Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

A Revista REVELL convidou pesquisadores a enviar artigos, ensaios, entrevistas e resenhas para sua edição v.1, n.31 - 2022, cujo tema do dossiê é Leituras e Releituras da violência nas Literaturas de Língua Francesa - Lecturas y relecturas de la violencia en las literaturas en lengua francesa. O tema da violência em suas dimensões simbólica, física, institucional, psicológica e estrutural deve ser abordado em obras literárias escritas em língua francesa. A perspectiva como leitura e releitura da violência propõe que o âmbito das abordagens indague sobre as obras contemporâneas, bem como revisite a partir de referenciais teóricos atuais produções consagradas ou de outros períodos literários. As reflexões teóricas sobre a violência na França estendem-se desde o período denominado “la Terreur” - cuja representação tanto mecânica quanto moderna foi a guilhotina - momento entendido como anatomopolítica, passando pela biopolítica, pelos terrorismos fundamentalistas (Maalouf), pelos terrorismos de Estado, até os dias atuais. dia à microviolência (Foucault) do cotidiano tanto em suas manifestações de controle espacial, discursivo e de vigilância, quanto no governo das emoções. Diante de perspectivas enviesadas que reconhecem a violência em suas manifestações mais ostensivas, nosso interesse por este dossiê busca reunir obras que contemplem a natureza fundadora da violência, conforme explica o filósofo francês Paul Ricœur (2000), embora reconhecendo sua capilaridade, que supõe - de acordo com os estudos da antropóloga argentina Rita Segato - sua penetração em múltiplas camadas sociais. É a partir dessas discussões teóricas que este dossiê busca os objetivos principais de identificar as elaborações retóricas e estéticas da violência na literatura de língua francesa, atualizar leituras de obras de períodos anteriores, construir um panorama sobre a temática da violência, formando uma abordagem teórica do corpo que aborda este problema multidimensional.

Nuestra lectura está impulsada por una reflexión de Milan Kundera en la que expresa que “Todos los aspectos de la existencia que descubre la novela, los descubre como belleza.” (1986, p. 147), aun cuando el entramado de esa existencia se compone de una de las experiencias humanas más desgarradoras, como es el exilio. El relato de esa experiencia está mediado (BARTHES, 2004) por la escritura, se trata acaso de “una reseña de un acontecimiento excepcional” (BLANCHOT, 1959): la tortura, la persecución, el encarcelamiento y el exilio constituyen en nuestro corpus el referente de esos relatos. Así, la violencia y el dolor emergen en la superficie de estas historias en tanto escritura, ya que esa voluntad, ese deseo, esa urgencia por escribir no hace más que desnudar lo inenarrable, la imposibilidad de capturar los hechos tal y como sucedieron. En este sentido, nuestro trabajo se apoya en la hipótesis de que el relato de la escritura constituye en nuestro corpus el pasaje mediante el cual la violencia y el dolor son aprehendidos ya no como una “realidad vivida” (RANCIÈRE, 2004) sino como una forma particular de expresión sensible, es decir, de arte. Leeremos entonces la escritura del encarcelamiento y del exilio en Le livre imprévu (2010), de Abdellatif Laâbi (Marruecos, 1942); de la tortura y del exilio en Exercices de survie (2012), de Jorge Semprun (Madrid, 1923 - París, 2011); y de la persecución y del exilio en Héroïnes (2017), de Linda Lê (Vietnam, 1963).

Censored as peripheral and popular literature, the brasilian string suffers marks of marginalization and exclusion than evidences the typical uninterrupted process of segregation, marked politically, socially and geographically. In this study, we intend to discuss elements that point to the subdued place suffered by the string in the literary world, addressing the intimate connection that this poetry establishes with the people. We aspire to demonstrate problems around its origin and consolidation in the Brazilian Northeast. It is possible to identify that the poetry of string imprints a collective and backcountry memory, often consisting of a resource of critical political and social elaboration of a people. We bet that it is the indivisible link with the people that elevates the string to a universal poetic category.

In Brazil, the work of short-story writer Amparo Dávila (1928-2020) belongs to a gap in the study of literature made by women of the 20th century, since the mexican author has no translation to the portuguese language. In order to expand the literary corpus of studies about the narratives of women from the last century, this article will analyze the short story “Tina Reyez”, published in Música Concreta (1964). In dealing with the taboos surrounding the erotic awakening and sensual perceptions of the “ordinary woman” Tina Reyez, Amparo outlines the patriarchal moralities imposed on the tale's protagonist. Based on a qualitative and exploratory methodology, this article will reflect on the social value imposed on women who lived during the second half of the 20th century, according to the theoretical contribution of Luce Irigaray (2017) and Simone de Beauvoir (2009), as well as on the weight of mexican patriarchal morality on the character's context of existence, according to the article “¿Cómo ser sin límites? Semiotic analysis of the story ‘Tina Reyez’, by Amparo Dávila” (2019), by Socorro García Bojórquez and María Edith Araoz Robles.

