Resumo em Português:

Resumo: Este trabalho objetiva examinar a interrogação da inglesidade (Englishness) pela ficcionista britânica negra Andrea Levy a partir do lugar ocupado por ela como cidadã britânica, descendente de imigrantes caribenhos negros. O questionamento é situado no quadro da construção identitária que segue ao contato dos ingleses com seus outros, especialmente no contexto da geração Windrush. Entrevistas e, sobretudo, o ensaio “Back to my own country” ajudam a dimensionar a influência da prática e pensamento racista tanto nas relações sociais e culturais quanto na invisibilização da escravidão negra na história oficial da Inglaterra. Considera-se a escrita como a forma escolhida por Levy para posicionar-se frente a essa omissão histórica, e analisam-se, como forma de exemplificar tal práxis ficcional, dois contos que visibilizam as relações entre os coloniais negros e a população hegemônica inglesa, “That polite way that English people have” e “The empty pram”.

Resumo em Inglês:

Abstract This essay aims at investigating the interrogation of Englishness carried out by the black English writer Andrea Levy from within the place she occupies as an English citizen who descends from black Caribbean immigrants. This interrogation takes place in the context of the identity construction that follows the encounter between the English and their others, especially in the Windrush generation. Interviews and the essay “Back to my own country” (2014) provide insights for considerations on the influence of racist practice and thought on the social and cultural relations and on the invisibilization of black slavery in the English official history. Andrea Levy's fiction is seen as the means used by the writer to take a stand before historic omissions, and two short stories which highlight the relationship between black colonials and the white hegemony are analyzed to exemplify such fictional praxis, “That polite way that English people have” and “The empty pram”.

Resumo em Português:

Resumo O presente artigo dedica-se ao estudo do poema “Nova canção de Dixie” de Mário de Andrade, escrito em 1944 e de publicação póstuma. Os versos tematizam o preconceito e a perseguição racial contra os negros nos Estados Unidos da América, nos anos de 1940. A partir da consulta à correspondência, da comparação com outros textos do escritor, bem como a identificação de episódios sócio-históricos dos EUA, transfigurados nos versos, foi possível interpretar o poema brasileiro que ironiza a democracia norte-americana.

Resumo em Inglês:

Abstract This article is dedicated to study the poem “Nova canção de Dixie” written by Mario de Andrade in 1944 and published posthumously. The verses thematize prejudice and racial persecution of blacks in the United States during the 1940s. From the consultation of the correspondence and compared to other writer's texts, as well as the identification of socio- historical episodes of the USA, transfigured in the verses, it was possible to interpret the Brazilian poem that mocks American democracy.

Resumo em Inglês:

Abstract While the term Latin@ is untraceable to any coherent referent in terms of geographical or epistemic origin (Rodríguez 2014), still it denotes a very stable referent when it comes to geographical destination - the USA being the central migratory destiny shaped by and shaping identity shifts and epistemic positions variously associated with Latin America. As much as this narrative determinacy is the effect of global power asymmetries, it also tends to naturalize them by couching migration in evolutionist terms that anachronize struggles against displacement, deterritorialization, and dispossession. The field of Latin@ literature and criticism therefore becomes an effective locus from which the ongoing historical conflicts elided by those narratives can be creatively recalled and reconfigured. This article reflects on the temporal borderlands as a critical paradigm for reconfiguring narratives of straight temporality within Latin@ texts.

Resumo em Português:

Resumo Muitas das personagens do romance Pergunte ao pó, de John Fante, são migrantes e imigrantes em busca do “sonho americano”. Este artigo analisa de que maneira o escritor Arturo Bandini, narrador-protagonista do romance, identifica-se inicialmente com os valores da cultura estadunidense, porém, afinal, constrói sua voz literária baseada em seu relacionamento com aqueles que vivem à margem da identidade nacional. O trabalho faz uso, principalmente, de fontes da historiografia estadunidense e das considerações de Antonio Candido sobre o lugar do escritor na sociedade.

