http://hdl.handle.net/11422/100 2026-07-30T07:25:14Z http://hdl.handle.net/11422/29855 Title: A carnavalizada máscara das bruxas: a visão burlesca da violência em As bruxas, de Roald Dahl Author(s)/Inventor(s): Alcântara, Gabriel Félix de Advisor: Góes, Frederico Augusto Liberalli de Abstract: Who is the villain to be feared? In this dissertation, we use the Grand High Witch from Roald Dahl's The Witches to think about the power dynamics and violence surrounding the witch-both fictional and historical. This dissertation is a construct, a peculiar structure that leans over the body of the Grand High Witch in Roald Dahl. She is a Homo Sacer, a body that can be killed without punishment for its executioners. The analysis follows a pendular movement, oscillating between diegesis and the fiction of reality to understand the social relations that construct bodies. Seeking to address the villainous body and the abjection of the hero, this repressed and violator desire laden with sadism, we find the fiction of the sabbaths. This is where we find the impasse: humor, because on one hand, we read the humor of the hero who violates bodies, and on the other, the carnivalization that diminishes power, so thinking about this dynamic is to understand the politics of bodies. So, a question from Roald Dahl arises: for whom does he produce humor? For this, we explore the facets of the Grand High Witch, from her disgusting body to her aversion to children, which connects her to the sabbath, but also to Carnival. Finally, it is Bakhtin who brings an ideological possibility to this issue. This text demands a keen vision of a fiction of reality, that is, our capture and fictionalization of reality thru political means. It is impossible to think of a witch (a villain) without understanding her pains. The world of witches is a dark world, mainly due to the prejudice and ill intentions of their opponents. This work considers this villainous body not as a being that deserves to die, but as a being already outraged and hurt. Think of this villainy beyond a nature and a judgment of crimes. In the end, we do not try to redeem the character, that is, we will neither take on the role of judge nor that of lawyer. Understanding this literary body, especially in children's texts, from a social perspective, is to broaden the reading about the position of art before the reader. We seek to reinforce carnivalization as an esthetic for the oppressed. The connection is very natural, but still complex. We can laugh at the villain, it's true. But, before this situation, questions arise: What is a villain? And is the Grand High Witch really the only villain in The Witches? What does it mean to be a villain when we move between fictional and social realities? Publisher: Universidade Federal do Rio de Janeiro Type: Dissertação 2025-11-02T00:00:00Z http://hdl.handle.net/11422/29843 Title: Quando o corpo se excreve: Poemas da recordação e outros movimentos de Conceição Evaristo Author(s)/Inventor(s): Nascimento, Fernanda Carvalho do Advisor: Moraes, Marcelo Jacques de Abstract: Le présent travail se propose d'analyser, de discuter et de comparer les concepts liés à l'écriture à partir des œuvres des philosophes et penseurs français Roland Barthes et Jean- Luc Nancy, ainsi que leur rapport avec la pratique de l'« escrevivência » à travers cinq poèmes tirés du recueil Poemas da Recordação e outros movimentos de l'auteure brésilienne noire Conceição Evaristo (2008). Ce dialogue entre la perspective théorique et critique française et l'analyse de l'œuvre poétique de l'auteure brésilienne vise à réfléchir sur le rôle que son travail occupe désormais au sein de la littérature contemporaine brésilienne, mais surtout sur la présence du corps dans sa relation à l'écriture, considéré ici comme un corpus « escrevivente ». Pour ce faire, nous partons d’une analyse des concepts d’écriture et d’ex-écriture, tant dans l’œuvre de Barthes que dans celle de Nancy, afin de les confronter à l’« escrevivência » esquissée par Evaristo et tenter ainsi de situer les ramifications d’un autre espace fondamental dans les études littéraires: la place de l’inachèvement dans la littérature, ou de l’inachèvement en tant que littérature. Publisher: Universidade Federal do Rio de Janeiro Type: Dissertação 2026-03-13T00:00:00Z http://hdl.handle.net/11422/29841 Title: Uma obra de todos, uma obra de ninguém: A Carmen entre adaptação e recepção Author(s)/Inventor(s): Luz, Luan Maçulo Advisor: Diego, Marcelo