https://repositorio.ufu.br/handle/123456789/5503 Sun, 02 Aug 2026 09:59:36 GMT 2026-08-02T09:59:36Z https://repositorio.ufu.br/handle/123456789/48873 Title: Paulo Leminski como sintoma de seu tempo Abstract: This dissertation examines the work of Paulo Leminski based on the hypothesis that his poetics are structured through aesthetic and discursive tensions, functioning as a symptom of the cultural, political, and literary transformations that marked Brazil from the 1960s to the 1980s. Frequently categorized as a concrete, marginal, pop, or postmodern poet, Leminski is here understood as an author who occupies in-between spaces, articulating formal rigor and colloquial language, verbo-visual experimentation and orality, modern desubjectivation and the fragmented return of the lyrical self. The study adopts an analytical focus on selected passages from works such as Catatau, Quarenta Clics em Curitiba, Caprichos e Relaxos, Distraídos Venceremos, and Ensaios e Anseios Crípticos, highlighting moments in which these tensions become formally explicit. The theoretical framework draws on discussions of concrete poetry, aesthetics, form, and subjectivity, engaging with authors such as Haroldo and Augusto de Campos, Décio Pignatari, Michel Collot, Marcos Siscar, and Vladimir Safatle. The dissertation argues that the contradictions within Leminski’s work do not undermine its coherence; rather, they constitute its creative logic, transforming conflict into method. In doing so, it demonstrates that Leminski not only reflects his time but formally stages it, producing a poetics that remains essential to understanding contemporary Brazilian literature. Tue, 24 Feb 2026 00:00:00 GMT https://repositorio.ufu.br/handle/123456789/48873 2026-02-24T00:00:00Z https://repositorio.ufu.br/handle/123456789/48755 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. Fri, 20 Feb 2026 00:00:00 GMT https://repositorio.ufu.br/handle/123456789/48755 2026-02-20T00:00:00Z https://repositorio.ufu.br/handle/123456789/48754 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. Fri, 06 Feb 2026 00:00:00 GMT https://repositorio.ufu.br/handle/123456789/48754 2026-02-06T00:00:00Z 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