Resumo em Inglês:

Abstract Many of the characters in the novel Ask the dust, by John Fante, are migrants and immigrants in search of the American dream. This article examines how the writer Arturo Bandini, first-person narrator of the novel, at first, identifies himself with the values of American culture, but, at last, builds his literary voice based on his relationship with those who live in the margins of the national identity. This article makes use mainly of sources from American history and from Antonio Candido’s statements on the place of writer in society.

Resumo em Português:

Resumo No romance Sunset Park, de Paul Auster, um grupo de jovens fica sem ter onde morar, na esteira da recessão econômica que assolou os Estados Unidos em 2008. Juntos, formam uma comunidade possível numa casa abandonada que invadem e habitam, exercitando formas de cooperação e trabalho em conjunto. O sociólogo Richard Sennett propõe que a cooperação, e a comunidade que nasce da cooperação, podem atuar como saídas para aqueles que se encontram fora da ordem econômica: que os excluídos possam, no exercício da cooperação, voltar o olhar para fora também de suas limitações, ou melhor, das limitações que sempre lhes foram impostas. No romance de Auster, os personagens a todo momento negociam e reconfiguram relações afetivas e econômicas, aprendendo a se abrir para o outro, e colocando-se sempre à margem dos papéis sociais pré-estabelecidos. E esses pequenos deslocamentos, assim como a escrita literária, têm um grande potencial de contaminação, de efetivamente tocar o outro num reconhecimento da potência que nos conforma.

Resumo em Inglês:

Abstract Paul Auster's Sunset Park tells the story of a group of youngsters that become homeless in the wake of the American economic recession in 2008. Together, they form an alternative society within an abandoned house. By occupying that house, they engage in an everyday practice of cooperation and communal work. Such engagement is analysed through the lenses of sociologist Richard Sennett, who suggests that the cooperation - and the social group that emerges from cooperation - can act as an escape for those who lie outside the economic order. Sennett also proposes that, by cooperating among themselves, those outsiders can look beyond their limitations - or rather the limitations that have always been imposed on them. In Auster’s novel, the characters continually negotiate and reconfigure emotional and economic relations, learning to open up to each other, and to put themselves always on the margins of predetermined social roles. And these small displacements, as well as literary writing, have a great potential for contamination, for effectively touching others in a recognition of the power that conforms us.

Resumo em Inglês:

Abstract This article examines how the novels Sula, by Toni Morrison, and The Women of Brewster Place, by Gloria Naylor, deconstruct long-held controlling images of black women, particularly the matriarch. The characters Eva Peace in Sula and Mattie Michael in The Women of Brewster Place, among others, provide great illustrations of black women who have rejected many of the places and stereotypes reserved for them in society, consequently deconstructing controlling images white society has imposed on them. These novels highlight black women’s plural roles in society, thereby opening possibilities for a liberating experience of black womanhood.

Resumo em Inglês:

Abstract With his publication of Fevre Dream in 1982, George R. R. Martin tried his hand at the “sympathetic vampire” tale, one popularized just a few years previously by Anne Rice. A tale of vampires haunting the American South during the lead up to the Civil War, Fevre Dream focused upon moral ambiguity, the brutality of power, and other narrative aspects that would eventually emerge more fully developed in the author’s magnum opus, the acclaimed A Song of Ice and Fire series. Often overlooked, Fevre Dream is important in that a close reading of the text indicates Martin’s embrace of dark fantasy, not only in the bleak thematic material but also in the embrace of real-world historical events (the American Civil War) and institutions (slavery).

