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

This essay aims to analyze the narrator in the novel A hora dos ruminantes (1966) by José J. Veiga, examining how the themes of modernization and progress are addressed. Despite the allegorical and metaphorical tone of Manarairema's description, the characters’ actions and the narrative voice approach the process of modernization, which took place in Brazil from the second half of the 20th century onwards. In this respect, the characters and the narrator intersect and separate in a kind of contrapuntal structure. On the one hand, the townspeople of Manarairema are represented by means of a traditional point of view. On the other hand, there is the presence of intruders, whose objective is to modernize the region. In addition, there is the narrator instance, whose point of view oscillates between one and another, composing a critique of the progress of modernization. Therefore, this article intends to map how the movements of distancing and nearness of the narrator, while functioning as a critique of the logic of modernization, are also an escape from the naturalist model that had been part of Brazilian literature since the 19th century.

In the context of contemporary identity cartographies, writing-between-worlds (ETTE) is becoming increasingly frequent, in which productive and unpredictable contacts between different languages ​​and cultures stand out. In the case of francophone literature, read in the light of the notions of language imaginary (GLISSANT) and surconscience linguistique (GAUVIN), we observe the revision of the idea of ​​home country and mother tongue. From the friction between languages, memories and landscapes, the literary production of authors without a fixed abode grows, capable of transgressing borders of maps considered until then stable.

Interart relations have been the subject of knowledge in the field of Brazilian culture in recent years. The connection between Literature and Music has emerged since the 1980s in European countries such as Spain and France, gaining expression in Brazil from the works of Solange Oliveira. The purpose of this article is to present the melopoetic dialogue relationships between Alice Ruiz and Alzira E. As a methodology, we used a song from the CD Paralelas, authored by the aforementioned artists, to present the discursive and melopoetic relationships present in the artistic text. In order for our intention to reach the expected results, it was necessary to delimit some theoretical questions about Literature and Music and also about the artistic production of the authors of the listed song so that we can place the context of analysis. For the basis of our study, we sought theoretical support in works by authors such as Bakhtin (2011; 2018; 2021), Brait (2020), Goldstein (2006), Lotman (2010), Menegazzo (1991), Murgel (2005; 2010) , Oliveira (2002; 2003), Rosa (2009), Stegagno-Picchio (2004), Voloshinov (2019), among others. Our discussions and results show that the relationships of the melopoetic dialogue present in the analyzed text allow a range of constructions of meaning effects in relation to the social imaginaries undertaken to the female figure. We also consider that in Paralelas, both the formal content of the CD and the analyzed song demonstrate the emancipatory process of Brazilian women, whose empowerment relationships are evidenced from the 2000s.

This article presents theoretical elements for an anti-Orientalist translation of Kojiki (720), a text from early Japanese antiquity first compiled by imperial order and aiming to create a new official history for the state of Yamato, as well as to be a record of the genealogies and traditions of its noble clans. Based on Said (2007) and Cunha (2013), we review the definitions of Orientalism and peripheral orientalisms, which problematize interpretations and translations of Japanese poetic texts that disregard their historicities and those of the cultures involved in their conception. We apply the concepts of translingualism and transculturation (ETTE, 2016), exophony (WRIGHT; BRUNSWICK, 2008) and polyphony (BAKHTIN, 2002), to the study of the Japanese eighth century, based on references such as Duthie (2014), Naoki (1993) and Matsumae (1993). As methodological inspiration for a poetic translation of Kojiki interpreted from this perspective, we bring basic guidelines from the theories of transcreation (CAMPOS, 2015) and concrete poetry (CAMPOS; PIGNATARI; CAMPOS, 1975), thus advocating the conception of a both critical and creative translation project, attentively devoted to the functionalization of typographic elements and the distribution of words on the two-dimensionality of the page. As a practical result of the reflections proposed, we present at the end of the text two excerpts in translation of the work studied, tentatively represented in these passages with an emphasis on its translingual, exophonic and polyphonic aspects.

O artigo investiga a reflexão social do escritor Olavo Bilac a respeito dos pobres e da pobreza, tendo por fontes sua produção cronística publicada na imprensa. Confrontando a visão oficialesca na qual o “príncipe dos poetas brasileiros” foi o principal representante da literatura como “sorriso da sociedade” – quer dizer, de certa concepção de escrita literária cujo esteticismo dispensava qualquer afinidade com causas e temas sociais – com a prolífica produção do autor sobre os problemas do pobre e da pobreza, demonstramos como, subjacente a certo preconceito intelectual destinado ao parnasianismo de Bilac, está latente uma desconhecida preocupação social do escritor que, ainda que marcada pelo espontaneísmo e pela volubilidade de seu pensamento, atestam a emergência da questão social no horizonte temático e reflexivo de um dos principais escritores brasileiros do início do século XX.

