Journal articles on the topic 'Brazilian fiction Naturalism in literature'

Resumo: Este trabalho investiga as possibilidades de uma literatura que trabalha com “restos do real”, analisando práticas de escrita experimentadas desde os anos 1970, na Argentina e no Brasil.Palavras-chave: poesia brasileira; ficção brasileira; ficção argentina.Abstract: This paper examines the possibilities of a literature that works with the “remains of the real”, analyzing experimental literary practices since the 1970s in Argentina and Brazil.Keywords: Brazilian poetry; Brazilian fiction; Argentinean fiction.

This article looks into the postcolonial Arabic narrative of Ghassan Kanafani to examine its underplayed existential and naturalistic aspects. Postcolonial texts (and their exegeses) deal with the effects of colonization/imperialism. They are expected to be political and are judged accordingly. Drawing on Kanafani’s Men in the Sun (1963), I argue that the intersection among existentialism and naturalism, on the one hand, and postcolonialism, on the other, intensifies the political relevance of the latter theory and better establishes the politically committed nature of Kanafani’s fiction of resistance. In the novella, the sun and the desert are a pivotal existential symbol juxtaposed against the despicable life led by three Palestinian refugees. The gruesome death we encounter testifies to the absurdity of life after attempts at self-definition through making choices. The gritty existence characteristic of Kanafani's work makes his representation of the lives of alienated characters more accurate and more visceral. Kanafani uses philosophical and sociological theories to augment the political nature of his protest fiction, one acting within postcolonial parameters of dispossession to object to different forms of imperialism and diaspora. Therefore, this article explores how global critical frameworks (naturalism and existentialism) enrich the localized contexts essential to any study of postcolonial literature and equally move the traditional national allegory of Kanafani to a more realist/unidealistic level of political indictment against oppression.

Transoceanic passage brought nearly 189,000 immigrants from Japan to Brazil between 1908 and 1941. They were often geographically isolated in Japanese “colonies” as coffee plantation workers and thus able to maintain their Japanese linguistic and cultural identity. A new imagined community coalesced in the several Japanese-language immigrant newspapers that also published locally produced serial fiction. This paper reads two representative works by Sugi Takeo, pen name of Takei Makoto (1909-2011), who was a prolific contributor of original content to the Burajiru Jihô newspaper. In the short stories, “Kafé-en o uru” (Selling the coffee plantation, 1933) and “Tera Roshya” (Terra rossa, 1937), it is the moonshine sellers who see steady profits from every race and type of immigrant laborer while the Japanese newcomers who naively dream of riches by bringing coffee to market reap only a bitter brew of poverty for their efforts.

This article, starting from an identification of key differences between realism and naturalism, develops an argument premised on the implicit metaphorical relationship between body and text expressed in Le Docteur Pascal, the last novel in Émile Zola’s Rougon-Macquart series. It examines aspects of the metaphorical problematics surrounding the incorporation of documentary material into nineteenth-century French fiction, arguing that the documentary novel’s representation of the human body, and of medical practices concerned with the body’s ingestion of substances — specifically, Le Docteur Pascal’s representation of hypodermic injections — functions self-referentially as a way of representing the naturalist text and its incorporation of documentary, extraliterary material.

Brazilian literature is traditionally understood to have developed in relative isolation from the literatures of Hispanophone Latin America, inhabiting a peripheral cultural space within the already peripheral sphere of Latin American literature. Perhaps the most striking example of this traditional conception is the commonly held assumption of the complete literary-historical separation of two of Latin America’s most renowned fiction writers: the Brazilian Joaquim Maria Machado de Assis and the Argentine Jorge Luis Borges. Machado de Assis, in particular, is often regarded as inhabiting a double cultural periphery, as both a Latin American and a Brazilian, who, furthermore, wrote in a “minor” language, never traveled outside of his own country, and rarely ever left his native Rio de Janeiro. Another enduring belief, tangential to the tale of Brazil’s cultural isolation, is that Machado de Assis’s work went untranslated, by and large, until about half a century after his death. Yet the early translation history of Machado’s work offers a fascinating insight into the literary ties that connect his work to the dominant literary cultures of the Americas and Europe and provides an intriguing literary-historical link between Machado de Assis and Jorge Luis Borges. Curiously, the connection between Machado and Borges, whose countries share a border, follows a route of translational cultural exchange through France and Spain, and involves a prolific translator who was both the first Spanish translator of Machado’s short fiction and the mentor of a young Borges: Rafael Cansinos Assens. Thus, the early history of Machado’s fiction in translation demonstrates that Machado is a much less peripheral figure than previously imagined, and that, through Machado, Brazilian literature is more intimately intertwined with the literatures of Hispanophone Latin America and the cultural capitals of Europe than critics and scholars have recognized.

In this paper we analyze the work Úrsula (1859), by Afro-Brazilian writer Maria Firmina dos Reis, pioneer in the publication of the novel and the abolitionist content in Portuguese-language fiction. Through some general lines about the context of the work, the observation of the preface and the constitution of black characters, the objective is to highlight the extent to which the work operates a fracture to the colonial order as a unique framework for black people, establishing a new tradition in Brazilian literature

This article seeks to examine how contemporary works of fiction and non-fiction by women from Cuba and Brazil are translated and marketed for Francophone readers. It will focus on Wendy Guer­ra’s novels, translated into French by Marianne Millon, and on contemporary Brazilian (non) fic­tion translated into French by Paula Anacaona, the head of Anacaona Éditions, a publishing outlet specialized in Brazilian literature for Francophone readers. The contribution will start with a brief presentation of the French publishing sector and some of the recurring patterns observed in what is often labeled as littérature étrangère or littérature monde (foreign literature and world literature, respec­tively), exploring various layers of intervention that appear in translated fiction. The article will then further explore the role of paratext in the marketing of Caribbean literatures for (non-)metropolitan French audiences, before it examines the translations of Todos se van and Domingo de Revolución by Cuban writer Wendy Guerra. Paratextual matter in Marianne Millon’s Tout le monde s’en va and Un dimanche de révolution will be analyzed as a site of feminine co-production, in which the author and the translator’s voices at times collide in unison and at others create dissonance. In the case of Do­mingo de revolución, the French translator’s practices will be compared to Cuban-American Achy Obe­jas’s English translation (Revolution Sunday), in the hope of highlighting varying degrees of cultural appropriation and/or acculturation, depending on the translator’s habitus and trajectory (Bourdieu) and her own background. These reflections will lead to a broader analysis of paratext as a site of further agency and potential redress as (Afro-) Brazilian history and literature are examined in works circulated by writer/translator/publisher Paula Anacaona. Ultimately, figures traditionally sidelined from hegemonic and patriarchal (his)stories, whose voices are restored in Anacaona’s paratextual practices, will serve as illustrations of feminine publishing practices that challenge (phallo-)centric models from the metropolis.

This article will present the extent to which literature could be viewed as means of social communication – i.e. informing and influencing society – in 19thcentury France, by analysing the appearance of three authors at different points: the beginning, the middle and the end of the century. The first is the case of Balzac at the beginning of the 19th Century who becomes the most successful novelist of the century in France and who, in his prolific expression and rich vocabulary, portrays society from various angles in a huge opus of almost 100 works, 93 of them making his Comédie humaine. The second is the case of Gustave Flaubert whose famous novel Madame Bovary, which depicts a female character in a realist but also in a psychologically conscious manner, around the mid-19th century reaches French courts together with Les Fleurs du Mal by Charles Baudelaire and is exposed as being socially judged for its alleged immorality. The last is the political affair of Dreyfus and its defender Emile Zola, the father of naturalism. This case confirms the establishment of more intense relations between writer and politics and builds a solid way for a more conscious and everyday political engagement in the literary world from the end of the 19th century onwards. These three are the most important cases which illustrate how fiction functioned in relation to society, state and readership in 19th century France.

Manuel de Oliveira Lima as an important diplomat of the First Republic in Brazil reflects on an individual, national, and universal plane the convergence of politics and literature. His writing demonstrates an explicit attempt to construct a national identity that emanates not only between literature and diplomacy, but also between the personal and the historical, as well as, the foreign and the national. This paper analyzes brief examples of his criticism, personal correspondence, and fiction that demonstrate the convergence of these fields.

Este ensaio se debruça sobre as seis narrativas que, publicadas por J. M. Pereira da Silva no periódico carioca Gabinete de Leitura, em 1837, não tiveram o seu pioneirismo reconhecido pelos historiadores e críticos da literatura brasileira. A análise dos temas, assuntos e formas desses relatos procura demonstrar o importante contributo do autor para a criação e nacionalização da prosa de ficção brasileira. *** In the origins of the Brazilian novel: the first narratives of J. M. Pereira da Silva ***This essay focuses on the six narratives that, published by J. M. Pereira da Silva in the Rio newspaper Gabinete de Leitura, in 1837, didn’t have its pioneering role recognized by the historians and critics of Brazilian Literature. The themes, subjects and forms analysis of these stories seeks to demonstrate the author’s important contribution to the creation and nationalization of Brazilian prose fiction.Keywords: Brazilian romanticism; prose fiction; J. M. Pereira da Silva; Gabinete de Leitura.

