https://repositorio.ufu.br/handle/123456789/5503 2026-08-22T15:04:53Z 2026-08-22T15:04:53Z https://repositorio.ufu.br/handle/123456789/49723 2026-08-21T06:20:12Z 2026-07-28T00:00:00Z

Title: "Pancadas surdas do coração”: homoerotismo e culpa em O desconhecido, de Lúcio Cardoso Abstract: Based on the assumption that literature constitutes a field of disputes for access to voice, for the circulation of representations of the world and for public and critical recognition, it is understood that, in Brazil, it has historically been invested with the role of the vector of national identity. In this context, the presence of homoeroticism in Lúcio Cardoso's novel O desconhecido (1940) is revealed through the articulation between literature, religiosity, and moral repression, inscribing itself in a symbolic and political field in which various voices have been historically silenced, including homoerotic narratives. The objective of this study is to understand how Cardoso's fiction represents homoerotic desire amid social and religious prohibitions, exploring the forms of subjectivity constructed by silence, ambiguity, and introspection. The method adopted combines textual analysis of the work with a critical dialogue with theorists such as Jurandir Freire Costa, Michel Foucault, Eve Kosofsky Sedgwick, John Boswell, and João Silvério Trevisan, whose contributions allow us to situate the tension between homoeroticism and christian-guilt. It can be observed that the figure of the “desconhecido” protagonist embodies a subject torn by inner turmoil, guilt, and desire, reflecting the effects of the internalization of religious morality on homoerotic subjectivity. It can be concluded that the analysis of homoeroticism in O desconhecido highlights not only the repressive force of Christian tradition in Brazilian literature, but also the creative power of dissimulation, which transforms silence into a space for aesthetic and political expression. by reintegrating historically marginalized voices into literary criticism, the study contributes to the expansion of the canon and the recognition of homoerotic literature as a legitimate part of Brazilian cultural identity

2026-07-28T00:00:00Z https://repositorio.ufu.br/handle/123456789/49584 2026-08-18T06:20:45Z 2026-03-25T00:00:00Z

Title: Entre o estigma e a subversão: a pedagogia da maldade feminina e as tensões psicanalíticas em (re)leituras de contos de fadas clássicos Abstract: This dissertation examines the construction of female evil in classical fairy tales and in their contemporary retellings, focusing on the relationship between villainy, punishment, and gendered moral pedagogy. It argues that figures such as stepmothers, witches, and evil queens function not merely as narrative antagonists but as symbolic devices of moral discipline directed at women, particularly in relation to the body, desire, aging, and motherhood. The main objective of the study is to investigate how these characters are produced as narrative obstacles whose elimination or punishment operates as a condition for moral closure, as well as to assess whether and to what extent contemporary rewritings effectively disrupt this mechanism. The research adopts a qualitative, theoretical-analytical methodology, based on the critical reading of a corpus composed of canonical fairy tales—especially Snow White, Sleeping Beauty, and The Little Mermaid—and contemporary literary, audiovisual, and performative reinterpretations. The theoretical framework brings together feminist criticism, psychoanalytic approaches, and cultural studies, mobilized in a non-dogmatic manner and with particular attention to the risks of naturalizing historically situated gender constructions. The findings indicate that, although many contemporary retellings grant villains voice, interiority, and motivation, a significant number of these narratives merely shift punishment from the moral to the psychological realm, promoting a form of humanization that ultimately neutralizes the critical potential of these figures. Genuine subversion is shown to occur only when narratives abandon the requirement of female punishment as a means of restoring symbolic order. In this regard, contemporary performative aesthetics, especially in theatre and dance, emerge as privileged spaces of resistance by suspending moral judgment and relocating conflict to a structural level. The study concludes that female evil should be understood not as an individual or psychological attribute but as a historically constructed narrative device whose critique requires dismantling the mechanisms that sustain it as a disciplinary instrument.

2026-03-25T00:00:00Z https://repositorio.ufu.br/handle/123456789/49541 2026-08-14T06:19:00Z 2026-02-27T00:00:00Z

