Resumo em Inglês:

Abstract This article addresses, in its first part, the many critics who have difficulty in making sense of Coetzee’s two novels The Childhood of Jesus and Schooldays of Jesus, offering clues for an understanding of Coetzee’s utopian thought experiment within the framework of secularized utopian and Christian ideals. The second part links the utopian elements with esthetic and esoteric conceptions in the history of art (Johann Sebastian Bach, archaic cultures, and the revival of neo-mysticism among artists of the 20th century), proposing an understanding of their implications (or their obsoleteness) in contemporary art.

Resumo em Inglês:

Abstract This essay aims at investigating the significance of Jane Austen in John Fowles’s The French Lieutenant’s Woman. References to Austen’s Persuasion appear three times in Fowles’s novel, and the resonances of this intertextual dialogue substantially affect the politics of characterization and space (mainly the Cobb) in The French Lieutenant’s Woman. This discussion is theoretically based on the relationship between intertextuality, intermediality and parody, so as to consider the relevance of Persuasion (a pre-Victorian novel) in a work which has been generally considered by critics as a parody of values and tenets of Victorian society and literature. What relationships are produced, in terms of both poetics and politics, when we think about the Austen-Fowles association?

Resumo em Português:

Resumo Este artigo pretende analisar as relações intertextuais e a alteridade nos romances The Ship of Fools (1962) da escritora americana Katherine Anne Porter e Não se Pode Morar nos Olhos de um Gato (2016) da autora portuguesa Ana Margarida de Carvalho. Partindo de uma abordagem comparatista, com o intuito de analisar semelhanças no seio das diferenças, recorrendo aos contributos teóricos de Tiphaine Samoyault, Ingedore Koch, Paul Voestermans, entre outros, discutiremos o modo como a intertextualidade se assume como porta de entrada na alteridade – elemento fulcral nos dois romances. Com efeito, em ambas as obras, num ambiente de confinamento claustrofóbico, os olhares hostis de desconfiança lançados ao “outro” revelam preconceitos conducentes à injustiça e à discriminação social. Em ambos os casos, “a mesa do capitão” simboliza um estatuto privilegiado, acessível apenas a uma elite minoritária. Por fim, abordaremos a forma como a alteridade confere sentido às inter-relações estabelecidas nas duas obras, sublinhando uma visão pessimista da natureza humana, de inegável atualidade, que nos faz refletir no modo como em pleno século XXI, numa sociedade globalizada, percebemos e (con)vivemos com o “outro”.

Resumo em Inglês:

Abstract This article aims to analyse the intertextual relations and the alterity in the novels The Ship of Fools (1962) by the American writer Katherine Anne Porter and Não se Pode Morar nos Olhos de um Gato [You Can’t Live in the Eyes of a Cat] (2016) by the Portuguese author Ana Margarida de Carvalho. Starting from a comparatist approach in order to analyse similarities within the differences and using the theoretical contributions of Tiphaine Samoyault, Ingedore Koch and Paul Voestermans among others, we will discuss how intertextuality becomes an entrance into alterity – a core element in the two novels. In fact, in both works, in an atmosphere of claustrophobic confinement, the hostile looks of distrust cast at the “other” reveal the prejudices that lead to injustice and social discrimination. In both cases, “the captain’s table” symbolises a privileged status, accessible only to an elite minority. Finally, we will look at how alterity confers meaning on the inter-relationships established in the two works, underlining a pessimistic view of human nature, of undeniable actuality, that makes us reflect on how in a globalised society in the 21st century we perceive and live (together) with the “other”.

Resumo em Inglês:

Abstract This article, we delineate the relationship between nonsense, opposition and paradox in selected excerpts of the works of Edward Lear (1812-1888) and Qorpo Santo (1829-1883), considering nonsense and paradox in the light of the theories proposed mainly by Gilles Deleuze (2015) and Charles Ogden (1932) and secondarily by Jean Jacques Lecercle (1994), Wim Tigges (1988) and Ferdinand Saussure (1916). This article seeks to understand the relationship between sense and nonsense in relation to the way these theorists articulate the productive tension that exists between other kinds of binary relationships. Research carried out about the relationship between nonsense theories and the binary opposites delineated by pairs and more precisely about Edward Lear and Qorpo Santo has been extremely scarce, and this article seeks to contribute to the related literary scholarship.

Resumo em Português:

Resumo Este paper propõe abordar as relações de Finnegans Wake com a música, especialmente com a música erudita eletroacústica, a qual se desenvolveu a partir da década de 1940. Não obstante, a predileção de Joyce pela música erudita tradicional, aqui desenvolve-se a hipótese de que a escrita experimental do modernista irlandês, mais do que aplicar formas típicas da música, criou um tipo específico de musiscritura e antecipou procedimentos que os compositores só conseguiram alcançar com o uso de fitas magnéticas e sintetizadores. Assim, pelo uso sistemático de trocadilhos multirreferenciais, justapostos em dezenas de línguas e dialetos, Joyce colocou-se à frente da vanguarda musical de sua época, a qual chegou à síntese aditiva de densas camadas sonoras apenas algumas décadas depois das publicações iniciais de partes da Work in Progress, ainda na década de 1920.

