https://repositorio.ufu.br/handle/123456789/5170 Thu, 14 May 2026 15:05:09 GMT 2026-05-14T15:05:09Z https://repositorio.ufu.br/handle/123456789/48687 Title: A Revisão por pares sob uma perspectiva sociológica e sistêmico-funcional: que indícios um estudo de caso na área de Letras nos revela sobre a produção e negociação de significados na ciência? Abstract: This doctoral thesis investigates, through a case study of an exploratory and qualitative nature, peer review as an ill-defined problem by accessing the "voices" of the agents involved in the process. Specifically, it elicits sociological and linguistic aspects that intertwine: 1) the editor's voice in relation to editorial processes, focusing on peer review processes, through an unstructured interview; 2) the voices of some reviewers through analysis of their reviews, controlled changes or comments in the body of the text or speech bubbles of the text editor, adopting the Atlas.ti software as a tool for initial data exploration and Rhetorical Structure Theory (RST) and the Appraisal System (AS) as the theoretical foundation of the analyses; and 3) the voice of some authors through analysis of the content of their responses to the reviews and transformations in the manuscript to meet or not the demands of the reviewers. In methodological terms, the case study comprises the manuscripts and respective reviews from volume 38 of the journal Letras & Letras (L&L) whose authors provided free and informed consent: three academic articles, A with three reviews, B with two reviews, and C with one review. The content of these manuscripts and their respective reviews was preliminarily explored through a content analysis (Bardin, 2016) performed by Artificial Intelligence (AI) using the Atlas.ti tool, and then manually investigated based on categories derived from the SA. This study reveals that it is a hidden process, with ill-defined dimensions, in which, often, the observations and explanations are not always clear enough about what should be corrected in the text. Overall, it was not possible to identify a relationship of complementarity/convergence between the reviews provided for the same manuscript. Nevertheless, it is worth noting the spatio-temporal limitations of this selection and the lack of diversity of journals. Based on this research, it is hoped to continue the search for more current and comprehensive clarifications regarding the problem of text revision/editorial review and in-depth elucidations in relation to scientific practices and the processes of scientific production. The publication of articles does not represent the closing of a cycle, but the beginning of a virtuous circle that plays a crucial role in our society: the democratization of knowledge. Tue, 28 Apr 2026 00:00:00 GMT https://repositorio.ufu.br/handle/123456789/48687 2026-04-28T00:00:00Z https://repositorio.ufu.br/handle/123456789/48671 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. Wed, 11 Feb 2026 00:00:00 GMT https://repositorio.ufu.br/handle/123456789/48671 2026-02-11T00:00:00Z https://repositorio.ufu.br/handle/123456789/48659 Title: Mulheres no sertão: sonho e silêncio representação da figura feminina nos romances regionalistas O Tronco (Bernardo Élis) e Jazigo dos Vivos (Geraldo França de Lima) Abstract: The proposal of this thesis is to analyze the representation of the female figure in the novels O tronco by Bernardo Élis, and Jazigo dos vivos by Geraldo França de Lima, in order to demonstrate the historical prejudiced view of the female figure, inherited from the patriarchy, and the similarities and differences between the respective regionalist novels. For a long time, women were seen as inferior beings, created from man and to serve him, capable of becoming evil beings. In the novels analyzed, the female figure still appears represented under the influences of the patriarchal system that was still very present in Goiás in the 1950s and Minas Gerais in the 1960s. To understand this inferiorization of the female figure, we sought to identify the historical-religious roots of the patriarchy that served as a structuring and legitimizing element of such practice. The approach started from a reading of the popular imagination and some historical excerpts related to the role of women in Brazilian society. From there, we proceeded to analyze the novels O tronco and Jazigo dos vivos, seeking to identify how women were represented and what contributed to this occurring. Finally, a comparison was made between the two novels in order to identify whether there was any similarity in the way Bernardo Élis and Geraldo França de Lima represented the female figure in their respective novels and what corroborated this occurring or not. Thu, 17 Jul 2025 00:00:00 GMT https://repositorio.ufu.br/handle/123456789/48659 2025-07-17T00:00:00Z https://repositorio.ufu.br/handle/123456789/48645 Title: A tradução de canções e seus aspectos tradutórios da Língua Portuguesa para Libras Abstract: This qualitative and exploratory research focuses on the analysis of musical translations from Portuguese into Brazilian Sign Language (Libras), with particular attention to the poetic and visual processes involved in artistic translational performances aimed at Deaf audiences. The study investigates the translational and interpretive decisions that directly influence the reception, aesthetic enjoyment, and sensory experience of Deaf spectators when engaging with translated musical performances. To this end, publicly accessible digital productions were analyzed, considering translations performed by both Deaf and hearing professionals. The research is theoretically grounded in authors who discuss poetry and poetics in signed languages, as well as the artistic and cultural aspects of song translation in bilingual contexts. Based on this foundation, the study seeks to understand how visual elements, imagetic metaphors, and expressive resources are mobilized to recreate, in Libras, the visual sonority and expressiveness inherent to songs originally composed in Portuguese. The main objective is to analyze the translational, visual, and cultural strategies employed by Deaf and hearing interpreters, identifying those that most contribute to the creation of musically translated performances that are both aesthetically refined and culturally accessible to Deaf audiences. Additionally, the study highlights the specific contributions of Deaf translators to musical pieces originally translated by hearing individuals, emphasizing their role in enhancing artistic communication and broadening the intelligibility of the message. The specific objectives include identifying the stages involved in the creation of these translations, characterizing the translational competencies required for such productions, and describing the modes of Deaf participation in the process. The results demonstrate that the dialogue between Deaf and hearing translators significantly enhances the sensory and emotional impact of musical translations into Libras, allowing for greater fidelity to the semantic and poetic nuances of the source text. The presence of Deaf translators also fosters the visual recreation of metaphors and images in ways that align more closely with the imagetic repertoire of the Deaf community, resulting in translations that more faithfully reflect the emotional and semantic subtleties of the lyrical content. By articulating elements of poetic visual aesthetics and recreating sonority through bodily and spatial dimensions, poetic translation in Libras provides a rhythmic and synesthetic sensory experience capable of intensifying the aesthetic enjoyment of Deaf audiences. Therefore, this thesis argues that Deaf protagonism in musical translation processes is essential for the communicative and artistic success of performances in Libras, and that its recognition contributes to the acknowledgment of the visual-poetic dimension of Libras as an authentic form of literary and musical recreation. The study thus reaffirms the importance of a collaborative translational approach, one that is sensitive to the cultural and perceptual particularities of the Deaf audience, as a promising path for advancing translation practices within the arts. Tue, 19 Aug 2025 00:00:00 GMT https://repositorio.ufu.br/handle/123456789/48645 2025-08-19T00:00:00Z