Relevant bibliographies by topics / The Devil to Pay in the Backlands

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Academic literature on the topic 'The Devil to Pay in the Backlands'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "The Devil to Pay in the Backlands"

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Elbanowski, Adam. "„Jesteśmy wspólnikami”: Korespondencja João Guimarãesa Rosy z tłumaczami." Między Oryginałem a Przekładem 25, no. 44 (June 15, 2019): 117–36. http://dx.doi.org/10.12797/moap.25.2019.44.06.

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“Yes, We Are Partners”: Correspondence of João Guimarães Rosa with his Translators In the article I present the correspondence of João Guimarães Rosa with his German, Spanish, Italian, French and American translators. The case of this most outstanding Brazilian novelist of the 20th century is special, because he was a polyglot and he actively participated in the process of translating his works. The main theme of the letters is the translation of his masterpiece, the writer’s only novel – Grande Sertão: veredas (The Devil to Pay in the Backlands). This correspondence provides an insight into the poetics of the Brazilian writer and his theory of translation, shows specific relations connecting him with his translators, and also reveals various translation strategies used by Guimarães Rosa’s translators.
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Oliveira, Renato Rocha de, and Élcio Loureiro Cornelsen. "O sublime e a coragem possível: uma contribuição do Grande Sertão: Veredas para a Literatura Brasileira." Cadernos Benjaminianos 14, no. 1 (January 30, 2019): 105. http://dx.doi.org/10.17851/2179-8478.14.1.105-120.

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Resumo: Este artigo aborda a influência de Diadorim sobre Riobaldo em GrandeSertão: Veredas, pela perspectiva filosófica do sublime e da coragem (Schiller e outros), baseando-se em concepções de Walter Benjamin e dialogando com a crítica de Willi Bolle. O ensaio identifica, na obra-prima de Guimarães Rosa, uma relação importante entre o sublime, associado a Diadorim a partir de elementos levantados por Benjamin, como a figura guia, o amor provençal e o justo hermafrodita, e a coragem demonstrada por Riobaldo. Finalmente, contribui para a avaliação de Bolle quanto ao caráter dialético e verossímil do texto literário no que concerne à coragem desse personagem, em comparação com a representação do sertanejo em Os Sertões, de Euclides da Cunha.Palavras-chave: Diadorim, figura guia, sublime, coragem, Benjamin, Bolle.Abstract: This article approaches the influence of Diadorim upon Riobaldo in The devil to pay in the backlands through the philosofical perspective of sublime and courage (Schiller and others), based on Walter Benjamin’s conceptions and in dialogue with Willi Bolle’s critique. The essay identifies, in Guimarães Rosa’s masterpiece, an important relation between the sublime, associated with Diadorim per elements raised by Benjamin, as the guide figure, the corteous love, the hermaphrodite just, and the bravery showed by Riobaldo. Finally, contributes to Bolle’s evaluation of the dialectical and verisimilar character of the literary text concerning this character’s courage, in comparison with the countryside representation in The Backlands, by Euclides da Cunha.Keywords: Diadorim, guide figure, sublime, courage, Benjamin, Bolle.
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Baião, Livia De Sá. "O sertão de Bia Lessa." O Eixo e a Roda: Revista de Literatura Brasileira 28, no. 1 (March 21, 2019): 283–306. http://dx.doi.org/10.17851/2358-9787.28.1.283-306.

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Resumo: O objetivo do presente trabalho é refletir sobre a releitura dramática que a diretora Bia Lessa fez da obra Grande sertão: veredas, de João Guimarães Rosa. Com apoio de pressupostos teóricos de pensadores como Peter Brook, Bertold Brecht e Roland Barthes, a intenção é examinar a encenação do romance a partir do texto dramatúrgico (escrita cênica) construído pela própria diretora. Com vasta experiência em adaptações para o teatro de obras literárias canônicas (O homem sem qualidades, de Robert Musil; Os possessos, de Dostoievski; e muitas outras), Bia Lessa coloca em cena diferentes linguagens, tais como a expressão corporal trabalhada no limite e uma arquitetura cênica surpreendente. Assim, o sertão rosiano salta das páginas para o palco, eclodindo em pura teatralidade.Palavras-chave: Grande sertão: veredas, Bia Lessa, teatro, literatura, adaptação, encenação.Abstract: Our objective is to reflect on director Bia Lessa’s adaptation for the stage of Grande sertão: veredas novel. The main thinkers who will underpin this work are Peter Brook, Bertold Brecht and Roland Barthes. Our intention is to examine the dramatic text and the staging of the novel, both made by the director. With a vast experience in adapting canonic literary works (The man without qualities by Robert Musil; The possessed by Dostoievski, and many others), Bia Lessa takes books to theatre using different languages, such as body expression, explored to its limit and with an unusual set. Thus, Guimarães Rosa’s backlands is brought from pages to stage shining in pure theatricality.Keywords: The devil to pay in the backlands, Bia Lessa, theatre, literature, adaptation, staging.
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Azevedo, Guilherme Zubaran de. "Imagens do povo em Grande sertão: veredas." O Eixo e a Roda: Revista de Literatura Brasileira 27, no. 3 (December 21, 2018): 85–101. http://dx.doi.org/10.17851/2358-9787.27.3.85-101.