Resumo em Inglês:

Abstract This paper proposes to approach Finnegans Wake’s relations with music, especially with electroacoustic classical music, which developed from the 1940s onwards. Despite Joyce’s predilection for traditional classical music, here we hypothesize that the experimental writing of the Irish modernist, more than applying typical forms of music, created a specific type of musiscription and anticipated procedures that composers could only achieve with the use of magnetic tapes and synthesizers. Thus, by the systematic use of multi-referenced puns, juxtaposed in dozens of languages and dialects, Joyce placed himself ahead of the musical vanguard of his time, which reached the additive synthesis of dense sound layers just a few decades after the initial publications of parts of Work in Progress, still in the 20s.

Resumo em Inglês:

Abstract This article is a discussion of J. G. Ballard’s (semi-)autobiographical war narratives, with a focus on the different textual strategies and processes of signification Ballard employs from his avant-garde novel The Atrocity Exhibition (1970) to the feverish fictional account of his time in World War II China in “The Dead Time” (1977) and Empire of the Sun (1984) to his more reflective autobiographical texts The Kindness of Women (1990) and Miracles of Life (2008). Ballard’s obsessive repetition of many of the same images attests to the problematics of representation of the traumatic event, and ultimately represents a complex and rich work of fabulation that escapes categorizations of fiction and autobiography.

Resumo em Inglês:

Abstract In The Marriage of Heaven and Hell (1790-1793), William Blake traces a flying route through the Universe. His muse, the “sneaking serpent”, supports the concept that ‘diabolic’ is not a synonym of ‘evil’ – nevertheless, it is an active springing of Energy, as, according to the poet, every existence is holy. This study understands the prophetic writing of a trip to the mystery as a way the poetic voice finds to stand up against Reason (Good), empowering himself in the Energy of Evil (or of Hell). Thereupon, it was adopted the idea of ‘devilish’ as a vital force, avoiding dogmatic and religious definitions of the term, a topic with which the author often struggled, especially considering his rupture with Emanuel Swedenborg’s thoughts. Another researched point encompasses distinct visual representations of the serpent in Blake’s illustrations, such as in “The Serpent Attacking Buoso Donatin” (1826-7, reprinted in 1892), and in “The Spiritual of Nelson Guiding Leviathan” (1805-1809). Both in written and pictorial artworks, the author asserts that the serpent symbolizes the sacred essence that lives in all profane things.

Resumo em Inglês:

Abstract In the vast bibliography on William Blake, scholars usually comment on the irony in his poetic works, but seldom they do explain such comments. This paper is an attempt to understand the ironies present in some poems of Songs of Innocence and of Experience, while at the same time taking into consideration the dialectical quality of Blake’s thought. To do so, the concept of Romantic irony, developed by Friedrich Schlegel, is used, as it is also dialectical in its nature. In order to illustrate how Romantic irony is used to read the volume, an analysis of the introductory poems of each section, along with “Earth’s Answer” (the second introduction’s coda) and two plates which illustrate these poems, is made. The readings show some affinities between Blake’s and Schlegel’s way of thinking.

Resumo em Português:

Resumo Este trabalho analisa as figurações do leitor em Tristram Shandy, de Laurence Sterne, a partir das ideias de Umberto Eco, Gerard Genette e Maurice Blanchot, com foco na relação entre narrador e leitor e o efeito estético decorrente das técnicas formais. Frente a um narrador-autor-personagem autoconsciente, os jogos com os limites do real e do imaginário são recorrentes e desafiam os mais variados tipos de leitores ainda na contemporaneidade. Ao refletir sobre o ato da leitura, o texto encena as ações de variados tipos de leitores através do discurso do narrador. Considerada por Virginia Woolf a precursora do romance moderno, a obra recebe pontos de vista distintos no que tange à interpretação de sua forma, conforme será discutido aqui, ao ponto de ser, por vezes, melhor compreendida pelos escritores shandianos que lhe seguiram o influxo de ressignificação da mimesis e da forma literária.

Resumo em Inglês:

Abstract This work analyzes the figurations of the reader in Tristram Shandy, by Laurence Sterne, based on the ideas of Umberto Eco, Gerard Genette, and Maurice Blanchot, which focus on the relationship between narrator and reader, and the aesthetic effect resulting from formal techniques. In face of a self-conscious narrator-author-character, the play with the limits of reality and imagination are frequent, and it challenges the most diverse kinds of readers even in contemporaneity. Reflecting about the act of reading, the text performs the actions of multiple kinds of readers through the narrator’s discourse. Considered by Virginia Woolf the forerunner of the modern novel, Sterne’s work causes discrepancy regarding the interpretation of its form as it will be discussed here, by the point of being sometimes better comprehended by shandean writers that took the novel as a reference, re-signifying the mimesis and the literary form.

Resumo em Português:

Resumo Villette (1853), o terceiro romance publicado de Charlotte Brontë, trata da história da gelada Lucy Snowe e sua experiência como professora na terra estrangeira do país fictício de Labassecour. A narrativa é profundamente controlada pela narradora, Lucy, e são poucos os momentos em que as emoções tomam formas não reprimidas no texto. Um dos momentos em que o oposto acontece é no capítulo intitulado “Vashti”, no qual Lucy assiste a uma peça e se impressiona com a performance da atriz, Vashti. O presente trabalho relaciona a tradição do conceito de gênio, em sua evolução pela história ocidental, e a representação da artista figurada no romance de Brontë, de modo a demonstrar o entendimento da escritora sobre o gênio feminino. Pode-se concluir que, para Brontë, a imagem da artista está relacionada a figuras iconicamente rebeldes da tradição ocidental, e que sua abordagem em Villette sobre a representação da genialidade feminina desvia do padrão vitoriano que ela mesma segue em outras obras.