Agatha Christie's detective fiction has met with great success beyond anglophone markets, having been translated and retranslated in forty-four languages, including Brazilian Portuguese. Christie's ubiquity in popular literature makes the publication history of one of her most highly acclaimed and broadly disseminated novels, originally published as Ten Little Niggers in 1939, especially compelling as a demonstration of postcolonial interconnectivity in international book markets, as publishers followed each other's cues, more or less erratically, in distancing themselves from a thorny cultural issue by rebranding the novel under a series of titles on both sides of the Atlantic.

There is a familiar critical narrativeabout the fin de siècle, into which gothic fiction fits very neatly. It is the story of the gradual decay of Victorian values, especially their faith in progress and in the empire. The self-satisfied (middle-class) builders of empire were superseded by the doubters and decadents. As Patrick Brantlinger writes, “After the mid-Victorian years the British found it increasingly difficult to think of themselves as inevitably progressive; they began worrying instead about the degeneration of their institutions, their culture, their racial ‘stock’” (230). And this late-Victorian anomie expressed itself in the move away from realism and toward romance, decadence, naturalism, and especially gothic horror. No wonder, then, that the 1880s and 1890s saw a surge of gothic fiction paranoiacally concerned with the disintegration of identity into bestiality (Stevenson'sThe Strange Case of Dr. Jekyll and Mr. Hyde, 1886), the loss of British identity through overpowering foreign influence (du Maurier'sTrilby, 1894), the vulnerability of the empire to monstrous and predatory sexualities (Stoker'sDracula, 1897), the death of humanity itself in the twilight of everything (Orwell'sThe Time Machine, 1895). The Victorian Gothic, thus, may be read as an index of its culture's anxieties, especially its repressed, displaced, disavowed fears and desires. But this narrative tends to overlook the Victorians’ concerns with the terrifying possibilities of progress, energy, and self-assertion. In this essay I consider two oppositions that shape critical discussions of the fin-de-siècle Gothic – horror and terror, and entropy and energy – and I argue that critics’ exploration of the Victorians’ seeming preoccupation with the horrors of entropic decline has obscured that culture's persistent anxiety about the terrors of energy. I examine mid- to late-Victorian accounts of human energy in relation to the first law of thermodynamics – the conservation of energy – in both scientific and social discourses, and then I turn to Richard Marsh's 1897 gothic novelThe Beetleas an illustration of my point: the conservation of energy might have been at least as scary as entropy to the Victorians.

RESUMO: O presente trabalho analisa a trajetória de vida da personagem Zé Pinto nas narrativas de O mundo inimigo, de Ruffato, com objetivo de discutir aspectos importantes sobre o mundo do trabalho na ficção. Como destacou Candido, a vida da personagem do romance depende da economia da obra, pois relaciona-se diretamente aos demais elementos que a constituem. A trajetória de Zé Pinto está relacionada a de demais personagens e a análise pretendida permite discutir as temáticas da precariedade, da solidão e da desintegração, também relacionadas à forma romanesca. PALAVRAS-CHAVE: Romance brasileiro contemporâneo, Personagem de ficção, O trabalhador na literatura, Literatura e sociedade. __________________________________________ ABSTRACT: The present work analyzes the life trajectory of the character Zé Pinto in the narratives of O mundo inimigo, by Ruffato, aiming to discuss important aspects about the world of work in fiction. As Candido pointed out, the life of the novel's character depends on the economy of the work, as it relates directly to the other elements that constitute it. The trajectory of Zé Pinto is related to that of other characters and the intended analysis allows to discuss the themes of precarious, solid and disintegration, also related to the romance form. KEYWORDS: Contemporary Brazilian Romance, Fiction character, The worker in literature, Literature and society.

Resumo: O presente trabalho tem como objetivo analisar a prosa de ficção de Luiz Ruffato – em especial seu livro Flores artificiais (2014) – sob a perspectiva do hibridismo (considerando, em especial, o conceito de hibridismo identitário, proposto por Stuart Hall) e da simulação (considerando, em especial, o conceito de simulacro, proposto por Jean Baudrillard). A intenção deste artigo é demonstrar como a prosa de ficção de Luiz Ruffato incorpora, no plano da narrativa, mas também no da linguagem, ambos os conceitos acima aludidos, fazendo deles categorias estruturantes de sua produção ficcional.Palavras-chave: Luiz Ruffato; literatura brasileira; hibridismo; simulação; pós-modernidade.Abstract: This article aims to analyze the Luiz Ruffato fiction – especially his book Flores Artificiais (2014) – under the hybrid approach (considering in particular the concept of hybridity identity proposed by Stuart Hall) and simulation (considering in particular the concept of simulacrum, proposed by Jean Baudrillard). This article intents to demonstrate how to Luiz Ruffato prose fiction incorporates both concepts alluded above into the narrative plan, and also in language, making them structuring categories of his fictional production.Keywords: Luiz Ruffato; Brazilian literature; hybridity; simulation; post-modernity.

Resumo: Muitos são os sentidos possíveis, literais e literários, para a palavra sertão. Neste artigo, aciono especialmente um sentido topográfico mais geral, ligado à ruralidade, como destacado está em verbetes como o do dicionário Houaiss, para ensaiar uma leitura do caráter trágico de textos de autores contemporâneos, como Ronaldo Correia de Brito. É partindo do sertão como toponímia, física, subjetiva e imaginada, espaço marcante na ficção nacional, que no texto aqui apresentado se desdobram algumas considerações sobre a refiguração da tragédia na literatura brasileira contemporânea. Refiguração que possibilita a percepção de múltiplas e heterogêneas experiências que, no presente, embaralham corpos, narrativas, tempos e espaços, de forma a permitir novas miradas para conceitos polêmicos, e não menos interessantes, como literatura regional ou regionalista.Palavras-chave: literatura brasileira; sertão; tragédia.Abstract: There are many possible meanings, literal and literary, for the word backland. In this paper, I mainly stand out a more general topographic sense, linked to rurality, as highlighted is in entries like the one present in the dictionary Houaiss, to rehearse a reading of the tragic character of texts by contemporary authors, such as Ronaldo Correia de Brito. It starts from the backlands as toponymy, physical, subjective and imagined, a remarkable space in national fiction, which in the text presented here some considerations unfold about the refiguring of tragedy in contemporary Brazilian literature. Refiguration which allows the perception of multiple and heterogeneous experiences that, in the actual days, they mix up bodies, narratives, times and spaces, in order to allow new glances at controversial, and no less interesting concepts, like regional or regionalist literature.Keywords: Brazilian literature; backland; tragedy.

Ler os livros de não-ficção de escritores identificados com a literatura de ficção permite compreender melhor os mecanismos de criação literária e o estabelecimento de vozes autorais. Escritora central da literatura brasileira contemporânea, Lygia Fagundes Telles teve, nas últimas décadas, publicada em livro uma grande quantidade de textos dispersos que tratam, entre outrosassuntos, do papel da memória em narrativas de invenção. O presente artigo busca identificar, a partir destes títulos, uma teoria da memória ficcional para entender como se constituiu uma das escritas de expressão feminina mais importantes do país. Tais textos não são molduras de uma obra, mas alicerces de uma estética e de uma ética narrativa que deu visibilidade a todo um universo humano.********************************************************************Memory place in Lygia Fagundes TellesAbstract: Reading non-fiction books of authors identified with literary fiction allows us to better comprehend the mechanisms of literary creation and the establishment of authorial voices. Major writer in contemporary Brazilian literature, Lygia Fagundes Telles had, in the last decades, published in books a large amount of dispersed texts that talk, among other subjects, about the role of memory in inventiveness narratives. The present article seeks to identify,from those titles, a theory of fictional memory to undestand how one of the most important feminine expression writings in the country was formed. Such texts are not a work’s frame, but foundations of an esthetic and of an ethic narrative that gave visibility to a whole humane universe.Keywords: Feminine writing; Memory; Inventiveness

Straipsnyje „Filosofijos ir literatūros susiliejimas nihilistiniame mąstyme“ (Problemos 2010, 77) rašiau, kad postmetafizinė filosofija turėtų suintensyvinti dialogą su literatūra ir galų gale su ja susilieti. Šiame straipsnyje siūlomos dvi galimos šio susiliejimo kryptys: 1) ribų tarp realybės ir išmonės išnykimas. Kartu su G. Vattimo atsisakę korespondentinės tiesos teorijos, prieisime prie išvados apie principinę galimybę bet kuriam naratyvui būti teisingam (angl. truthful). Nihilistiniam mąstymui būdingas silpnesnis realybės jausmas, skeptiškas požiūris į sveiko proto ar natūralistinę poziciją. Tokia situacija,aprašyta Nietzsche’s, skirtį tarp realaus pasaulio ir net neįtikėtinų pasakų daro iš principo neįmanomą. Iš to plaukia keletas toli siekiančių epistemologinių ir etinių konsekvencijų. 2) Susiliedama su literatūra, nihilistinė filosofija ieško kalbos, galinčios artikuliuoti niekį, reprezentuoti tai, kas nereprezentuojama. Straipsnyje šis siekis analizuojamas pasitelkiant postmodernaus diskurso sąvokas – literatūros erdvė, nerimas. Remiamasi Maurice Blanchot, Rolando Barthe’o ir Jeano-François Lyotard’o kūriniais. Susiliedama su literatūra nihilistinė filosofija gali gyvuoti ir neturėdama ką pasakyti.Pagrindiniai žodžiai: nihilizmas, hermeneutika, pramanytumas, niekis, postmodernus.Philosophy and Literature: Two Lines of FusionLeo Luks SummaryIn the article “The Fusion of Philosophy and Literature in Nihilist Thought” (Problemos 2010, 77) I argued that post-metaphysical philosophy should intensify its dialogue with literature to the point of their eventual fusion. In this paper I will start from the conclusions of my previous article and will highlight two possible lines of this fusion:1) The disappearance of the boundary between reality and fiction. Once we let go of the correspondencetheory of truth, as Vattimo recommends, we will arrive at the principled possibility of the truthfulness of any and all narratives. Nihilist thought is characterised by a weakened sense of reality, a renouncement of common sense and naturalism. This condition, described by Nietzsche,where making a distinction between the real world and tall tales is impossible in principle, has several far-reaching epistemological and ethical consequences.2) In its fusion with literature, nihilist thought seeks for a language to articulate the nothing, to represent the unrepresentable. In the paper I will analyse this pursuit by way of the concepts of postmodernity, the space of literature, and anxiety. I will draw on the views of Maurice Blanchot, Roland Barthes and Jean-François Lyotard.By fusing with literature, nihilist philosophy can continue in a situation where it has nothing to say.Keywords: nihilism, hermeneutics, fictionality, nothingness, postmodern.

