Resumo em Inglês:

Abstract This essay considers Prof. Wasserman as a practitioner of the field known, variously, as inter-American literary study, hemispheric literature, and the literature of the Americas. It also argues that she is a leader in this field because of her discerning critical observations but also because she proves the singular importance of Brazilian letters in this comparatively American perspective. My study especially celebrates her work on two Brazilian authors: José de Alencar and Mário de Andrade. Wasserman makes clear how these two writers make major contributions to our better understanding of nineteenth and twentieth-century literature in the Americas.

Resumo em Inglês:

Abstract The essay discusses how frequent migratory currents of certain narratives and ideas within the Americas have formed clusters of knowledge and stimulated audiences’ imagination about specific cultures or nations. The essay presents the process of narrative continuity and displacement in recent films about immigration and travel within the Americas, as they can be read in relation to earlier films on the same theme, La Jaula de Oro (Diego Queimada-Díez, 2013) vis à vis El Norte (Gregory Nava, 1983), and Rio (Carlos Saldanha, 2011) vis à vis The Three Caballeros (Walt Disney, 1944). La Jaula de Oro presents the same border crossing as El Norte, from Guatemala to Mexico to the USA, but thirty years apart, whereas in Rio the contemporary narrative of a migrating little blue macaw, Blu, who moves from the USA to Brazil, readdresses another culturally and politically invested symbolic icon from the mid-1940s and the good neighbor policy—a parrot named José Carioca, whose role in The Three Caballeros goes much beyond the frames of the film. The essay aims at an analysis of the narrative and aesthetic frameworks of the films and their ideological resonances and displacements in terms of American hemispheric relations.

Resumo em Inglês:

Abstract This article provides comparative texts and contexts between Brazil and Canada in the Atlantic world, not simply an Inter-American comparison, but a trans-Atlantic and global typology. It focuses on the translation of empire through translation, particularly of part of Jacques Cartier’s narratives about Canada by John Florio in 1580 and of Jean de Léry’s account of the voyage to Brazil in Samuel Purchas’ collection in 1625. English travel or encounter literature is in the service of contact, exploration, encounter and possible possession and settlement. The Spanish, through Columbus, and the Portuguese as well as the French are part of this comparative literature and these cultural texts, which are intertextual and translational, among themselves and with English culture and literature. The encounter between the Indigenous peoples and Europeans in the New World, in Brazil and Canada is central to changing the literature and cultures of the Americas, Europe, Africa, and of the world as seen in the texts analyzed here. The building of English travel accounts, literature and empire is also, to an important degree, intertextual, intercultural, and translational.

Resumo em Inglês:

Abstract Novelistic fiction from the United Kingdom has been consistently acknowledged as a major repository of narrative paradigms for the incipient Brazilian novel. Genres originally offering a narrative solution for tensions embedded throughout British and Irish society would cross the Atlantic and, by mid-nineteenth century, be rendered instrumental for structuring local experience. Among these genres, arguably, was the national tale. National tales aimed to bridge the social dilemmas inherent to a multicultural state like the United Kingdom and, more broadly, the British Empire. Works such as The Wild Irish Girl (1806), by Sidney Owenson, Marriage (1818), by Susan Ferrier, and The Absentee (1812), by Maria Edgeworth, engendered sentimental plots of star-crossed lovers who stood for the divergent UK nationalities, allegorically and didactically overcoming the perceived English prejudice against the Irish and the Scots. Circulating in Brazil for at least five decades, national tales purveyed a narrative framework whereby the unsolvable contradiction between colonial heritage and postcolonial nationalism could be fictionally negotiated in and by an intercultural erotic union. Indianist novels like José de Alencar’s O Guarani (1857), we speculate, may have re-enacted such framework.