Resumo em Inglês:

Abstract Villette (1853), the third published novel by Charlotte Brontë, is about Lucy Snowe’s icy story, and her experience as a teacher in a foreign land in the fictitious country of Labassecour. The narrative is profoundly controlled by the narrator, Lucy, and few are the moments in which emotions take non-repressed forms within the text. One of the moments in which the opposite happens is in the chapter entitled “Vashti”, in which Lucy watches a play and gets impressed by the performance of the actress Vashti. The present work makes the relation between the history of the concept of genius, in its evolution through Western history, and the representation of the artist depicted in Brontë’s novel, in order to demonstrate her understanding of women genius. We can conclude that, for Brontë, the image of the artist is related to iconically rebel figures of Western tradition, and that the approach found in Villette about the representation of women geniality deviates from the Victorian standard Brontë herself follows in other works.

Resumo em Inglês:

Abstract This article aims to discuss Virginia Woolf’s critical appraisal of the contemporariness of her contemporaries’ production while also probing the very idea of what constitutes “the contemporary”. “The Modern Essay (1921) serves as the frame for what Woolf dubbed “the contemporary dilemma”, which this article then traces in “How it Strikes a Contemporary” (1923). Resorting to other major essays, this article contextualizes Woolf’s publication of The Common Reader – First Series (1925) so as to explore its conversational quality as a philosophical principle inherent to Woolf’s oeuvre (Pinho 2020). The philosophically inclined methodology of Woolf’s essays finds fertile ground in Giorgio Agamben’s “What Is the Contemporary?” (2009). Ultimately, by reading Woolf alongside Agamben, this article sheds light on the intersections between contemporary philosophy and the philosophical questions we continue to find in Woolf’s writing.

Resumo em Português:

Resumo Na introdução de O Maravilhoso Mágico de Oz (1900), L. Frank Baum declara sua intenção de inaugurar um novo tipo de conto de fadas, ao mesmo tempo mais moderno e mais americano. O resultado de seu projeto se traduz pela criação de um universo complexo, que se expande ao longo de treze sequências e obras derivadas, alcançando imenso sucesso midiático. Desde então, muito se especula sobre o gênero ou modo narrativo ao qual a série de Oz se enquadra, pois, embora Baum a aponte como um conto de fadas, e, portanto, associada ao maravilhoso, logo sua obra foi lida como uma utopia norte-americana e como uma precursora da fantasia. A partir desse contexto e de tais questionamentos, o presente estudo propõe uma leitura do universo criado por Baum buscando elementos dessas três categorias para compreender seu lugar no cânone da fantasia, ao mesmo tempo em que procura entender a importância do uso de mapas na construção de mundos secundários, elemento que ao longo do século XX se popularizou em obras dessa vertente1.

Resumo em Inglês:

Abstract In the introduction to The Wonderful Wizard of Oz (1900), L. Frank Baum asserts his intention of bringing forth a new type of fairy-tale, at once more modern and more American. Such goal translates into the creation of a complex universe that gets expanded by means of thirteen sequels and derivative works, and knows a huge mediatic success. Ever since its first publication, it has been debated – and still is – in which genre theOzseries fits, as, even though Baum describes it as a fairy-tale, therefore related to the marvellous, it was read as a North American utopia and a forerunner of fantasy. In this context, keeping these questions in mind, this paper discusses Baum's universe by searching elements from these three categories, so that we may understand its place in the fantasy canon, simultaneously seeking to understand the usage of maps at building secondary worlds, a quite popular feature in fantasy works during the 20th century.

Resumo em Português:

Resumo O presente artigo tem como objetivo investigar de que modo a autora Isak Dinesen (pseudônimo e personagem viva de Karen Blixen) utiliza certos recursos para invocar a memória das tradições pagãs europeias. Entre eles, há o animismo, em que a natureza, especialmente o mar, tem agência e intenção, interferindo com e manipulando o enredo - remetendo ao sistema ontológico animista, que caracteriza o modo de pensar do paganismo. Há também o emprego do storytelling, modo como os conhecimentos são transmitidos entre as gerações por essas populações, e a presença constante da figura da bruxa. Ao empregar esses elementos em sua escrita, Dinesen cria um tipo peculiar de modernismo que subverte as leis da composição literária clássica através da retomada de outro tipo de tradição, que há séculos questiona e resiste ao status quo.

Resumo em Inglês:

Abstract This article intends to investigate in what ways Isak Dinesen (Karen Blixen’s pseudonym and living character) employs certain features to invoke the memory of the European pagan traditions. Among them is animism, in which nature, specially the sea, has agency and intention, interfering with and manipulating the plot – reminding us of the animist ontological system that characterizes the pagan worldview. There is also storytelling, which is used to pass on knowledge among different generations in these populations, and the constant presence of the witch figure. By employing these elements in her writing, Dinesen creates a peculiar type of modernism that subverts the laws of classical literary composition through the revival of another kind of tradition that has been questioning and resisting the status quo for centuries.

