a linguagem, o gênero/movimento literário, e a caracterização do personagem. Deste modo, a partir destas vertentes, alicerçamos este trabalho o qual revela no primeiro capítulo a construção da crítica de Macunaíma tal qual a visão de um caleidoscópio que nos permite visualizar uma imagem diferente a cada olhar, dependendo da movimentação dos cristais, da luminosidade, do giro, do foco... Nesse sentido, Macunaíma é um caleidoscópio cujo conteúdo se permite variar conforme a leitura que dele se faz. No capítulo seguinte, a partir dos apontamentos anteriores, buscamos comprovar nossa tese de que as produções desta fase foram construídas pela visão impressionista do crítico e constatamos que os recursos utilizados por esses pioneiros, sem dúvida, abriram espaço para o surgimento de novas correntes críticas, acompanhadas de um suporte teórico... / This research was carried out to provide an overall view of the critique about Macunaíma, by comparing the relevant material published about it, mostly composed of essays and reviews written from 1928 to 1954, laying emphasis on the raising of issues shared by literary reviewers, aiming at classifying such papers as components of an initial phase of the peculiarly impressionistic criticism, in which the critic tries to grasp the feelings aroused by the constant flow of reading, full of a subjectivity based on personal impressions, without necessarily resorting to theoretical presuppositions suitable for the work under study. Based on the reading of such critiques, one manages to notice that they were focused now on the author, now on the work itself, and so we found out that the focus brought up by the critics varied, mainly in relation to three inherent features of Macunaíma – language, literary genre/movement, and the character’s depiction. Thus, based on such developments, we carried out this research which in its first chapter presents the construction of the criticism prompted by Macunaíma precisely as the view provided by a kaleidoscope which allows us to visualize a different image at every glance, depending on the movement made by crystals, on light incidence, on turn, on focus… In that sense, Macunaíma is a kaleidoscope whose contents may vary according to the interpretation put on it. In the following chapter, based on the previously collected annotations, we tried to prove our thesis showing that the papers produced in this phase were developed according to the critic’s impressionistic... (Complete abstract click electronic access below)