Resumo em Português:

Resumo O objetivo deste artigo é analisar duas obras ficcionais, a novela The Great God Pan, de Arthur Machen, e o romance Shame, de Salman Rushdie, que contêm situações e eventos insólitos, examinando-as de modo a discutir como os elementos fantásticos presentes em ambos os textos relacionam-se ao contexto de produção das obras, ou seja, respectivamente, o século XIX e a segunda metade do século XX. Machen promoveu uma ruptura em relação à tradição das histórias de horror, então em voga, e Rushdie introduziu na literatura pós-colonial indiana características do Realismo Mágico. Temporalmente distantes, as duas obras recorrem a um mesmo artifício, típico da ficção fantástica, a metamorfose de personagens, e, por meio dela, os autores constroem uma crítica subliminar ao sistema político e social dominante em seu tempo.

Resumo em Inglês:

Abstract The purpose of this article is to analyze two fictional works, Arthur Machen’s novella The Great God Pan and Salman Rushdie’s novel Shame, which contain unusual situations and events, examining them to discuss how the fantastic elements in both texts relate to the context of production of the works, that is, respectively, the nineteenth century and the second half of the twentieth century. Machen promoted a break with the tradition of horror stories, then in vogue, and Rushdie introduced features of Magical Realism into the Indian Postcolonial Literature. Temporally distant, the two works resort to the same device, typical of fantastic fiction, the metamorphosis of characters, and, through it, the authors build a subliminal criticism of the political and social system dominant in their own time.

Resumo em Inglês:

Abstract This article focuses on self-translation and bilingualism as an essential characteristic to understand Samuel Beckett’s and Nancy Huston’s works and their literary projects. This analysis leads us to think in terms of a broader perspective of the term translation, which psychoanalysis and contemporary literary studies have addressed. Beckett had a literary project, which included a subversion of language that he aimed at through the process of self-translation. More than an activity, the process of translation and the manipulation of two languages is part of his poetic inspiration. When Huston makes an explicit homage to Beckett and puts herself in the same experience of writing in a foreign language and translating her own texts, she gives a testimony, and also provides a key for reading Beckett from a contemporary perspective. Despite the remarkable differences between these two authors, we claim that self-translation is part of their literary project, and is more than a random event for both of them.

Resumo em Inglês:

Abstract This study analyses the way in which the interdependence of the representation and perception of reality is exemplified and questioned in Michael Ondaatje’s Anil’s Ghost (2000). As we enter this work of resistance literature by way of an omniscient narrator, we enter not just the geographical spaces and cultural history of Sri Lanka, but find ourselves taking part in the daily struggle of the people to survive, to identify and do justice to the many dead in this conflict between ethnic groups and the government. This fragmentation of the narrative structure - casting doubt on the conflicting relationships established between the characters’ present and the past, between Western and Eastern values in relation to the concept of truth, the search for lost identity and love - highlights still further the interchangeability of representations and perceptions of reality.

Resumo em Inglês:

Abstract The Luminaries (2013), Eleanor Catton’s novel of nineteenth-century New Zealand, has won wide international acclaim, including the Man Booker Prize. Yet many readers find the work exasperating to read-a “nightmare,” to use a term Catton herself suggests. In large measure, this response emerges from Catton’s use of heavy structuring devices, particularly astrology and mathematics, that pertain to the time period of her fiction. These frameworks tend to make totalizing claims, often through causal or linear progression, and to support modernist and realistic protocols of reading. As this essay demonstrates, Catton undercuts those claims, and frustrates such readings, by emphasizing multiple paths of comprehension and multiple voices of narration. The Luminaries embraces its multiple structural mechanisms, but is not dominated by any of them.

Resumo em Inglês:

Abstract For a better understanding of a given narrative it is essential to be aware of the one who perceives (the focalizer). The focalizer's beliefs and comprehension determine which characters and circumstances are to be ignored or closely examined through the use of sight, hearing, feeling, taste or smell. Therefore, the issue concerning focalization is relevant to be taken into consideration when a literary work is analyzed. In the present article the work by the Australian author Markus Zuzak, The Book Thief, is discussed under the assumptions from the narratological field, especially guided by Gérard Genette, Mieke Bal, and Rimmon-Kenan. It is argued that focalization in The Book Thief is one of the main literary techniques which help creating the atmosphere and meaning of the text.

