Doutorado em Letras
URI Permanente para esta coleção
Nível: Doutorado
Ano de início: 2010
Conceito atual na CAPES: 5
Ato normativo: Homologado pelo CNE (Portaria MEC Nº 609, de 14/03/2019).
Publicação no DOU 18 de março de 2019, seç. 1, p.136 - Parecer CNE/CES nº 487/2018, Processo no 23001.000335/2018-51)
Periodicidade de seleção: Semestral
Área(s) de concentração: ESTUDOS LITERÁRIOS
Url do curso: https://letras.ufes.br/pt-br/pos-graduacao/PPGL/detalhes-do-curso?id=1503
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- ItemEntre o fato e o ficto: uma análise dos datiloscritos publicados por Rubem Braga no Jornal Correio do Sul na década de 1920(Universidade Federal do Espírito Santo, 2024-12-11) Colombini, Maikely Teixeira; Salgueiro, Wilberth Claython Ferreira; https://orcid.org/0000-0003-3817-4738; http://lattes.cnpq.br/4872315380917914; Arendt, João Claudio; Lyra, Maria Bernadette Cunha de; Topa, Francisco José de Jesus; Simon, Luiz Carlos SantosRubem Braga's production, which encompasses both chronicles collected in books and those published in newspapers, continues to be a wealthy field of study. The newspaper Correio do Sul, founded in the Brazilian city of Cachoeiro de Itapemirim Espirito Santo State, contains texts published by the chronicler Rubem Braga when he was still a teenager. The general objective of this dissertation is to analyze the chronicler's first writings, published in the newspaper between August 25 th , 1928 and December 24 th , 1929. By investigating these texts, which are only available in the Correio do Sul newspaper collection at the Public Archives of Espírito Santo State (APPES), the aim is to understand the formation of the young chronicler's style, as well as the influences that shaped his writing and the relationship between his work and the historical context of the time. Based on solid theoretical references on chronicles and documentary analysis, this research traces an evolutionary line in Rubem Braga's. The analysis of typescripts aims to contribute to a better understanding of the author's development. The research highlights the role of the newspaper as a space for experimentation for the future writer and as a vehicle of expression for the Braga family, contributing to the understanding of the genesis of the work of one of the greatest Brazilian chroniclers. By analyzing the vast production of chronicles published in newspapers, the work reveals the richness and complexity of Rubem Braga's artistic creation, consolidating his position as one of the most important chroniclers in Brazil
- ItemNovas bossas : canção, poesia, tradução : um estudo de versões do cancioneiro de Vinícius de Moraes e Tom Jobim para as línguas francesa e inglesa(Universidade Federal do Espírito Santo, 2024-11-29) Lacerda, Enio Gontijo de; Salgueiro, Wilberth Claython Ferreira ; https://orcid.org/0000-0003-3817-4738; http://lattes.cnpq.br/4872315380917914; https://orcid.org/0000-0002-8725-8156; http://lattes.cnpq.br/2216987606019830; Zaidan, Junia Claudia Santana de Mattos ; https://orcid.org/0000-0003-1857-3432; http://lattes.cnpq.br/7242947260879171; Paz, Gaspar Leal; https://orcid.org/0009-0002-1139-1791; https://orcid.org/0009-0002-1139-1791; Flores, Guilherme Gontijo ; https://orcid.org/0000-0003-0081-6512; http://lattes.cnpq.br/4855578018589904; Oliveira, Leonardo Davino de ; https://orcid.org/0000-0002-7426-4274; http://lattes.cnpq.br/3969213056258409In this thesis, we propose a study of songs by Vinícius de Moraes and Tom Jobim in English and French versions through a comparative analysis between the original and the translation. We argue that the melody is responsible for the choice of verses and syllables, bringing with it virtual musical phrases that, when combined with the lyrics, will be converted into intonation units, thus having the possibility of being reworked in other languages, since the melody of a song is deeply related to the intonation of speech. From there, we can also glimpse the problem of the research: one of the first questions that arose as soon as the theme was decided and what would carry on its development and systematization was whether there were any relevant differences between the translation of poetry and song lyrics, which we soon confirmed. The main element that leads us to believe in this assumption is the fact that the lyrics are decisively related to the melody of the song, producing very particular notions of time, space and rhythm. We also come across other issues that will be expanded by creating a hypothetical framework: a dialogue between the original and the translation with poetic resonances outlining an intriguing palimpsest. Our aim is to show that, in the versions of the songs, in addition to the action of a conventional translator, there are other agents responsible for the meaning, namely the composer/translator, the reader/listener and the interpreter, and to discover whether and how the main elements of the original songs (poetic and cultural) are conveyed in the versions/translations. In other words, it is a study mediated by a triple action and that gains foundation only if the possible articulations between word, music and performance are explored. To this end, we used, as a theoretical framework, a triad composed of the so-called creative translation, by Haroldo de Campos, by Peter Low's pentathlon theory and the semiotics of song developed by Luiz Tatit, as we believe that choosing this transdisciplinary pyramid will enable us to find more specific answers and present a contribution to such a new topic with little published material on the subject.