Resumo em Português:

Resumo O presente artigo busca analisar os elementos góticos dos contos “Céu escuro” (1940) – e de suas narrativas relacionadas, a saber: “Um capítulo de romance” (1940) e “História de Cristiana” (2) (1944) –, do escritor brasileiro Lúcio Cardoso, e “Uma rosa para Emily” (1930), do escritor norte-americano William Faulkner. A hipótese de trabalho é a de que as realizações do Gótico de ambos os escritores, a despeito de suas diferentes nacionalidades, possuem diversas semelhanças, a saber: as casas retratadas como loci horribiles e a tematização de terrores familiares e de uma aristocracia rural decadente, apenas para citar alguns. Busca-se, assim, comprovar que o Gótico é uma poética consistente e com elementos narrativos identificáveis. Como fundamentação teórica, serão utilizados os trabalhos de Júlio França (2020), Fred Botting (2014) e Catherine Spooner (2007), entre outros.

Resumo em Inglês:

Abstract This article aims to analyze the Gothic elements of the short stories “Céu escuro” (1940) – and their related narratives: “Um capítulo de romance” (1940) and “História de Cristiana” (2) (1944) –, by the Brazilian writer Lúcio Cardoso, and “A rose for Emily” (1930), by the American writer William Faulkner. The hypothesis is that the Gothic achievements of both writers, despite their different nationalities, have several similarities, such as: the houses described as loci horribiles and the thematization of family terrors and a decadent rural aristocracy, just to name some. Thus, we seek to prove that the Gothic is a consistent poetic, with identifiable narrative elements. As a theoretical foundation, the works of Júlio França (2020), Fred Botting (2014) and Catherine Spooner (2007) will be used, among others.

Resumo em Português:

Resumo Este artigo objetiva analisar dois contos, “The welcome table”, da escritora afro-americana Alice Walker, e “Duzu-Querença”, da escritora afro-brasileira Conceição Evaristo. O ponto principal da análise é entender como as duas narrativas literárias encenam violências perpetuadas ao longo da história por uma matriz colonial de poder. Partindo desse ponto, observamos as violências de raça e gênero pela lente da decolonialidade a partir do desenvolvimento dos enredos e das dinâmicas de figuração das personagens. Para tanto, na primeira seção apresentamos algumas teorizações sobre a (de)colonialidade e os seus desdobramentos a partir da violência e a sua relação com a literatura. Na sequência, analisamos os textos literários a partir das questões levantadas na discussão teórica, observando como é construída a semantização das opressões sustentadas pela colonialidade.

Resumo em Inglês:

Abstract This paper aims at analyzing two short stories, “The welcome table”, by the African-American writer Alice Walker, and “Duzu-Querença”, by the African-Brazilian writer Conceição Evaristo. The core of the analysis is to understand the way both literary narratives represent violence perpetuated throughout History by a colonial matrix of power. Starting from this point, we observe racialized and gender-based violence through the lens of decoloniality considering the development of the storyline and the figurative dynamics of the characters. In order to do so, in the first section we introduce some theorizations on (de)coloniality and its unfoldment through violence and its relations to Literature. In the aftermath, we analyze the literary texts taking into account the concerns raised in the theoretical discussion observing how the semantization of oppressions supported by coloniality is built.

Resumo em Inglês:

Abstract This paper aims at exploring the findings of an investigation which comparatively studied A Mercy (2008), written by the North-American author, Toni Morrison and Ponciá Vicencio (2006), written by the Brazilian contemporary writer Conceição Evaristo, in order to list elements related to the presence of Orishas in the narratives. At the end of the study, we noticed that there is, in both novels, evidence that are convergent to characteristics of Oshunmare, Ogun and Eshu. This latter was approached as an element that enabled the comparative reading of Afro-Brazilian and African-American Literatures from the perspective of the crossroads pedagogy.

