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In the novel Autobiografia, first published in 2019, the portuguese writer José Luís Peixoto brings to his fictional universe José Saramago, winner of the Nobel Prize for Literature in 1998. The narrative goes through the work of Saramago, explicitly and implicitly, while shows the anguish of a young writer that faces the challenge of publishing a second novel that confirms his talent at the same time he tries to fulfill the task of biographing his consecrated colleague. Our work observes issues inherent to the title of the novel, highlighting the author's presence in his work, even when he proposes to talk about anything other than himself. In this novel that intends to introduce one writer by the hand of another, the proposal that any text is autobiographical is an evidence. In this regard, Phillipe Lejeune's research published in O Pacto Autobiográfico is our main theoretical support; and also the position of José Saramago himself, exposed in interviews and texts of different genres, such as his Manual de Pintura e Caligrafia. Peixoto appropriates Saramago's writing strategies, in the expectation of a model reader with elements to identify the presence of the "biographer" in the narrative, which is the place where the meeting of these two authors occurs. Contribute to the analysis, among others, the theorists Umberto Eco, Theodor Adorno, Gyorg Lukács and Ricardo Piglia. [ABSTRACT FROM AUTHOR]

The purpose of this work is to examine the representation of some reader characters in the works O primo Basílio (1878) and Os Maias (1888), by the Portuguese writer Eça de Queirós, considering the literary culture and education of men and women of the time. Therefore, the intention is to conduct a brief study on the recurrence of literature in queirosian fiction, highlighting, above all, the readings consumed by the characters - both female and male - and the reflection of this literature in the construction of each reader present in the respective narratives. It is important to recognize, in this context, literature as a way of portraying the nineteenth-century cultural environment. Through literary production originating from Portugal and other countries, literary movements influenced individuals in 19th century Portuguese society and, consequently, are made explicit in Eça's fiction through exceptional characterizations of detailed and complex characters. [ABSTRACT FROM AUTHOR]

Copyright of Pixo: Revista de Arquitetura Cidade e Contemporaneidade is the property of Pixo Revista de Arquitetura Cidade e Contemporaneidade and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This work addresses the basic psychological process Emotion in the construction of literary characters, seeking to correlate the application of the term Oedipal in scientific literature and fiction literature. By extension, it also focuses on the emotional states of the characters triggered by different traumas resulting from the progression of the narrative plot in which they find themselves. It verifies the existence of three different behavioral systems in the affective triangle formed by the characters, highlighting an attachment system, a care system, and a sexual system. It concludes with an analysis of the characters' statements that refer to the philosophical discussion of man's awareness of himself and the world. [ABSTRACT FROM AUTHOR]

Copyright of Revista Soletras is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cognitio - Revista de Filosofia is the property of Cognitio - Revista de Filosofia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The work of Lygia Fagundes Telles (1923-2022) is the main object of studies in this paper, which aims to propose an introduction to the set of the paulistana writer's short stories, supported by the reading of her critical fortune and the knowledge of her wide literary production, which also includes novel, memory, chronicles and correspondence. The narrative art of the "lady of Brazilian letters" is presented here through examples extracted from her most recent publication, Os contos (2018), an anthology edited by the author herself. The intention is to show her importance and her present situation in the scenario of the Brazilian short story of female authorship, emphasizing her dialogue with masters storytellers of the past and her projections in the contemporary Brazilian literature. This study is part of a research on the works of Lygia Fagundes Telles, interrelated to the analysis of her literary correspondence, and pays tribute to the life and production of this great writer, who would celebrate her centenary in 2023. Her cultural performance is much broader to the scholars who use the various interpretative keys offered by the author to those who dedicate themselves to reading her diligently, seeking to bind her with a legion of fictionists who propose, at the same time, the renewal and the retaking of this legacy. [ABSTRACT FROM AUTHOR]

The article debates the theory of the polygenesis of the novel, which proposes that the genre had multiple origins in different times and places, following a multitude of evolutionary lineages. This hypothesis demands a reevaluation of canonical trends in the history and theory of the novel, following the inclusion in the genre's expanded history of texts written in periods and places previously ignored. One of these contexts of emergence of the novel which requires deeper investigation is the Heian period in Japan, during which the monogatari, fictional works written in prose, circulated among courtly readers. More specifically, we discuss the classification of the Taketori monogatari as an early novel, by identifying in its composition a few trans-historical structures present in novels of diverse places and periods: its fictional condition, its prose writing, its rapport to prosaic life, and its initial marginality within elite culture. As we understand that the flexibility and hybrid quality of the novel are among its defining characteristics, we also discuss the Taketori's appropriation of elements from other genres of discourse as a possible index of its novelistic quality. [ABSTRACT FROM AUTHOR]

