https://repositorio.ufu.br/handle/123456789/5503 2026-05-08T16:01:38Z 2026-05-08T16:01:38Z https://repositorio.ufu.br/handle/123456789/48671 2026-05-01T06:17:49Z 2026-02-11T00:00:00Z

Title: O romance Sede e a biblioteca de Amélie Nothomb: estudos de intertextualidade e produção de sentidos Abstract: In literature, intertextuality functions as a space of convergence in which texts are articulated, fostering dialogue between past and present and producing new narratives and meanings. In addressing this phenomenon, Samoyault (2008) employs the term “the writer’s library” to emphasize the relations of intersection and transposition between an author’s prior readings and their own literary production. In the novel Sede (2021), by Amélie Nothomb, there is a significant presence of intertexts, which motivated the choice of this work as the object of the present study. The aim of this research is to analyze the role of intertextuality, particularly citations, allusions, and references, in the novel’s narrative construction, thereby contributing to studies both to scholarship on this author’s body of work and to theoretical reflection on intertextual processes in contemporary literature. To this end, the study sought to examine the relationships between the writer’s library and the novel’s main narrative, drawing primarily on “O trabalho da citação” by Antoine Compagnon (1996), “A intertextualidade” by Tiphaine Samoyault (2008), and “Nos riscos da alusão” by Jacqueline Authier-Revuz (2007), as well as on contributions by Julia Kristeva (1969), Gérard Genette (1982), Roland Barthes (2004), Vânia Lúcia Menezes Torga (2007) and Paul Ricoeur (2007). Methodologically, the intertexts identified were organized into three thematic axes: literary, religious, and philosophical. The analyses conducted within the literary axis revealed the complexity of the effects of meaning produced by intertextuality, highlighting the capacity of a single intertext to generate both proximity to and distance from the meanings of the source text, as well as the role of citation in the narrator’s argumentative validation. The importance of the reader and of their cultural repertoire in identifying allusions was also observed, along with the presence of intertexts that challenge rigid theoretical classifications, reaffirming the primacy of aesthetic experience over adherence to theoretical models. Within the religious axis, the study examined the retrieval of intertexts through memory, as well as the rewriting of the biblical narrative from the perspective of Jesus, the novel’s narrator, who subverts the canonical text and exposes the instability of intertextual meanings. It was also noted how different narrators reinterpret the same event according to their own criteria of relevance and memory. Finally, within the philosophical axis, the research reflected on the fluidity of the boundaries between intertextual typologies, the use of allusion as a means of validating ideas, and the processes of translation, version, and interpretation as practices linked to textual (re)production. Based on the analyses developed, it is concluded that intertextuality operates as a dynamic movement of construction and expansion of networks of meaning, whose strength lies in its ability to establish continuous dialogues that often extend beyond literature and become valuable practical tools in life experiences.

2026-02-11T00:00:00Z https://repositorio.ufu.br/handle/123456789/48594 2026-04-22T13:29:12Z 2025-09-09T00:00:00Z

Title: Deslimites do ser: análise da poesia de Manoel de Barros sob a ótica do perspectivismo ameríndio Abstract: This master's dissertation, entitled Deslimites do Ser: Análise da Poesia de Manoel de Barros sob a Ótica do Perspectivismo Ameríndio ("Limits Undone: An Analysis of Manoel de Barros’s Poetry through the Lens of Amerindian Perspectivism"), explores the connections between the poetic work of Manoel de Barros and the philosophical-anthropological framework of Amerindian perspectivism, as developed by Eduardo Viveiros de Castro. The research focuses on the dissolution of boundaries between human and non-human realms in Barros's poetry, articulating a poetic ontology that challenges anthropocentrism and the dominance of Western rationality. It establishes a dialogue with Indigenous cosmologies, especially as presented in The Falling Sky, by Davi Kopenawa and Bruce Albert, where knowledge is deeply rooted in the relationship with the non-human world and shamanic experience. The figure of the shaman, understood as a mediator of worlds and perspectives, becomes a central interpretative key for Barros’s poetics. The analysis draws on the poems Ninguém, Árvore, Borboletas, Formigas, A Borra, Biografia do Orvalho, A Menina que apareceu grávida de um gavião, Palavras, De Urubu, Lides de campear, Apanhador de desperdícios, and Canção de Ver. The dissertation argues that Barros’s poetic language enacts a process of desubjectivation and a horizontalization of relations with the world, establishing his work as a fertile ground for a sensitive ecology.