A partir da análise dos romances de Ricardo Lísias e da sua produção autocrítica, este trabalho busca entender algumas relações entre a literatura de autoficção e a publicização do sujeito autor imerso no universo midiático. Partindo de uma revisão bibliográfica que conceitua os objetos aqui circunscritos e de uma apreciação anterior sobre a produção literária de jovens escritores brasileiros selecionados pela revista Granta em 2012, estreitamos nossa focalização no movimento do romancista em direção à escrita de si e à autorreferência. Nesse sentido, analisamos e contextualizamos a modalidade de escritura denominada autoficção, especialmente no que tange às aproximações entre as instâncias do narrador e do autor e entre biografemas e ficção (FIGUEIREDO, 2013; KLINGER, 2012), e evocamos estudos da Sociologia e da Comunicação de modo a caracterizar a sociedade da qual emerge o corpus deste estudo (LIPOVESTKY, 2004; SANTAELLA, 2012). A partir desse contexto, investigamos as obras literárias – O céu dos suicidas (2012), Divórcio (2013) e Delegado Tobias (2014) – e as narrativas midiáticas de Ricardo Lísias e identificamos nelas estratégias da publicidade.********************************************************************The novel by Ricardo Lísias: wide open windows to the subject hypermodernAbstract: Through the analysis of the novels of Ricardo Lísias and its self-critical production, this work intends to understand some relationships between the self-fiction literature and the popularization of the subject author immersed in the media universe. Starting from a literature review that conceptualizes the objects herein bounded and an earlier assessment of the literary production of young Brazilian writers selected by Granta magazine in 2012, we strengthened ur focus on the novelist's movement toward the writing itself nd self-reference. Pursuing this aim, we analyzed and contextualized the form of writing named autofiction, especially with regard to the similarities between instances of the narrator and the author and between biographema and fiction (FIGUEIREDO, 2013; KLINGER, 2012). We also evoked Sociology and Media Studies to characterize the society of which emerges the corpus of this study (LIPOVESTKY, 2004; SANTAELLA, 2012). From these premises, we investigated the literary works – Céu dos suicidas (Heaven suicide, 2012), Divórcio (Divorce, 2013) and Delegado Tobias (Tobias, the police chief, 2014) – and the media narratives of Ricardo Lísias and finally we identified his advertising strategies.Keywords: Self-ficction; Contemporary literature; Hypermodernity; Ricardo Lísias

<p>O artigo faz um breve histórico do sebastianismo em Portugal, para depois avaliar as versões do mito sebástico, centrandose na obra de Plínio Salgado. A presença do mito na literatura brasileira é localizada nas seguintes obras: no <em>Dicionário de Folclore Brasileiro</em>, de Câmara Cascudo, no romance <em>O Esperado </em>e mais claramente no romance histórico <em>A Voz do Oeste</em>, texto em que o sebastianismo se torna também um mito fundador do Brasil.</p> <p>The article synthetizes a brief history of sebastianism in Portugal, and then analises the versions of “sebastic myth”, based on Plínio Salgado’s works. The presence of this myth in brazilian literature is confirmed by the following works: The <em>Folcloric Dictionary of Brazil</em>, from Câmara Cascudo, a romance entitled <em>O Esperado, </em>and the historic fiction entitled <em>A Voz do Oeste</em>, a forgotten text where the Sebastianism turns into a foundation myth of Brazil.</p>

Este artículo pretende mostrar las voces femeninas y la escritura autobiográfica en las obras Caminho de Pedras (1937), de la escritora brasileña Rachel de Queiroz, y de Luciérnagas (1949), de la escritora española Ana María Matute, a través de las protagonistas que actúan en ambas ficciones. Pretende también situarlas en el escenario político, social y cultural de la dictadura de Getúlio Vargas y de la dictadura de Franco. Con esta intención, y mediante la bibliografía pertinente, se analizaron el discurso y los contenidos de dichas obras.Palabras Clave: autobiografía, género, ficción, discurso, femenino, dictadura. Fireflies in Stone Paths: the Female Voices of Infringement as an Alternative Abstract: This article aims to show the feminist voices and autobiographical writing exposed in the books Caminho de Pedras (1937), by the Brazilian writer Rachel de Queiroz, and Luciérnagas (1949), by the Spanish writer Ana María Matute, through their main characters in both novels. It intends as well to provide political, social and cultural context ofGetúlio Vargas and Franco dictatorships respectively. With this in mind and considering the relevant literature, we analysed (its) discourse and content of both works.Keywords: autobiography, genre, fiction, discourse, feminine, dictatorship.

Resumo: Nas últimas décadas, a inscrição do animal na literatura tem assumindo novos contornos e complexidades, assistindo-se à emergência de uma zooliteratura fundada numa apreensão inédita da animalidade e no trespassamento das fronteiras entre o humano e o não humano. Cada vez mais, os escritores têm multiplicado as tentativas de encenar, por procuração ficcional, novas formas de interação com o animal, seja pela via do compartilhamento de sentidos e afetos, seja pela dos devires e metamorfoses. Neste contexto, a ficção animalista do escritor brasileiro João Guimarães Rosa, um dos maiores animalistas do século XX, constitui um paradigma modelar da figuração literária do animal, visto e escrito, não como simples constructo teórico-ficcional, mas antes como sujeito dotado de uma subjetividade própria e capaz de um olhar interrogante e judicativo sobre o Homem. É o que se tentará demonstrar, neste trabalho, através da leitura crítica de três dos seus contos: “O burrinho pedrês” e “Conversa de bois”, de Sagarana (1946), e “Meu tio o Iauaretê”, de Estas estórias (1969).Palavras-chave: animal; humano; interação; compartilhamento; devir; metamorfose.Abstract: Over the last decades, animal presence in literature has taken on new forms and disclosed new complexities, giving rise toa zooliterature founded upon a renewed insight into animality and the trespassing of the frontiers separating humans and non-humans. Writers have progressively multiplied attempts to enact, through fiction, new forms of interaction with the animal, either through sharing of meaning and affection, or through becoming and metamorphosis. In this context, the Brazilian writer João Guimarães Rosa’s animal fiction, one of the most remarkable 20th century animalist fiction writers, offers a perfect paradigm of the literary figuration of the animal, both seen and written, considered not as a mere theoretical and fictional artifact, but rather as a subject invested with its own ontology and capable of interrogating and judging human behavior. This is the argument we will seek to demonstrate in this article through the critical reading of three of Rosa’s short stories: “O burrinho pedrês” and “Conversa de bois”, included in Sagarana (1946), and “Meu tio o Iauaretê”, from Estas estórias (1969).Keywords: animal; human; interaction; sharing; becomings; metamorphosis.