Resumo em Português:

Resumo O presente artigo1 revisita e discute o início da Literatura Eletrônica estadunidense a partir do nascimento da Ficção Interativa nos anos 1970. Na esteira, segue até a década de 1980 para avaliar os impactos da revolução informática no fazer literário, assim como o surgimento de um maior interesse teórico-crítico nas relações entre literatura e tecnologia. Para tanto, apresenta o surgimento dessa área de estudo através da história do subgênero Hiperficção a partir do programa de criação textual Storyspace (1987), criado por Michael Joyce e Jay Bolter, sua aquisição pela Eastgate Systems e o surgimento, como resultado, do único corpus literário coeso e reconhecido do gênero. Por fim, este estudo expõe e analisa a relação entre a Ficção Interativa e a Hiperficção no interstício em que se deu o declínio da primeira e a ascensão da segunda, na busca de entender seus motivos e impactos no cenário da Literatura Eletrônica.

Resumo em Inglês:

Abstract This paper revisits and discusses the early American Electronic Literature from the birth of Interactive Fiction in the 1970s. Then, it evaluates the impacts of the 1980’s computer revolution on literary production along with the arising of a larger theoretical and critical interest in the relation literature vs. technology. To do so, it introduces the emergence of such scholarship through the history of the subgenre Hyperfiction from the creation of the textual software Storyspace (1987) by Michael Joyce and Jay Bolter, its acquisition by the Eastgate Systems and, as consequence, the emergence of the only cohesive and recognized literary corpus of the genre. Ultimately, this investigation exposes and analyzes the relationship between Interactive Fiction and Hyperfiction in the interstice when the former declined while the latter ascended to understand its reasons and impacts in the Electronic Literature scenario.

Resumo em Inglês:

Abstract The aim of this article is to analyze the portrayal of Native Americans in Orson Scott Card’s The Tales of Alvin Maker (1987-2003), an alternative history of the US, in which the author condemns the country’s colonial history. However, in spite of his obvious sympathy for Native people, Card does not manage to avoid the traps awaiting a non-Native author writing about tribal communities. The following article demonstrates how Card both empowers his Indigenous characters and undermines their empowerment. The framework for the analysis is provided by Gerald Vizenor’s theories regarding the simulation of Native presence in the dominant culture, persistence of stereotypical indians, concept of survivance, and possible retrieval of Native sovereignty.

Resumo em Português:

Resumo Este trabalho analisa como escritores ameríndios desenham um mapa de uma geografia crítica ao delinear a inter-relacionada brutalização dos seres humanos e do (meio) ambiente na interface colonização/descolonização. Baseado em uma abordagem teórica comparativa e interdisciplinar, embutida nos Estudos Culturais/Pós-Coloniais e na Ecocrítica, o ensaio problematiza a questão da identidade ameríndia atrelada a terra e à prática da cultura e língua dentro de contextos de (neo)colonialidade e revela a relação quebrada entre sujeito, língua, lugar e mundo que constitui uma das fontes principais do entre-lugar em textos de autores ameríndios do Brasil, do Peru e dos Estados Unidos.

Resumo em Inglês:

Abstract The objective of this work is to analyze how indigenous writers of the Americas draw a map of a critical geography by delineating the interrelated brutalization of human beings and the environment at the colonial/decolonial interface. Its theoretical approach is comparative and interdisciplinary and embedded in Cultural/Post-Colonial Studies and Ecocriticism with the objective to problematize the issue of identity attached to the land and the practice of culture and language within contexts of (neo)coloniality, revealing the broken equation between subject, language, place and the world that constitutes one of the principal sources of in-betweenness in texts by indigenous writers form Brazil, Peru and the United States.

Resumo em Inglês:

Abstract This article aims to analyze racial issues in the resistance community depicted in Parable of the Sower (1993), by Octavia Butler, named ‘Acorn’. By researching the critical approaches to this novel, I observed that, as much as they admit race as a force that interferes in the relation between offenders and offended, they have not gone further in questioning how the variety and the complexity of the previous backgrounds of these racialized subjects cannot be ignored and homogenized in the establishment of bonds among the offended as well. As I aim to demonstrate, the world experience carried by each character, determined especially by race and social class, helps meditating on their own asymmetrical positions and showing how their empathy towards one another has to be built and (re-)negotiated all the time.

Resumo em Português:

Resumo Este artigo aborda a literatura afro-americana feminina por meio da coletânea de contos Heads of the Colored People, de Nafissa Thompson-Spires, publicada originalmente em 2018. As narrativas nesse livro, que perpassam questões étnico-raciais, retratam uma multiplicidade de vivências de sujeitos negros nos Estados Unidos na atualidade. Em primeiro lugar, são apresentadas algumas considerações sobre construção de identidades, especialmente em relação a mulheres negras. Em seguida, é proposta uma análise dos contos “Fatima, the Biloquist: A Transformation Story” e “The Body’s Defenses Against Itself” com o objetivo de verificar de que modos se constroem as subjetividades da protagonista Fatima a partir de diálogos consigo mesma e com outras personagens femininas negras.

Resumo em Inglês:

Abstract This article discusses African-American female literature through the collection of short stories Heads of the Colored People, by Nafissa Thompson-Spires, originally published in 2018. The narratives in this book, which address ethnic-racial issues, portray a multiplicity of experiences of Black subjects in the United States nowadays. First, some considerations about identity construction are presented, especially in relation to Black women. Then, an analysis of the short stories “Fatima, the Biloquist: A Transformation Story” and “The Body's Defenses Against Itself” is proposed in order to verify in which ways the subjectivities of the protagonist Fatima are constructed from dialogues with herself and with other Black female characters.

