https://repositorio.uema.br/jspui/handle/123456789/2237 Mon, 21 Sep 2026 23:38:34 GMT 2026-09-21T23:38:34Z http://repositorio.uema.br:80/jspui/retrieve/cecf7823-5895-443d-8021-bdac75a00bbd/LETRAS UEMA.png https://repositorio.uema.br/jspui/handle/123456789/2237 https://repositorio.uema.br/jspui/handle/123456789/6784 Título: O (não) dizível e a representação da experiência afro-americana em "O Olho Mais Azul" Abstact: The Black female writing emerges as a space to point out the issues that have been silenced and erased throughout time and space around the non-spoken of the black bodies, mainly when considering black women. As long as the written productions by black women emerged, the academic isolation of these women was seen, as a segregationist and sexist environment, without the presence of an authentic discourse, coming from minority and subjugated populations. Toni Morrison’s narrative appears as a provocative writing to the discourse that mischaracterizes black people, characterizing itself as anti0racist, feminist and anti-colonialist pedagogical instrument – contrary to the forms of domination of the other. Morrisonian writing presents itself as a source of representation of the -self – what is defined by Evaristo (2019) as Escrevivência – turning the feminine image positive and strengthening the alterity of their voice and the ancestry of their roots. The need to discuss The Bluest Eye and look the character Pecola Breedlove is affirmed so that both the reverberation of discursive spaces around black identity and the authority in representation around the Afro-American living on the (non)spoken related to race, gender and class involving the black people, especially the sexual violence against black children. Therefore, the study is proposed as an educational means for the awareness of the struggle around the subalternization of the other and as a means of fighting against the effects of racial dominations that still persist to this day. To this end, the study of the narrative present in The bluest eye highlights the elements about black esthetics, ancestry and black identity, the process of Otherness, the culture of racial hate, the psychological degradation, all related to many violences provoked by the white discourse of alienation. This study is based on: Assman (2011), Halbwachs (1990), Bergson (2020) – in the field of memory, remembrance, and consciousness; Collins (2019), Carneiro (2023), Evaristo (2017), Gonzalez (2020), Hooks (2019), Kilomba (2019) – in the field of foreign policies for raciality and struggles Around Black Feminism based on collective and pluralized consciousness; Dalcatagne (2012) – in the field of writing for the recognition of the individual voice; DuBois (2021), Fanon (2008) – in the field of recognition of the Back Self and reflections on the dominance of the European over the Other; Mayberry (2021) – in the field of the biography of Toni Morrison; Morrison (2019) – in the field of the object of this study that is the center of this dissertation, among other authors Thu, 26 Jun 2025 00:00:00 GMT https://repositorio.uema.br/jspui/handle/123456789/6784 2025-06-26T00:00:00Z https://repositorio.uema.br/jspui/handle/123456789/6730 Título: A escrevivência na obra Quarto de Despejo, diário de uma favelada, de Carolina Maria de Jesus (1960): raça, resistência e gênero Abstact: This dissertation analyzes the concept of escrevivência developed by Conceição Evaristo (2016) in relation to Child of the Dark: The Diary of Carolina Maria de Jesus (1960), highlighting the intersections of race, gender, and resistance in Black Brazilian women’s literature. Its main objective is to understand how escrevivência appears in Carolina Maria de Jesus’s narrative as a form of social denunciation, representation of Black lived experience, and affirmation of marginalized women’s identities. The study is qualitative and bibliographic, drawing on the works of Sueli Carneiro (2011), Djamila Ribeiro (2019), Lélia Gonzalez (1988), bell hooks (1994; 2013), Grada Kilomba (2019), and Angela Davis (2016). Through this theoretical framework, the research demonstrates how Black women’s intellectual production challenges historical mechanisms of exclusion and silencing that have shaped Brazilian society and its literary canon. The analysis shows that Carolina Maria de Jesus’s writing transcends personal testimony and assumes a political and collective dimension by exposing the daily realities of the favelas, hunger, social inequality, and structural