Resumo em Português:

Resumo: Este artigo oferece um panorama do fenômeno cultural de publicação e leitura de obituários em jornais de língua inglesa e nas coletâneas deles oriundas. A partir daí, relaciona o surgimento desse gênero específico e sua manutenção hegemônica nos jornais ingleses e americanos com o caráter biográfico, instantâneo e literário de sua narrativa. Para compreender o interesse extemporâneo por um gênero que migra da efemeridade do jornal para as coletâneas, analisa-se sua conformação romanesca, decantada a partir de outros gêneros e formada pela confluência entre temas de vida e morte marcada pelo suplemento de verdade do discurso da imprensa. Tal gênero apelaria esteticamente ao leitor por poder ser fruído, ao mesmo tempo, como relato de verdade eticamente rico e como uma espécie acessível e iterativa de literatura.

Resumo em Inglês:

Abstract: This article offers a panorama of the cultural phenomena of obituary publishing and reading, both on newspapers in English, their original locus, and anthologies. It relates the appearance of this specific genre and its hegemonic lasting in contemporary American and British newspapers to the biographical, instantaneous and literary aspects of its narrative. The reasons for the extemporaneous interest of the reader in a genre that often migrates from the ephemerality of newspapers to long-lasting print anthologies is searched for in its romanesque configuration, itself originated from other genres and formed by discourses of life and death, ultimately legitimized by the truth discourse of the Press. Hence, the obituary would be consumed, esthetically, both as an ethically profound true story and as easy literature.

Resumo em Português:

Resumo O artigo retoma o histórico das adaptações cinematográficas do romance Uma Tragédia Americana (1925), de Theodore Dreiser, recuperando as discussões sobre a cena do afogamento. Os estudos de Sergei Eisenstein sobre o uso do monólogo interior no cinema e o comentário de Bertolt Brecht a respeito da trilha sonora na adaptação do romance de Dreiser oferecem importante ponto de entrada para a análise do filme Match Point (2005), de Woody Allen. Em Match Point, o uso da trilha sonora, notadamente a colagem com a ópera Otelo (1887), de Giuseppe Verdi, permite que o espectador reflita sobre as possibilidades narrativas da adaptação para o cinema.

Resumo em Inglês:

Abstract The aim of the present article is to recover the history of the cinematic adaptations of the novel An American Tragedy (1925), by Theodore Dreiser, reinstating the discussions of the drowning scene. Sergei Eisenstein’s writings on the possibilities of the use of the interior monologue in films and Bertolt Brecht’s remarks on the role of the soundtrack in Dreiser’s novel adaptation offer an important entry into the analysis of the film Match Point (2005), by Woody Allen. In Match Point, the use of the soundtrack, in particular the collage with the opera Otello (1887), by Giuseppe Verdi, instigates the spectator to reflect on the narrative possibilities of film adaptation.

Resumo em Inglês:

Abstract Baz Luhrmann’s 1996 film, William Shakespeare's Romeo and Juliet, is a pop-culture adaptation of the late sixteenth-century play. The cross-references and transgression of allusions and their postmodern subversive statement along with the extreme intensity with which these elements appear in act one, scene one, and especially in the scene placed at a gas station produce a self-directed irony, a cutting-edge, if playful combination of references that define it as parody in the postmodern sense. Hence, this article examines act one, scene one with a special attention to the gas station sequence, and analyzes it in the light of scholarly definitions of postmodern parody by Linda Hutcheon, John W. Duvall and Douglas Lanier, and of pastiche by Fredric Jameson. Once the hypothesis of parody is established, the article analyzes what the film parodies and in what ways, and what the objective and the impact of the applied humor are.