Artikkelen undersøker avgangselevers legitimering av litteraturundervisningen i videregående skole samt den litterære kompetansen de har utviklet gjennom opplæringsløpet. Spørsmålet om skjønnlitteraturens plass og legitimitet i norskfaget har vært mye diskutert i fagpolitisk sammenheng siden innføringen av Læreplanverket for Kunnskapsløftet. Debatten har til dels vært preget av steile fronter i så vel deskriptive som normative spørsmål om skjønnlitteraturens stilling blant norskfagets andre fagkomponenter, om læreplanens føringer for utvalg av litterære tekster, og om forholdet mellom skjønnlitterær lesing og literacy-dreiningen i faget. Elevenes stemme har imidlertid vært fraværende i debatten, og i denne artikkelen søkes derfor svar på tre spørsmål: I hvilken grad mener avgangselever på studiespesialisering at arbeid med skjønnlitteratur genrelt, og klassiske kanontekster spesielt, har legitimitet i videregående opplæring? Hvilke begrunnelser har elevene for de legitimitetssvarene de gir? Og hvilken litterær kompetanse tyder svarene på at elevene har tilegnet seg gjennom opplæringen? Tilnærmingen er fenomenologisk, basert på semistrukturerte intervju av nylig avgåtte elever fra studiespesialiserende opplæring, men den inkluderer også leselogger knyttet til arbeidet med kanoniserte noveller fra realismen/naturalismen. Resultatene viser at elevene argumenterer for viktigheten av å møte den kanoniserte litteraturen i norskfaget, og at de særlig knytter legitimeringen til nye perspektiver på egen livsverden gjennom empati og historisk bevissthet, og til tekstkulturell tilgangskompetanse. I refleksjoner over tekstene demonstrerer elevene stor grad av fiksjons- og overføringskompetanse, men langt mer varierende grad av analytisk kompetanse og utholdenhet i møte med krevende tekster.Nøkkelord: litteraturdidaktikk, litterær kanon, norskfaget i videregående opplæring, litteraturfaglig legitimering, litterær kompetanse.Practicing empathy and cultural access. Upper secondary graduates’ reading, understanding and legitimization of canonized fiction.AbstractThis article examines newly graduates’ legitimizing of literature teaching in upper secondary school, and what literacy competence they have developed during their education. Fiction and poetry reading in the Norwegian L1 subject has been a highly debated policy question since the new curriculum standards were implemented in 2006, and the discussions have to a certain extent been characterized by steep fronts in as well descriptive and normative questions of literature’s position among other content parts of the L1 subject, the curriculum’s guidelines for selection of literacy texts, and the relationship between literary reading and the literacy turn in the L1 subject. However, in this debate the students’ voice has not been heard, so this article seeks to answer three questions: To what degree do graduates find that literary reading in general and specifically that of canonized texts is legitimate in upper secondary school? How do the graduates justify their legitimatizations? And, finally, what literary competence do the graduates’ answers imply they have acquired throughout their education? The approach is phenomenological, mainly based on semi-structured interviews with academic specialization graduates, but also includes reading logs from encounters with canonized short-stories from the realism/naturalism period. The results show that the graduates advocate the importance of reading canonized literature in the Norwegian L1 subject, and that their legitimatization strategies are particularly related to the literature’s potential for offering new perspectives on their own lifeworld through empathy and historical awareness, and to cultural literacy. Through their reflections on the literary texts the graduates demonstrate highly developed fiction and transfer competence, while their analytical competence and tolerance for texts that demand complex reading skills are more varying.Keywords: literature didactics, literary canon, upper secondary L1, legitimizing literature, literary competence

<p>O presente artigo trata da importância da História para a Literatura e busca retratar uma obra cujo espírito foi justamente esse, o de resgatar a história muitas vezes esquecida ou desprezada. A obra <em>Boca do Inferno</em>, da autora Ana Miranda faz uma reconstituição do Brasil colônia do século XVII e aborda temas políticos e literários com perfeita verossimilhança, ou seja, ela mistura verdade com ficção de tal forma que não se chega a saber quando uma termina para o início da outra. A obra trata de um ponto da vida do poeta Gregário de Matos Guerra e do Padre Antônio Vieira, eles são personagens da própria história que ajudaram a fazer, além de narrar fatos políticos da época. Assim, mesclando história e ficção, Ana Miranda dá vida a uma das melhores obras literárias dos últimos anos que trata daquele começo de história brasileira.</p> <p>The present article talks about the importance of history to the literature and tries to show a work whose spirit waqnted to get back the History, most of the time forgotten or despised. The work “Boca do Inferno”, by the author Ana Miranda made a reconstitution Colonial Brazil in the seventeenth century and talks about political and literary themes with a perfect like hood (verisimilitude), or better, she mixes the reality with fiction in a way that it’s hard to say when one ends and the other begins. The work talks about a point of Gregório de Matos Guerra and Padre Antonio Vieira’s life; They are caracters of the history who helped to do something, besides relating political facts of the time they lived in. This way, mixing History and fiction, Ana Miranda gives life to one of the best literary works of the latest years which talks about the begining of the Brazilian History.</p>

Este artigo analisa a temática da violência familiar. Busca-se investigar, por meio da linha americana de comparatismo como método de análise e também utilizando noções de intertextualidade, de que forma a violência familiar é abordada em dois gêneros literários, um miniconto e umromance, e em dois gêneros não literários, duas charges. Pretende-se averiguar a intencionalidade desses objetos para com o leitor: chocar,fazer refletir, criticar ou sensibilizar. Tem-se como objetos de estudo um miniconto, de Flora Medeiros, o romance “Becos da Memória”,de Conceição Evaristo, e duas charges, uma de Janilton Nunes e outra de Arionauro da Silva Santos. Por meio do estudo realizado pode-se perceber que os agressores, geralmente, são os pais, cuja função seria garantir a segurança e a afetividade dos seus filhos. Ademais, destaca-se que a temática da violência está presente no cotidiano e na constituição da sociedade brasileira. Palavras-chave: Violência Familiar. Literatura. Gêneros Literários. Gêneros não-Literários. Intertextualidade. AbstractThis article examines the topic of family violence. The aim is to investigate, through the Comparatism American line as an analysis method and also using notions of Intertextuality, how the domestic violence is approached in two literary genres, a Flash fiction and a novel, and in two genres, non-literary, two chargers. The aim is to ascertain the intention of those objects to the reader: to shock, to make them reflect, criticize or raise awareness. It has as study objects a Flash fiction, byFlora Medeiros, the novel “Becos da Memória”, , by Conceição Evaristo, and two charges, one by Nandi and Janilton Nunes and the other by Arionauro da Silva Santos . Through the study carried out it is possible to realize that the attackers are usually the parents, whose function would be to ensure their children’s safety and the affection. Furthermore, the topic of violence is present in daily life and in the constitution of the brazilian society. Keywords: Domestic Violence. Literature. Literary Genres. Non Literary Genres. Intertextuality.

Resumo: Este artigo examina as obras de João Guimarães Rosa, Mário de Andrade e João Simões Lopes Neto com o objetivo de verificar em que medida pontos de contato identificados na ficção desses autores promovem rearranjos na série literária brasileira. O estudo parte da noção de tradição literária, tal qual formulada por T. S. Eliot e Jorge Luis Borges, e, em seguida, procura mapear a ocorrência de ressonâncias das principais obras de Mário de Andrade e Simões Lopes Neto na literatura de Guimarães Rosa. Assim procedendo, pretende averiguar como a obra de Guimarães Rosa ressignifica os textos de Mário de Andrade e Simões Lopes Neto, renovando sua legibilidade e modificando sua posição no campo literário.Palavras-chave: Guimarães Rosa; Mário de Andrade; Simões Lopes Neto; tradição literária.Abstract: We discuss João Guimarães Rosa’s, Mário de Andrade’s, and João Simões Lopes Neto’s works, with the purpose of verifying to what extent contact points identified in these authors’ fiction promote readjustments in the Brazilian literary series. The reflection is based on the literary tradition notion, as formulated by T. S. Eliot and Jorge Luis Borges, and subsequently aims at mapping the occurrence of resonances of Mário de Andrade and Simões Lopes Neto works in Guimarães Rosa’s literature. By doing so, the study intends to examine how Guimarães Rosa’s work resignifies Mário de Andrade and Simões Lopes Neto texts, renewing their legibility and modifying their position in the literary field.Keywords: Guimarães Rosa; Mário de Andrade; Simões Lopes Neto; literary tradition.

Resumo: O presente estudo consiste em uma leitura crítica de A serviço del-Rei, de Autran D/ourado, contemplando o caráter metaficcional da mediação narrativa e a formulação de um alter ego do autor. Além desses pontos, recebe destaque o diálogo que o volume estabelece com outras obras do escritor mineiro e da literatura ocidental a partir da composição de metáforas. A fim de cumprir a finalidade a que se propõe, a pesquisa tem como fundamento teórico os estudos sobre metáfora e imaginação poética de Philip Wheelwright (1968) e Gaston Bachelard (1990, 2001, 2002), e as reflexões sobre a ficção do século XX que Haroldo de Campos (1972) e Severo Sarduy (1972) denominam neobarroca.Palavras-chave: Autran Dourado; ficção brasileira; metáfora; imaginação; neobarroco.Abstract: The ongoing work aims at presenting a critical reading of A serviço del-Rei, written by Autran Dourado. Throughout the analysis, we focus on the metafictional characteristics of the narrative status as well as on some formulation of the author’s alter ego and on the dialogue established by the volume with other works also written by Dourado. Regarding the metaphorical construction, another relevant connection is with Western literature. In order to follow the purpose of this research on the topic, we rely on Philip Wheelwright’s studies and Gaston Bachelard’s thoughts about metaphor and poetic imagination. In addition, we consider Haroldo de Campos and Severo Sarduy’s reflections on Neo-Baroque tendencies of the twentieth century.Keywords: Autran Dourado; Brazilian fiction; metaphor; imagination; neo-barroque.

