Resumo em Português:

Resumo A literatura especulativa é um gênero que cresce de forma acelerada na contemporaneidade. Sua popularidade se deve à inserção de novas perspectivas e à promoção da ascensão de vozes nunca antes consideradas na tradição literária. Esse fenômeno gerou uma série de intricadas manifestações da arte literária, como é o caso da utopia preta e das narrativas de futuros pretos do movimento afrofuturista. O presente artigo tem como objetivo analisar as perspectivas literárias especulativas ideais produzidas e/ou protagonizadas pelo povo preto. Desse modo, propomos um estudo analítico das configurações da utopia afrofuturista no filme Pantera Negra (2018), de Ryan Coogler, e do conto “Pele de Emergência” (2021), de N. K Jemisin. Para tal, buscamos aporte nas obras e contribuições teóricas de Zygmunt Bauman (2000), Marilena Chauí (2008), Gregory Claeys (2013), David Harvey (2008), Renato Noguera (2012), André Prévost (2015), Raymond Williams (1978), Ytasha L. Womack (2013) e Alex Zamalin (2019).

Resumo em Inglês:

Abstract Speculative literature is a genre that grows rapidly in contemporary times. Its popularity is due to the incorporation of new and diverse perspectives, as well as its promotion of the rise of voices never considered before in the literary tradition. This phenomenon generated a series of intricate manifestations of the literary art, such as the black utopia and the narratives of black futures featured by the Afrofuturist movement. This article aims to analyze the ideal speculative literary perspectives produced and/or created by and for black people. For this, we propose an analytical study of the configurations of the Afrofuturistic utopia in the film Black Panther (2018) by Ryan Coogler and the short story “Emergency Skin” (2021) by N. K Jemisin. To reach this goal, we used the theoretical contributions of Zygmunt Bauman (2000), Marilena Chauí (2008), Gregory Claeys (2013), David Harvey (2008), Renato Noguera (2012), André Prévost (2015), Raymond Williams (1978), Ytasha L. Womack (2013) and Alex Zamalin (2019).

Resumo em Português:

Resumo Considerando a prática política dos estudos queer, o presente trabalho investiga como dois livros de memórias de Mattilda Bernstein Sycamore permitem compreender uma “temporalidade de retidão” e suas formas de morte para pessoas LGBTQIAPN+. Centrando-se principalmente nos apontamentos de José Esteban Muñoz (2019), Sara Ahmed (2006) e Jack Halberstam (2005), uma leitura crítica das obras é realizada para sublinhar a reprodução de formas paradigmáticas de vida que produzem algumas orientações de vida como possíveis e corretas e outras como problemas a evitar. Ao final, argumenta-se que os escritos de Sycamore contestam e interrogam a estrutura presente e oferecem questionamentos para novos movimentos políticos para dissidentes de gênero e sexualidade.

Resumo em Inglês:

Abstract Taking into consideration the political practice of queer studies, this work investigates how two memoirs by Mattilda Bernstein Sycamore allows us to understand straight temporality and its types of death for LGBTQIA+ people. Centering mainly on theoretical stances by José Esteban Muñoz (2019), Sara Ahmed (2006), and Jack Halberstam (2005), a critical reading of the memoirs highlights how the reproduction of paradigmatic life markers produce some life orientations as possible and correct while others are problems to avoid. At the end of the paper, it is argued that Sycamore’s writings contest and interrogate the structure in place while offering questions for new political movements for sexual and gender dissidents.

Resumo em Inglês:

Abstract The paper presents a reading of Helen Macdonald's non-fiction book H Is for Hawk, that focuses on the adoption of the temporal perspective of a predator (the instantaneousness of the attack and capture of the prey) instead of the typically human way of addressing the temporality spreading over a past, a present, and a future (memory, mourning, anxiety). Rethinking the inherited cultural practice of keeping and taming goshawks, the British writer narrates the process of mental merging with the female goshawk she trains. Through her engagement as an austringer (keeper of hawks), she also questions such categories as gender, class, and nationality. In parallel to her own experience, she reads the personal story of yet another transgressive austringer, the homosexual author T. H. White. This double line of vital/textual experience deconstructs the dominant cultural stance of heterosexual masculinity and sketches a peculiar queertopia.