Resumo em Português:

Resumo Proponho, neste artigo, pensar os diálogos entre narrativa literária e fílmica a partir de uma perspectiva sintonizada com o pensamento feminista. Para isso, trago ao palco o intrigante livro de Virginia Woolf, Orlando: a biography (1928), seguido da (re)criação cinematográfica, Orlando (1992), dirigida e produzida pela autêntica Sally Potter, tendo em vista que ambas as autoras, em suas obras, demonstram certa preocupação e engajamento em questionar os papéis sociais que mulheres e homens desempenham culturalmente. O objetivo é refletir, portanto, sobre as convergências entre esses dois textos, em se tratando das problematizações referentes ao gênero identitário, construído de modo ambivalente, da protagonista.

Resumo em Inglês:

Abstract I intend, in this essay, to think over the dialogue between literary and filmic narratives from a perspective that is in tune with feminist thought. For this, I'll bring into view Virginia Woolf's intriguing book, Orlando: a biography (1928), followed by its cinematographic re-creation, Orlando (1992), directed and produced by the authentic Sally Potter, keeping in mind that both authors, in their work, demonstrate certain concern and engagement in questioning the social roles played by women and men culturally. Therefore, the objective is to reflect on the convergences between these two texts, concerning the problematization related to the ambivalently built identitary gender of the protagonist.

Resumo em Português:

Resumo O romance Picnic at Hanging Rock, de Joan Lindsay (1967), e sua adaptação cinematográfica homônima dirigida por Peter Weir (1975), comercializada no Brasil como Piquenique na Montanha Misteriosa, têm intrigado leitores e espectadores há mais de quatro décadas. Ambientadas na Austrália rural de 1900, as narrativas ilustram o gênero gótico australiano ao tratar do misterioso desaparecimento de três alunas e uma professora de um internato repressor, durante um piquenique na montanha. Partindo das reflexões de Linda Hutcheon (2011) sobre adaptações, analisamos em que medida as narrativas literária e cinematográfica dialogam; já as reflexões de Susan Bassnett (2006) e Kristi Siegel (2004) sobre relatos de viagem femininos nos permitem pensar as temáticas da sexualidade feminina e do deslocamento no espaço como metáfora da transformação do indivíduo.

Resumo em Inglês:

Abstract The mysteries of the novel Picnic at Hanging Rock, by Joan Lindsay (1967), and its film adaptation of same name, directed by Peter Weir (1975), have been intriguing readers and audiences for more than four decades. Set in the Australian countryside in 1900, both narratives illustrate the Australian Gothic genre by revolving around the mystery of the disappearance of three schoolgirls and a teacher from a repressive boarding school during a picnic at the mountain. Basing our approach on the reflections by Linda Hutcheon (2011) on adaptations we analyze to which extent literary and cinematographic works relate to each other, while the works presented by Susan Bassnett (2006) and Kristi Siegl (2004) on women’s travel writing will allow us to approach themes such as female sexuality and travel as a metaphor of transformation.

Resumo em Português:

Resumo Em The Raven (2012), filme dirigido por James McTeigue, além de termos Edgar Allan Poe como protagonista e alusões a vários de seus textos, a relação entre cinema e literatura é ainda mais adensada a partir da presença de questões ligadas à própria materialidade, socialidade e economia da mídia literária. Neste trabalho, fundamentado especialmente nos pressupostos teóricos de Rajewski (2012) e Moser (2006), propomos uma leitura intermidiática de The Raven, em que examinamos o processo de referenciação intermidiática realizada pelo cinema em relação à literatura. Duas conclusões foram alcançadas: i. o filme, ao tornar opaca a mídia literária, procurou esconder sua própria midialidade audiovisual; ii. The Raven se articula com uma série de discursos sobre o escritor estadunidense na contemporaneidade, contribuindo para o fortalecimento da posição de significante cultural de Edgar Allan Poe.