Copyright of Building the way - Revista do Curso de Letras da UEG/Itapuranga is the property of Universidade Estadual de Goias and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of História da Historiografia is the property of Sociedade Brasileira de Teoria e Historia da Historiografia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article aims to discuss some conditions of possibility for the analysis of amefrican2 works produced by women, centered on universes of experiences of the crossing narrated from the point of view of black subjects in the Diaspora process. In this sense, we selected a literary corpus composed of works by Maria Firmina dos Reis (2004), Conceição Evaristo (2017; 2019) and Ana Maria Gonçalves (2018). Studies on the transatlantic traffic and the crossing on the slave ship are addressed, as well as the dialogue between theoretical and historical knowledge on the subject and literary productions in the face of the sequestration and crossing experience. We take the metaphor of the archipelago, proposed by Édouard Glissant (2014), as a foundation for the construction of the methodology that will subsidize the discussion carried out. Our argument proposes the hypothesis of an Atlantic as a cemetery and, particularly, as a cemetery of our Others, to which the selected corpus -- as part of a broader set of amefrican literatures of female authorship -- allows us to access processes of recomposition of fragmented memories in the crossing. [ABSTRACT FROM AUTHOR]

The present text is an excerpt from the Doctoral Thesis organized from the rescue of Literature by women in the 19th century, in Brazil. The objective was to present the novel O perdão by the gaucho writer Andradina de Oliveira and to deepen ideas about her narrative, which raises the issue of the traditional family structure of patriarchal culture at the time of physical and social transformations in gaucho society. [ABSTRACT FROM AUTHOR]

In a society closed to female literature, Júlia Maria da Costa was, in the second half of the 19th century and the beginning of the 20th century, a woman, a writer, and an artist. With anguish reports and autobiographical and literary paths, Júlia left us, in poems and letters, her texts, passions, and anxieties narrated from deep bonds that make up this thanatography. Almost forgotten, when we approach female authorship literature, we find in it a dialogue with the patriarchal and oppressive society: Júlia is sometimes revolutionary, sometimes contained in her search for artistic expression. Thus, in the need to retrieve Brazilian authors and to overcome the obstacles imposed on these authorial voices in the canon, we aim to remember Júlia Maria da Costa in a dialogic way - using the thanatographic and biobibliographic process (BAKHTIN, 2018) in Adriana Lunardi's writing. In her short story book, Vésperas (2002), many women return to personify and inhabit this limited authorial universe. Based on Zahidé Muzart's (2000; 2001), Beauvoir's (1970), Woolf's (2019), and Gagnebin's (2006) studies, we will outline paths and images that reconstruct a search for freedom, voice, and authorship. [ABSTRACT FROM AUTHOR]

In this article I deal with the relationship between painting and literature in the posthumous novel La femme assise, by Guillaume Apollinaire. The hypothesis is that the text can be related to visual arts from different perspectives. Since its title, the book evokes the French painting of the time; the characters that populate the novel are composed, much of them, based on artists of the time - and a considerable number of them are the same defended by Apollinaire in his art criticism texts. In addition to these references, and others commented on throughout the text, the book's composition structure is also analyzed in order to show how much it owes to the painting of the period. [ABSTRACT FROM AUTHOR]

Copyright of Veritas is the property of EDIPUCRS - Editora Universitaria da PUCRS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Educacao e Pesquisa is the property of Faculdade de Educacao da Universidade de Sao Paulo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article we analyze three female profiles present in the book Semear o pó (1994), by the Cape Verdean Writer Fátima Bettencourt, from the reading of critical works by scholars of African Literature in Portuguese Language such as Simone Caputo Gomes (2008) and the theory of narrative by Gérard Genette (2017). We take in account the main characteristics in the writing of this book: the woman as protagonist in the stories; her role before the family; the way in which is introduced the Cape Verdean society way of life; the problems that, somehow, are part of the History of the country, as well as the voice and the person in the narration. All these elements appear as different types of memories by the narrators of the short stories. [ABSTRACT FROM AUTHOR]

Copyright of Etudes Romanes de Brno is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)