Title: Sob a sobra de Fangorn: temas ecocríticos em O Senhor dos Anéis, de J.R.R. TOLKIEN Abstract: Originally published in the second half of the 20th century, the British fantasy novel The Lord of the Rings (1954, 1955) became a literary landmark whose influence on numerous other works is thematically and structurally significant. It is a mythopoetic fantasy that, alongside J.R.R. Tolkien's other works related to the world of Arda, comprises the author’s Legendarium, which, in turn, dedicated itself to creating a mythology for his country, England. The work marks the end of Tolkien's mythology by narrating the beginning of the transition from the age of elves to the age of men, which would gradually lose its “enchantment”. This research focuses on the representation of forests in The Lord of the Rings. Throughout the work, the author repeatedly uses the figure of the tree in contexts ranging from symbols of communities and bliss to beings harboring resentment for the felling of their fellow beings. For the purposes of delimiting the research, the decision was made to focus, from an ecocritical perspective, on the plot related to Fangorn Forest – where the hobbits Merry and Pippin venture after the separation of the Fellowship of the Ring – a territory inhabited by huorns and ents, the latter known as Tree Shepherds, arboreal creatures that can speak and move. The hypothesis raised here is that Tolkien weaves criticism of environmental negligence through this narrative core. The chosen path to fulfill the proposed analysis involves raising an overview of myths and fantasy, considering the latter as a kind of reformulation of the former, in order to then present the concept of mythopoetic fantasy. Following this, the intention is to present Ecocriticism and the themes of the dichotomy between anthropocentrism and ecocentrism, of wild nature and nature and silence. The presence of the aforementioned ecocritical themes was observed throughout the narrative involving Fangorn Forest and the territory of Isengard, which act as contrasting elements. To provide theoretical support for the research, researchers such as Eliade (1972), Levi-Strauss (1987), and Noguera (2018) were consulted regarding myths; Mendlesohn (2008), Grant and Clute (1999), Manlove (1975, 1982), Sangster (2023), and Jacob and Menon (2023) were consulted in the discussion related to fantasy literature and mythopoetics; and Glotfelty (1996), White (1996), Manes (1996), Garrard (2006), Krenak (2019), and Plumwood (1993) were consulted regarding ecocritical studies, as well as Brawley (2007, 2014), Jeffers (2014), and Parrilla (2021) regarding ecocritical studies on the work of J.R.R. Tolkien.

2026-02-27T00:00:00Z https://repositorio.ufu.br/handle/123456789/49502 2026-08-14T06:19:30Z 2026-05-25T00:00:00Z

Title: O inquietante espaço gótico na narrativa literária e cinematográfica: “The Fall of the House of Usher”, de Edgar Allan Poe, e "La Chute de la Maison Usher", de Jean Epstein Abstract: The principal objective of the dissertation is to analyse the structure of Gothic space in the short story "The Fall of the House of Usher" (1839), written by the author Edgar Allan Poe, and the adaptation of the literary text, La Chute de la Maison Usher (1928), directed by the Polish-French film director Jean Epstein. Both narratives discuss about an antique house which was inhabited by two characters, Roderick Usher and Lady Madeline. Roderick, the narrative’s protagonist, “(s)uffered too much from a morbid acuteness of the senses […]” (Poe, 1978, p. 13) and, also, had an obsessive character. On the other hand, Lady Madeline suffered from catalepsy and a constant fatigue. The space which these characters were inserted was described as a melancholic ambient. The windows of the house resembled as empty eyes (Poe, 1978), the landscape where the space was inserted had dry trees and a lake that aroused many mysteries. Still, we reiterate that the specific objectives of this research are (a) investigate the construction of the literary and cinematic narrative, especially the particularities of each component and how the adaptation translates the short story and the aesthetic elements (b) discuss what the adaptation adds and how it recreates the content and the aesthetics of the literary text and (c) analyse the structure of space using concepts such as ambient, place, exterior/interior space and furniture (elements of the topoanalysis) in both the literary text and the adaptation, we will explore how Gothic space is translated in the cinematic narrative. Our hypothesis is that the space is constituted as a structural component of the narratives. By the end of the research, we aim to demonstrate the significance of Gothic space in the construction of both texts. Furthermore, the methodology will be bibliographic and qualitative, that is, it will be theoretically based in concepts, theories and research about literary and cinematic narrative, adaptation, space (topoanalysis) and Gothic space. Regarding adaptation theory, Thaïs Diniz (2005), Robert Stam (2006), Linda Hutcheon (2013), Julie Sanders (2016), and Thomas Leitch (2025) are theorists that will contribute to this research, and we will work with the premise that adaptation translates the adapted text and, also, bring new meanings to it. To understand space in literature, the study will utilise the perspectives of Gaston Bachelard (1989), Ozíris Borges Filho (2007, 2008) and Luis Alberto Brandão (2007) which are based on topoanalysis and the spatial constitution. The gothic space, on the other hand, will be analysed based on the work of Horace Walpole (1866; 2001), Botting (1996), Edgar Allan Poe (1999; 2003) and Luciana Colucci (2008; 2023; 2024), these authors investigate the construction of the space in the literary narrative.

2026-05-25T00:00:00Z