https://repositorio.ufu.br/handle/123456789/5503 2026-06-20T04:50:41Z 2026-06-20T04:50:41Z https://repositorio.ufu.br/handle/123456789/48755 2026-06-16T06:23:02Z 2026-02-20T00:00:00Z

Title: Mulheres subalternas: interseccionalidade, re-existência e decolonialidade nas personagens femininas de Torto Arado Abstract: This study analyzes the representations of subalternity of female characters in the novel Torto Arado, by Itamar Vieira Junior, investigating the intersections between gender, race, class, and coloniality. The aim is to present how the protagonists Bibiana and Belonísia, black peasant women, are simultaneously constituted as subjects traversed by multiple forms of systemic oppression and as agents of resistance and re-existence. A qualitative methodology is adopted, grounded in textual analysis and critical bibliographic review, mobilizing the theoretical framework of feminist and decolonial studies, with emphasis on the contributions of Gayatri Spivak (1988), Judith Butler (1993), Patricia Hill Collins (1990), Lélia Gonzalez (1984), Silvia Federici (2017), and Michel Foucault (1975). The analysis reveals that the work transcends the merely denunciatory dimension of Brazilian social literature, configuring complex female characters who re-signify historically imposed silence as a strategy of symbolic and political resistance. The application of the intersectional perspective highlights the ways in which these women simultaneously confront the structures of institutional racism, patriarchy, and capitalist economic exploitation. The fundamental role of jarê, a religious practice of Afro-Brazilian origin present in the narrative, is identified as a privileged space for female agency and identity reconstruction, constituting a form of epistemic resistance to hegemonic Western paradigms. It is evident that Torto Arado integrates the corpus of contemporary Brazilian literature of decolonial and feminist orientation by giving visibility and protagonism to the historically silenced voices of Black, peasant, and subaltern women. The novel articulates a critical epistemology that questions the Eurocentric and colonial foundations of the national literary tradition, contributing to the emergence of new interpretative paradigms of Brazilian social reality.

2026-02-20T00:00:00Z https://repositorio.ufu.br/handle/123456789/48754 2026-06-16T06:23:00Z 2026-02-06T00:00:00Z

Title: O feminicídio de Rebecca, de Daphne du Maurier, em duas adaptações cinematográficas Abstract: This dissertation analyzes the representation of femicide in Daphne du Maurier’s novel Rebecca (1938) and in two of its film adaptations: the film directed by Alfred Hitchcock (1940) and the version directed by Ben Wheatley (2020). The study is based on the premise that the death of the character Rebecca de Winter constitutes a femicide — a gender-motivated homicide — and examines how this crime is represented and transformed across the different versions of the narrative. The research combines Adaptation Studies, drawing on authors such as Linda Hutcheon and Robert Stam, with Feminist Theory applied to literature and film, and also studies on femicide by authors such as Jane Caputi, Diana Russell and Rita Segato. The methodology consists of a comparative analysis of the novel and the two film adaptations, taking into account their historical contexts as well as their narrative and visual strategies. The findings indicate that all three works construct biased representations of Rebecca, largely mediated by discourses that seek to justify or minimize her death. While the novel and the 1940 adaptation maintain some symbolic punishment for the male protagonist, represented by the destruction of Manderley, the 2020 adaptation removes this ambiguity and presents a romantic ending in which femicide is narratively absolves, reinforcing male impunity.

2026-02-06T00:00:00Z 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