Mestrado em Letras
URI Permanente para esta coleção
Nível: Mestrado Acadêmico
Ano de início: 1999
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=1510
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- ItemA recepção de poesia e a indústria cultural: análise de entrevistas literárias de poetas brasileiros contemporâneos(Universidade Federal do Espírito Santo, 2025-11-05) Ahnert, Igor Roberto; Santos, Vitor Cei; https://orcid.org/0000-0001-6756-3236; http://lattes.cnpq.br/3944677310190316; https://orcid.org/0009-0004-5599-9226; http://lattes.cnpq.br/2626379841188106; Paz, Gaspar Leal; https://orcid.org/0009-0002-1139-1791; http://lattes.cnpq.br/5152530982132224; Delmaschio, Andréia Penha; https://orcid.org/0000-0002-6763-6412; http://lattes.cnpq.br/5899447868618380This master’s thesis examines contemporary Brazilian poets’ perspectives on the reach and reception of poetry, with particular attention to the “implicit reader” that emerges from interviews conducted in a context marked by the scarcity of an actual readership. The corpus consists of twenty-four interviews published in Notícia da atual literatura brasileira: entrevistas, vols. I (2020) and II (2021). The objective is to analyze how the interviewees conceptualize the poetry readership and assess the impact of the Culture Industry on the reception of their work, in order to identify and compare the different ways poets perceive the contemporary reception of the lyric genre
- ItemO viés político na escrita crítica e literária de Paulo Roberto Sodré. Imagens na obra(Universidade Federal do Espírito Santo, 2025-09-05) Moura, Aparecida Cristina Novaes; Martinelli Filho, Nelson; https://orcid.org/0000-0002-6956-5400; http://lattes.cnpq.br/9186790476855298; https://orcid.org/0009-0001-8130-7463; http://lattes.cnpq.br/; Santos, Vitor Cei; https://orcid.org/0000-0001-6756-3236; http://lattes.cnpq.br/3944677310190316; Paula, Marcelo Ferraz de; https://orcid.org/0000-0002-2641-1794; http://lattes.cnpq.br/0511967639373534This research studies the political bias of Paulo Roberto Sodré's literary criticism, considering a selection of poems and some examples of his poetic prose. Among the themes in his writing are: violence against women in the family and in society in satire critical texts of Galician-Portuguese troubadour poetry; violence and authoritarianism against indigenous peoples. These aspects amplify the interest and the need to interpret the literary plots and the aesthetic perspectives of the work of this important writer and artist from Espírito Santo, which is still little studied. The works Um pássaro de fogo: reconto (A firebird: recount), 2020; some poems from Interiores (Interiors), 1984; from Poemas de pó, poalha e poeira (Poems of Dust, Dust and Dust), 2009, and “Autopoética ou um autor à luz da leitura insatisfeita” (“Autopoietics or an author at an dissatisfied reading”), 2024b, will be prioritized, besides to interviews, epigraphs and statements by the author (excerpts as textual margins revealing a writing-response). We aim to interpret the political character in both Paulo Sodré's poetic writing and criticism. His poems move between poems 'in prose', visual poems, and sound poems. In this way, a writing-dialogue is evident, manifested, for example, in his “Autopoetics” (2024b), in the reconto (2020), in the linguistic experiments, in the critic's practice, perspectives that construct his aesthetic-political bias. Authors who contribute to our theoretical referential are Adorno, Arriguci Jr., Barthes, Beckett, Bornheim, Bosi, Alexandre Costa and Rodrigo Barbosa, Didi-Huberman, Gama Filho, Pélbart, Rivera, Saltarelli, and Sodré himself, among others.
- ItemLeitura literária na perspectiva da pedagogia histórico-crítica: um projeto pedagógico a partir do conto "Zaíta esqueceu de guardar os brinquedos" , de Conceição Evaristo no 9º. ano do Ensino Fundamental(Universidade Federal do Espírito Santo, 2025-08-11) Braga, Nadine Vasconcelos Alves Lopes; Silva, Arlene Batista da; https://orcid.org/0000-0001-8153-5776; http://lattes.cnpq.br/2371977118070548; https://orcid.org/0009-0004-4615-5574; http://lattes.cnpq.br/1858986115840310; Salgueiro, Maria Amélia Dalvi; https://orcid.org/0000-0002-8729-2338; http://lattes.cnpq.br/9399371418356916; Ramalhete, Mariana Passos; https://orcid.org/0000-0002-6933-6552; http://lattes.cnpq.br/5970771373978559This research aimed to analyze the literary reading experiences of 9th grade students from an elementary school located on the outskirts of the municipality of Guarapari-ES. The study was based on the principle of encouraging and valuing the reading of literary works, recognizing it as a necessity for the student’s integral human development. As a theoretical framework, this work was grounded in Historical-Critical Pedagogy, in dialogue with Historical-Cultural Psychology, through the works of Saviani (1986, 2011, 2014), Duarte (2001), Anjos and Duarte (2016), Martins (2016), Marsiglia and Della Fonte (2016), Marsiglia, Martins and Lavoura (2017), among others. Regarding the critique of Conceição Evaristo’s work and studies on Afro-Brazilian Literature, this research relied on the studies of Duarte & Nunes (2020) and Machado (2014). The methodology was divided into two distinct stages: first, a bibliographic review of the central themes of the dissertation; then, an exploratory study inspired by action research, conducted with a 9th grade class of approximately 30 students. As data collection instruments, a questionnaire was applied to identify the students’ initial context and repertoire of literary reading, followed by the development of a pedagogical project, from the perspective of Historical-Critical Pedagogy, for the mediation of the short story “Zaíta esqueceu de guardar os brinquedos” by Brazilian writer Conceição Evaristo. This was complemented by students’ text production and rewriting, and concluded with an assessment of learning and data production through a focus group. The results obtained include: students’ approximation to critical reading, contributing to the omnilateral formation of the class involved in this study; students’ perception and understanding of the relationship between “content and form” (respectively, the comprehension and analysis of the theme present in the story and the narrative elements) as inseparable components for the adequate and integral interpretation of the literary text; and the reading of a text which, according to the focus group reports, contained realism and led students to unveil their own reality in many aspects. In conclusion, the production of meaning by the students was observed during the development of the pedagogical project, through elements such as the change of setting (from classroom to auditorium) and the mediation of the text, which was placed at the center of the entire work. The reading was carried out integrally, in light of the dialectical concept of mediation proposed by Historical-Critical Pedagogy.