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Resumo: Este artigo tem por objetivo analisar as imagens do povo presentes na obra Grande sertão: veredas, de Guimarães Rosa. Para tanto, propõe-se fazer uma crítica das noções de comunidade e povo, configuradas pelo projeto de nação moderno da década de 1950. A crítica visa repensar o sentido totalizante dessas duas concepções. A leitura de Grande sertão: veredas pretende identificar na obra conceitos de povo e comunidade que escapam às reconfigurações modernas de nação. Nesse sentido, a partir das obras de Roberto Esposito, Didi-Huberman e Giorgio Agamben, analisa-se a população sertaneja não como uma união coesa, mas como uma multiplicidade de singularidades que habitam e convivem numa dimensão comunitária da vida. O domínio do comum é entendido como uma modalidade de ser-com, em que o convívio com o outro não é um reforço da identidade, mas sim uma expropriação de si, das fronteiras da subjetividade. Ao analisar os diversos povos do sertão, inclusive aqueles que foram mortos e cujos sofrimentos são testemunhados por Riobaldo, busca-se pensar num conceito de justiça relacionado com a memória que dá visibilidade a essas populações esquecidas do sertão.Palavras-chave: povo; comunidade; poder.Abstract: This article aims to analyze people images in Grande sertão: veredas (The devil to pay in the Backlands), by Guimarães Rosa. In order to do so, the notions of community and people, shaped by the project of modern nation construction in the 1950s, are criticized. The critique aims to reshape the totalizing sense of these two conceptions. The reading of Rosa’s novel intends to identify concepts of people and community that escape from the modern reconfigurations of nation. Therefore, in the light of Roberto Esposito’s, Didi-Huberman’s and Giorgio Agamben’s works, the backlands population is comprehended not as a cohesive union, but as a multiplicity of singularities that inhabits and coexists in a communitarian life dimension. The common domain is understood as a modality of being-with, in which the cohabitation with the other is not a reinforcement of identity, but an oneself expropriation and of the subjectivity borders. By analyzing the diverse hinterland peoples, including those who were killed and whose sufferings were witnessed by Riobaldo, a concept of justice related to the memory of the forgotten backlands populations is approached. Keywords: people; community; power.
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Nascimento, Cristiane Bezerra do, and Daniel Antonio De Sousa Alves. "O USO DOS PRONOMES “NÓS” E “WE” E A CONSTRUÇÃO DE IDENTIDADES COLETIVAS NO CORPUS PARALELO GRANDE SERTÃO: VEREDAS || THE DEVIL TO PAY IN THE BACKLANDS." Belas Infiéis 6, no. 1 (June 30, 2017): 43–64. http://dx.doi.org/10.26512/belasinfieis.v6.n1.2017.11418.