Resumo em Português:

Resumo O presente artigo tem como objetivo apresentar a discussão acerca da figura do ciborgue dentro da literatura afrofuturista, a partir dos romances do escritor Fábio Kabral. Em O Caçador Cibernético da Rua Treze e Cientista Guerreira do Facão Furioso, o ciborgue se materializa na figura dos protagonistas João Arolê e Jamila Olabamji, representando a ideia de fragmentação do sujeito. Desta forma, abordaremos as formas de ressignificação do sujeito a partir da religiosidade e do enfrentamento da lógica capitalista, esta que busca, no contexto das narrativas, corroer a identidade e subjetividade do sujeito.

Resumo em Inglês:

Abstract This article aims to present the discussion about the figure of the cyborg within Afrofuturist literature, based on the narrative of the writer Fábio Kabral. In O Caçador Cibernético da Rua Treze and A Cientista Guerreira do Facão Furioso, the cyborg materializes in the figure of the protagonists João Arolê and Jamila Olabamji, representing the idea of ??fragmentation of the subject. In this way, we will address the forms of re-signification of the subject based on religiosity and the confrontation of capitalist logic.

Resumo em Português:

Resumo O presente artigo discute as conexões entre as HQs Cangaço Overdrive (2018), de Zé Wellington e Walter Geovani e Ronin (1983-1984), de Frank Miller. As duas obras foram pioneiras em seu trânsito por diferentes tradições artísticas — enquanto Ronin antecipou o movimento cyberpunk, Cangaço Overdrive articulou elementos que configurariam o sertãopunk ainda antes do movimento tomar forma. Ambas também tomam como ponto de partida a ressurreição de uma figura de um passado heroico em um futuro distópico, mas se diferenciam na forma como desenvolvem a relação dessas figuras com o mundo ao qual elas retornam em seu deslocamento temporal — isto é, tratam de maneira radicalmente diversa a relação do passado com o futuro. Defende-se, a partir deste cotejo, que as semelhanças superficiais entre as obras são menos significativas em sua análise conjunta do que suas diferentes apreensões do capitalismo tardio, expressivas dos movimentos literários a que se associam e de seus respectivos quadros ideológicos.

Resumo em Inglês:

Abstract This article discusses the connections between the comics Ronin (1983-1984), by Frank Miller, and Cangaço Overdrive (2018), by Zé Wellington and Walter Geovani. Both works were pioneers in their connection with different artistic traditions — while Ronin anticipated the cyberpunk movement, Cangaço Overdrive articulated elements that would later make up sertãopunk before the movement took shape. Both have as their starting point the resurrection of a figure from a historic past in a dystopic future, but differ in the way in which they develop the relationship between these figures and the world to which they return in their temporal displacement — that is, they deal in a radically different way with the relation between past and future. Based on this comparison, it is argued that the superficial similarities between the two works are less significant to their joint analysis than their different apprehensions of late capitalism, expressive of the literary movements to which they are associated and their respective ideological frameworks.

Resumo em Inglês:

Abstract The dystopian character of Joca Reiners Terron’s A morte e o meteoro (2019) is indissociable from its critique of colonialism. But while the novel makes frequent references to the violent methods of exploitation that characterized American colonization, it mostly relies on allusions to different literary traditions—including gothic fiction, the adventure novel, and science fiction—in its depiction of colonialism. The dialogue with Heart of Darkness plays a significant role in A morte e o meteoro, which to a large extent is a critical rereading of Conrad’s novella. This article examines how this appropriation of textual and cultural paradigms shapes the dystopian outlook of the novel, while also offering alternatives to the hopelessness that defines its fictional world.

Resumo em Inglês:

Abstract The dystopian character of Joca Reiners Terron’s A morte e o meteoro (2019) is indissociable from its critique of colonialism. But while the novel makes frequent references to the violent methods of exploitation that characterized American colonization, it mostly relies on allusions to different literary traditions—including gothic fiction, the adventure novel, and science fiction—in its depiction of colonialism. The dialogue with Heart of Darkness plays a significant role in A morte e o meteoro, which to a large extent is a critical rereading of Conrad’s novella. This article examines how this appropriation of textual and cultural paradigms shapes the dystopian outlook of the novel, while also offering alternatives to the hopelessness that defines its fictional world.