Resumo em Português:

Resumo As neonarrativas de escravidão surgiram no cenário literário norte-americano com a publicação de Jubilee, de Margaret Walker (1966), porém só tiveram efetivo reconhecimento nos anos oitenta, com o lançamento de Beloved, de Toni Morrison (1987). Concebidas como “romances contemporâneos que assumem a forma, as convenções e a voz narrativa em primeira pessoa das narrativas de escravos produzidas antes da Guerra Civil” (RUSHDY, 1997), foram, aos poucos, se distanciando desse modelo e hoje podem ser consideradas transnacionais e globais, bem como dialógicas, polifônicas e transgenéricas, segundo Judith Misrahi-Barak (2014). Nessa perspectiva e com o suporte teórico dos Estudos Culturais e do conceito pós-moderno de metaficção historiográfica, este trabalho propõe a análise da representação do sujeito diaspórico em O livro dos negros, do canadense Lawrence Hill (2014), que tem por temática a trajetória de escravos durante a vigência do sistema escravagista. Ao deslocar a voz narrativa para o oprimido, Hill desafia o discurso da História, escovando-a a contrapelo.

Resumo em Inglês:

Abstract Neo-slave narratives emerged on the American literary scene with the publication of Jubilee, by Margaret Walker (1966), but only had effective recognition in the 1980s, with the release of Beloved, by Toni Morrison (1987). Conceived as “contemporary novels that assume the form, adopt the conventions and take on the first-person voice of antebellum slave narrative” (RUSHDY, 1997), according to Judith Misrahi-Barak (2014), they were gradually distancing themselves from this model and today they can be considered transnational and global, as well as dialogic, polyphonic and transgenic. In this perspective and with the support of Cultural Studies and the postmodern concept of historiographic metafiction, this work proposes the analysis of the representation of the diasporic subject in The Book of Negroes, by the Canadian author Lawrence Hill (2014), which has as its theme the trajectory of slaves during the validity of the slave system. By shifting the narrative voice to the oppressed, Hill challenges the discourse of history, brushing it against the grain.

Resumo em Português:

Resumo Este trabalho se propõe a analisar aspectos da representação da maternidade igbo em duas narrativas de escritoras nigerianas, o romance As alegrias da maternidade (1979), de Buchi Emecheta, e o conto A historiadora obstinada (2009), de Chimamanda Ngozi Adichie, avaliando como a experiência materna das protagonistas reflete os desejos e objetivos comuns que as unem (ou apartam) enquanto mulheres de um mesmo grupo étnico. Almejamos, ainda, sopesar as representações femininas que escapam à idealização da mãe perfeita, aferindo como essas “outras” ajudam a reforçar o rigoroso padrão de comportamento a todas imposto, relegando-as à busca de um parâmetro ou protótipo de conduta que, muitas vezes, obsta sua autorrealização pessoal. Contamos, para tal, com o auxílio de teóricas como Umeh (1996), Stratton (1994), Robolin (2013), Christian (1994) e Segato (2012), entre outras.

Resumo em Inglês:

Abstract This work aims to analyze aspects of the Igbo motherhood representation in two narratives by Nigerian female authors, Buchi Emecheta’s novel The joys of motherhood (1979), and Chimamanda Ngozi Adichie’s short story The headstrong historian (2009), evaluating how the protagonists’ mothering experience reflects the common desires and goals that unite (or segregate) them as women with the same ethnic background. We also intend to weigh on the female representations that deny the idealization of the perfect mother, assessing how these “others” help to reinforce the strict behavioral standard imposed to all, which relegates them to a quest for a guideline or prototype of demeanor that oftentimes hinders their own self-fulfillment. For such, we count on the help of theoreticians such as Umeh (1996), Stratton (1994), Robolin (2013), Christian (1994), and Segato (2012), among others.

Resumo em Português:

Resumo Este artigo analisa a re-visão que Margaret Atwood faz da Odisseia em A odisseia de Penélope (2005). Partimos de Bakhtin (1993) para mapear a subversão dos traços constitutivos do épico operada pela versão de Penélope e vemos como, ao destronar Odisseu e dar voz a Penélope e às doze servas enforcadas no retorno de Ulisses a Ítaca, Atwood rompe com a linguagem épica sagrada, desmistifica a lenda e atualiza o passado épico absoluto, oferecendo, no lugar da narrativa grandiosa, a experiência pessoal e privada da vida das mulheres. Em seguida, analisamos algumas das implicações da reescrita do mito homérico por uma escritora canadense contemporânea e argumentamos que, ao matar Homero enquanto autor, Atwood tanto inscreve sua obra no cânone quanto abre espaço para o reconhecimento de outras versões da história.

Resumo em Inglês:

Abstract This article analyses how Margaret Atwood re-views The Odyssey in The Penelopiad (2000). In order to do so, we use Bakhtin (1993) to map the ways in which Penelope’s version of The Odyssey subverts the main traces of the epic. By dethroning Odysseus and giving voice to Penelope and the servants killed upon Ulysses’s return to Ithaca, Atwood breaks with the sacred language of the epic, demythologizes the legend and updates the absolute past of the epic world, offering an account concerning the personal private lives of women. We also analyze the context of production and some of the implications of a Canadian contemporary woman writer’s rewriting of the Homeric myth. We argue that, by killing Homer as author, Atwood both inscribes her work in the canon and makes room for other stories.