- ItemBaiões, bárbaros, baihunos : a antropofagia como alternativa decolonial nas canções de Belchior(Universidade Federal do Espírito Santo, 2024-12-20) Baião, Camila Teixeira Gabriel; Lemos, Adriana Falqueto ; https://orcid.org/0000-0002-0012-2695; http://lattes.cnpq.br/9303343337232391; Vermes, Viviana Mónica ; https://orcid.org/0000-0002-4077-3302; http://lattes.cnpq.br/3806495173897941; Nathanailidis, Andressa Zoi ; https://orcid.org/0000-0002-6264-2362; http://lattes.cnpq.br/3371274869641421; Amaral, Sérgio da Fonseca ; https://orcid.org/0009-0009-8382-733X; http://lattes.cnpq.br/9383077540938356; Fonseca, Edilberto José de Macedo ; https://orcid.org/0000-0003-0947-4440; http://lattes.cnpq.br/7535268960481202; Queiroz, Luis Ricardo Silva ; https://orcid.org/0000-0003-4642-4338; http://lattes.cnpq.br/5224390361847356The present work aims to analyze the songs of singer and songwriter Belchior, from a perspective that considers the concept of anthropophagy as a decolonial alternative. Our hypothesis is to link the principle of devouring and critical reinterpretation proposed by Oswald de Andrade (1928) to the current decolonial prerogatives, which, in an effort to value Latin American identity, seek to break with European and North American hegemony in order to establish a plurality of voices and marginalized knowledge. Considering Belchior's interest in engaging with authors from both national and global literature and music, as well as his commitment to representing the socio-historical condition of Latin America, the work aims to analyze the anthropophagic appropriation gesture of the Cearan author in constructing themes such as modernity, coloniality, and decoloniality/resistance in his songs. Initially, we seek to argue theoretically in favor of modernist anthropophagy as a decolonial alternative, drawing on authors such as João Cezar de Castro Rocha (2011), Walter Mignolo (2008), and Aníbal Quijano (2005). We then present a study on the genre of the song and the Latin American movements of Nueva Canción and Nueva Trova Cubana, as well as an investigation into the life and work of Belchior and his relationship with the Tropicalist movement (Tatit, 2012; Calos, 2014; Granato, 2018). Lastly, we analyze the songs "Apenas um rapaz latino-americano" (1976), "A palo seco" (1974), "Baihuno" (1993), and "Quinhentos anos de quê?" (1993), with the aim of recognizing, in the literary-musical discourse of the Northeastern singer and songwriter, anthropophagic and decolonial perspectives committed to the celebration of otherness and transcultural dialogue
- ItemLiteratura e política : conflitos, ditaduras, guerras em verso e prosa(Universidade Federal do Espírito Santo, 2024-11-22) Vogas, Vitor Bourguignon; Salgueiro, Maria Amélia Dalvi ; https://orcid.org/0000-0002-8729-2338; http://lattes.cnpq.br/9399371418356916; Salgueiro, Wilberth Claython Ferreira ; https://orcid.org/0000-0003-3817-4738; http://lattes.cnpq.br/4872315380917914; https://orcid.org/0000-0002-9536-6624; http://lattes.cnpq.br/1520198094753585; Martinelli Filho, Nelson; https://orcid.org/0000-0002-6956-5400; http://lattes.cnpq.br/9186790476855298; Dutra, Paulo Roberto de Souza ; https://orcid.org/0000-0003-0013-4239; http://lattes.cnpq.br/1256149380405075; Alves, José Hélder Pinheiro ; https://orcid.org/0000-0003-4304-7178; http://lattes.cnpq.br/2352905993796166; Paula, Marcelo Ferraz de ; https://orcid.org/0000-0002-2641-1794; http://lattes.cnpq.br/0511967639373534With a distinctly fragmentary nature, this thesis proposes an extensive reflection, based on literary texts, on the far-right mentality that has resurged in contemporary Brazil, governed the country from 2019 to 2022, and ultimately traces back to the Nazifascism that culminated in World War II. Throughout the following pages, I intend to examine how this ideology, or “system of thought” (LEVI, 1988, p. 7), resonates in our present, with