Resumo em Inglês:

Abstract In The Raven (2012), film directed by James McTeigue, in addition to having Edgar Allan Poe as protagonist and allusions to many of his texts, the relation between cinema and literature is deepened by the presence of issues regarding the medium of literature and its materiality, sociality and economy. This article proposes an intermedial reading of The Raven, aiming to investigate the process of intermedial referencing accomplished by the cinema in relation to literature. Our analysis is supported by theoretical principles drawn especially from Rajewski (2012) and Moser (2006). Finally, two conclusions were established: i. the film, while making the literary medium opaque, concealed its own audiovisual mediality; ii. The Raven associates itself to a series of discourses concerning the contemporary relevance of the American author, contributing to the consolidation of Edgar Allan Poe as a cultural signifier.

Resumo em Português:

Resumo Em seu filme Que viva Eisenstein! (2016), o diretor britânico Peter Greenaway homenageia a figura de um importante pioneiro da linguagem cinematográfica, Serguei Eisenstein, centrando a narrativa na passagem do cineasta soviético pelo México. O filme traz uma reflexão sobre as opções estéticas do próprio Greenaway, que, ao longo de sua carreira, em seu uso de intermídia, busca expandir o repertório da “montagem ideogramática” proposta por Eisenstein. O biopic se consolidou ao longo do tempo como um gênero que permitia a domesticação da figura do artista ou autor e a representação do processo criativo como um ato de purgação do corpo criador. Greenaway subverte as expectativas relacionadas ao gênero biopic, ao representar o artista de maneira não realista, e ao associar a identidade queer e o corpo de Eisenstein ao seu processo de pesquisa sensorial e de elaboração estética.

Resumo em Inglês:

Abstract In his film Eisenstein in Guanajuato (2016), British director Peter Greenaway pays homage to Soviet filmmaker Sergei Eisenstein, a pioneer who helped to create the language of film. The biopic focuses on Eisenstein’s stay in Mexico. The film is also a meditation on Greenaway’s own aesthetic choices. Throughout his career, Greenaway has made extensive use of intermedia, expanding the vocabulary of “ideogrammic montage”, a theory of film editing first proposed by Eisenstein himself. The biopic, as a genre, became over time a platform that allows for the domestication of the figure of the artist or author and for the representation of the creative process as a purging act of the creative body. Greenaway subverts expectations regarding the biopic genre by shunning realism when representing the artist and by associating a queer identity and Eisenstein’s body to the artist’s processes of sensorial exploration and aesthetic development.

Resumo em Português:

Resumo Considerado o precursor dos filmes sonoros de gângster do chamado período “clássico” desse gênero, Little Caesar, dirigido por Mervyn LeRoy em 1931, narra o percurso do protagonista Rico Bandello (Edward G. Robinson) da sua ascensão à liderança da gangue à sua queda no final do filme. Little Caesar, além de estabelecer os parâmetros seguidos pelas narrativas dos filmes de gângster a partir dos anos 1930, também contribuiu para que o gângster se tornasse um ícone da cultura norte-americana graças à disseminação de sua figura por meio da indústria cultural, principalmente no cinema. Nosso objetivo com o presente trabalho é, por meio da análise de algumas cenas do filme, verificar de que maneira se configuram a cultura das aparências e a ideologia do American Dream ao longo da narrativa.

Resumo em Inglês:

Abstract Known as the precursor of the gangster sound films from this genre’s “classic” period, Little Caesar, directed by Mervyn LeRoy in 1931, narrates Rico Bandello’s (Edward G. Robinson) path from his rise as a gang leader to his death. Little Caesar established the parameters followed by the gangster films in the 1930s and also contributed to the image of the gangster as an American icon due to its dissemination through the cultural industry, mainly in terms of films. My objective with this present article is to verify through the analysis of some of the scenes how the culture of appearances and the ideology of the American Dream are configured throughout the narrative.