Resumo em Português:

Resumo The Earlie King & The Kid in Yellow (2018), de Danny Denton, narra o mito da destruição da Irlanda através do fogo e o colapso digital após o país enfrentar anos de chuvas ininterruptas causadas pela catástrofe ambiental deixada principalmente pela indústria farmacêutica. O propósito deste artigo é investigar como essa obra coaduna e desafia ao mesmo tempo a tradição ecocrítica e distópica produzida na língua inglesa dos centros hegemônicos e a tradição literária de seu próprio país. Para tanto eu utilizo quatro divisões didáticas: 1) breve resumo de como o Antropoceno tem sido representado na literatura de língua inglesa; 2) a contribuição da distopia para representação das alterações climáticas na literatura; 3) panorama histórico da literatura da Irlanda e 4) contextualização da obra de Denton em análise. Nesta última parte, arremato com a observação de que o romance não propõe alternativa para solucionar os problemas do Antropoceno, mas alerta para o colapso que estamos na iminência de vivenciar.

Resumo em Inglês:

Abstract The Earlie King & The Kid in Yellow (2018), by Danny Denton, narrates the myth of Ireland’s destruction through fire and the digital collapse after the country faces years of uninterrupted rains caused by the environmental catastrophe left mainly by the pharmaceutical industry. The purpose of this article is to investigate how this work matches and challenges both the ecocritical and dystopian tradition produced in the English language of the hegemonic centers and the literary tradition of its own country. For that I use four didactic divisions: 1) brief summary of how the Anthropocene has been represented in English-language literature; 2) the contribution of dystopia to the representation of climate change in literature; 3) historical overview of Irish literature, and 4) contextualization of Denton’s work under analysis. In this last part, I conclude with the observation that the novel does not propose an alternative to solve the problems of the Anthropocene, but warns of the collapse that we are about to experience.

Resumo em Inglês:

Abstract In recent decades, philosophical reflection on the utopian has focused on the analysis of the way in which the future-possible and the radically unknown or “other” influence our present. Specifically, accelerationism and Object-oriented Ontology have identified horror and weird fiction in general, and H. P. Lovecraft in particular, as the privileged field from which to access a radically anti-humanist absolute exteriority (Outside) with the aim of developing a new anti-species worldview, one which Timothy Morton calls “Dark Ecology.” This article analyzes the philosophical foundations of this worldview, showing the exclusive and proto-fascist character it harbors, which is why it should be clearly separated from other post-humanisms and/or new materialisms based on the hybridization and interconnection characteristic of relational ontologies.

Resumo em Português:

Resumo O estudo visa iluminar os desdobramentos acerca da animalidade no debate teórico-crítico contemporâneo, no domínio dos estudos literários. Estabelecendo um diálogo, sobretudo, entre as reflexões de Gabriel Giorggi, Giorgio Agamben, Dominique Lestel e o pensamento de fronteira suscitado por Ailton Krenak e Eduardo Viveiros de Castro, pretende-se indagar sobre o papel da animalidade na construção de outras traduções do humano. Sob essa formatação, evidenciam-se tensões inconciliáveis contidas na concepção antropocêntrica do humano e do animal, para muito além do debate filosófico. Em face dessa discussão, revelam-se formas alternativas de se pensar não somente a animalidade, mas, também, a humanidade, o que acarreta a ruptura com a produção dos corpos e das subjetividades, gerida pelo imaginário estatal.

Resumo em Inglês:

Abstract The study aims to shed light on the unfolding of animality in the contemporary theoretical-critical debate in the field of literary studies. Establishing a dialogue, in particular, between the reflections of Gabriel Giorggi, Giorgio Agamben, Dominique Lestel and the border thinking raised by Ailton Krenak and Eduardo Viveiros de Castro, we intend to inquire about the role of animality in the construction of other translations of the human. Under this format, irreconcilable tensions contained in the anthropocentric conception of the human and the animal become evident, far beyond the philosophical debate. In the face of this discussion, alternative ways of thinking not only about animality, but also humanity, are revealed, which leads to a break with the production of bodies and subjectivities, managed by the state-owned imaginary.

Resumo em Português:

Resumo Este artigo busca refletir sobre dinâmicas de relações entre representação e representatividade a partir da análise da composição visual da personagem Rose Maxson em Fences (2016), de August Wilson. As reflexões têm origem em pesquisa documental que examinou os elementos visuais — cabelo, maquiagem e figurino — que expressam a ideia de feminilidade e materializam a personagem, tanto no texto da peça teatral quanto em sua adaptação para o cinema, descrevendo semelhanças, diferenças e possíveis ausências de descrição de visualidade, analisando o conteúdo coletado segundo o conceito de Imagens de Controle, desenvolvido por Patricia Hill Collins. O estudo explora um campo de articulação entre linguagem e cultura, com foco em como produções textuais e audiovisuais constroem as imagens de personagens femininas negras, de forma a problematizar as relações entre a indústria cultural e o reforço de lugares sociais destinados a corpos racializados.