Resumo em Inglês:

Abstract The past two decades have produced extensive criticism of the Good Friday/Belfast Agreement’s (1999) progressivist logic in its proposal of a “fresh start” as the best way to honour the victims of the armed conflict that took place during the Troubles (1968-1998). In this paper, we argue that, by refusing to forget and to move on without exposing its grief, Anna Burns’s novel Milkman (2018) mourns the Troubles in the public arena, undoing the Agreement. With special interest in Burns’s narrator and protagonist who evades the reality of violence by “reading-while-walking”, we read Milkman as a gendered response to this enforced forgetfulness. If walking the city frames this young woman’s trauma within the collective trauma of the Troubles, it also offers the nomadic possibility of refusing the sectarian identities available to her.

Resumo em Inglês:

Abstract Documentary theatre is a genre in which real sources and events are used and edited to become the form of dramatic texts and performances. The personal experiences narrated in No Escape (2010),a documentary play by Mary Raftery, have shocked many people, due to the play’s multiple graphic descriptions of child abuse which took place in industrial schools and orphanages in Ireland. This article analyses how pain is presented in No Escape, by contrasting the language used, in their respective lines in the play, by authorities, victims, and representatives of the institutions. Pain, as a physical and psychological sensation, is a subject that still needs to be examined further in discussing the history of Ireland, to provide scholars and society with an opportunity to reflect upon this subject – and, perhaps, achieve healing.

Resumo em Português:

Resumo In this article, I discuss the issue of exile in the novel On Canaan’s Side (2011), weaving considerations about the diasporic subject developed by Silviano Santiago (1978), Homi Bhabha (1995) and Edward Said (2003). The novel is an autobiography of a fictional character, whose personal history is intertwined with traumatic episodes of the history of Ireland and the United States, country in which the protagonist has been in exile since the 1920s. In my view, the historiographic practice named microhistory (GINZBURG; 2006) resembles the kind of history Sebastian Barry chooses to tell, as well as the writing of history as a discourse about the absent (CERTEAU; 2011), used allegorically by the author in the novel.

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Abstract Neste artigo discuto a questão do exílio no romance On Canaan’s Side (2011), tecendo considerações sobre o sujeito diaspórico desenvolvidas por Silviano Santiago (1978), Homi Bhabha (1995) e Edward Said (2003). O romance é uma autobiografia de uma personagem de ficção, cuja história pessoal se entrelaça a episódios traumáticos da história da Irlanda e dos Estados Unidos, país em que a protagonista vive exilada desde a década de 1920. A meu ver, a prática historiográfica nomeada micro-história (Ginzburg; 2006) assemelha-se ao tipo de história que Sebastian Barry escolhe contar, bem como a escrita da história como um discurso sobre o ausente (Certeau; 2011), usada alegoricamente pelo autor no romance.

Resumo em Inglês:

Abstract This article discusses some of Irvine Welsh’s novels considering the period of transition from an industrial to a post-industrial society. We focus on the effects of this shift on fictional characters who originate from the working classes in Edinburgh, as represented in ’s Glue (2001) and the Trainspotting Novels. As such works cover the period from the early 1970’s to the late 2010’s, Welsh evidences the move from the traditional working-class ethos, typified by Union solidarity, to the neoliberal culture of entrepreneurship and its negative aspects. We discuss how Welsh depicts neoliberal practices either rendering workers redundant for the new circumstances or creating new ways to exploit labour.

Resumo em Inglês:

Abstract Figurations of psychological problems, mental illness, boredom, depression, addiction, and medication abound in post-postmodern fiction. David Foster Wallace's Infinite Jest and The Pale King and Jonathan Franzen’s The Corrections are cases in point. Apparently, what these works share in common are the material and psycho-biological explanations that they hint at or provide for the various mental problems and disorders experienced by the characters. These pertain to the specific socio-economic and cultural mode characterizing the contemporary scene. Drawing on the insights provided by Franco Berardi the present article tries to shed light on the significance of such figurations.

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Abstract In Zero K, DeLillo revisits the ever-increasing connection between identity and technology. However, he does so in a unique way, adding (im)mortality issues to an already complex mix. As a result, DeLillo not only explores the intricacies of our present context, but also provides a bleak picture of what could be our posthuman future. This paper examines how DeLillo’s fiction reveals subjectivity in our current post-modern society. The focus of this investigation gravitates specifically to the interference of a technological influx that overtakes contemporary life. It analyzes the process by which our interdependence in machines, electronic devices, and its systems has made them an extension of our own body. Pushing the boundaries of this relationship to an extreme, the book explores the distorted view of technology as “another God”, but, unlike the other gods, it actually "delivers” salvation.

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Resumo Este artigo analisa “The glass abattoir”, um dos contos de Moral tales (COETZEE, no prelo b), entendido como uma sequência de A vida dos animais (COETZEE, 2003), ambos escritos por JM Coetzee. Buscaremos compreender o movimento do autor na direção da ética em favor do direito à vida dos animais, questionando os códigos morais que justificam o consumo de carne. Coetzee transita pelo discurso filosófico em ambas as obras, refutando a existência de uma superioridade humana sobre esses animais. Em ambos os textos, a personagem principal é Elizabeth Costello, considerada alter ego de Coetzee. No conto, ela assume o inconformismo do autor com relação à forma que nós, indivíduos onívoros, tratamos os animais que comemos e estabelecemos um “equilíbrio ecológico” ao decidir quais, como e quando morrem. Mostramos que, em “The glass abattoir”, a personagem rompe com os discursos e planeja tornar fisicamente visível o que ocorre dentro dos abatedouros.