2025-09-09T00:00:00Z https://repositorio.ufu.br/handle/123456789/48593 2026-04-01T06:18:46Z 2026-02-19T00:00:00Z

Title: Pelos horrores do vale da sombra da morte: monstros e monstruosidades na ficção de Flannery O'Connor Abstract: This study examines the construction of monstrosity and the uncanny in the work of Flannery O’Connor, focusing on the short stories “A View of the Woods,” “Good Country People,” and “The Life You Save May Be Your Own.” Situated within the context of Southern Gothic, the research explores how the author mobilizes elements of the grotesque and violence in representing the moral, social, and cultural values of the southern United States, a region historically shaped by structural inequalities and the legacy of the postwar period. The choice of O’Connor as the object of study is justified both by the scarcity of scholarship on her work in Brazil and by the relevance of her narratives to the understanding of monstrosity as an aesthetic and ethical category. The central objective of this research is to examine how O’Connor constructs monstrous characters through actions, behaviors, and power relations, thereby revealing the presence of ordinary evil and the contradictions of the human condition, which are articulated through Freud’s concept of the uncanny. The methodology is bibliographic in nature and is based on close textual analysis of the selected short stories, articulated with theoretical contributions by Sigmund Freud, Jeffrey Jerome Cohen, and Stephen T. Asma, as well as critical studies on Southern Gothic and the grotesque. The results indicate that monstrosity in O’Connor’s work is not limited to supernatural or physically deformed figures but emerges primarily from practices of violence, the absence of empathy, and the instrumentalization of the other. In the stories analyzed, male characters enact violence against women in situations of vulnerability, exposing the fragility of human relationships and the paradoxical coexistence of religious moral discourse and structures of domination. It is concluded that, by articulating the grotesque, violence, and monstrosity, Flannery O’Connor’s fiction offers a critical cartography of ordinary evil, challenging readers to confront the darker dimensions of human experience. Although grounded in a specific regional context, her literature transcends historical and geographical boundaries by engaging universal ethical and philosophical questions, revealing that monstrosity may manifest itself in the most ordinary actions and in seemingly familiar figures.

2026-02-19T00:00:00Z https://repositorio.ufu.br/handle/123456789/48542 2026-03-17T06:20:49Z 2026-02-20T00:00:00Z

Title: Por uma literatura queer: operações textuais e tradutórias Abstract: This work develops a theoretical reflection on queer literary text, understood as a specific discourse constituted by language operations that destabilize norms of gender, sexuality, and subjectivity. Based on the concept of queer text formulated by Costa, Pires, and Alves (2023), this research shifts its focus to the specificity of literary discourse, defining the queer literary text not through thematic or identity-based criteria, but through recurring modes of textualization, systematized into three analytical axes: sociolect, dialogism, and emphatics. Within a discursive conception of language, the literary text is understood as a historically situated utterance, which implies the inclusion of translated literary text as a constitutive part of the field of queer literature, rather than merely as derivative or secondary instances. In this sense, translation is approached as a process of ideological retextualization, in which the aesthetic and political effects of the queer text can be reconfigured, strained, or erased. Grounded in a theoretical-analytical approach, and supported by a broad corpus of literary texts and translated literary texts, mobilized in an illustrative and argumentative manner throughout the discussion, without constituting a closed case study, the analysis draws on a critical review of literature, queer theory and translation, and the philosophy of language of the Bakhtin Circle, with emphasis on authors such as Judith Butler, Eve Sedgwick, Lawrence Venuti, and Mikhail Bakhtin. By proposing a theory of queer literary text, this thesis seeks to contribute to a deeper understanding of the relationships between literature, language, and dissidence, as well as to a critical conception of translation as a discursive, aesthetic, and political practice.

2026-02-20T00:00:00Z