a detour through the Southern Cone dictatorships of the 1970s. To achieve this, I have structured seven essays on various authors, constituting the first part of the thesis, followed by a compilation of 39 Political Broadsheets authored by myself, presented in the second part. The chapters follow a guiding axis: all converge on the phenomenon of the resurgence of the far-right in Brazil, with distant roots explored throughout the work. At first glance, the chapters may appear independent – and they may indeed be read as such. However, they also interact with each other, forming a chronological and cohesive whole, centered around a central idea that pervades them all: on one side, political authoritarianism in its various facets; on the other, literature, in both prose and verse, that serves as political testimony and resistance through multiple approaches and artistic dimensions, which precisely rises, through the medium of art, against various forms of authoritarianism and state violence throughout history. This is the fundamental opposition that I will address here. To this end, I will critically and analytically explore lyrical and narrative texts (mostly direct or empathetic testimony) by authors such as Primo Levi, Svetlana Alexievich, Raul Seixas, Luisa Valenzuela, Bernardo Kucinski, Pedro Tierra, Beatriz Leal, and Alex Polari, culminating in a compilation of my Political Broadsheets produced over the past decade (2014-2024) as a professional journalist. My analysis will be grounded in the critical, theoretical, and philosophical contributions of thinkers such as Theodor Adorno, Jaime Ginzburg, Márcio Seligmann-Silva, Jeanne Marie Gagnebin, Alfredo Bosi, Maria Zilda Cury, and Alberto Pucheu. In the amalgamation of the fragments of this grand mosaic offered to readers, I hope the central argument I propose will emerge: the ideological premise underlying Nazifascism, a system of thought that not only endorses the idea of the summary elimination of the other but also practices it, currently finds conducive conditions to resurge in Brazil, in an updated version condensed into “Bolsonarism,” just as it found fertile ground to flourish during the Brazilian civil-military dictatorship of 1964-1985 and in the concurrent exception regimes of neighboring countries like Argentina
- ItemDitadura militar brasileira e violência de gênero em Tropical sol da liberdade, de Ana Maria Machado(Universidade Federal do Espírito Santo, 2024-11-21) Bergami, Lucinei Maria; Martinelli Filho, Nelson; https://orcid.org/0000-0002-6956-5400; Trefzger, Fabíola Simão Padilha; Paz, Gaspar Leal; Cunha, Marcelo Durão Rodrigues da; Dadalto, WeversonBased on a reading of Tropical sol da Liberdade (2012), a novel by Rio de Janeiro writer Ana Maria Machado (1941), this text investigates the trajectory of the character Helena, before, during and after her exile, due to the Brazilian Military Dictatorship. The memories of the protagonist's childhood, youth and adult life, especially the period before and after her exile, in addition to the dialogue she establishes with her mother Amália, bear witness to the dictatorial era and the suffering of a community. Based on this narrative context, the research is based on aspects that date back to real events during the dictatorship, the social role of women, gender-based violence perpetrated by the regime, as well as the traces left by the military during the 21 years of repression. Not without reason, the development of this investigation included the contributions of scholars Márcio Seligmann-Silva, Wilberth Salgueiro, Jaime Ginzburg, Regina Dalcastagnè, Jeanne Marie Gagnebin, Nelson Martinelli Filho, Edward Said, Shoshana Felman, Aleida Assmann, Paul Ricoeur, between others. This thesis, therefore, joins the voices that call for not forgetting global catastrophes, dictatorships, mass extermination and any type of violence attributed to women.