Resumo em Inglês:

Abstract The advent of digital technologies unquestionably affected cinema. The indexical relation and realistic effect with the photographed world much praised by André Bazin (2005) and Roland Barthes (1986) is just one of the affected aspects. This article discusses cinema in light of the new digital possibilities, reflecting on Steven Shaviro’s consideration of “how a nonindexical realism might be possible” (Postcinematic 63) and how in fact a new kind of reality, a digital one, might emerge in the science fiction film Source Code (2013) by Duncan Jones.

Resumo em Inglês:

Abstract Nadsat, an artificial language constructed by Anthony Burgess, is used in his novel, apparently, as means both of immersion, alienation and repulsion of the reader. Kubrick’s filmic adaption of A Clockwork Orange recognizes the paramount role of Nadsat, and gives life to it as a spoken language through the lines of Alex and his droogs in his homonymous production. The aim of the present article is thus to examine the author’s artificial language, its occurrences in the novel as well as in the filmic adaptation following the contributions of Gualda (2010) and Hutchings (1991) to film studies, while tracing the glossopoeia’s meanings and effects on the audience, and how both the author and director seem to manipulate the implications of reception theory as formulated by Wolfgang Iser (1978). The questions answered by this article are whether the role played by Nadsat in the novel corresponds to that played in the film; and what the implications of Iser’s reception theory in the novel and the film are. The results will show that without an understanding of Nadsat the reader/viewer will not be able to fill the gaps of interpretation left by Burgess and Kubrick.

Resumo em Inglês:

Abstract This essay explores references to the theatre in prefaces by Charles Dickens, Nathaniel Hawthorne, and Henry James. Particular emphasis is given to the way these authors employ figures such as stage manager and dramatist to reach their audiences and project authorial images. The figures in question are historicized and discussed in light of the concepts identified by the terms performative and theatre of images and the argument proposed is that references to the theatre reveal tensions between self-display and self-concealment, as well as between the assertion of authority and its subversion and fragmentation in nineteenth-century prefatory writing.

Resumo em Português:

Resumo Este artigo inicia sua reflexão sobre a dificuldade de parcela da crítica em classificar a produção dramática de Tennessee Williams (1911-1983) sob termos rígidos, especialmente ao tentar vinculá-lo ao “Realismo”. Porém, a atenção às notas de produção de The Glass Menagerie (1944) - o manifesto do que o dramaturgo chama de Plastic Theatre - evidencia que o desejo do autor era o de afastar-se das convenções dramáticas do Realismo descritivo. Ao final, o estudo localiza em The Mutilated (1967), de Williams, o influxo de características caras ao Expressionismo e ao Verfremdungseffekt brechtiano, técnicas dramáticas que apontam para outra concepção de Realismo.

Resumo em Inglês:

Abstract This paper starts the research reading the hesitations of literary and theatrical criticism in its proposition to classify Tennessee Williams’s (1911-1983) dramatic writing, especially the critics who try to restrict the playwright's works under the term “Realism”. Adverse to this criticism, the production notes from The Glass Menagerie (1944) - Williams’s Plastic Theatre manifesto - reveal the author's intentions to get rid of orthodox Realism theatre conventions in his plays. Finally, the study points in Williams’s The Mutilated (1967) some remarkable qualities - expressionist techniques and uses of brechtian Verfremdungseffekt - that allude to a distinct conception of Realism.

Resumo em Inglês:

Abstract This article examines the notion of spatial politics in Tom Stoppard’s Rosencrantz and Guildenstern Are Dead. The two eponymous characters enter the politically convulsive world of Hamlet, where scarcely any legitimate power structure controls the state. Their regularized political rationality ceases to apply to the world; reality violates the empirical knowledge -emplacements, geographical and spiritual directions, and identity in general - of Rosencrantz and Guildenstern. The previously defined functions of places, or heterotopias (in Foucauldian terms), are in a state of abeyance. Therefore, they are lost in the midst of the unknown sets of spatial relations; any sorts of intentional act evade them; and they die and vanish absurdly in a placeless place.