Resumo: Este artigo objetiva identificar e refletir sobre as estratégias discursivas utilizadas nos prefácios de obras que participam da consolidação do sistema literário brasileiro no século XIX: Primeiros cantos, Lira dos vinte anos, A moreninha e Ressurreição. Busca-se estudar as imagens construídas acerca do Leitor, do Autor e da Obra nos textos introdutórios de Gonçalves Dias, Álvares de Azevedo, Joaquim Manuel de Macedo e Machado de Assis. Parte-se da concepção de paratexto desenvolvida por Gérard Genette (2009) que destaca, especialmente, o aspecto intersticial do prefácio, além do cotejo com dois grandes modelos de prefácio para o Romantismo brasileiro: o Prólogo da Primeira Parte de O engenhoso fidalgo Dom Quixote de La Mancha, de Miguel de Cervantes, e Prefácio ao Cromwell, de Victor Hugo. Ao reafirmar a condição de antessala da obra literária, o prefácio é entendido como um limiar entre realidade e ficção que, para além da função circunstancial e pragmática de apresentação do texto, possibilita a criação de uma verdadeira mise-en-scène discursiva. Nesse sentido, aprecia-se como os autores brasileiros, num contexto literário julgado incipiente, constroem os princípios de um “como e por que ler” indispensáveis à formação de um público-leitor.Palavras-chave: paratexto; prefácio; Romantismo.Abstract: This article seeks to identify and provoke reflections about the discursive strategies used in the prefaces of works that are part of the consolidation process of XIX century Brazilian literature: Primeiros cantos, Lira dos vinte anos, A moreninha and Ressurreição. The aim here is to study the images around the Reader, the Author and the Work within the forewords from Gonçalves Dias, Álvares de Azevedo, Joaquim Manuel de Macedo and Machado de Assis. The article parts from the concept of paratext developed by Gérard Genette (2009), which highlights the interstitial aspect of the preface, besides the comparison between two great preface models for the Brazilian Romanticism: the Prologue from the First Part of The Ingenious Knight Dom Quixote de La Mancha, by Miguel de Cervantes, and Preface to Cromwell, by Victor Hugo. While reaffirming a prelude status in the literary work, the preface is understood as a threshold between reality and fiction and enables the creation of a true discursive mise-en-scène, apart from working as circumstantial and pragmatic tool to present the text. In this regard, the way that Brazilian authors weave the principles of a “way and a reason to read” in a literary context considered incipient is very much appreciated and indispensable for the formation of a readership.Keywords: paratext; preface; Romanticism.

Pretendemos expor as ideias principais que norteiam a produção crítica de Carvalho Júnior. Relembrado pelos estudiosos como poeta de alguns poemas “carnais”, o autor é extremamente desconhecido enquanto crítico literário e político; não obstante, contribuiu para a formação de uma crítica literária brasileira. Tomando como fonte o corpus recolhido por Arthur Barreiros (1879), este artigo funciona como uma introdução a essa produção de Carvalho Júnior. Assim, dividimo-lo em duas partes centrais: uma referente às suas concepções de literatura e de sistema literário, e outra sobre sua crítica literária e seu método crítico. Com isto, analisamos como o aporte estabelecido naquela influiu na prática desta. Demonstramos que a concepção de literatura do autor, alinhada a seus posicionamentos políticos, se baseia num ideal positivista, sobretudo taineano: haveria um vínculo estreito entre sociedade e produção artística, de forma que esta seria produto do meio e, juntamente com ele, evoluiria. Sua crítica literária, por outro lado, se pende para o Realismo-Naturalismo, parece nunca ter abandonado os sestros românticos, ou mesmo os clássicos, fazendo-o recorrer a Staël, Schlegel, Dumas filho e Aristóteles. É, por fim, uma crítica literária bem representativa do clima intelectual de 1870-1890, sobretudo no que diz respeito à confluência de estéticas literárias. *** Carvalho Júnior, literary and political critic ***This paper aims at presenting the main ideas that constitute the critical production of Carvalho Júnior. The author, remembered by many scholars as the poet of some sensual poems, is entirely unknown as a literary and political critic. Nevertheless, he contributed to the formation of a Brazilian literary criticism. Thus, this paper works as an introduction to Carvalho Júnior’s literary criticism, taking as a source the corpus collected by Arthur Barreiros (1879). For this purpose, we divided the paper in two central parts: one concerning his conceptions of literature and of literary system, and another about his literary criticism and his critical method. We analyse how the contribution established in that one influenced the practice of his criticism. We demonstrate that his conception of literature, attached to his political positions, was based on a positivist ideal: there would be a link between the society and its artistic production, so that the latter would be a product of the milieu and, along with it, would evolve. His literary criticism, on the other hand, although adept of the Realism-Naturalism, never excluded the romantic and even classic tendencies, making Carvalho Júnior turn to Staël, Schlegel, Dumas fils and Aristotle. Lastly, his literary criticism is representative of the 1870-1890 intelligentsia, mainly concerning the confluence of literary aesthetics.Keywords: Francisco Antônio de Carvalho Júnior; literary criticism; 19th century.

Resumo: Este artigo visa estudar as linhas de força do projeto intelectual de Luiz Costa Lima, a fim de analisar como sua teoria sobre a mímesis se insere no questionamento epistemológico acerca de uma filosofia da literatura, com contribuição decisiva para se examinar os modos e as condições com as quais o discurso literário pode ser pensado na modernidade. Tomo como ponto de partida o diálogo travado pelo crítico brasileiro com o pensamento pós-estruturalista, mais especificamente, os dois ensaios por ele elaborados acerca da filosofia antirrepresentacional de Gilles Deleuze. Parto da hipótese de que, tomada sob a lógica da reivindicação da diferença, entendida seja em um prisma político-cultural, seja em um prisma ontológico, independentes, mas complementares, a antropologia literária de Costa Lima não se revela um projeto isolado no cenário de pesquisas contemporâneo acerca da literatura.Palavras-chave: mímesis; representação; diferença; ficção.Abstract: This article aims to study the strengths of Luiz Costa Lima’s theoretical project, in order to analyze how the debate on mimesis, created by him, participates in contemporary epistemological questioning, with a decisive contribution to thinking about the modes and conditions with which literary discourse can be enunciated in modernity. The starting point is the dialogue carried out by the Brazilian critic with post-structuralist thinking, more specifically, the two essays he elaborated regarding Gilles Deleuze’s anti-representational philosophy. The hypothesis is that, considered under the logic of claiming difference, understood either in a political-cultural prism or in an ontological prism, independent but complementary, Costa Lima’s literary anthropology does not reveal itself as an isolated project in the contemporary research scene that has literature as its central object.Keywords: mimesis; representation; difference; fiction.

Nos anos de 1878 e 1879 foi publicada em forma de folhetim, na Revista Brasileira (Rio de Janeiro), a novela O Patuá, descrita por Walter Spalding como “notável ensaio de ficção sobre usos e costumes gauchescos”. Essa revista foi fundada por Carlos Jansen, Sílvio Romero, Franklin Távora e Machado de Assis, sendo o primeiro deles o autor dessa novela-folhetim. O alemão Carlos Jansen integrou o grupo dos brummers, mercenários contratados pelo imperador brasileiro para lutarem contra Juan Manuel de Rosas e Manuel Oribe, no período de 1851 e 1852. Após os combates, Jansen permaneceu no Rio Grande do Sul como professor, funcionário provincial ligado à imigração e intelectual (jornalista, romancista e tradutor), depois mudando-se para o Rio de Janeiro, onde também lecionou, morrendo em 1889. O intento desse artigo é analisar essa novela, percebendo as representações nela presentes sobre a escravidão e, em especial, sobre os africanos para cá trazidos pela diáspora transatlântica. Percebemos também que essa obra serviu para o autor construir uma autoimagem positiva, a qual nos permite perceber como se estruturava no período a imagem de um intelectual/homem de letras.Palavras-chave: Escravidão. Africanos. Imigração. Literatura.ABSTRACTIn the years 1878 and 1879, the soap opera O Patuá was published in the Brazilian magazine (Rio de Janeiro), the novel O Patuá, described by Walter Spalding as “a remarkable fiction essay on gauchescos uses and customs”. This magazine was founded by Carlos Jansen, Sílvio Romero, Franklin Távora and Machado de Assis, the first of whom was the author of this soap opera. The German Carlos Jansen was part of the group of brummers, mercenaries hired by the Brazilian emperor to fight against Juan Manuel de Rosas and Manuel Oribe, between 1851 and 1852. After the fighting, Jansen remained in Rio Grande do Sul as a teacher, connected provincial official immigration and intellectuals, later moving to Rio de Janeiro, where he died in 1889. The purpose of this article is to analyze this novel, realizing the representations present in it about slavery and, in particular, about the Africans brought here by the diaspora transatlantic. We also realized that this work served for the author to build a positive self-image, which allows us to understand how the image of an intellectual / man of letters was structured in the period.Keywords: Slavery. Africans. Immigration. literature.