racism. In dialogue with the concept of escrevivência, her work highlights Black women as producers of knowledge and transforms writing into a space of resistance and collective memory reconstruction. The dissertation also examines the critical reception of Child of the Dark and the marginalization of Carolina Maria de Jesus as part of a broader historical process that devalued Black intellectuals. It concludes that escrevivência functions as an aesthetic and political practice that legitimizes Black women’s experiences as sources of knowledge, contributing to the reshaping of Brazilian literature and to the development of a pedagogy of resistance grounded in representation and plural voices Thu, 01 Jan 2026 00:00:00 GMT https://repositorio.uema.br/jspui/handle/123456789/6730 2026-01-01T00:00:00Z https://repositorio.uema.br/jspui/handle/123456789/6718 Título: Violência de gênero: uma experiência fotonarrativa em mulheres empilhadas, de Patrícia Melo Abstact: This study analyzes the novel Women Piled Up (Mulheres Empilhadas), by Patrícia Melo, through the relationship between violence, visuality, and photographic language, based on Beatriz Jaguaribe’s notion of the shock of the real and on the debate surrounding the aesthetics of the real in contemporary literature. The research investigates how the narrative constructs the visibility of violence against women through procedures such as exposure, repetition, and framing, understood as devices that organize the experience of viewing. Drawing on the theoretical contributions of authors such as Susan Sontag, and Roland Barthes, the study demonstrates that violence in the novel is not presented as an isolated event, but rather as a sequence of accumulating images that produces the effect of “stacking” bodies. In this sense, the analysis highlights the articulation of elements drawn from photographic language, configuring a photonarrative that tensions the gaze in the face of images of violence. Thu, 01 Jan 2026 00:00:00 GMT https://repositorio.uema.br/jspui/handle/123456789/6718 2026-01-01T00:00:00Z https://repositorio.uema.br/jspui/handle/123456789/6717 Título: A construção imagética da Morte como personagem insólita em A menina que roubava livros (2005), de Markus Zusak Abstact: This dissertation is grounded in the growing relevance of studies on the imaginary and the fictional uncanny within contemporary literary theory and criticism. Its objective is to investigate how the imagetic construction of the character Death, as a narrative subject, articulates the fictional uncanny in the novel The Book Thief (2005), by Markus Zusak, while symbolically updating primordial archetypal images. To this end, the research draws upon the studies of, among other theorists, Candido (2021), Rosenfeld (2021), Reis (2018), and Bordini (2006) concerning the fictional character, as well as the contributions of Todorov (2010) and Bessière (2012) to the study of the fantastic and the fictional uncanny, further engaging with the considerations of França (2015, 2016), Camus (2019), and Pietri (1990) in order to discuss its variants.In addition, the imagetic and symbolic analysis of the character is informed by Jung (2002, 2016), Bachelard (2008), and Durand (2012). This study is characterized as a bibliographic, qualitative, descriptive, analytical, exploratory, and applied research. The findings highlight the intersection between literature, the imaginary, and the collective unconscious, as well as underscore the plurality of manifestations of the fictional uncanny. The analysis demonstrates the presence of this character as an imagetic operator of multiple modalities of the fictional uncanny, encompassing a spectrum ranging from the Gothic to the uncanny, from the absurd to the marvelous, within a single narrative. Furthermore, it was observed that Zusak’s work resignifies archetypal images, constructing a portrayal of Death that oscillates between the diurnal and nocturnal regimes of imagery (in Durandian terms) and incorporates archetypes such as the Great Mother, the Wise Old Woman, and the Heroine, thereby endowing the narrative with a singular and sensitive perspective that challenges traditional representations of this figure. Thus, the novel emerges as a narrative that subverts conventions and expands the boundaries of literary experience by establishing a poetics of polyvalence centered on the character Death. Wed, 29 Apr 2026 00:00:00 GMT https://repositorio.uema.br/jspui/handle/123456789/6717 2026-04-29T00:00:00Z