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O presente artigo tem por objetivo apresentar uma análise dos usos dos pronomes pessoais “nós” e “we” em um corpus paralelo ficcional, composto pelos textos Grande Sertão: Veredas, de Guimarães Rosa, e sua única tradução para o inglês, The devil to pay in the backlands, de James L. Taylor e Harriet de Onís. A investigação busca entender como os pronomes são usados quando os contextos nos quais eles estão colocados implicam a construção de situações de conflito armado. O artigo busca dialogar com pesquisas que investigam o uso dos pronomes pessoais como Barbara e Gouveia (2004) e Maia (1998), e também estabelecer diálogos com trabalhos que tratam da construção de identidades e de conflito como Leudar, Marsland e Nekvapil (2004) e Brewer (2011). Metodologicamente, foi utilizada a ferramenta software AntConc, com vistas a realizar trabalhos de levantamento e filtragem de dados para a pesquisa. Dentre os resultados, destacam-se a frequência de elisão do pronome “nós” em português (88,7% dos casos levantados a partir do corpus são de usos elípticos, contra 11,3% de usos explícitos); destaca-se também o uso explícito, e anteposto ao verbo, do pronome “we”, em língua inglesa (96% das linhas analisadas se encaixam nessa situação) – o que condiz com a estrutura esperada para a língua inglesa. No que diz respeito à construção de identidades coletivas, os dados contrariam as expectativas iniciais da pesquisa, não sendo unânimes os usos em referência aos grupos aliados, tampouco as associações esperadas de prosódias semânticas positivas construindo os grupos identificados como aliados.
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Oliveira, Aryanna Dos Santos, and Rosely de Fátima Silva. "A travessia de um herói problemático: reverberações filosófico-literárias acerca do pacto demoníaco em Grande sertão: veredas." O Eixo e a Roda: Revista de Literatura Brasileira 28, no. 1 (March 21, 2019): 121–51. http://dx.doi.org/10.17851/2358-9787.28.1.121-151.

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Resumo: O ensaio pretende explanar sobre a travessia de Riobaldo em Grande sertão: veredas, como modelar do herói problemático na concepção proposta por Lukács, em A Teoria do Romance, através do estudo do episódio do (suposto) pacto demoníaco empreendido pelo protagonista da obra de Guimarães Rosa, nas Veredas-Mortas, feito que conduz a trajetória do herói por entre dúvidas e questionamentos, inerentes ao modelo lukacsiano. O estudo da obra rosiana será realizado por meio de análise comparativa com o pacto demoníaco realizado por Fausto, na obra homônima de Goethe, e de trechos de outras obras derivadas do tema do pacto demoníaco, como Dr. Fausto, de Thomas Mann e O mestre e Margarida, de Mikhail Bulgákov.Palavras-Chave: Grande sertão: veredas; Guimarães Rosa; Fausto; herói problemático; herói trágico; Lukács; pacto fáustico; pacto demoníaco.Abstract: The essay intends to explain the crossing of Riobaldo in Grande Sertão: Veredas as a model of the problematic hero in the conception proposed by Lukács in The Theory of the Novel, studying the episode of the (supposed) demonic pact undertaken by the protagonist of Guimarães Rosa’s novel, in “Veredas-Mortas”, moment that leads the trajectory of the hero through doubts and questions inherent to the Luckacsian model. The study over Rosa’s work will be carried out by comparative analysis with the demonic pact made by Faust, in the homonymous work of Goethe, and excerpts from other works derived from the theme of the demonic pact, such as Thomas Mann’s Doktor Faustus and Mikhail Bulgakov’s Master and Margarita.Keywords: Grande Sertão: Veredas; The Devil To Pay In The Backlands; Guimarães Rosa; Faust; problematic hero; tragic hero; Lukács; faustian pact; demonic pact.
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Silva, Claudicélio Rodrigues da. "A batalha de Eros no sertão de Rosa." O Eixo e a Roda: Revista de Literatura Brasileira 28, no. 1 (March 21, 2019): 205–28. http://dx.doi.org/10.17851/2358-9787.28.1.205-228.