Nos anos de 1878 e 1879 foi publicada em forma de folhetim, na Revista Brasileira (Rio de Janeiro), a novela O Patuá, descrita por Walter Spalding como “notável ensaio de ficção sobre usos e costumes gauchescos”. Essa revista foi fundada por Carlos Jansen, Sílvio Romero, Franklin Távora e Machado de Assis, sendo o primeiro deles o autor dessa novela-folhetim. O alemão Carlos Jansen integrou o grupo dos brummers, mercenários contratados pelo imperador brasileiro para lutarem contra Juan Manuel de Rosas e Manuel Oribe, no período de 1851 e 1852. Após os combates, Jansen permaneceu no Rio Grande do Sul como professor, funcionário provincial ligado à imigração e intelectual (jornalista, romancista e tradutor), depois mudando-se para o Rio de Janeiro, onde também lecionou, morrendo em 1889. O intento desse artigo é analisar essa novela, percebendo as representações nela presentes sobre a escravidão e, em especial, sobre os africanos para cá trazidos pela diáspora transatlântica. Percebemos também que essa obra serviu para o autor construir uma autoimagem positiva, a qual nos permite perceber como se estruturava no período a imagem de um intelectual/homem de letras.Palavras-chave: Escravidão. Africanos. Imigração. Literatura.ABSTRACTIn the years 1878 and 1879, the soap opera O Patuá was published in the Brazilian magazine (Rio de Janeiro), the novel O Patuá, described by Walter Spalding as “a remarkable fiction essay on gauchescos uses and customs”. This magazine was founded by Carlos Jansen, Sílvio Romero, Franklin Távora and Machado de Assis, the first of whom was the author of this soap opera. The German Carlos Jansen was part of the group of brummers, mercenaries hired by the Brazilian emperor to fight against Juan Manuel de Rosas and Manuel Oribe, between 1851 and 1852. After the fighting, Jansen remained in Rio Grande do Sul as a teacher, connected provincial official immigration and intellectuals, later moving to Rio de Janeiro, where he died in 1889. The purpose of this article is to analyze this novel, realizing the representations present in it about slavery and, in particular, about the Africans brought here by the diaspora transatlantic. We also realized that this work served for the author to build a positive self-image, which allows us to understand how the image of an intellectual / man of letters was structured in the period.Keywords: Slavery. Africans. Immigration. literature.

Writing by Ear, despite its subtitle, is not merely a book about the presence of aurality in Clarice Lispector’s fiction. Marília Librandi’s book closely listens to Lispector’s fiction to find the resonances and reverberations of a mode of writing that informs a large part of Brazilian literature of the modern period. There is a “listening in writing,” the author argues, and she offers three interrelated concepts—“writing by ear,” “aural novel,” and “echopoetics”—to help the reader follow her auditory journey through Lispector’s life and writing.

Purpose/Thesis: The complexity of subject analysis in knowledge organization is significantly incre­ased when the material consists on imaginative literature and fiction. This situation reveals a lack of methodological studies on subject analysis of fiction literature compared with the subject analysis of scientific literature.Approach/Methods: The methodology is the literary discourse analysis applied to two short stories by a Brazilian writer.Results and conclusions: The short stories were analysed in order to demonstrate how this kind of analysis can be an alternative to the information representation in knowledge organization.Originality/Value: The originality of the work lies in its choice to deal with the literary discourse analysis as a methodology for the knowledge organization.

An analysis of the confessional text by Lêdo Ivo, one of the greatest Brazilian poets of the 20th and 21st centuries, highlighting the autobiographical status, in which the category of pretence, of fiction that creates a narrative identity falls. At the same time, the aim of this study is to establish the internal relationships between autobiography and the ‘truth’ of memory.

Christopher Douglas is one of the most prominent scholars who has studied the rise of the conservative Christian Right in the American political arena and the links of this complex movement to American culture. Prof. Douglas taught at the University of Toronto and, for five years, at Furman University, South Carolina before transferring to University of Victoria in 2004. He teaches American literature, particularly contemporary American fiction, religion and literature, multicultural American literature, postmodernism, and the Bible as Literature. In the interview below, Prof. Douglas talks about his research and the idea behind his book “If God Meant to Interfere”, published in 2016; the explanatory concepts of Christian Multiculturalism and Christian Postmodernism; the spread of fake news, conspiracy theories, and alternative facts among Christian fundamentalists; the American political context. Prof. Douglas also offers interesting comments on the current Brazilian situation. His critical insights provide interesting and new perspectives that give fresh vitality to the debates about Christian fundamentalism. Prof. Douglas is committed to “public-scholar engagement” that is, research-based critical writings for non-academic audiences.Links to his public academic activity are inserted throughout the interview.

AbstractThe employee as a typical figure of modernity has been represented as a specific type of literary anti-hero since the nineteenth century. Italo Svevo’s early novel, Una vita (1982, A Life), is an example that is strongly related to the theme of the anti-hero in the French novel of disillusion, as well as to the fin-de-siécle concern with an incapacitated, dilettante protagonist, unable to act and live. In light of Svevo’s own misgivings about the profession of writing fiction, the novel reflects on the relation between literature and life, by way of an uprooted individual who finds himself ill at ease in the anonymous, competitive world of modernity. The subject of Svevo’s novel, the arrival of a provincial, petit-bourgeois intellectual to a semi-provincial city, may also be found in a somewhat later Brazilian novel, O amanuense Belmiro (The amanuensis Belmiro, 1937) by Cyro dos Anjos. Aside from parallels of plot, social, and geographical setting, which are grounded in the experience of modernity in different contexts, the two novels may be said to model a new kind of author-function, as well as a specific form of a non-linear, self-reflexive novel.

In the paper, I spotlight the question about the determining the post-postmodern component in the novels that represent the contemporary literary process of the UK. The methodological conflicts that appear during the study of the contemporary literary process in the aspect of the attempts of literary scholars to extrapolate the key phenomena of postmodernism to the literature that has replaced this cultural and historical period is emphasized. It is determined that at the present stage of the functioning of literature it is expedient to outline first of all the changes concerning philosophical parameters of the novel; characteristics of post-postmodernism should be found not in the poetics but in the worldview of the protagonists by analyzing the motive and thematic units represented in the novels after 2000. The stylistic specificity of the post-postmodern novel determined by the intention of the characters to reach the level of comprehension of reality from rational positions, which makes possible the search for truth in the transcendental meanings, is emphasized. The emphasis relates to the semantic paradigm of the British post- postmodern novel. The strategies of positivistic thinking in the contemporary British novels, whose characters reveal a scientific approach to the perception of reality, their body, identity, thinking, etc., are determined. The principles of constructing a post-postmodern narrative are formed by spotlighting factual material (diary, encyclopedic records, notes, memoirs, etc.) oriented to intensify the search for characters in the plane of meaning and not only for the purpose of the postmodern game. The discussion with I. Kropyvko about the inappropriateness of considering the contemporary literary process in the categories of postmodernism was introduced. The newest philosophical studies («The Routledge companion to twenty-first century literary fiction», A. Pavlov’s dissertation) are outlined, in which an attempt was made to systematize different directions determining the epistemological basis of post-postmodernism. The necessity of the contemporary theory of literature to define the literary phenomena after the year 2000 in the categories of postmodernist paradigm has been explained. Keywords: post-postmodernism, postmodernism, contemporary British novel, naturalism, problem-thematic units of post-postmodernism, paradigm of meaning.

Resumo: Este trabalho pretende abordar o diálogo entre as artes literária e fotográfica a partir de textos de escritores brasileiros contemporâneos. A presença da imagem nos romances do século XXI permite a transcendência da escrita, uma vez que as construções imagético-textuais, escolhidas como corpus para esta análise, ou apresentam fotógrafos como protagonistas – caso de Satolep, de Vitor Ramil e de O fotógrafo, de Cristovão Tezza – ou se apresentam como um verdadeiro álbum fotográfico, caso de Eles eram muitos cavalos, de Luiz Ruffato. As convergências entre literatura e fotografia com vistas à produção de sentido das cidades ali representadas instigam infinitas reflexões, com alunos de nível médio e superior, uma delas acerca desses espaços plurais problematizados pelos escritores e que atuam como protagonistas na ficção contemporânea. Repensar o nosso papel enquanto sujeitos-leitores e críticos desse locus urbano é um dos objetivos desse estudo. Para tanto, alguns teóricos servem de suporte nesse processo, são eles: Kevin Lynch, Richard Sennett, Italo Calvino, Walter Benjamin, Zygmunt Bauman, Roland Barthes, Susan Sontag, entre outros. Palavras-chave: Romance brasileiro contemporâneo. Literatura. Fotografia. LITERARY ART AND PHOTOGRAPHIC ART IN THE CLASSROOM: CONVERGENCES Abstract: This paper intends to discuss the dialogue between literary and photographic arts from contemporary Brazilian writers’ texts. The presence of the image in the 21st century novels allows writing transcendence, since the image- textual constructs, chosen as corpus for this analysis, present or photographers as protagonists – as it is the case in Satolep, by Vitor Ramil and O fotógrafo, by Cristovão Tezza – or correspond in fact to a photo album – as in Eles eram muitos cavalos, by Luiz Ruffato. The convergences between literature and photography in order to produce the sense of the represented cities allow several reflections with High school and College students, one of them about these plural spaces problematized by writers and which act as protagonists in contemporary fiction. Rethinking our role as subject-readers as well as critics of this urban locus is one of the objectives of this study. Therefore, some theorists serve to support this process, they are: Kevin Lynch, Richard Sennett, Italo Calvino, Walter Benjamin, Zygmunt Bauman, Roland Barthes, Susan Sontag, among others.Keywords: Contemporary Brazilian novel. Literature. Photography.