Resumo em Português:

Resumo O fato de U.S. Latinx viverem “entre dois mundos” torna a sua produção artística um elemento pujante para a obtenção de alicerces em sua busca por inclusão e igualdade. As angústias desses artistas estão relacionadas a uma vasta gama de aspectos sociais e identitários. Desejosos de realizar o American Dream, esses imigrantes e seus descendentes perceberam a necessidade de transpor não somente barreiras físicas, mas também culturais, linguísticas, econômicas e raciais. No presente trabalho, o texto Entre Lucas y Juan Mejía (1992), de Julia Alvarez, embasará o debate a respeito do fato de a autora ser “hifenizada”, no caso, Dominican-American e o significado dessa condição em sua identidade. A peça de teatro Los Vendidos (1967), de Luis Valdez, e poemas de Bejamin Alire Sáenz, Jimmy Santiago Baca, Tino Villanueva bem como o filme Sleep Dealer (2009) serão analisados com o objetivo de examinar as formas pelas quais os autores abordam os estereótipos aplicados aos U.S. Latinx em seu cotidiano.

Resumo em Inglês:

Abstract The fact that U.S. Latinx live “between two worlds” makes their artistic production a pungent element to obtain support for social inclusion and equality. The anxieties of these artists are related to a wide range of social and identity matters. Longing for the American Dream, these immigrants and their descendants realized the necessity to overcome not only physical but also cultural, linguistic, economic and racial barriers. In this paper, the text Entre Lucas y Juan Mejía (1992), by Julia Alvarez will base the debate related to the issue of her being “hyphenated”, that is, a Dominican-American, and the meaning of this situation to her identity. The play Los Vendidos (1967), by Luis Valdez, and poems by Benjamin Alire Sáenz, Jimmy Santiago Baca, Tino Villanueva as well as the movie Sleep Dealer (2009) will be analyzed in order to examine how the authors address stereotypes applied to U.S. Latinx on a daily basis.

Resumo em Português:

Resumo Neste artigo, objetivamos verificar as condições de surgimento das literaturas indígenas em contexto norte-americano, hispano-americano e brasileiro, em perspectiva comparada, a fim de compreender as interferências coloniais nesses processos. Foram utilizadas abordagens teóricas diversas, a exemplo das pesquisas de Hunt (2002), Fulford (2006), García Canclini (2008), Munduruku (2012), Del Valle Escandante (2013), Viveiros de Castro (2016) e Dorrico et al. (2018). A análise comprovou que, embora condicionadas por mecanismos ocidentais (mercado, público consumidor etc.), as obras indígenas tendem a não se adaptar ao mainstream, o que justifica a necessidade de interpretá-las a partir de seus contextos histórico-culturais.

Resumo em Inglês:

Abstract In this article, I aim to establish the conditions for the emergence of indigenous literatures in North American, Hispanic American, and Brazilian contexts, from a comparative perspective, identifying colonial interventions in these processes. I use different theoretical approaches, such as those employed by Hunt (2002), Fulford (2006), Del Valle Escandante (2013), Daniel Munduruku (2012), Dorrico et al. (2018), García Canclini (2008), and Viveiros de Castro (2016). The analysis confirms that even when conditioned by Western mechanisms (market, consumer public, etc.), indigenous books tend to not adapt to the mainstream, thus deserving cultural-historical approaches.

Resumo em Português:

Resumo Partindo de uma breve exposição sobre o cinema indígena, este artigo aborda duas produções, uma brasileira e outra canadense. No documentário Topawa (2020), um coletivo de cineastas do povo Parakanã, da região amazônica no Brasil, apresenta o trabalho de produção artesanal de redes. No documentário Waban-aki: People from Where the Sun Rises (2007), a cineasta canadense Alanis Obomsawin constrói um retrato lírico de seu povo, os Abenaki, na luta contemporânea para manter vivas as práticas tradicionais de cestaria. Ainda que se considerem as diferenças de contexto de produção dos dois documentários, ambos exploram um tema em comum, o papel das atividades tradicionais no complexo processo de (re)construção de identidade cultural em virtude de adversidades históricas. As duas produções ilustram que o cinema indígena ultrapassa as fronteiras locais, incluindo-se em um movimento nas Américas e no mundo para a afirmação política e a renascença cultural indígena.

