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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- 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.
- Item"Fumaças de literatura” na epistolografia de Graciliano Ramos: estética, política e escrita literária(Universidade Federal do Espírito Santo, 2025-08-08) Banhos, Thalita de Oliveira Simões; Paz, Gaspar Leal; https://orcid.org/0009-0002-1139-1791; http://lattes.cnpq.br/5152530982132224; https://orcid.org/0009-0008-3812-2536; http://lattes.cnpq.br/9978288592431852; Salgueiro, Wilbert Claython Ferreira; https://orcid.org/; http://lattes.cnpq.br/; Moura, Edilson Dias de; https://orcid.org/0000-0002-6784-5150; http://lattes.cnpq.br/9220804550301779; Belúzio, Rafael Fava; https://orcid.org/0000-0001-8394-3335; http://lattes.cnpq.br/6253043004654024; Souza, Aline Prúcoli; https://orcid.org/0000-0003-0540-7654; http://lattes.cnpq.br/4416978484538362This dissertation analyzes the epistolary writing of Graciliano Ramos, understanding his letters not as merely biographical or testimonial documents, but as a constitutive part of his literary work. Grounded in the epistolographic studies of Brigitte Diaz, Geneviève Haroche-Bouzinac, and Silviano Santiago, among others, the research starts from the premise that the letter, although historically marginalized within the hierarchy of literary genres, carries traces of literariness that challenge the boundaries between life and fiction, intimacy and aesthetics. The analysis of Graciliano’s correspondence reveals an author who does not separate the epistolary exercise from his stylistic rigor and literary project. This project is interpreted primarily through the lens of literary criticism by Antonio Candido, Alfredo Bosi, Edilson Moura, Ieda Lebensztayn, and Wilberth Salgueiro. The letter, thus, emerges as a space for the elaboration of the self and the other, of memory and experience, operating as a cog in the literary machine, in the terms of Deleuze and Guattari. Far from being a mere communicative tool, epistolary writing becomes a stage for aesthetic experimentation, image construction, resistance to oblivion, and the maintenance of affective bonds across distances. Through the reading of his letters, it becomes evident that Graciliano mobilizes epistolary language as an extension of his literary ethics and aesthetics, reaffirming the inseparability of life, work, and writing. In doing so, he aligns himself with a tradition of writers for whom the letter is also a form of literature — a practice that transcends utilitarian function to become a space for reflection, elaboration, and permanence
- ItemA jornada da heroína na quadrilogia napolitana de Elena Ferrante(Universidade Federal do Espírito Santo, 2025-08-04) Gonçalves, Francyne dos Santos; Caser, Maria Mirtis; https://orcid.org/0000-0001-9247-8199; http://lattes.cnpq.br/1341358191671907; https://orcid.org/0009-0004-1244-5426; http://lattes.cnpq.br/3001214311000455; Nathanailidis, Andressa Zoi; https://orcid.org/0000-0002-6264-2362; http://lattes.cnpq.br/3371274869641421; Ribeiro, Renata Rocha; https://orcid.org/0000-0003-1714-3182; http://lattes.cnpq.br/9766358738375689This research critically analyzes the heroine’s journey in Elena Ferrante’s Neapolitan Novels, which comprises My Brilliant Friend (2015), The Story of a New Name (2016), Those Who Leave and Those Who Stay (2016), and The Story of the Lost Child (2017). The study focuses on the character and narrator Elena Greco (Lenu), in dialogue with the concept of the heroine’s journey formulated by Maureen Murdock (2022 [1990]) in The Heroine’s Journey: Woman’s Quest for Wholeness. The research examines the mother–daughter relationship in Ferrante’s works, emphasizing its importance in female psychological development, as described by Murdock (2022 [1990]), as well as the stages of the narrator’s formation. In addition, the study investigates the representation of the maternal archetype through the lens of Carl Gustav Jung’s theories (2016, 2018), complemented by Murdock’s contributions (2022 [1990]). To further reflect on the role of women in society and on female representation in literature, the investigation draws on the works of authors such as Elisabeth Badinter (1985), Silvia Federici (2019), and Judith Butler (2017). The aim is to demonstrate how an understanding of the epic trajectory can contribute to the development of an innovative narrative concerning the multiple forms of women’s existence and expression in society.
- ItemA contística de Raduan Nassar sob a perspectiva da violência e do erotismo(Universidade Federal do Espírito Santo, 2025-07-24) Pimenta, Pedro Henrique Aleixo; Arendt, João Claudio; https://orcid.org/0000-0002-2587-2521; http://lattes.cnpq.br/4108580744111952 ; https://orcid.org/0009-0006-8796-8170; http://lattes.cnpq.br/3467052661292456 ; Caser, Maria Mirtis; https://orcid.org/0000-0001-9247-8199; http://lattes.cnpq.br/1341358191671907; Pereira, Helena Bonito Couto; https://orcid.org/0000-0002-1642-5447; http://lattes.cnpq.br/9240687015870539This dissertation aims to investigate how violence and eroticism are represented in the short stories of Raduan Nassar. By addressing multiple forms of violence and their victimized subjects, Raduan Nassar employs a literary discourse that is both violent and filled with erotic meanings, evoking discomfort and denouncing the way so-called “minorities” are treated in society. Initially, it was noted that there is a considerable tendency among critics to approach eroticism in Nassar’s work as dissociated from a constant element: violence. Furthermore, there is a gap in academic production, which is mostly based on the author’s best-known texts, such as Ancient Tillage (Lavoura Arcaica) and A Cup of Rage (Um Copo de Cólera). These observations justify this dissertation, which, by focusing on lesser-known short stories, fosters discussions about power relations in a Brazilian society still marked by patriarchy and male domination. The results obtained show a willingness in recent studies to acknowledge, even if briefly, the pervasive violence in these stories, reinforcing the importance of this theme in Nassar’s work. Furthermore, regarding violence and eroticism, the research confirmed the interconnection between these two themes within human relationships, which are often represented in literature. Throughout the analysis of the short stories, a predominance of male narrators and characters was identified, who exert their violence to maintain male domination, primarily targeting women and other minorities: immigrants, Black people, lower social classes, children, and prostitutes. Additionally, a harmful eroticism was identified, structured as a device to enact violence, along with possible obscenities, which nonetheless encounter resistance opposing the forces of oppression and ferocity.