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Resumo: O artigo se propõe a discutir a natureza erótica em Grande Sertão: Veredas estabelecendo como ponto de partida as noções de Eros apresentadas n’O banquete, de Platão. Sabendo-se que o discurso erótico no diálogo platônico é múltiplo, buscou-se neste estudo demonstrar que a natureza indômita de Eros agencia a narrativa de Rosa fundindo o plano da guerra exterior, as batalhas pelo poder no sertão, com o plano da guerra interior, o embate entre aquilo que a tradição expõe como interdito e o desejo que quer transgredir. Se Diadorim nutre o Eros que o impulsiona à guerra, Riobaldo é alimentado por um Eros que só pode consumar o desejado à luz da imaginação ou da pulsão de ver. O conceito freudiano de pulsão, ou impulso erótico, sustenta a tese de que a saga rosiana assume um caráter de prosa moderna justamente porque aciona categorias psicológicas no monólogo-diálogo de Riobaldo que permitem ao leitor confrontar o dentro e o fora, o eu e o outro, o narrado e o narrável. De natureza interdisciplinar, o estudo parte da filosofia de Platão e aproxima-se da psicanálise, com as categorias desenvolvidas por Freud (2010, 2013), tais como pulsão de vida e de morte e pulsão de olhar.Palavras-chave: Guimarães Rosa; erotismo; pulsão; desejo.Abstract: We propose a discussion about the erotic nature in Grande Sertão: Veredas (The Devil To Pay in the Backlands), establishing the Eros’ concept shown in Plato’s Συμπόσιον (Symposium) as the starting point. It is acknowledged that there’s a multiple erotic discourse in platonic dialogues, hence its study aims to show the Eros’ indomitable nature informs Rosa’s narrative. His narrative mixes the exterior war plan (the battles for power in northeast backlands) with the interior war plan (the clash between what the traditional society claim as a taboo and the desire to break free). If Diadorim nurtures the Eros connected to war impulses, Riobaldo is fed by an Eros that can only be consumed in the light of imagination or the drive to see. The Freudian concept of drive, or erotic impulse, sustains the thesis that Rosa’s journey emerges as a modern prose mostly because it fires psychological categories on Riobaldo’s monologue-dialogue, allowing the reader to confront the character’s inside out, the “me” and the “other,” the narrated and the tellable. This study develops its interdisciplinary nature as it starts from Plato’s philosophy and gets closer to psychoanalysis, with categories developed by Freud (2010, 2013), such as life drive versus death drive and sight drive.Keywords: Guimarães Rosa; erotism; drive; desire.
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Sautman, Barry. "The devil to pay." Communist and Post-Communist Studies 28, no. 1 (March 1995): 131–51. http://dx.doi.org/10.1016/0967-067x(95)00008-i.

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Van Boer, Bertil. "Coffey'sthe devil to pay,the comic war, and the emergence of the Germansingspiel." Journal of Musicological Research 8, no. 1-2 (January 1988): 119–39. http://dx.doi.org/10.1080/01411898808574596.

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O'Neill, Kevin Lewis. "Home Security: Drug Rehabilitation Centres, the Devil and Domesticity in Guatemala City." Journal of Latin American Studies 52, no. 4 (July 15, 2020): 785–804. http://dx.doi.org/10.1017/s0022216x20000656.

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AbstractPentecostal drug rehabilitation centres in Guatemala City are informal responses to drug use, with these all-male institutions attempting to save drug users from what some Christians call ‘the devil’. Of ethnographic interest is that the mothers, sisters and wives not only pay for the capture and captivity of their loved ones but also volunteer their labour to support these centres. This article, in response, assesses not only the Christian impulse to domesticate sinners but also the extent to which a cult of domesticity organises Guatemala's war on drugs.
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Dissertations / Theses on the topic "The Devil to Pay in the Backlands"

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BAIAO, LIVIA DE SA. "THE WARP AND THE WOOF IN THE DEVIL TO PAY IN THE BACKLANDS: BENJAMIN FLASHES IN ROSA S BACKLANDS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2016. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=27220@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Esta dissertação propõe uma leitura de Grande sertão: veredas, de João Guimarães Rosa, através das lentes de Walter Benjamin, usando como intercessores os ensaios A imagem de Proust e Sobre alguns temas em Baudelaire. Nesses ensaios Benjamin levanta questões fundamentais a respeito da memória, do esquecimento, da experiência (Erfahrung) e da vivência (Erlebnis) entrelaçando-as com narrativa, temporalidade e modernidade. A intenção será investigar como estas questões permeiam Grande sertão: veredas e pensar se, a exemplo de Proust e Baudelaire, Rosa conseguiu se aproximar da possibilidade de construir a experiência (Erfahrung) através de sua prosa poética, de acordo com os conceitos benjaminianos contidos nos ensaios em questão. A partir das diversas afinidades eletivas identificadas entre Rosa e Benjamin, também se pretende imaginar se Rosa poderia ser mais uma estrela na constelação de escritores sobre os quais Walter Benjamin escreveu. Afinal, como se verá, Rosa e Benjamin são dois místicos e míticos escritores que colocam a linguagem acima de tudo e a literatura como meio para explorar questões filosóficas e metafísicas.
The proposal of this thesis is to read The devil to pay in the backlands, by João Guimarães Rosa, through Walter Benjamin s eyes using, as intercessors, two texts by Walter Benjamin: The image of Proust and On some motifs in Baudelaire. In those two essays, Benjamin raises fundamental questions about memory, forgetting, experience (Erfahrung) and lived experience (Erlebnis), intertwining them with issues such as narrative, time and modernity. The aim is to explore how those issues permeate The devil to pay in the backlands and consider if Rosa was close to artificially reproducing experience (Erfahrung) through his poetic writing, like Proust and Baudelaire, based on the concepts developed by Benjamin in the aforementioned essays. Given the electives affinities identified between Rosa and Benjamin, the intention is to consider if Rosa could be one more star in Benjamin s constellation of writers. As will be shown, Rosa and Benjamin are two mystic, mythic writers that put language above all and see literature as a means of exploring philosophical and metaphysical questions.
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Rente, Renata Santos. "Região geográfica e o regional na literatura brasileira: a representação do sertão em Guimarães Rosa e os debates sobre a formação do Brasil." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8136/tde-19122013-141210/.

