https://repositorio.uema.br/jspui/handle/123456789/2236 2026-08-18T20:54:50Z https://repositorio.uema.br/jspui/handle/123456789/6358 Título: Memórias e autobiografias como construções dos narradores nos romances infantojuvenis: Cazuza, de Viriato Corrêa e Chiquinho, de Baltasar Lopes Abstact: This dissertation, entitled Memories and Autobiographies as Constructions of the Narrators in Children’s and Youth Novels: Cazuza, by Viriato Corrêa, and Chiquinho, by Baltasar Lopes, aims to conduct a comparative analysis between Cazuza (1938), by the Brazilian writer Viriato Corrêa, and Chiquinho (1947), by the Cape Verdean author Baltasar Lopes. The research investigates how memory, autobiography, and the narrator’s perspective intertwine in the construction of identity and historical awareness within both narratives. Developed under the research line Literature and Memory of the Master’s Program in Letters at the Universidade Estadual do Maranhão (UEMA), this study seeks to demonstrate how autobiographical writing in children’s literature can function as a means of cultural and educational formation. Methodologically, the work is grounded in Comparative Literature, following Carvalhal (2006) and Nitrini (2000), and draws on theoretical contributions by Ecléa Bosi (1994) and Pierre Nora (1993) regarding memory, Philippe Lejeune (1973) on the autobiographical pact, and Gérard Genette (1972) and Carlos Reis (1980) on narrative theory. The novels are analyzed in light of their historical and social contexts—the Vargas Era in Brazil and colonial Cape Verde—highlighting intersections and contrasts between personal experience and collective identity in both works. The results reveal that, in Cazuza, Viriato Corrêa transforms his childhood memories into a reflective autobiographical narrative that mirrors the nationalistic and pedagogical ideals of 1930s Brazil, emphasizing literature’s role in civic education. Conversely, in Chiquinho, Baltasar Lopes uses autobiography as a form of cultural resistance, depicting the drought, poverty, and search for freedom experienced by Cape Verdean society. In both novels, the protagonists’ personal memories intertwine with collective memory, reinforcing the notion of literature as a space for identity construction and historical continuity. It is concluded that, although arising from distinct historical and geographical realities, both works converge in their use of autobiography as a tool for cultural preservation and social awareness. Thus, Cazuza and Chiquinho transcend individual experience to become symbolic representations of collective struggle and identity. This research reaffirms the formative and emancipatory potential of children’s and youth literature in shaping memory, culture, and consciousness 2025-01-01T00:00:00Z https://repositorio.uema.br/jspui/handle/123456789/6351 Título: No rastro de perna solta em "O KARAÍBA", uma história do pré -Brasil, de Daniel Munduruku Abstact: This qualitative and descriptive study aims to analyze the character Perna Solta in Daniel Munduruku’s indigenous novel O Karaíba, uma história do pré-Brasil (2010). Its specific objectives are: to explain the invention of the “Indian” as a hero in Indianist literature; to highlight theoretical conceptions about the category of hero; and to discuss the role of Perna Solta from the ethno-sociological perspective of Egon Schaden (1989). To achieve these objectives, it is structured in the following chapters: “‘Indian’ in sight: the cartography of the colonizer”; “From the agora to the clearing: the hero under multiple gazes”; and “The faces of Perna Solta in the narrative space”. Thus, we base our arguments on the following authors and their respective contributions. In dealing with the notions of Eurocentrism and Orientalism, we rely on Neide Gondim (1994), Ella Shoat and Robert Stam (2006). Antônio Paulo Graça (1998) provides us with conceptual elements for the observation of Indianist poetics. In our reflections on indigenous literature, we draw on Julie Dorrico (2020), Graça Graúna (2013), Daniel Munduruku (2010, 2011, 2012, 2019), Maria Inês de Almeida and Sônia Queiroz (2004), among other authors. Finally, we problematize the category of hero in the typologies developed by Mikhail Bakhtin (1997), Joseph Campbell (1949), and Flávio Kothe (2000); we develop it from the perspective of ethnosociology, based on the studies of Egon Schaden (1988) 2025-01-01T00:00:00Z https://repositorio.uema.br/jspui/handle/123456789/6324 Título: Memória, trauma e repressão política em o Estandarte da Agonia, de Heloneida Studart Abstact: The civil-military dictatorship in Brazil left its mark on society, and the suffering of those who were direct or indirect victims has been recorded in fiction, as in the case of writer Heloneida Studart. In this sense, this work aims to analyze the process of remembrance of the protagonist of Studart's work O Estandarte da agonia (1981), in the context of political repression under the Brazilian military regime. Studart was a writer, journalist, state representative, feminist, and political activist who worked on several fronts, especially on behalf of women and human rights. The narrative in question has Açucena os its protagonist, who recounts her suffering in the search for her missing son amid political conflicts. The narrative also highlights how Açucena deals with the traumatic pain resulting from these events. Thus, in this qualitative research, we aim to analyze the process of remembrance of the protagonist of Heloneida Studart's O Estandarte da agonia (1981), with an emphasis on traumatic memories, in the context of political repression under the military regime in Brazil. The study is based on the theoretical views of Holanda (1980), Malard (2006), Sarlo (2007), and Vieira (2014) on the military dictatorship in Latin America; Foucault (2019) on power relations; Pollack (1992) and Halbwachs (2006) on memory; Seligmann-Silva (2008), Assmann (2011), and Freud (2020) on the relationship between memory and trauma. Heloneida Studart narrative conveys the protagonist's impressions of the sad memory of the military dictatorship, while placing women in the process of overcoming collective wounds by confronting the regime and their own conflicts. 2025-01-01T00:00:00Z https://repositorio.uema.br/jspui/handle/123456789/6234 Título: Você só pensa em grana?: poética e crítica social em canções de Zeca Baleiro Abstact: This work aims to analyze the recurrent theme of money in Zeca Baleiro’s lyrics, through theoretical support provided by authors as Baudrillard and Bauman. It’s approached here the question of which are, in general, the social criticisms expressed by the lyrical subject on certain behaviors and common views in the life of contemporary man in his relationship with money. Based on the contribution of stylistic theories, the linguistic and literary resources used by Zeca Baleiro were also analyzed. It was observed that, depending on the lyrical subject of each song, different views regarding financial resources are revealed in the writing of the Brazilian composer: It varies from the clear criticism towards the hyperbolic importance given to money in VocêSó Pensa Em Grana (You Only Think About Money) to the proposal of living in the materialistic style bon vivant. 2024-06-19T00:00:00Z