Resumo em Inglês:

Abstract This article reflects on the dynamics of relations between representation and representativeness based on the analysis of the visual composition of the character Rose Maxson in Fences (2016), by August Wilson. It is a partial result of a documentary research that examined the visual elements — hair, makeup and costumes — that express the idea of femininity and bring materiality to the black female character of Fences, both in the text of the play and in its adaptation to cinema, describing similarities, differences and possible absences of visuality description, analyzing the collected content according to the concept of Controlling Images, developed by Patricia Hill Collins. The study explores a field of articulation between language and culture, focusing on how textual and audiovisual productions construct the images of black female characters. It thus to problematizes the relations between the cultural industry and the reinforcement of social places assigned to racialized bodies.

Resumo em Português:

Resumo Este artigo é resultado de minha pesquisa de doutorado cujo corpus foi a trilogia MaddAddam, de Margaret Atwood. Para esta proposta, foco minha análise sobre o terceiro romance da coletânea, também intitulado MaddAddam, em que nos é apresentado o desfecho dos enredos dos romances anteriores, a saber, Oryx and Crake (2003) e The year of the flood (2009). Em MaddAddam, publicado em 2013, Atwood especula um futuro em que a contação de histórias e a aliança entre seres humanos e não humanos consistem em estratégias de sobrevivência das espécies em um cenário pós-apocalítico. Para respaldar algumas das minhas reflexões, recorrerei às humanidades ambientais, sobretudo à ecocrítica, perspectiva teórica que me permite vislumbrar, dentre outras questões, como a espécie humana se reconfigura para garantir sua sobrevivência.

Resumo em Inglês:

Abstract This paper originates from my doctorate thesis on Margaret Atwood’s MaddAddam trilogy. For this analysis, I rely on the third novel of the collection, also entitled MaddAddam, in which we can find the plots’ conclusion from the prequel books, namely, Oryx and Crake (2003) e The year of the flood (2009). In MaddAddam, published in 2013, Atwood speculates about the future in which storytelling and alliance between both human and nonhuman beings are the survival strategy of species within a post-apocalyptic scenario. To support some of my reflections, I will utilize the environmental humanities scholarship, especially ecocriticism, theoretical approach which allows me to glimpse, among other issues, how the human species reconfigures themselves to guarantee their survival.

Resumo em Inglês:

Abstract The conflict between humans and creatures considered non-humans is a major part of a particular trend in twenty-first-century dystopian novels written by women published in English. In these novels, storytelling is used to push on the boundaries of what being human means and therefore the ways humans live. The future in these dystopian scenarios is filled with spaces for resistance, community values and proposals for new ways of living. But to carve out these new worlds, a discussion on what is human and what is not precedes to show that any new form society may take needs to challenge the assumptions of our present day world. In the selected novels, that include Ursula Le Guin’s The Telling, Jeanette Winterson’s The Stone Gods, and Margaret Atwood’s MaddAddam, when those initially considered non-humans tell stories, they are perceived as humans. However, instead of integrating the previous human culture and reproducing its practices, these new humans propose other forms of humanity with other social arrangements, beliefs, gender configurations, and culture. They point to how humanity is a plural and open concept, not a restrictive ideal, and on the ways we can envision possible futures once a more plural meaning of the word human prevails. Throughout the article I discuss briefly the traditional humanist view on humanity, how it appears on dystopian fiction and how it is challenged, the many ways these ideas are present in the corpus selected and how they are explored and blurred. Finally, I divide the selected novels into three groups according to how the meaning of storytelling in the text challenges the notion of human.