Resumo em Inglês:

Abstract In The Word for World is Forest (1972), Ursula K. Le Guin imagines a dystopian future where humans (Terrans) are faced with the task of plundering other planets for the resource they have caused the earth to be depleted of: wood. On planet Athshe, Terrans find dense forests and a peaceful population of humans, and are quick to reproduce practices founded in the dualistic logic that sets humans (culture) against nature. These practices and depictions of the earth resonate with the dilemmas of the Anthropocene, the “age of humans,” where loss in biodiversity, climate change, massive deforestation, among other things are sounding an alarm that many associate with the end of the world as we know it. Athsheans, as I demonstrate in this paper, put up a resistance to Terran practices that are grounded not in violence (although they unwillingly apply it) but in holding fast to a worldview that is nondualist and dream-based that can serve to inform us in resisting the logic that has led us to the Anthropocene in the first place.

Resumo em Português:

Resumo Este artigo analisa “The glass abattoir”, um dos contos de Moral tales (COETZEE, no prelo b), entendido como uma sequência de A vida dos animais (COETZEE, 2003), ambos escritos por JM Coetzee. Buscaremos compreender o movimento do autor na direção da ética em favor do direito à vida dos animais, questionando os códigos morais que justificam o consumo de carne. Coetzee transita pelo discurso filosófico em ambas as obras, refutando a existência de uma superioridade humana sobre esses animais. Em ambos os textos, a personagem principal é Elizabeth Costello, considerada alter ego de Coetzee. No conto, ela assume o inconformismo do autor com relação à forma que nós, indivíduos onívoros, tratamos os animais que comemos e estabelecemos um “equilíbrio ecológico” ao decidir quais, como e quando morrem. Mostramos que, em “The glass abattoir”, a personagem rompe com os discursos e planeja tornar fisicamente visível o que ocorre dentro dos abatedouros.

Resumo em Inglês:

Abstract This article analyzes “The glass abattoir”, one of the tales of Moral tales (COETZEE, no prelo b), understood as a sequence of The lives of animals (COETZEE, 1999a), both written by JM Coetzee. We aim to understand the author’s movement towards ethics in favor of the animals’ right to life, questioning the moral codes that justify meat consumption. Coetzee moves through philosophical discourse in both works, refuting the existence of human superiority over these animals. Both texts’ main character, Elizabeth Costello, is considered Coetzee’s alter ego. In the short stories, she assumes the author’s nonconformity regarding the way that we, omnivorous individuals, treat the animals we eat and establish an “ecological balance” when deciding which, how and when they die. We intend to show that, in “The glass abattoir”, the character aims to break up with speeches, and plans to make physically visible what happens inside the slaughterhouses.

Resumo em Inglês:

Abstract The screen adaptation of the 1985 novel The Handmaid’s Tale, by Margaret Atwood, converges with the current global turn to the right. Across different geographies and variables, there have been attempts at reinforcing the control of women’s reproductive capacity, crucial to the reproduction of capitalism, and resistance by networks of feminist movements. Such tensions bear resemblance with the concerns represented in the television show. Within the affective turn, in the present study, I examine the gaze as a gendered bodily practice of control over women as well as a practice of resistance under the guise of affect, friendship, and desire, in private and public space.

Resumo em Inglês:

Abstract Most critics argue that the television comedy One Day at a Time (2017), produced in the United States, is a progressive show, mainly due to its cast, its attempt at faithfully representing an ethnic minority, and its courage in advancing relevant, sensitive topics. In order to qualify such assumptions, we will review the history of the sitcom formula, particularly the genre often defined as domestic comedies of the 1970s, and argue that its formal constraints impose unsurmountable limits on a progressive agenda. Finally, we proceed with an aesthetic analysis of the first season, which further demonstrates that the genre’s need of family stability—what we call a hierarchy of values—compromises the dramatization of political content. We hope that by examining the genre’s history and analyzing the show’s aesthetic, we can contribute to a better understanding of its inherent shortcomings and compromises.

Resumo em Português:

Resumo Partindo do conceito de complexidade narrativa na televisão americana contemporânea, abordado por Jason Mittell (2012), que elege a autorreflexividade como um dos elementos complexos na narrativa televisual dos séculos XX e XXI, este artigo objetiva discutir os elementos metaficcionais e autoconscientes no seriado de televisão anglo-americano Penny Dreadful. Assim, escolhemos analisar estratégias de performance e simulação que atuam através de dois espaços ficcionais na série, o teatro e o museu de cera, além de outros elementos que materializam o discurso autorreflexivo do programa televisivo ao longo de duas temporadas. Os estudos de Jost (2007, 2012), Eco (1989), Schechner (2013), Lee e King (2016), entre outros, serviram como base teórica e crítica para esta investigação.

Resumo em Inglês:

Abstract From Jason Mittell’s (2012) concept of narrative complexity in contemporary American television, who declares self-reflexivity as one of the complex elements in television narrative in the centuries XX and XXI, this article aims to discuss the metafictional and self-conscious features in the Anglo-American television series Penny Dreadful. For that, we chose to investigate strategies of performance and simulation that act through two fictional spaces in that TV series, the Theatre and the Wax Museum, and other elements which materialize the self-reflexive discourse of that television program along by two seasons. Studies by Jost (2007, 2012), Eco (1989), Schechner (2013), Lee and King (2016), among others, were used as a theoretical and critical framework for this investigation.

