Sob a luz da teoria do novo romance histórico proposta por Aínsa (1993), proponho a análise do novo romance histórico como subgênero literário, que trabalha as histórias centralizadas na América Latina através de um olhar central para narrativas concentradas no continente, dando voz aos sujeitos que outrora foram esquecidos ou deturpados pela história, mas que tiveram suas vozes emergentes através da literatura e dos estudos culturais na América latina e no mundo. O presente trabalho pretende abordar a obra da romancista mexicana Laura Esquivel chamada “Malinche” (2006), que narra a história da indígena de etnia Nahua colonizada pelos espanhóis e obrigada a trabalhar como sua intérprete. A figura da indígena foi deturpada durante anos na história do México por questões políticas e de gênero, mas a abordagem central da investigação mantém a ideia de que Malinche não passava de uma mulher que como tantas outras indígenas, foi duplamente colonizada, tendo seu corpo e sua culturalidade invalidada pelos conquistadores. Para elucidar as questões de gênero que serão levantadas ao longo do texto, trabalharei com Lugones (2014), que propõe abordar as violências de gênero impostas às mulheres colonizadas durante o período de invasão à América Latina, e Segato (2014), que nos elucida sobre as divisões patriarcais acometidas à essas mesmas mulheres (em especial as indígenas) antes da chegada dos colonizadores, e de como esse sistema pré-patriarcal (SEGATO, 2014) foi alterado devido a chegada dos espanhóis. Ainda sobre as discussões voltadas às questões de gênero, para fundamentar teoricamente o tema proposto, que é “a dupla colonização da mulher indígena na conquista das Américas”, será trabalhado a teoria de dupla colonização proposta por Bonnici (2004), onde o pesquisador nos elucida sobre o que seria o conceito de dupla colonização e como esse conceito se fundamenta neste trabalho. Além disso, as pesquisadoras Maria Mies e Verônica Gago também são citadas para apresentar o conceito de corpo-território e compor a banca de estudos feministas. O intuito desta investigação, para além do processo de qualificação, é contribuir com os estudos literários latinoamericanos e de gênero, baseando-se majoritariamente na escrita feminina latinoamericana.

This study aims to explore how the epic is manifested in comics, through the analysis of Ilíada de Homero: tradução em quadrinhos (Belo Horizonte, 2012), by Tereza Barbosa, Andreza Caetano, Paulo Corrêa and Piero Bagnariol. It is proposed that such a manifestation cannot take place in classical ways, as it would not be sustained in contemporary culture; it subsists, therefore, in epic discourse, which is capable of satisfactorily accommodating elements of the epic Iliad in postmodern times. For this, as a lens of analysis and operating mode, the epic undergoes an intersemiotic translation (or adaptation) in the courted work, which affected not only the artistic environment, but also the cultural, formal and linguistic, to represent the story of the wrath of Achilles through the eyes of Comics. It is clear, however, that there is a requirement for a creative translation – or transcreation – that makes Homeric rhetorical figures emerge, predominantly manifested in their famous similes and epithets, which take shape, in the book studied, through creativity in translation. But the transposition needs to be generated in processes of signification, in which the figures are formed surrounded in a significant macrocosm, which is the metonymic transcreation. This is the main interest of this study, which seeks, in the analysis of the work and supported by theorists such as Will Eisner (2010), Walter Benjamin (2008), Linda Hutcheon (2013), Roman Jakobson (1959; 2003) and Haroldo de Campos (2015), unveil the paths that, often tortuous, manifest the reoxygenation of classic genres by new media-cultural guises that, in constant transformation, reveal the richness of approaching the arts through discourse. Keywords: metonymic transcreation; epic discourse; metaphor; metonymy; Ilíada de Homero: tradução em quadrinhos.

Intra-family violence against woman has been practiced since the beginning. It is the product of a patriarchal culture that, for a long time, kept power in the hands of man, denying woman her rights as a participating and active human being in a society in constant transformation. This social organization believes that man is superior to women and they owe him full obedience. To keep power in the hands of men, representations were spread without hesitation that positioned women as inferior, fragile, uninteresting, incompetent, delicate, sensitive, slow, among other adjectives, while man would be versatile, strong, superior, interesting, hero, courageous etc. It’s not difficult to realize that these categorizations intended to establish the dominant role for men, while women were left to be dominated. Unfortunately, these labels have crossed generations and, regrettably have contributed to maintain the differentiation between genders. After decades of resistance and great social advances it is still clear that women are targets of lots of forms of oppression and that, often, men, through power relations, try to demonstrate their dominance, showing that she is submissive and must do only what is imposed, determined. Intra-family violence against women is a clear form of this devaluation, which has been growing considerably in recent years. Recently published, the Brasilian Public Security Yearbook (2023, p. 136) points out that there was “an increase in all forms of violence against women in 2022”. That said, we aimed to investigate evaluations of women who contribute to sexist violence against the own women in comments on Facebook about intra-family violence against women, perpetrated by their husbands. Our data consist of women’s published comments on the social network Facebook, exclusively on the G1 page – from the years 2021 and 2022, on news of intra-family violence against women, carried out by the spouse, so this is the main agent of this form of violence.Furthermore, we believe that this social network provides interaction among social actors through speeches and it is a digital environment conducive to questioning, the maintenance and/or transformation of power relations. From a discursive point of view, this means that “texts as elements of social events [...] have causal effects” – that is, they provoque changes. Therefore, texts can cause changes in our knowledge (we can learn things from them) in our beliefs, our atitudes, values” (Fairclouch, 2003a, p. 8). We hope, with this study, to reflect on the different modes of evaluation in the comments. Furthermore, we intend to verify whether the evaluative linguistc choices, in our object, are contributing to maintaining, covering or transforming power relations between genders. This proposal is framed in the Critical Discourse Analysis, CDA, by Norman Fairclough (1989, 2001, 2003a) as well as in the studies of Álvaro Vieira Pinto (2005), on technology, and Branca Moreira Alves & Jacqueline Pitanguy (2003) on feminism which are essential for the development of this theoretical-methodological proposal. The analytical category of evaluation allowed us to identify, in women’s comments, explicit and implicit value judgments, many of them based on patriarchal ideas, trying to maintain this established division by patriarchal ideology. However, we also noticed evaluative statements that mobilized the breaking of these oppressive practices. We also verified that, when social actors make use of this category in the commentary genrer, they colaborate to maintain and/or transform historically situated social practices, because it is possible to notice through evaluative linguistc makers how they identify themselves and others in contemporary society.          