Resumo em Inglês:

Abstract Speculative fiction is a particularly relevant genre at the moment when, apart from the troubling global impact of late-modern phenomena, the ongoing pandemic and the 2022 Russo-Ukrainian War have raised universal concern. This paper conducts a comparative analysis of two novels which describe a postapocalyptic world after a deadly plague and a nuclear conflict, respectively: Margaret Atwood’s Oryx and Crake (2004 [2003]) and Dmitry Glukhovsky’s Metro 2033 (2010 [2005]). It approaches the texts as critiques of late-modern neoliberal capitalism, employing the theory by Zygmunt Bauman, Ulrich Beck and Mark Fisher. Additionally, it scrutinises the representation of the neoliberal subject in Atwood’s book and utilises Svetlana Boym’s reflection on nostalgia in post-Soviet Russia to comment on Glukhovsky’s work. Lastly, it examines the posthuman alternative the two authors present for the deeply flawed human social orders.

Resumo em Inglês:

Abstract This article considers the threat of environmental destruction in YA dystopian imagination by providing a close reading of Saci Lloyd’s The Carbon Diaries 2015 (2008) and The Carbon Diaries 2017 (2010) that particularly considers whether these texts espouse radical social change and whether they offer hope or despair. First, the article demonstrates that Lloyd’s novels do not merely portray climate change as a backdrop for human drama, but rather attempt to disentangle the environmental crisis from the post-political sphere (Swyngedouw 2010) where humanity as a whole is under threat. While its protagonists learn to cope with ecological uncertainty and the multidimensional challenges of climate change, indeed, they also come to terms with the social and political dimensions of climate change. Second, the article claims that one of the most important features of these two novels is their attempt to explore the challenges faced by the younger generations when dealing with the contemporary climate challenge. Young people in fact bear a disproportionate burden of the environmental crises the world faces today and are subject to climate anxiety. Moreover, they are not only disproportionately impacted by climate change, but their agency and visions of the future are often placed under erasure discursively. Lloyd’s novels, instead, provide a young adult perspective on the uneven universality of climate change. Finally, the article suggests that the presence of utopian hope at the conclusion of the novels does not provide a consoling and comforting happy ending but helps readers to come to terms with an imperfect world. The article’s close reading of The Carbon Diaries 2015 and 2017, therefore, attempts to underscore the novels’ projection of a possible future where a radical systemic change is envisaged.

Resumo em Inglês:

Abstract While the Anthropocene has traditionally been associated with apocalyptic images, the notion of the good Anthropocene, widely criticized since its origin, has emerged as its utopian counterpart. In his novel The Ministry for the Future (2020), Kim Stanley Robinson explicitly uses the name “good Anthropocene” to refer to the state of the world at the end of the story, more sustainable and equitable. This article examines the utopian and dystopian connotations of the (good) Anthropocene and analyzes how Robinson utilizes the term in his narrative; in particular, it focuses on his employment of narrative structure to convey the multiplicity of the Anthropocene, his preoccupation with discerning the socio-cultural origins of the epoch and his intention of conveying the positive future of the story as achievable through active hope and collaboration.

Resumo em Português:

Resumo A partir de uma leitura do romance Salmo para um robô peregrino (2022), de Becky Chambers, o presente trabalho busca refletir sobre a capacidade da ficção científica de criar outras formas de habitar o mundo e como essa literatura pode nos auxiliar a pensar alternativas para vivermos – e morrermos – melhor neste momento marcado por crises. Para desenvolver tal reflexão, o estudo será pautado pela discussão de Donna Haraway (2016) sobre SF e irá explorar as questões de vulnerabilidade de Judith Butler (2019; 2021), de ficção como bolsa de Ursula Le Guin (1989) e a discussão sobre o cuidado, como desenvolvida por Maria Puig de la Bellacasa (2012; 2017), a fim de entender como o gênero da ficção científica pode nos ajudar a permanecer com o problema e nos auxiliar a pensar em maneiras mais harmônicas, inclusivas e cuidadosas de habitar o mundo.

Resumo em Inglês:

Abstract This paper, through a reading of the novel A Psalm for the Wild-Built (2022), by Becky Chambers, argues for the ability of science fiction to create other ways of inhabiting the world, and examines the ways in which this genre can help us come up with alternative ways to live – and die – better in a world in crisis. In order to understand how the genre of science fiction can help us “stay with the trouble” and think about more harmonic, inclusive and caring ways of inhabiting the world, we engage with Donna Haraway's (2016) reflections on SF and explore the issues of vulnerability as described by Judith Butler (2019; 2021), as well as the notions of fiction in Ursula Le Guin's “The Carrier Bag Theory of Fiction” (1989) and the discussion about care in Maria Puig de la Bellacasa's work (2012; 2017).