Resumo em Português:

Resumo Este artigo pretende apontar reconfigurações na matriz do melodrama empreendidas especialmente na série This is us (2016 -). Partindo da análise da obra, observamos como as tradições do melodrama maternal são atualizadas em torno de um melodrama paternal, construindo uma imagem de masculinidade que recupera noções de cuidado e sensibilidade, restituindo valores familiares. Apontamos também como essa série de sucesso se apresenta como inovadora através do uso intenso do controle temporal em uma narrativa não linear que, também. nesse ponto, acaba por atualizar outro elemento estético fundamental do melodrama: a antecipação.

Resumo em Inglês:

Abstract This article features new shifts in melodramatic cultural matrix analyzing the TV series This is us (2016 - ). By focusing on this show, we argue how traditions of maternal melodrama are reclaim into what can be defined as paternal melodrama. Paternal melodrama creates images of masculinity that capture notions of care and sensitivity in order to restitute family values. We also argue that this successful series innovates in storytelling by intensifying temporal control strategies in a nonlinear narrative, which, ultimately, reconfigures another fundamental melodramatic aesthetic strategy: anticipation.

Resumo em Português:

Resumo Este trabalho investiga como o filme I am Mother (2019), dirigido por Grant Sputore, traz para o centro da narrativa a relação entre mãe e filha e faz convergir na primeira as figuras da mãe nutridora e da mãe destruidora, ora uma mãe-máquina, ora um corpo-monstruoso, na tentativa de criar um ser humano perfeito. Logo, buscaremos analisar, com recurso à poética gótica, as relações entre as personagens femininas que em momentos diferentes ocupam o lugar central do ser mãe, assim como também questionaremos o processo de construção de identidade feminina em um futuro pós-humano. Para atingir tais objetivos, foram utilizados como referencial teórico, sob a lente do gótico contemporâneo, conceitos de monstruosidade, de mãe nutridora/destruidora e de abjeção.

Resumo em Inglês:

Abstract This paper investigates how the movie I am Mother (2019), by Grant Sputore, brings into the center of the narrative the relationship between mother and daughter and converges the concepts of the nourishing mother and destructive mother, either a machine-mother or a monstrous body, in the attempt of creating a perfect human being. Thus, we will analyse, using the Gothic Poetics, the relationships between the female characters whom, in different moments, occupy the central space of being mother, as well as ponder on the process of the female identity development in a post-human future. In order to reach this objective, some theoretical references are used, under the lens of a contemporary gothic, concepts such as monstrosity, nourishing/destructive mother and abjection.

Resumo em Português:

Resumo Este artigo analisa a transformação na recepção crítica da peça The Boys in the Band, de Mart Crowley, enfocando-se o período transcorrido entre o lançamento da peça, em 1968, e sua versão cinematográfica, em 1970. Parte-se de uma breve contextualização e análise dos aspectos pioneiros da obra e de suas adaptações, assim como de suas reavaliações suscitadas pelos acontecimentos históricos circundantes, em especial à Revolta de Stonewall, marco para o Movimento LGBTQI+, ocorrida em 1969. No contexto de análise da recepção do texto original de Crowley, serviram de apoio reflexões de Hans Robert Jauss sobre o horizonte de expectativas dos leitores e aquele suscitado por uma obra literária.

Resumo em Inglês:

Abstract This article analyzes the transformation in the critical reception of the play The Boys in the Band, by playwright Mart Crowley, and of its cinematographic version, focusing on the short period between the launch of the play in 1968 and the film in 1970. It starts with a brief historical contextualization and an analysis of the pioneering aspects of the work and its adaptations, as well as its critical reevaluations raised by the weight of the surrounding historical events, in particular the Stonewall riots, an important milestone for the LGBTQI+ Movement worldwide, which took place in 1969. In the context of analyzing the reception to Crowley’s original text, reflections by the critic Hans Robert Jauss on the horizon of expectations - of the readers and the one raised by a literary work – served as theoretical support.

Resumo em Inglês:

Abstract Contact zones can be understood as spaces where cultures meet and establish relations of power based on historical processes of domination and inequality. In such spaces and under such circumstances, power dynamics are sometimes resulted from the act of geographic dislocation, executed either by the individual from a central culture who is seen as the tourist or expatriate, or by the subaltern subject who travels to an imperialist nation in search of better prospects, who is seen as the – sometimes illegal – immigrant. The objective of this article is to examine Sin Nombre (2009) and Babel (2006), two films that bring representations of both instances of transit and the inequity of power, through the lens of the postcolonial concept of contact zones.

Resumo em Inglês:

Abstract Reading and writing-related objects, whether in the form of books, letters, or typewriters, are central elements in the films The English Patient, by Anthony Minghella (1996), and Atonement, by Joe Wright (2007), both adapted from novels. By drawing similarities between these two adaptations (Hutcheon 2013; Elleström 2017), the present text illustrates how written words and writing-related objects can be cinematically fetishized (Apter 1991; Mulvey 1996). It also suggests why, despite being capable of existing as autonomous creations, both films proudly maintain a tight connection with their source novels, thus standing as purposeful doubles.