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 (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
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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 (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 verossí
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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 (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 lin
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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 (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 nã
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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 (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
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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 (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 obra
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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 (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 aliment
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Sautman, Barry. "The devil to pay." Communist and Post-Communist Studies 28, no. 1 (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 (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 (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<br>COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO<br>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 modernida
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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 re
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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,
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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<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico<br>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&#8223;s mediation to communicate the novelist&#8223;s thoughts. The narrative makes use of political, legal, historical and power
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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 indiví
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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
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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
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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. HarperCollins, 2000.

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Devil to pay. Arrow, 2011.

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Devil to pay. McBooks Press, 2001.

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Napier, Susan. Devil to pay. Mills & Boon, 1991.

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

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HIGGINS, Jack. Pay the Devil. Penguin USA, Inc., 2009.

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HIGGINS, Jack. Pay the devil. Berkley Books, 1999.

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

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HIGGINS, Jack. Pay the devil. Wheeler, 2001.

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Daniel, Mark. The devil to pay. 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). 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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