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Esta pesquisa tematiza os estudos sobre a relação entre Geografia e Literatura, a partir da análise das interpretações sobre o romance Grande Sertão: Veredas, de João Guimarães Rosa, por meio da qual elaboramos uma reflexão crítica à modernização entendida como formação e generalização das relações sociais capitalistas. Para isso, investigamos algumas interpretações que relacionam a prosa rosiana e a literatura regionalista, apresentando alguns nexos para pensar a noção de região sistematizada na Geografia. Nesse percurso, situamos algumas questões acerca do tratamento recorrente da questão regional no Brasil, aprofundando o estudo da obra de Guimarães Rosa em relação aos debates sobre a formação do país. Discutimos o processo de formação da aparência de autonomia entre as esferas política e econômica, expondo criticamente os discursos sobre a região e a necessidade do planejamento estatal, problematizando também a aparência de autonomia dos campos intelectual e artístico.
This research thematizes the studies about the relation between Geography and Literature, from the analysis of the novels interpretations Grande Sertão: Veredas, from João Guimarães Rosa. Based on these readings we developed a critical reflexion of modernization, understood as formation and generalization of capitalist social relations. We investigate some interpretations that relate Rosa\'s narratives and regionalist literature, presenting some connections to think the notion of region, in systematized in Geography. Along the way, we situate some questions about the recurrent treatment of regional question in Brazil, deepening the study of the Rosa\'s narratives in relation to debates about the formation of the country. We discuss the process of formation of the apparent autonomy between the political and the economical sphere, exposing the discourses about the region and necessity for state planning, also questioning the apparent autonomy of the intellectual and artistic fields.
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Bueno, Giselle Madureira. "A luzinha dividida: violência e trauma em \"Grande sertão: Veredas\"." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-15052007-200653/.

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Este trabalho é uma reflexão sobre Grande sertão: Veredas de João Guimarães Rosa. Tendo como foco a temática da violência, primeiramente abordamos os questionamentos éticos, religiosos e intelectuais do velho Riobaldo sobre esse problema em sua associação com o mal, conforme ele o trama nos causos iniciais da obra. Ganham relevo aqui as indagações sobre as causas ou razões da violência e a especulação sobre a doutrina quelemeniana e seus compassos e descompassos com o ponto de vista do autor. Em segundo lugar, estudamos a relação da massa dos camaradas e dos comandantes com o código de honra, cuidando de salientar os vários jogos aí observáveis: por exemplo, jagunço por eleição/jagunço por condição, tradição/invenção, liberdade/fatalidade. Em seguida, discutimos a chefia autoritária de Urutu-Branco, fruto, ao mesmo tempo, de uma vontade despótica e ausente, e encerrada em aporias que embaralham as tentativas do narrador de dar sentido à sua existência, calcular perdas e ganhos e cerzir as veredas de sua redenção. Finalmente introduzimos o conceito de trauma e experimentamos sua fertilidade e limites para pensar o caráter ambíguo da violência no Grande sertão: Veredas: às vezes, assimilável e representável, às vezes, de tal modo desnorteante que se apequenam melancolicamente essas possibilidades. É neste ponto também que se concentram comentários sobre violência e forma narrativa.
This piece of work is a reflection on Grande Sertão: Veredas by João Guimarães Rosa (The Devil to Pay in the Backlands). Firstly, focusing on violence subject we approach the ethical, religious and intellectual enquiries of the old aged Riobaldo into this matter and its association with evil, according to the way he plots it on the initial tales of the book. Significance is given to the enquiries about the causes and the reasons of violence itself and the speculation about the Quelemenian doctrine (from the book character Quelemém) and its agreements and disagreements with the author´s view. Secondly, we study the jagunços and commanders relation to the code of honour, taking into account several dualities: for instance, tradition/invention, liberty/fatality. Subsequently, we discuss the Urutu-Branco´s authoritarian leadership, result, at the same time, of an absent and despotic will, and surrounded by aporias which puzzle narrator´s attempts of giving himself reasons to live, evaluating gains and losses and asserting his own redemption. Finally, we introduce the concept of trauma and we experiment its limits and fertility to think of the ambiguous character of violence on Grande Sertão: Veredas: on some occasions, acknowledgeable and representable; on other occasions, so bewildering that those possibilities become melancholically smaller. Precisely at this point, we also concentrate comments on violence and narrative form.
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Castro, Antônio Carlos Drummond Monteiro de. "Política e literatura em Grande Sertão: Veredas." Pontifícia Universidade Católica de São Paulo, 2013. http://tede2.pucsp.br/handle/handle/2411.