This work analyzes elements of modern tragedy, according to Raymond Williams´ concept, in the one-act plays The Demolition Downtown and Some Problems for the Moose Lodge, by Tennessee Williams. The investigation takes into account that the American society and the capitalist system are the tragedy itself, figuring its boundaries in the human field. For this reason, they cause suffering, guilt, ruptures, and social failures. Parodic and satirical elements are identified to intensify the tragedy, in turn, allowing reflection to emerge through laughter and, thus, Williams’ text takes on an unprecedented epic dimension. The playwright’s view of American society deconstructs the stereotypes that structure it, especially stratified issues of their ideologies: the American Way of Life and the American Dream.

Este trabalho objetiva desenvolver um estudo do romance Parque Industrial, de Patrícia Galvão (1933), a partir de uma interpretação da obra como uma tentativa inicial de dar voz às mulheres pobres e negras brasileiras dentro da literatura nacional. Para tanto, para além da crítica coetânea e posterior ao romance, serão considerados estudos sobre as condições de escrita da mulher e das figuras marginais, como os de Woolf (2004), Gilbert e Gubar (2000), Duarte (2016) e Dalcastagnè (2015). Ademais, além da obra da autora paulista, outros romances relevantes serão mencionados à medida que colaborem para reconstruir os diálogos sobre a constante exclusão que se dá/deu dessas figuras subalternas e/ou excluídas nos textos literários brasileiros.

This work proposes a discussion about marginal literature, aiming to show how the concepts of margin and marginalized are defined in this literature and which has as one of its great representatives, Ferréz.  In this work, the objective is also to show how this movement of marginal literature, mainly contemporary, has been occupying space in Brazilian literature and through the study of the novel, Capão Pecado (2000), by Ferréz, to present how these manifestations of these margins and the margin have been represented in the works of these writers. This research is supported by the thoughts of Nascimento (2005), Faria, Penna and Patrocínio (2015), Dalcastagnè (2002), Zibordi (2011), Souza (2010) and others.  

From the History's silenced voices over the centuries, Torto Arado addresses the Água Negra's quilombola community's struggle in order to keep its time and space record, assuming that, then, its desire to belong in History. In fact, in this paper, we seek to present how this saga of keeping a time record is metaphorized by the collective dream of building masonry houses instead of mud houses. Thus, this interpretation also highlights the importance of the school and the education in the journey made until the masonry's construction, in order to argue that knowledge is a form of liberation. Eventually, we will hear the silenced voices that, in Torto Arado, bring to bear on building a house as form of resistance to the oppression experienced, thus building their own History.

A partir de la idea de que lengua e identidad forman parte de una díada indisoluble, este trabajo se propone analizar al kreyòl en dos dimensiones. En primer lugar, como lengua de resistencia en la que se materializan algunos efectos del proceso colonial en América. En el kreyòl se condensa un espíritu de encuentro y unidad como el konbit: se trata de un concepto que, aún con las dificultades que presenta para la traducción al español, encierra en su significado una forma de organización comunitaria inscrita en el establecimiento de relaciones sociales horizontales. Esta institución de la vida campesina de Haití aparece configurada como un modo de organización colectiva para la resistencia colonial en algunas producciones literarias de la isla. Por ello, este artículo, en segundo lugar, analizará la novela Gobernadores del rocío [1944] de Jacques Roumain atendiendo a la particular representación del konbit y sus proyecciones políticas de resistencia al embate colonial.

The study focuses on works that translate and poetically explore “Mbyá-Guarani textualities”: the book Roça Barroca (2012) and the videopoem Nada é Fora do Lugar (2017), by Josely Vianna Baptista and Kosmofonia Mbyá-Guarani, an audiobook by Guillermo Sequera and Douglas Diegues, whose first edition was published in 2006 and a second in 2021. The works present translations into Portuguese of songs from the Mbyá-Guarani culture, mostly from communities in Paraguay. However, the first unfolds into a second part with poems by the author/translator in dialogue with the translated songs and appears again, in part, in the video poem in which overlaps of sounds, languages ​​and images are explored. The audiobook, in addition to critical texts by other scholars and writers on the Mbyá-Guarani culture, presents audios of both translated songs and other fundamental sounds of that culture, such as the flute, children playing in the water, etc. They are works of great complexity and, in this study, they are taken as transitive works. More specifically, it seeks to show how the work from the “Mbyá-Guarani textualities” imposes a certain transitivity, thought of as “ethnopoetry”, as a “transcultural” and “translingual” perspective, but also as the transit between fundamental elements such as poetry and music, orality and writing. In this way, with these works, spaces that previously did not exist for these fundamental but little known “Mbyá-Guarani textualities” and for the neglected ties between Brazil and Paraguay are erupted.