A argentina Ariana Harwicz tem sido uma autora com interessante destaque na cena literária latino-americana, principalmente com tradução e publicação no Brasil, recentemente, pela editora Instante. Na “Trilogia da paixão”, as obras Morra, amor, A débil mental e Precoce questionam os papéis maternais, escancarando, como afirmado pela autora, “o sinistro e o belo do vínculo entre mãe e filho”, conforme breve resenha no site Amazon, que complementa: “no mundo ficcional cruel e poético de Harwicz, o amor é desequilibrado, movido por desejo e violência”. Nesse sentido, a proposta desse artigo é analisar a temática da maternidade na obra Morra, amor, primeira narrativa das que fazem parte da trilogia de Harwicz, e refletir sobre o que os papéis da maternidade representam e “escancaram” do vínculo materno na contemporaneidade, como voz outra, dissidente, da literatura escrita por mulheres.

The overall context of this study concerns Wales history. More specifically, its locale regards the emigration of Welsh subjects to Argentina after the second half of the 19th century. My purpose, during the analysis, is to investigate Up into the Singing Mountain (LLEWELLYN, 1960) as to identify how Welsh identity travels to Patagonia and the effect of the Pampas on the novel’s characters’ sense of national pride. Findings indicate how the Pampas transform characters’ idea of themselves, their language, and their habits: especially in what regards Huw Morgan, the narrator.

The objective of this work is to carry out an analysis of the work Anatomia do gesto (1989, by the iporaense poet Pio Vargas (1964-1991). Vargas' critical fortune is almost entirely reduced to impressionist comments, marked by psychologism relative to the meteoric and tragic aspects of his life. With this, this work sought to carry out an analysis of the metapoetic relations between body and verse in the constitution of Anatomia do Gesture, materialized in the idea of “corpoquase”, present in the work. In this sense, the work was divided into three parts. Initially, the absence of extensive works on the poet is discussed, with emphasis on the predominance of impressionist comments. Next, we seek to locate Vargas' work in the tradition of modern poetry, specifically, the poetic production that began in the 1980s. poems. Finally, the analysis of Anatomia do gesto is carried out, seeking to understand the effects of the “bodyquase” materialized in the poems. As a theoretical contribution, among other works, Hugo Friedrich (1978), Octávio Paz (2014) and Marcos Siscar (2010).

O presente artigo pauta a importância de um letramento queer, usando o esteio dos Letramentos sociais de Street (2014). Um letramento mais inclusivo, alcançando as subjetividades não hegemônicas dentro do processo educacional tradicional que as exclui e ignora. Usamos aqui as ideias de Cosson (2006), Kleiman (2005), Lopes (2002) com os atravessamentos da teoria queer em (2019), Miskolci (2021) e Louro (2001, 2013, 2022), bem como Foucault (1999, 2013). Por meio das abordagens das obras mencionadas, foram investigadas por meio das intertextualidades e interdisciplinaridades, na potência crítica dos textos literários de Trevisan (Em nome do desejo, 2001 e A era de ouro do Brasil, 20219) os assuntos relacionados às sexualidades e de gênero. O objetivo, então, é encontrar pistas e respostas para um letramento queer mais comprometido com essas questões tão espinhosas quanto urgentes na sala de aula. Em época de “escola sem partido” e vigilância da liberdade de cátedra docente, e considerando as reflexões obtidas a partir desta análise, afirma-se que ainda há muito a ser feito para uma mudança dentro da sala de aula. Por fim, pretende-se lançar questões e apontamentos sobre a viabilidade de um letramento queer para diminuir os preconceitos nas aprendizagens de práticas libertadoras.

Jacqueline Harpman (1929-2012), Catherine Barreau (1965) e Antoine Wauters (1981) são três escritores com trajetórias, estilos e fortunas literárias bastante diferentes. Além de seu pertencimento à literatura belga de língua francesa, eles têm em comum o fato de terem se aventurado além das fronteiras do real, pelo menos uma vez em sua obra, sem a pretensão de serem escritores do estranho ou do fantástico. Moi qui n’ai pas connu les hommes (Jacqueline Harpman, 1995), L’Escalier (Catherine Barreau, 2016) e Moi, Marthe et les autres (Antoine Wauters, 2018) podem ser qualificados como romances pós-apocalípticos. Neste artigo, propõe-se analisar esses três romances com o objetivo de rastrear os traços de uma preocupação ambiental, que uma leitura de abordagem ecocrítica permite elucidar. Nos três textos estudados, observa-se o uso de uma linguagem outra, não no sentido primeiro do termo, mas no de uma polifonia entendida como o uso particular dado às diferentes vozes narrativas. De forma mais ampla, no artigo questiona-se sobre o lugar que a literatura pode ocupar em um mundo com um clima deletério e sobre o que podem nos oferecer os desvios e as liberdades tomados em relação à realidade, quando o horizonte dessa mesma realidade não oferece nada (mais) do que uma paisagem de devastação por vir e uma fuga para a frente.