“What is the point of stories in such a moment”, asks author and critic James Bradley, writing about climate extinction: Bradley emphasises that “climatologist James Hansen once said being a climate scientist was like screaming at people from behind a soundproof glass wall; being a writer concerned with these questions often feels frighteningly similar” (“Writing”). If the impact of climate change asks humans to think differently, to imagine differently, then surely writing—and reading—must change too? According to writer and geographer Samuel Miller-McDonald, “if you’re a writer, then you have to write about this”. But how are we to do that? Where might it be done already? Perhaps not in traditional (or even post-) Modernist modes. In the era of the Anthropocene I find myself turning to non-traditional, un-real models to write the slow violence and read the deep time that is where we can see our current climate catastrophe.At a “Writing in the Age of Extinction” workshop earlier this year Bradley and Jane Rawson advocated changing the language of “climate change”—rejecting such neutral terms—in the same way that I see the stories discussed here pushing against Modernity’s great narrative of progress.My research—as a reader and writer, is in the fantastic realm of speculative fiction; I have written in The Conversation about how this genre seems to be gaining literary popularity. There is no doubt that our current climate crisis has a part to play. As Margaret Atwood writes: “it’s not climate change, it’s everything change” (“Climate”). This “everything” must include literature. Kim Stanley Robinson is not the only one who sees “the models modern literary fiction has are so depleted, what they’re turning to now is our guys in disguise”. I am interested in two recent examples, which both use the strongly genre-associated time-travel trope, to consider how science-fiction concepts might work to re-imagine our “deranged” world (Ghosh), whether applied by genre writers or “our guys in disguise”. Can stories such as The Heavens by Sandra Newman and “Anxiety is the Dizziness of Freedom” by Ted Chiang—which apply time travel, whether as an expression of fatalism or free will—help us conceive the current collapse: understand how it has come to pass, and imagine ways we might move through it?The Popularity of Time TravelIt seems to me that time as a notion and the narrative device, is key to any idea of writing through climate change. “Through” as in via, if the highly contested “cli-fi” category is considered a theme; and “through” as entering into and coming out the other side of this ecological end-game. Might time travel offer readers more than the realist perspective of sweeping multi-generational sagas? Time-travel books pose puzzles; they are well suited to “wicked” problems. Time-travel tales are designed to analyse the world in a way that it is not usually analysed—in accordance with Tim Parks’s criterion for great novels (Walton), and in keeping with Darko Suvin’s conception of science fiction as a literature of “cognitive estrangement”. To read, and write, a character who travels in “spacetime” asks something more of us than the emotional engagement of many Modernist tales of interiority—whether they belong to the new “literary middlebrow’” (Driscoll), or China Miéville’s Booker Prize–winning realist “litfic” (Crown).Sometimes, it is true, they ask too much, and do not answer enough. But what resolution is possible is realistic, in the context of this literally existential threat?There are many recent and recommended time-travel novels: Kate Atkinson’s 2013 Life after Life and Jenny Erpenbeck’s 2014 End of Days have main characters who are continually “reset”, exploring the idea of righting history—the more literary experiment concluding less optimistically. For Erpenbeck “only the inevitable is possible”. In her New York Times review Francine Prose likens Life after Life to writing itself: “Atkinson sharpens our awareness of the apparently limitless choices and decisions that a novelist must make on every page, and of what is gained and lost when the consequences of these choices are, like life, singular and final”. Andrew Sean Greer’s 2013 The Impossible Lives of Greta Wells also centres on the WorldWar(s), a natural-enough site to imagine divergent timelines, though he draws a different parallel. In Elan Mastai’s 2017 debut All Our Wrong Todays the reality that is remembered—though ultimately not missed, is more dystopic than our own time, as is also the way with Joyce Carol Oates’s 2018 The Hazards of Time Travel. Oates’s rather slight contribution to the subgenre still makes a clear point: “America is founded upon amnesia” (Oates, Hazards). So, too, is our current environment. We are living in a time created by a previous generation; the environmental consequence of our own actions will not be felt until after we are gone. What better way to write such a riddle than through the loop of time travel?The Purpose of Thought ExperimentsThis list is not meant to be comprehensive. It is an indication of the increasing literary application of the “elaborate thought experiment” of time travel (Oates, “Science Fiction”). These fictional explorations, their political and philosophical considerations, are currently popular and potentially productive in a context where action is essential, and yet practically impossible. What can I do? What could possibly be the point? As well as characters that travel backwards, or forwards in time, these titles introduce visionaries who tell of other worlds. They re-present “not-exactly places, which are anywhere but nowhere, and which are both mappable locations and states of mind”: Margaret Atwood’s “Ustopias” (Atwood, “Road”). Incorporating both utopian and dystopian aspects, they (re)present our own time, in all its contradictory (un)reality.The once-novel, now-generic “novum” of time travel has become a metaphor—the best possible metaphor, I believe, for the climatic consequence of our in/action—in line with Joanna Russ’s wonderful conception of “The Wearing out of Genre Materials”. The new marvel first introduced by popular writers has been assimilated, adopted or “stolen” by the dominant mode. In this case, literary fiction. Angela Carter is not the only one to hope “the pressure of the new wine makes the old bottles explode”. This must be what Robinson expects: that Ken Gelder’s “big L” literature will be unable to contain the wine of “our guys”—even if it isn’t new. In the act of re-use, the time-travel cliché is remade anew.Two Cases to ConsiderTwo texts today seem to me to realise—in both senses of that word—the possibilities of the currently popular, but actually ancient, time-travel conceit. At the Melbourne Writers Festival last year Ted Chiang identified the oracle in The Odyssey as the first time traveller: they—the blind prophet Tiresias was transformed into a woman for seven years—have seen the future and report back in the form of prophecy. Chiang’s most recent short story, “Anxiety is the Dizziness of Freedom”, and Newman’s novel The Heavens, both of which came out this year, are original variations on this re-newed theme. Rather than a coherent, consistent, central character who travels and returns to their own time, these stories’ protagonists appear diversified in/between alternate worlds. These texts provide readers not with only one possible alternative but—via their creative application of the idea of temporal divergence—myriad alternatives within the same story. These works use the “characteristic gesture” of science fiction (Le Guin, “Le Guin Talks”), to inspire different, subversive, ways of thinking and seeing our own one-world experiment. The existential speculation of time-travel tropes is, today, more relevant than ever: how should we act when our actions may have no—or no positive, only negative—effect?Time and space travel are classic science fiction concerns. Chiang’s lecture unpacked how the philosophy of time travel speaks uniquely to questions of free will. A number of his stories explore this theme, including “The Alchemist’s Gate” (which the lecture was named after), where he makes his thinking clear: “past and future are the same, and we cannot change either, only know them more fully” (Chiang, Exhalation). In “Story of Your Life”, the novella that the film Arrival is based on, Chiang’s main character-narrator embraces a future that could be seen as dystopic while her partner walks away from it—and her, and his daughter—despite the happiness they will offer. Gary cannot accept the inevitable unhappiness that must accompany them. The suggestion is that if he had had Louise’s foreknowledge he might, like the free-willing protagonist in Looper, have taken steps to ensure that that life—that his daughter’s life itself—never eventuated. Whether he would have been successful is suspect: according to Chiang free will cannot foil fate.If the future cannot be changed, what is the role of free will? Louise wonders: “what if the experience of knowing the future changed a person? What if it evoked a sense of urgency, a sense of obligation to act precisely as she knew she would?” In his “story notes” Chiang says inspiration came from variational principles in physics (Chiang, Stories); I see the influence of climate calamity. Knowing the future must change us—how can it not evoke “a sense of urgency, a sense of obligation”? Even if events play out precisely as we know they will. In his talk Chiang differentiated between time-travel films which favour free will, like Looper, and those that conclude fatalistically, such as Twelve Monkeys. “Story of Your Life” explores the idea that these categories are not mutually exclusive: exercising free will might not change fate; fatalism may not preclude acts of free will.Utopic Free Will vs. Dystopic Fate?Newman’s latest novel is more obviously dystopic: the world in The Heavens is worse each time Kate wakes from her dreams of the past. In the end it has become positively post-apocalyptic. The overwhelming sadness of this book is one of its most unusual aspects, going far beyond that of The Time Traveler’s Wife—2003’s popular tale of love and loss. The Heavens feels fatalistic, even though its future is—unfortunately, in this instance—not set but continually altered by the main character’s attempts to “fix” it (in each sense of the word). Where Twelve Monkeys, Looper, and The Odyssey present every action as a foregone conclusion, The Heavens navigates the nightmare that—against our will—everything we do might have an adverse consequence. As