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Made available in DSpace on 2016-04-25T20:21:01Z (GMT). No. of bitstreams: 1 Antonio Carlos Drummond Monteiro de Castro.pdf: 864920 bytes, checksum: 8441a5ff9f4859481702cea9b5c388a4 (MD5) Previous issue date: 2013-06-25
Conselho Nacional de Desenvolvimento Científico e Tecnológico
This study aims at analyzing the literary work Grande Sertão: Veredas / The Devil to Pay in the Backlands under a politics perspective. As such, it sets out to analyze the narrator‟s mediation to communicate the novelist‟s thoughts. The narrative makes use of political, legal, historical and powerful literary resources. In the last twenty years, the high quality of the studies and essays on Guimaraes Rosa‟s work under the politics perspective has followed suit the well-known diversity of his books‟ themes. The polysemy in Riobaldo‟s name, as well as in his nicknames, has been highlighted by several critics and essayists. In this study, Baldo and Secretario convey the power/force/energy and role of the law and the war in the novel, which, in its turn, leads to a set of indices that points out to an unusual form of evidence: what weighs less, what does not show much or, what has been strategically scattered throughout the text; or, in addition, indices that were sifted out of his own history. They provide stronger evidence because they are difficult to notice; once they are, they strongly validate what is easy to see. This methodology suits a work where the subordinate relationships are weakened; or the relationships are subtly accomplished, in the fashion of a mobile. Through his language, the author gives us the arts of the language and the law, which will set the Art of Governing/the Art of Government/the Art of Governance
O objeto de nosso trabalho consiste em penetrar na obra literária Grande Sertão: Veredas sob a perspectiva da política. E, como tal, precisamos partir da mediação do narrador, desdobramento do romancista, que comunica o seu pensamento. Narrativa que se utiliza de instrumentais político, jurídico, histórico e intensos recursos literários. Nos últimos vinte anos, a excelência dos estudos e ensaios sob a perspectiva política acerca da obra de Guimarães Rosa vem sendo acompanhada pela conhecida diversidade de temas de seus livros. Riobaldo carrega polissemias em seu nome já destacadas por diversos críticos e ensaístas; de modo semelhante, os seus apelidos. No nosso estudo, Baldo e Secretário indicam o peso e o papel do direito e da guerra no romance que, por sua vez, nos leva a um conjunto de índices que aponta para um modo não habitual de prova: aquilo que pesa pouco, que pouco aparece ou, então, que alguns achados vão sendo deixados estrategicamente ao longo do texto; ou, ainda, índices depurados de sua história. Eles provam mais porque difíceis de serem percebidos; uma vez que sejam, confirmam com mais força aquilo fácil de ver. Essa metodologia se adéqua a uma obra em que as relações subordinadas são enfraquecidas; ou ainda, as relações se efetivam sutilmente, ao modo de um móbile. Através de sua língua própria, o autor nos traz as artes da linguagem e do direito que imprimirão a Arte de Governar
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Calor, Viviane Cristine. "Vagar e navegar: pelo mar de Melville e o sertão de Rosa. Estudo Comparativo entre Moby-Dick e Grande Sertão: veredas." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-26032012-181440/.