Resumo em Inglês:

Abstract I suggest in this essay that affiliated cultural work can be found in the residual corners of the Western imaginary, such as Ireland, especially as Irish culture and politics has confronted the onslaught of disciplinary neoliberalism and xenophobic fascism in a series of rapid turns in the last two decades. From within a diverse project of tracking and tracing Irish science fictionality, I turn my attention to Mike McCormac´s Notes from a Coma (2005). Clearly a work of sf, but one contesting the Irish literary heritage and Irish society as well as the boundaries of utopian form, the book is not so much a utopian novel as much as it is a fictive meditation on the reality and the process of the utopian impulse.

Resumo em Inglês:

Abstract By offering a reading of Aeschylus’s Prometheus Bound, and of the post-Aeschylus tradition of the myth of Prometheus which highlights its revisions as imagined by Karl Marx and Percy Shelley, among others, this paper seeks to explore how to grasp, amid our danger and despair, the prominent poetic and cognitive view of a similar cataclysm from the past, as a lesson to the present. The route to do so encompasses a revisitation of the connections between theatre and democracy in ancient Greece; a consideration of the variations of the themes of knowledge, injustice and tyranny, material civilization and its control and the unbowed personal will to resist oppression, all evoked by the myth of Prometheus; and teasing out the main lineaments of a meaning for the play for an endangered Athenian democracy, as staged around 440 as well as for authors who have recycled its main theme throughout centuries, and finally for us today. It ends by giving pride of place to a Promethean hope, a long hope, arisen from suffering and wedded to cognition, which has crossed centuries and reached our times in urgency.

Resumo em Inglês:

Abstract Taking into account Rita Felski’s (1995) discussion on stereotypical representations of women in modernity and the New Woman movement, in this paper we analyse George Egerton’s short story “The Regeneration of Two” (1894) from the perspective of Donna Haraway’s cyborg imagery and the concept of cyborg writing. We demonstrate that “The Regeneration of Two” dialogues with Haraway’s proposition of a cyborg writing as it opposes an oppressive patriarchal system with the creation of a women’s community. To do so, we explore two main aspects of cyborg imagery present in the short story: the fractured identities and the community of political kinship, resulting in a subversive “cyborgian epiphany.” This epiphany informs Egerton’s progressive and intersectional representation of gender relations and of women’s writing part and parcel of the late 19th-century radical feminist New Woman movement.

Resumo em Português:

Resumo Este artigo objetiva inserir Freshwater: A Comedy (1923/1935), único experimento teatral assinado pela escritora inglesa Virginia Woolf, nos debates em torno da cena modernista, mobilizados em leituras críticas de seu amplo projeto literário. É consenso na crítica especializada que a obra de Woolf coaduna o estético e o político e que seus textos modernistas, além de brincadeiras e experimentos performáticos, questionam verdades estanques do pensamento ocidental, especialmente no que se refere a imbricações entre gêneros literários e performances de gênero nas transições críticas entre os termos “avant-garde”, “modernista”, e “pós-modernista” (GOLDMAN, 2004; WHITWORTH, 2010). Contudo, a peça Freshwater não figura como objeto de análise de muitos estudos dedicados à obra de Woolf. Então, este trabalho mostrará que essa comédia da autora em foco pode contribuir para releituras contemporâneas do modernismo, especialmente se lida como uma de suas intervenções vanguardistas, marcadas pelo pós-vitorianismo (ELLIS, 2007) de seu projeto literário.

Resumo em Inglês:

Abstract This article aims to insert Freshwater: a Comedy (1923/1935), the only theatrical experiment penned by the English writer Virginia Woolf, into the debates around the modernist scene, which are mobilized by critical readings of her broad literary project. It is a consensus among scholars that Woolf’s oeuvre aligns aesthetics with politics, and that her modernist writings, as well as hoaxes and experimental performances, call into question absolute truths of Western thought, especially when it comes to imbrications of genre and gender in the critical transitions between terms such as “avant-garde”, “modernist” and “postmodernist” (GOLDMAN, 2004; WHITWORTH, 2010). However, Freshwater does not appear as an object of critical analysis in many of the studies dedicated to the works of Woolf. Thus, this article will show that the mentioned play can contribute to contemporary rereadings of modernism, especially if read as one of her avant-garde interventions, marked by the post-Victorianism (ELLIS, 2007) of her literary project.