in A Christmas Carol, where the vision of a possible future prompts the protagonist to change his ways and so prevent its coming to pass, it is Kate’s foresight—of our future—which inspires her to act. History doesn’t respond well to Kate’s interventions; she is unable to “correct” events and left more and more isolated by her own unique version of a tortuous Cassandra complex.These largely inexplicable consequences provide a direct connection between Newman’s latest work and James Tiptree Jr.’s 1972 “Forever to a Hudson Bay Blanket”. That tale’s conclusion makes no “real” sense either—when Dovy dies Loolie’s father’s advisers can only say that (time) paradoxes are proliferating—but The Heavens is not the intellectual play of Tiptree’s classic science fiction: the wine of time-travel has been poured into the “depleted” vessel of “big L” literature. The sorrow that seeps through this novel is profound; Newman apologises for it in her acknowledgements, linking it to the death of an ex-partner. I read it as a potent expression of “solastalgia”: nostalgia for a place that once provided solace, but doesn’t any more—a term coined by Australian philosopher Glen Albrecht to express the “psychic or existential distress caused by environmental change” (Albrecht et al.). It is Kate’s grief, for a world (she has) destroyed that drives her mad: “deranged”.The Serious Side of SpeculationIn The Great Derangement Ghosh laments the “smaller shadow” cast by climate change in the landscape of literary fiction. He echoes Miéville: “fiction that deals with climate change is almost by definition not the kind that is taken seriously by serious literary journals; the mere mention of the subject is often enough to relegate a novel or short story to the genre of science fiction” (Ghosh). Time-travel tales that pose the kind of questions handled by theologians before the Enlightenment and “big L” literature after—what does it mean to exist in time? How should we live? Who deserves to be happy?—may be a way for literary fiction to take climate change “seriously”: to write through it. Out-of-time narratives such as Chiang and Newman’s pose existential speculations that, rather than locating us in time, may help us imagine time itself differently. How are we to act if the future has already come to pass?“When we are faced with a world whose problems all seem ‘wicked’ and intractable, what is it that fiction can do?” (Uhlmann). At the very least, should writers not be working with “sombre realism”? Science fiction has a long and established tradition of exposing the background narratives of the political—and ecological—landscapes in which we work: the master narratives of Modernism. What Anthony Uhlmann describes here, as the “distancing technique” of fiction becomes outright “estrangement” in speculative hands. Stories such as Newman and Chiang’s reflect (on) what readers might be avoiding: that even though our future is fixed, we must act. We must behave as though our decisions matter, despite knowing the ways in which they do not.These works challenge Modernist concerns despite—or perhaps via—satisfying genre conventions, in direct contradiction to Roy Scranton’s conviction that “Narrative in the Anthropocene Is the Enemy”. In doing so they fit Miéville’s description of a “literature of estrangement” while also exemplifying a new, Anthropocene “literature of recognition” (Crown). These, then, are the stories of our life.What Is Not ExpectedChiang’s 2018 lecture was actually a PowerPoint presentation on how time travel could or would “really” work. His medium, as much as his message, clearly showed the author’s cross-disciplinary affiliations, which are relevant to this discussion of literary fiction’s “depleted” models. In August this year Xu Xi concluded a lecture on speculative fiction for the Vermont College of Fine Arts by encouraging attendees to read—and write—“other” languages, whether foreign forms or alien disciplines. She cited Chiang as someone who successfully raids the riches of non-literary traditions, to produce a new kind of literature. Writing that deals in physics, as much as characters, in philosophy, as much as narrative, presents new, “post-natural” (Bradley, “End”) retro-speculations that (in un- and super-natural generic traditions) offer a real alternative to Modernism’s narrative of inevitable—and inevitably positive—progress.In “What’s Expected of Us” Chiang imagines the possible consequence of comprehending that our actions, and not just their consequence, are predetermined. In what Oates describes as his distinctive, pared-back, “unironic” style (Oates, “Science Fiction”), Chiang concludes: “reality isn’t important: what’s important is your belief, and believing the lie is the only way to avoid a waking coma. Civilisation now depends on self-deception. Perhaps it always has”. The self-deception we need is not America’s amnesia, but the belief that what we do matters.ConclusionThe visions of her “paraself” that Nat sees in “Anxiety Is the Dizziness of Freedom” encourage her to change her behaviour. The “prism” that enables this perception—a kind of time-tripped iPad that “skypes” alternate temporal realities, activated by people acting in different ways at a crucial moment in their lives—does not always reflect the butterfly effect the protagonist, or reader, might expect. Some actions have dramatic consequences while others have minimal impact. While Nat does not see her future, what she spies inspires her to take the first steps towards becoming a different—read “better”—person. We expect this will lead to more positive outcomes for her self in the story’s “first” world. The device, and Chiang’s tale, illustrates both that our paths are predetermined and that they are not: “our inability to predict the consequences of our own predetermined actions offers a kind of freedom”. The freedom to act, freedom from the coma of inaction.“What’s the use of art on a dying planet? What’s the point, when humanity itself is facing an existential threat?” Alison Croggon asks, and answers herself: “it searches for the complex truth … . It can help us to see the world we have more clearly, and help us to imagine a better one”. In literary thought experiments like Newman and Chiang’s artful time-travel fictions we read complex, metaphoric truths that cannot be put into real(ist) words. In the time-honoured tradition of (speculative) fiction, Chiang and Newman deal in, and with, “what cannot be said in words … in words” (Le Guin, “Introduction”). These most recent time-slip speculations tell unpredictable stories about what is predicted, what is predictable, but what we must (still) believe may not necessarily be—if we are to be free.ReferencesArrival. Dir. Dennis Villeneuve. Paramount Pictures, 2016.Albrecht, Glenn, et al. “Solastalgia: The Distress Caused by Environmental Change.” Australasian Psychiatry (Feb. 2007): 41–55. Atwood, Margaret. “The Road to Ustopia.” The Guardian 15 Oct. 2011 <https://www.theguardian.com/books/2011/oct/14/margaret-atwood-road-to-ustopia>.———. “It’s Not Climate Change, It’s Everything Change.” Medium 27 July 2015. <https://medium.com/matter/it-s-not-climate-change-it-s-everything-change-8fd9aa671804>.Bradley, James. “Writing on the Precipice: On Literature and Change.” City of Tongues. 16 Mar. 2017 <https://cityoftongues.com/2017/03/16/writing-on-the-precipice-on-literature-and-climate-change/>.———. “The End of Nature and Post-Naturalism: Fiction and the Anthropocene.” City of Tongues 30 Dec. 2015 <https://cityoftongues.com/2015/12/30/the-end-of-nature-and-post-naturalism-fiction-and-the-anthropocene/>.Bradley, James, and Jane Rawson. “Writing in the Age of Extinction.” Detached Performance and Project Space, The Old Mercury Building, Hobart. 27 July 2019.Chiang, Ted. Stories of Your Life and Others. New York: Tor, 2002.———. Exhalation: Stories. New York: Knopf, 2019.Carter, Angela. The Bloody Chamber. London: Gollancz, 1983. 69.Croggon, Alison. “On Art.” Overland 235 (2019). 30 Sep. 2019 <https://overland.org.au/previous-issues/issue-235/column-on-art/>.Crown, Sarah. “What the Booker Prize Really Excludes.” The Guardian 17 Oct. 2011 <https://www.theguardian.com/books/booksblog/2011/oct/17/science-fiction-china-mieville>.Driscoll, Beth. The New Literary Middlebrow: Tastemakers and Reading in the Twenty-First Century. Basingstoke: Palgrave Macmillan, 2014.Erpenbeck, Jenny. Trans. Susan Bernofsky. The End of Days. New York: New Directions, 2016.Gelder, Ken. Popular Fiction: The Logics and Practices of a Literary Field. London: Routledge, 2014.Ghosh, Amitav. The Great Derangement: Climate Change and the Unthinkable. India: Penguin Random House, 2018.Le Guin, Ursula K. “Introduction.” The Left Hand of Darkness. New York: Ace Books, 1979. 5.———. “Ursula K. Le Guin Talks to Michael Cunningham about Genres, Gender, and Broadening Fiction.” Electric Literature 1 Apr. 2016. <https://electricliterature.com/ursula-k-le-guin-talks-to-michael- cunningham-about-genres-gender-and-broadening-fiction-57d9c967b9c>.Miller-McDonald, Samuel. “What Must We Do to Live?” The Trouble 14 Oct. 2018. <https://www.the-trouble.com/content/2018/10/14/what-must-we-do-to-live>.Oates, Joyce Carol. Hazards of Time Travel. New York: Ecco Press, 2018.———. "Science Fiction Doesn't Have to be Dystopian." The New Yorker 13 May 2019. <https://www.newyorker.com/magazine/2019/05/13/science-fiction-doesnt-have-to-be-dystopian>.Prose, Francine. “Subject to Revision.” New York Times 26 Apr. 2003. <https://www.nytimes.com/2013/04/28/books/review/life-after-life-by-kate-atkinson.html>.Robinson, Kim Stanley. “Kim Stanley Robinson and the Drowning of New York.” The Coode Street Podcast 305 (2017). <http://www.jonathanstrahan.com.au/wp/the-coode-street-podcast/>.Russ, Joanna. “The Wearing Out of Genre Materials.” College English 33.1 (1971): 46–54.Scranton, Roy. “Narrative in the Anthropocene Is the Enemy.” Lithub.com 18 Sep. 2019. <https://lithub.com/roy-scranton-narrative-in-the-anthropocene-is-the-enemy/>.Suvin, Darko. Metamorphoses of Science Fiction: On the Poetics and History of a Literary Genre. New Haven: Yale UP, 1979. Walton, James. “Fascinating, Fearless, and Distinctly Odd.” The New York Review of Books 9 Jan. 2014: 63–64.Uhlmann, Anthony. “The Other Way, the Other Truth, the Other Life: Simpson Returns.” Sydney Review of Books. 2 Sep. 2019 <https://sydneyreviewofbooks.com/macauley-simpson-returns/>. Xu, Xi. “Speculative Fiction.” Presented at the International MFA in Creative Writing and Literary Translation, Vermont College of Fine Arts, Vermont, 15 Aug. 2019.