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Embora haja um intervalo de mais de um século entre a publicação de Moby-Dick (1851) e a de Grande sertão: veredas (1956), o romance de João Guimarães Rosa apresenta, quer na forma, quer no conteúdo ou em seus respectivos desdobramentos alegóricos, muitos pontos em comum com o livro de Herman Melville. Produtos de literaturas periféricas de países ainda em processo de formação, essas obras são narrativas híbridas que não se encaixam na concepção original do romance moderno europeu (ou novel): ambas resgatam e transformam a épica e a tragédia, os chamados gêneros altos, para dar voz a um indivíduo que, à margem da sociedade de seu tempo, erra por um vasto espaço inóspito enquanto empenha-se em combates mortais. O propósito deste estudo é analisar, sob um ponto de vista comparativo, passos de Moby-Dick e Grande sertão: veredas, divididos de acordo com os gêneros literários que abarcam e, destacando semelhanças e diferenças, propor Moby-Dick, livro que Guimarães Rosa tinha em sua biblioteca pessoal, como uma das fontes inspiradoras do Grande sertão.
Although written more than a century apart, American Herman Melvilles Moby-Dick (1851) and Brazilian João Guimarães Rosas The Devil do Pay in the Backlands (1956) sharewhether in format, content, and even in their allegorical significancemany common traits. As products of peripheral literatures of countries undergoing a formative process, both are hybrid narratives that do not fit into the original concept of the European novel; their authors resort to, and transform, the so-called high genres, the epic and the tragedy, to give voice to an individual who, at the margin of the society of his time, wanders through a vast and hostile space whilst engaged in lethal combats. In telling his memories, that individual also outlines a survey of the society from which he is excluded, mixing his history with that of his country. The purpose of this study is to examine and compare extracts from Moby-Dick and The Devil to Pay in the Backlands, divided according to the literary genres that both used and transformed, and, by highlighting similarities and differences, identify Moby-Dick, a book that Rosa had in his personal library, as one of the literary sources for The Devil to Pay in the Backlands.
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Marshall, W. H. "'The Devil to Pay' and its influence on eighteenth-century German Singspiel." Thesis, Open University, 1985. http://oro.open.ac.uk/56909/.

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The premiere of Christian Felix Weisse's Singspiel Der Teufel ist los, oder die verwandelten Weiber was presented at the theatre in Quandts Hof, Leipzig, on the 5th May 1766. There it won immediate success which soon spread throughout the German speaking world. The . ensuing craze for similar entertainments played an important part in the development of the genre. This was not an original piece, however, and its success was dependent upon the skill with which Weisse had contrived to combine two quite different styles. This he achieved by means of Charles Coffey's The Devil to Pay, or the Wives metamorphosed, an English ballad-opera, and Michel Jean Sedaine's Le diable a quatre, written in the form of a French opera comique. The purpose of this study is to examine Coffey's ballad-opera together with those adaptations that enabled Weisse to develop the Singspiel into a form which stood as a model for many years afterwards.
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Andersson, Love. ""The Devil to pay" : Temptation and desire in Christopher Marlowe's Doctor Faustus." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-43851.

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The Faustian myth may not have started with Christopher Marlowe and the staging of his play The Tragical tale of Dr. Faustus, but few adaptions have managed to become as prominent as Marlowe’s in passing on the Faustian myth. Psychoanalyst Jacques Lacan highlights the presence of a more or less conscious catalyst behind each desire, the objet a (the lost object of desire), thus indicating that desiring is not a straight path but rather a constant filling of the void that comes with being human. In an eerie mirroring of this tendency, the play eloquently paints the picture of Faustus’ incessant search for his true desire -his objet a-, by veiling it in other desires (omnipotence and omniscience). This quest ultimately culminates in the demonic pact with Mephistopheles, which, as will be explored and argued in the analysis is what locks Faustus out from achieving his true desire: salvation. Hence, the main investigative aim of this essay is to asses how Lacan’s objet a can be used to explore the development of the theme of unfilled desire displayed by Marlowe’s protagonist Faustus.
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Strøm, Knut Ola Naastad. "The devil to pay : Kristiansand Nikkelraffineringsverk, the British America Nickel Corporation and the British Economic Warfare 1914-1918." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for historie og klassiske fag, 2012. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-16676.

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Books on the topic "The Devil to Pay in the Backlands"

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HIGGINS, Jack. Pay the devil. London: HarperCollins, 2000.

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Devil to pay. London: Arrow, 2011.

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Devil to pay. Ithaca, N.Y: McBooks Press, 2001.

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Napier, Susan. Devil to pay. Richmond, Surrey: Mills & Boon, 1991.

