https://repositorio.uema.br/jspui/handle/123456789/1 Biblioteca Digital da Universidade Estadual do Maranhão 2026-06-19T19:20:34Z https://repositorio.uema.br/jspui/handle/123456789/6212 Título: O Mirante vê além do dia: cidade e memória em “Os Canhões do Silêncio” de José Chagas Abstact: Memory plays a fundamental role in literature, both as a theme and as a tool for reframing the past. Based on this premise, this study aims to analyze the work “Os Canhões do Silêncio,” by José Chagas, from a memorialistic perspective. To this end, it is important to understand how the relationship between the poetic subject and the landscape and spaces of the city occurs; how memories are formed from historical places and what elements corroborate the construction of the memory of the place. The work in question consists of two hundred pages, whose poetic images dialogue with the history and memory of the city of São Luís do Maranhão. In Os canhões do silence, the poet poses a disturbing question about being and time through the use of the metonymy of the viewpoint and the Desterro neighborhood, whose poetic self reflects on the historical trajectory of the place between splendor and decadence, the self The poem metaphorizes the contradictions of greatness and misery, of virtue and vice, of permanence and perishing that mark the chronological history of human beings in the place. From this perspective, literary analysis is based on the works of: Assmann (2011), Bachelard (2008), Halbwachs (1950), Le Goff (1997), Santos (2018), Izquierdo (2018), among others. The work Os Canhões do Silêncio revealed a complete and very well-developed literary universe that captures attention and provokes varied feelings, while the beauties of São Luís are narrated, there is the presence of sadness and melancholy in the lyrical self. while remembering the city's past. Furthermore, it is noteworthy that the city represents not only the physical home for the body of the lyrical self, but also the place that houses its emotions and holds deep memories that transcend time and space. 2024-06-03T00:00:00Z https://repositorio.uema.br/jspui/handle/123456789/6211 Título: Imagens da mulher afro-brasileira em Olhos D’água de Conceição Evaristo Abstact: This paper aims to analyze the construction of the image of the Afro-Brazilian woman in two short stories from the book Water Eyes (2018) by the contemporary writer Conceição Evaristo. The work has fifteen short stories, from which we chose two: Water Eyes and Duzu-Querença. In them, we seek to investigate how the image of the woman-mother, woman-daughter, and woman-grandmother are constructed and represented from the perspective of ancestry and memory. In addition, Evaristo's writing is permeated by a diasporic feeling that brings a space of speech into the narrative process, a discursive space that gives voice to the black female characters by fictionalizing their daily experiences as a form of action and resistance. The methodology used was bibliographic research of a qualitative and phenomenological nature, as we delve into the writings as a phenomenon of the imaginary, highlighting the constellations of images in the analyzed short stories. For theoretical basis, the research was based on the notion of the anthropological trajectory of the imaginary by Gilbert Durand (2019), in the epistemology of Gaston Bachelard based on the work The Poetics of Space (2006), as well as the phenomenologist Merleau - Ponty (2018) in his work The Phenomenology of Perception (2018), in addition to Mazama (2009), Evaristo (2020), Ribeiro (2019), Gilroy (2001), Gonzalez (2020), among others. The results of the investigation indicate that Evaristian writings, through the analyses undertaken in the two short stories of the aforementioned work, transcend a discursive space since the daily actions and situations of the black and subaltern woman are highlighted based on memory and ancestry, bringing with them a field of symbolic images about the narrative actions of the female characters: the images of the woman-mother, the woman-daughter, and the woman-grandmother. In other words, life writing is a writing that brings feminine pluralities as a way of breaking paradigms through the perspective of writing, living, and acting, deconstructing the legacy of the Eurocentric patriarchal system and (re)affirming the (re)existence of the experiences of Afro-Brazilian women. 2024-01-01T00:00:00Z https://repositorio.uema.br/jspui/handle/123456789/6210 Título: Retratos de um povo na poesia de João do Vale: a arte como resistência Abstact: This work aims to analyze the poetry at the songs “A voz do povo, Carcará, Pra mim não, Peba na Pimenta, Minha história, A lavadeira e o lavrador, Pisa na fulô, O Jangadeiro, Fogo no Paraná, Ouricuri, O bom filho à casa torna e Sina de caboclo”, from the álbum “O poeta do Povo” by João do Vale a poet and composer from Maranhão, placing them as manifestations of resistaince in art and culture using them as mechanism of denuntiation against all kind of exploration installed in Brazil in the 60s and 70s, anchored in works such as Alfredo Bosi, Paschoal, Marques e Paul Zumthor, in works by researches such as Damazzo, Ludmila Gondim, among others and in interviews with the poet’s relatives, presenting João do Vale’s prodution as a path towards a awakening to a new form of art and life. 2024-01-01T00:00:00Z https://repositorio.uema.br/jspui/handle/123456789/6209 Título: Eduardo e Mônica: o encontro do cinema, da literatura e da canção Abstact: The aim of this paper is to analyze the dialogue existing between the song *Eduardo e Mônica* and its homonymous film. The song, composed by Renato Russo and released in the album *Dois* in 1986 by the band Legião Urbana, has become a classic of Brazilian music. The film, directed by Renê Sampaio with a screenplay by Gabriel Bortollini and Jéssica Candall, was completed in 2020, but its release was postponed to January 2022 due to the COVID-19 pandemic. Both works are set in the 1980s and explore the unlikely relationship between Eduardo and Mônica, two young people with vastly different personalities and interests. The dissertation employs the concepts of adaptation theory by Linda Hutcheon (2011) and Robert Stam (two thousand) as a foundation for the analysis. According to this approach, each work is evaluated in its own language, considering all its specificities, without the limitation of being a mere transposition from one media to another. The research is based on a wide range of theorists and authors who explore the nuances of song and poetry as forms of literary and artistic expression. Among them, Antônio Aguiar (2006) discusses the multifunctionalities of literature and song, addressing poetic, hedonistic, communicative, and social aspects. Antônio Medina Rodrigues (1990) highlights the complex relationship between popular music and modern Brazilian poetry, emphasizing the importance of melody in understanding sung text. Affonso Romano de Sant'Anna (1978; 2001) and Nelson Costa (2003) underscore the historical interaction between song and poetry in Brazil, arguing for the nation's lyrical richness and the need to recognize the literary qualities of songs. Norma Goldstein (1988) and Massaud Moisés (1987) contribute discussions on poetic structure and the essence of poetry, respectively, while Falcão (2006) describes the song as a hybrid genre deserving attention in literary studies. Steven Paul Scher and Charles Perrone (1986) address the inseparable relationship between literature and music, highlighting the song as a fertile field for literary analysis. Therefore, the research aims to recognize and analyze the depth and intertextuality between song and cinema, using the adaptation theories of Linda Hutcheon (2011) and Robert Stam (2000), along with contributions from other theorists mentioned, to explore how these two mediums narrate the same story, enriching the understanding of the cultural and social dynamics they reflect and shape 2024-06-07T00:00:00Z