https://repositorio.ufu.br/handle/123456789/20870 Sat, 18 Apr 2026 07:41:56 GMT 2026-04-18T07:41:56Z https://repositorio.ufu.br/handle/123456789/48617 Title: Ancestralidade e identidade negra feminina em Conceição Evaristo, Alzira Rufino, Alda Espírito Santo e Conceição Lima Abstract: This dissertation engages in a critical discussion of literary production authored by Black women. The study mobilizes four fundamental female voices in the composition of a corpus comprising the poetic works Poemas da Recordação e outros Movimentos by Conceição Evaristo (2021), Eu, Mulher Negra, Resisto by Alzira Rufino (1998), É nosso o solo Sagrado da Terra by Alda Espírito Santo (1978/2010), and A dolorosa raiz de Micondó by Conceição Lima (2012). Taken together, the analysis of these works highlights the constitution of an intellectual praxis grounded in ancestry and the recovery of legacies of resistance against white, racist, classist, and sexist hegemony—byproducts of the structures of domination inherent to the colonial system. Fundamentally, this research posits poetry as a device of existence capable of unveiling and problematizing the complex matrix of historical oppression, foregrounding poetic discourses that seek to destabilize and reconfigure epistemological standards traditionally imposed upon Black women within social, political, and cultural spheres. Supported by an interdisciplinary theoretical framework encompassing studies on ancestry, identity, colonialities, postcolonial theory, and intersectional Black feminism, this dissertation seeks to contribute to the visibility of a body of literature that directly confronts narratives legitimizing colonialism in Brazil and across the African continent. These works engage in redefining Black female subjectivity, dismantling pre-established images through marginalized corporeality and vocality, resulting in the emergence of a new epistemology experienced through the authors’ “escrevivência” (writing-as-lived-experience), which promotes the decolonization of speech and inscribes an identity substance of (re)existence. Therefore, the primary objective of this dissertation is to analyze Black women’s writing through the lens of ancestry as an axis of identity affirmation, examining its incidence in the configuration of the represented subjectivities. Methodologically, the research is grounded in an extensive bibliographic survey incorporating scholars such as Joel Candau (2011, 2021), Manuel Castells (2000), Kabengele Munanga (2006, 2008), Neusa Santos Sousa (1983), Stuart Hall (2006, 2014), Caio Prado Júnior (2000), Emília Viotti da Costa (1988), Aimé Césaire (2020), Frantz Fanon (2002, 2008), Aníbal Quijano (2005), Lélia Gonzalez (1988, 2020), Nelson Maldonado- Torres (2022), Walter Mignolo (2003, 2014), Sueli Carneiro (2003, 2019), Catherine Walsh, Grada Kilomba, Gloria Anzaldúa (2000), Kimberlé Crenshaw (2004), Carla Akotirene (2019), and Patricia Hill Collins (2002, 2019), among others of equal relevance to the attainment of the study’s results. In this regard, it was verified that these writings constitute an act of identity refoundation, in which the pain of the historical past is transmuted and metabolized into a political and subjective force essential to the construction of a new existential and social order. Fri, 27 Feb 2026 00:00:00 GMT https://repositorio.ufu.br/handle/123456789/48617 2026-02-27T00:00:00Z https://repositorio.ufu.br/handle/123456789/48599 Title: Das águas ao céu: um estudo do personagem Joaquim na tessitura e na iconografia de Vereda da Salvação, de Jorge Andrade Abstract: This study undertakes an investigation into the representation of the character Joaquim in Jorge Andrade’s dramaturgical work Vereda da Salvação, through an articulation of textual and iconographic analysis. The inquiry begins with a biographical contextualization of the playwright and an examination of the social and political transformations in Brazil during the 1950s and 1960s, which informed the real events that inspired the rural plot of the play. Particular attention is devoted to Andrade’s stage directions, which function as a crucial component of his dramaturgy, detailing settings, costumes, and gestures, while simultaneously constructing Joaquim as a figure marked by hallucination. Yet, within the dialogical fabric of the text, Joaquim emerges with greater complexity, embodying practices that suggest spirituality as a pathway to confronting social injustice. The analysis further encompasses a comparative study of the official photographs from the two productions of the play directed by Antunes Filho in 1964 and 1993, preserved in the memorial archive of Sesc São Paulo. These images underscore, both in the initial staging and in the revival following Andrade’s death, the religious atmosphere and collective ecstasy that permeate the work, thereby illuminating how the actors’ performances render visible and intensify the dramatic dimensions of faith. Through this juxtaposition of text and image, memory and performance, the study contends that Joaquim in Vereda da Salvação, by surrendering to the supernatural and religious ecstasy, transcends his social condition as a sharecropper and is projected as a symbol of the pursuit of social justice and spiritual liberation. Wed, 25 Feb 2026 00:00:00 GMT https://repositorio.ufu.br/handle/123456789/48599 2026-02-25T00:00:00Z