Resumo em Inglês:

Abstract Based on a brief reflection on indigenous cinema, this article presents a comparative study between two productions, one Brazilian and the other Canadian. In the documentary Topawa (2020), a collective of Parakana filmmakers from the Amazon region in Brazil presents the process of production of traditional hammocks. In Waban-aki: People from Where the Sun Rises (2007), Canadian filmmaker Alanis Obomsawin presents a lyrical portrait of her people, the Abenaki, in the contemporary struggle to keep traditional basketry alive. Even considering the differences in the production context of the two documentaries, both explore a common theme, the role of traditional activities in the complex process of (re)construction of cultural identity in the face of historical adversities. The two productions also illustrate that indigenous cinema goes beyond local borders to encompass a wider movement in the Americas and the world for indigenous political affirmation and cultural renaissance.

Resumo em Português:

Resumo Neste artigo, objetivamos analisar a representação de midialidades (em termos de possibilidades e de restrições midiáticas) no romance Trabalhos de amor perdidos, do escritor Jorge Furtado. Na narrativa literária, destacam-se especialmente as referências às mídias teatro, novela ilustrada, programa de rádio e website, a partir das escolhas das personagens do romance sobre como trabalhar suas potencialidades e entraves comunicativos ao desenvolverem projetos de adaptação que envolvem Shakespeare e sua obra. Discutimos ainda a relação entre intertextualidade e intermidialidade, de modo a posteriormente ilustrarmos o caráter devorador da paródia de Furtado. Palavras-chave: Literatura comparada; Paródia; Intermidialidade; Antropofagia literária; Shakespeare.

Resumo em Inglês:

Abstract In this paper, we aim at analyzing the representation of medialities (in terms of medial possibilities and restrictions) in Jorge Furtado’s novel Trabalhos de amor perdidos. In this literary narrative, the intermedial references to theater, illustrated novel, radio program and website are especially significant, for they portray the characters’ choices on how to work with these media’s communicative potentialities and obstacles when developing adaptation projects of Shakespeare and his body of work. We also discuss the relationship between intertextuality and intermediality, so as to illustrate the devouring character of Furtado’s parody.

Resumo em Português:

Resumo Propomos, neste trabalho, uma análise de Eles eram muitos cavalos (2001/2006), do escritor contemporâneo brasileiro Luiz Ruffato. Procuramos problematizar a discussão sobre a possível configuração desta obra sob a forma, denominada pelo próprio autor, de uma “instalação literária”. Ao apresentar este modo de fazer literário, Ruffato propõe uma reflexão relacionada a diversas mazelas sociais brasileiras sob uma perspectiva crítica descentrada, afastada de qualquer viés ufanista. Herdeiro de poéticas modernas, como a mallarmeana e as vanguardistas europeias, o autor configura uma poética, estruturada em um mosaico de gêneros textuais, capaz de apreender e refratar a atmosfera de dinamicidade do mundo contemporâneo. Para desenvolvermos esta análise, atenta sobretudo às proposições estéticas da obra, recuperamos o conceito de instalação, utilizado nas Artes Visuais, bem como determinados textos teóricos voltados à análise da relação entre a literatura e outras linguagens, desenvolvidos por autoras como Marjorie Perloff, Márcia Arbex e Maria Adélia Menegazzo.

Resumo em Inglês:

Abstract We propose, in this work, an analysis of Eles Eram Muitos Cavalos (2001/2006), by the contemporary Brazilian writer Luiz Ruffato. We try to problematize the possible configuration of the work as a “literary installation”, a term used by the author himself. By presenting this way of doing literary work, Ruffato proposes a reflection on Brazilian social ills from a decentered critical perspective, far from any nationalistic bias. Heir to modern poetics, such as Mallarmean and European avant-gardes, the author configures a poetics, structured in a mosaic of textual genres, capable of apprehending and refracting the dynamic atmosphere of the contemporary world. To develop this analysis, focused mainly on the work’s aesthetic propositions, we recovered the concept of installation, used in Visual Arts, as well as theoretical studies aimed at analyzing the relationship between literature and other arts, developed by authors such as Marjorie Perloff, Márcia Arbex, and Maria Adélia Menegazzo.