- ItemO retorno dos anônimos em “Passado próximo”, de Primo Levi(Universidade Federal do Espírito Santo, 2025-08-06) Almeida, Elaine da Silva Alves de; Trefzger, Fabíola Simão Padilha; https://orcid.org/0000-0002-6361-7134; http://lattes.cnpq.br/7299183790903513 ; https://orcid.org/0000-0001-8407-9462; http://lattes.cnpq.br/8757609262948647 ; Caser, Maria Mirtis; https://orcid.org/0000-0001-9247-8199; http://lattes.cnpq.br/1341358191671907; Wataghin, Lucia; https://orcid.org/0000-0001-8536-1064; http://lattes.cnpq.br/3544688779202704This research lies at the intersection of memory and fiction, testimony and literary imagination, focusing on the twelve stories in the section “Passato prossimo” from Primo Levi's book Lilit ed altri racconti. Amidst critical reception that favors his testimonial works, the fictional dimension of his production often remains on the margins. However, it is precisely these stories, constructed in the shadow of the Lager experience, that open space for a profound reflection on what it means to remember, to give form and words to that which often could not be said. The motivation for this investigation thus arises from a paradox: how can fiction become a legitimate and powerful means of remembering the traumatic past? To what extent does it allow the return of silenced voices, of anonymous figures who did not survive or who were never able to testify? Far from opposing testimony, the fictionalization in “Passato prossimo” reveals itself as a form of listening, reworking, and transmission that is anchored in an ethical commitment to the memory of others. Through a bibliographic and interdisciplinary approach that intertwines literature, history, and critical theory, this research draws on contributions from Walter Benjamin (1994), Giorgio Agamben (2008), Régine Robin (2016), Márcio Seligmann-Silva (2003, 2010, and 2022), Beatriz Sarlo (2007), and Jeanne Marie Gagnebin (2018), among others, to reflect on the ethical implications of representing the unrepresentable. The analysis of the stories is guided by five thematic axes—life and survival in the Lager, dehumanization and loss of identity, solidarity and mutual aid, memory and the need to bear witness, language as a tool for survival—which illuminate the narrative strategies with which Levi constructs a literary language capable of giving form to absence. What emerges from this reading is the perception that fiction, far from being a distortion or deviation from historical truth, becomes a unique way of dealing with the memory of trauma. By offering a language to what escaped official records, Levi not only restores humanity to the forgotten figures of history, but proposes a Benjaminian rewriting of memory, where each rescued fragment defies erasure and resists oblivion. Thus, “Passato prossimo” asserts itself as a work that, by fictionalizing testimony, fulfills an ethical duty: to keep alive the memory of those who could not speak and to call us, even today, to listen.
- ItemA representação da “mulher feia” na revista vida capichaba nos anos 1920(Universidade Federal do Espírito Santo, 2025-08-15) Silva, Késia Gomes da; Nathanailidis, Andressa Zoi; https://orcid.org/0000-0002-6264-2362; http://lattes.cnpq.br/3371274869641421; https://orcid.org/0000-0003-3793-8652; http://lattes.cnpq.br/2834699885223036 ; Sodré, Paulo Roberto; https://orcid.org/0000-0002-9333-2201; Polese, Edna da Silva; https://orcid.org/0000-0002-5184-6749; http://lattes.cnpq.br/6954814492049911This dissertation investigates the representation of the “ugly woman” in the Vida Capichaba magazine during the 1920s, with an emphasis on literary texts extracted from the periodical that linked standards of female beauty and ugliness to the social morality of the time. Based on a corpus with the common theme of female ugliness, this study analyzes how the discourse on ugliness operated in the 1920s. The research is part of the documentary literary studies, based on authors such as Roger Chartier (1991; 1995; 2002), Pierre Bourdieu (1989), Michel Foucault (1996; 2008), Umberto Eco (2004; 2007), Naomi Wolf (2019), and Joana Novaes (2006) to discuss the notions of representation, female ugliness, symbolic power, and discourse. For a survey on the social history of women, we use the contributions of researchers Maria Angela D’Incao and Guacira Lopes Louro (2017). The study reveals that the woman considered ugly was often praised as an ideal for marriage because she did not represent a threat to the dominant patriarchal order, being the opposite of the beautiful and, therefore, “dangerous” woman. The analysis highlights the declared misogyny of the authors toward both the “beautiful” and the “ugly” women, by excluding women's identity through the discourse in the press, granting them the naturalization of behaviors, or the repetition of patterns that aimed at the provincial conservatism of the time. It is concluded that such a representation acts as a mechanism of symbolic control and reaffirmation of the patriarchal order, by reinforcing stereotypes for the “ugly woman” as the perfect housewife.