https://repositorio.ufu.br/handle/123456789/48598 Title: Experiência e escrita feminina no século XX sob o olhar de Katherine Mansfield e Marguerite Duras Abstract: This thesis presents an analysis of writings by Katherine Mansfield and Marguerite Duras, writers of the early and late twentieth centuries, respectively, who, bringing together memory and fiction, represented women’s writing and experience in a century marked by two wars and profound social transformations. To this end, the corpus consists of Mansfield’s memorialistic texts Diaries and Letters and Duras’s War Notebooks and Other Texts and Writing, as well as the fictional works Bliss, by Mansfield, and The Ravishing of Lol V. Stein, by Duras, in dialogue with other texts that illuminate the themes addressed. Initially, we revisit their childhoods and family experiences (especially motherhood), observing how these primary relationships shaped these women and how they problematized the roles expected of them. In the field of affective relationships, we encounter characters who, moving from innocence to sensual maturation and subverting conventional relationship models, expressed their desires and found happiness in non-traditional relationships. As a theoretical framework, the corpus is analyzed in light of feminist criticis, especially gynocriticism, as well as theories of memory and life writing, demonstrating how the literature of these two women, with different styles and in distinct contexts, engages in dialogue on themes involving women’s lives. Through this redemptive form of writing, we observe how literature helped women survive the crises of the twentieth century and recount part of the history of the past century from their point of view defying norms to survive the uncertain period and bequeathing to us, women of the Twenty-first century, important reflections on the struggles we still need to face. Fri, 20 Feb 2026 00:00:00 GMT https://repositorio.ufu.br/handle/123456789/48598 2026-02-20T00:00:00Z https://repositorio.ufu.br/handle/123456789/48536 Title: Cartas de Walter Benjamin e Gershom Scholem: temáticas do fascismo e do antissemitismo Abstract: Walter Benjamin’s thinking occupies a particular and special position in the history of modern critical thought. His work, fragmented, unfinished, hermetic, current, anachronistic, and complex, allows various flâneurs to wander through a diversity of themes that encompass literature, sociology, philosophy, art, history, among others. Working with a thinker of this stature is, at the very least, a challenge that presents itself from the outset. It means accepting the fact that his critiques take on, at various moments, literary, theological, and philosophical forms, and that they are imbued with a lucid, tragic (like your life) and, at times, even ironic perspective. It is to understand that his conception of the world is almost always derived from a triumvirate that accompanied him until the end of his existence: Jewish messianism, German romanticism, and Marxism. Such complexities have not, however, prevented the proliferation of a variety of studies the author has or that have his ideas as the main object (Matos, 2010; Löwy, 2005, 2019; Otte; Sedlmayer; Cornelsen, 2010). Dialogues with Walter Benjamin can thus be “remembered” in departments such as Modern Languages, Philosophy, Arts, Sociology, and Architecture (especially in these “modern” times, when history insists on repeating itself). Given this scope, the objective of this thesis is to shed new light on the epistolary production of Walter Benjamin and Gershom Scholem, two important German thinkers, especially regarding their reflections on the themes of antisemitism and fascism. To this end, 116 letters and postcards exchanged by Benjamin and Scholem between 1933 and 1940 are used; and, in greater depth, the last two letters exchanged by the two friends and confidants are studied. These missives – which were published by the latter in the 1970s in a book entitled Correspondence – cover a significant moment in both German history and the lives of Benjamin and Scholem (the rise and strengthening of the Nazi Party, the beginning of World War II, and Benjamin’s suicide in 1940). This thesis therefore proposes, through the observation of this epistolary production, to contribute to a historical approach (anticipated by Benjamin himself) which, contrary to the assumptions of historicism, advocates a new political interpretation of memory and history, as well as an original ethical and aesthetic representation of the past. Such an approach (which is suspicious of universal categories and focuses on fragmentary memory, based on individual and community experience, as well as an attachment to symbolic places) aims, basically, to carry out a dialectical analysis between memory and history as two modes of relating to the past. Re-presenting the history of the period through the lens of the correspondence sent by Benjamin to Scholem and vice versa seems not only a reparative historical duty, which recalls and redeems the memory of those who died through the cruel violence of National Socialism, but also an ethical commitment that approaches the present time, insofar as it denounces, in some way, the contemporary faces of the fascist phenomenon. Mon, 09 Feb 2026 00:00:00 GMT https://repositorio.ufu.br/handle/123456789/48536 2026-02-09T00:00:00Z