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Napier, Susan. Devil to pay. Richmond: Mills & Boon, 1993.

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HIGGINS, Jack. Pay the Devil. New York: Penguin USA, Inc., 2009.

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HIGGINS, Jack. Pay the devil. New York: Berkley Books, 1999.

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Roszel, Renee. Devil to pay. Richmond: Mills & Boon, 1993.

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HIGGINS, Jack. Pay the devil. Rockland, MA: Wheeler, 2001.

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Daniel, Mark. The devil to pay. London: M. Joseph, 1992.

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Book chapters on the topic "The Devil to Pay in the Backlands"

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Gussow, Adam. "Sold It to the Devil." In Beyond the Crossroads. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469633664.003.0003.

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This chapter focuses on the first recorded devil blues song, Clara Smith's "Done Sold My Soul to the Devil" (1924). Public anxiety about the moral hazards experienced by black female migrants to the urban North offers one context for the song, but so does the rejection of Victorian morality by a transracial cohort of Lost Generation youth for whom the devil was an admirable figure rather than fear-inducing phantom: a master of the revels and instigator of "bad behavior" of the sort playfully chastised by Fats Waller in "There's Gonna Be the Devil to Pay." Couples dancing was a key issue: both black and white ministers condemned it, along with the "devil dance dens" in which it supposedly thrived, but blues singers like Gertrude "Ma" Rainey and Sippie Wallace sang songs in which they partied with the devil—joyously in Rainey's case, uneasily in Wallace's.
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"An Inspired Lobbyist / 255 and throughout the State there was the liveliest buzzing and humming and clicking of political wheels and cranks and cogs that had ever been known in those hitherto pastoral localities. The case of Fastburg against Slowburg was put in a hundred ways and proved as sure as it was put. It really seemed to the eager burghers as if they already heard the clink of hammers on a new State-House and beheld a perpetual legislature sitting on their fences and curbstones until the edifice should be finished. The great wire-puller and his gang of stipendiaries were the objects of popular gratitude and adoration. The landlord of the hotel which Mr. Pullwool patronized actually would not take pay for that gentleman’s board. “No, sir!” declared this simple Boniface, turning crimson with en­ thusiasm. “You are going to put thousands of dollars into my purse, and I’ll take nothing out of yours. And any little thing in the way of cigars and whiskey that you want, sir, why, call for it. It’s my treat, sir.” “Thank you, sir,” kindly smiled the great man. “That’s what I call the square thing. Mr. Boniface, you are a gentleman and a scholar; and I’ll mention your admirable house to my friends. By the way, I shall have to leave you for a few days.” “Going to leave us!” exclaimed Mr. Boniface, aghast. “I hope not till this job is put through.” “I must run about a bit,” muttered Pullwool, confidentially. “A little turn through the State, you understand, to stir up the country dis­ tricts. Some of the members ain’t as hot as they should be, and I want to set their constituents after them. Nothing like getting on a few deputations.” “ O, exactly!” chuckled Mr. Boniface, ramming his hands into his pockets and cheerfully jingling a bunch of keys and a penknife, for lack of silver. It was strange indeed that he should actually see the Devil in Mr. Pullwool’s eye and should not have a suspicion that he was in danger of being humbugged by him. “And your rooms?” he suggested. “How about them?” “I keep them,” replied the lobbyist, grandly, as if blaspheming the expense—to Boniface. “ Our friends must have a little hole to meet in. And while you are about it, Mr. Boniface, see that they get something to drink and smoke; and we’ll settle it between us.” “ Pre-cisely!” laughed the landlord, as much as to say, “My treat!” And so Mr. Pullwool, that Pericles and Lorenzo de’ Medici rolled in." In Routledge Revivals: The Literary Humour of the Urban Northeast 1830-1890 (1983), 271–74. Routledge, 2018. http://dx.doi.org/10.4324/9781351181563-37.

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Conference papers on the topic "The Devil to Pay in the Backlands"

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Karam de Chueiri, Vera, and Edna Torres Felício Câmara. "The trial in Guimarães Rosa’s novel "Grande Sertão: Veredas” (The Devil to Pay in the Backlands or The Devil in the Street, in the Middle of the Whirlwind): narratives from my country." In XXVI World Congress of Philosophy of Law and Social Philosophy. Initia Via, 2015. http://dx.doi.org/10.17931/ivr2013_sws76_01.

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