da Rocha Lima Abstract: This dissertation investigates the conditions that sustain the historical permanence of Carmen, from its genesis in Prosper Mérimée’s novella to its consolidation as an opera by Georges Bizet and its multiple reinscriptions throughout the twentieth and twenty-first centuries. The central problem consists in understanding how the work exceeds the limits of its original media and endures as a narrative matrix continuously reactivated within the cultural imagination. The main hypothesis argues that the longevity of Carmen lies in its structural plasticity and liminal constitution, situated between genres, languages, and aesthetic regimes. The analysis articulates adaptation theory, performance studies, and reflections on regimes of reception, approaching the work not as a fixed entity but as a historical process in constant reconfiguration. Particular attention is given to the intersemiotic transposition from literary narrative to lyric stage, emphasizing how the integration of music, gesture, and staging inaugurates a new sensory economy and expands the character’s field of meaning.The investigation also considers the interpretative tradition and the role of recording technologies in consolidating the myth, as well as case studies that reveal symbolic disputes surrounding the legitimacy of who may embody the protagonist. The comparison between contemporary stagings and the trajectories of performers such as Jessye Norman and Maria D’Apparecida highlights discursive and institutional mechanisms of regulation within the operatic field, especially in the Brazilian context. The study concludes that Carmen emerges as a work belonging to everyone and to no one: appropriable by successive cultural agents and, at the same time, resistant to definitive fixation of meaning, sustaining its survival through ongoing negotiations between tradition and renewal. Publisher: Universidade Federal do Rio de Janeiro Type: Dissertação 2026-03-13T00:00:00Z http://hdl.handle.net/11422/29840 Title: Ler com as mãos: gestos editoriais como lente crítica para poesia contemporânea Author(s)/Inventor(s): Telles, Mabel Boechat Advisor: Di Leone, Luciana María Abstract: Independent and artisanal modes of poetry publishing in Latin America have proliferated over time in response to diverse political, economic, and social contexts, as noted by Matías Moscardi and Luciana di Leone. In the 1990s and 2000s, for example, with the advance of neoliberalism and the contraction and consolidation of the publishing market, self-publishing practices multiplied. In this context, poets began to turn to alternative formats—such as booklets, zines, plaquettes, blogs, and posts on social media—based on a do-it-yourself logic, in which the roles of author, editor, and reader frequently overlap. This movement does not emerge as something entirely new, but rather revisits earlier experiences, such as the poesia marginal of the 1970s, which, in response to restrictions imposed by the military dictatorship that were reflected in the publishing market, explored precarious and artisanal media such as mimeographs, silkscreens, and printed matter in nonconventional formats, as part of a politics of the desacralization and decommodification of poetry. This practice of “editing with one’s hands” continues into the 2020s, on the margins of the commercial and industrialized publishing market. In this way, in artisanal publications, the influence of editorial modes on reading, as pointed out by Roger Chartier and Miguel Leocádio Araújo Neto, is intensified, since the materiality of the book—its materials, formats, and gestures of making—becomes visible and active in the reading process. Based on the proposals of authors such as Eric Schierloh, Ulisses Carrión, Ana Mazzoni, and Damián Selci, a mode of reading is thus proposed that considers editorial aspects as constitutive language of the work. This experimental methodology is applied to the analysis of artisanal books produced by small Latin American presses, such as the Argentine publisher Arroyo and the Colombian publisher Dosis Mínima, as well as collective productions, with a focus on women authors. The reading of these books centers on the materials and manual gestures involved in their production—gathering, stitching, and folding—and on the sensory dimension of reading, in an attempt to read these poems with the hands. Publisher: Universidade Federal do Rio de Janeiro Type: Dissertação 2026-02-24T00:00:00Z