This research investigates how black literature works to (re)elaborate and supplant the trauma of slavery, based on Conceição Evaristo's “Escrevivência” and Roland Walter's “Transescrita”, in the novels Ponciá Vicêncio by Conceição Evaristo (2017) and Maréia by Miriam Alves (2019). Using these theoretical approaches, I analyze orality as a central element in the formation of a creolization of black-Brazilian language (Glissant, 2023). In this regard, I approach Mary Pratt (2002) and Stuart Hall's "copresence" (2023) as a particular characteristic of the Black Diaspora. This concept allows me to (re)interpret the diaspora as a translated space and an agent of this translation. In order to understand how identity tensions converge with each other, (re)constructing and forming new identities and cultures, I investigate how the racial house acts to dominate all bodies, trapping them in its racial shackles (Morrison, 2020). The hypothesis is that by investigating these tensions produced in the limbo of this house, it will be possible to produce routes, crossroads and other paths to overcome its chains, or at least instigate productions that challenge themselves to walk through the dangers of the racial house (Nascimento, 2016; Munanga, 2019). That being said, I examine these narratives positioned towards the Door of No Return (Brand, 2022). The aim is to observe how the Black Diaspora concomitantly creates and (re)creates the feeling of Black (dis)belonging in the Americas (Brah, 2005; Davies, 2003). In order to accomplish this, I search for the rubble of a distant and destroyed black memory, and then rethink how to reshape the racial house using the “metaphor of home” (Morrison, 2020). Therefore, the importance of this research is in how it interprets the “transescrita of escrevivência” as a theoretical concept for black individuals to inscribe themselves in the world, overcoming the trauma of slavery and working towards a better future (Krenak, 1992).

Discussions about gamification are gaining more and more space within the area of education. In English language learning, gamification employs game mechanics such as points and rewards to increase engagement and motivation. This approach offers benefits such as greater engagement, motivation and active learning. Gamified activities provide instant feedback, autonomy and practical use of language, exposing students to cultural nuances. Textbook activities may not meet the need for engagement among students, and consequently, may not have the expected effect. Our research used as theoretical support the studies of playfulness by Huizinga (2019), approaches to language teaching, mainly by Leffa (1999), Kumaravadivelu (2003), Richards & Rogers (2003). To this end, with this research, we aim to create a gamified learning trail, adapting 3 activities already existing in an English language texbook for the 1st year of new high school and placing emphasis on the speaking practice, as it is one of the least common skills worked on high school teaching materials. Our work was conducted using bibliographic and documentary research methods, as in addition to critically analyzing the activities already existing in the textbook, by other authors, we created activities of our own authorship. The expected results of our research come from the critical analysis of the entire learning path and activities in the book, making constructive criticisms of the objects of knowledge, texts, images and approaches that the book gives to the orality axis. We hope that our research will help other English language teachers to embrace gamification in their teaching practices.

The present study aims to analyze the construction of the discursive ethos of former President Jair Bolsonaro in publications on X (Twitter). This examination is based on exploring the recurrent use of the religious discourse of John 8.32 and aims to identify discursive strategies, meanings, and semantic variations resulting from its dissemination on that social network. The focus of the investigation falls on the question: how was the religious discourse of John 8.32 conveyed on X (Twitter), on Bolsonaro's profile, with the intention of building an ethical projection that, through post-truth strategies, would generate credibility? Under this perspective, our general objective is to examine the formation of Jair Bolsonaro's discursive ethos on X (Twitter), based on the use of the religious discourse of John 8.32, identifying strategies, meanings, and variations resulting from its dissemination in the digital ecosystem. As specific objectives, we list: a) Identify the discursive and argumentative strategies constructed by the enunciator to construct and maintain their ethé on X (Twitter); b) Point out the strategies identified in the statements related to the use of post-truth; c) Interpret the meanings attributed to the religious discourses used by the enunciator in his posts, reflecting on their indispensability and the dialogue between knowledge for maintaining Bolsonaro's ethos in his posts; and d) Check the variations in the ethos built by the enunciator, comparing the context of creation of the statements posted in tweets and the dialogue with other speeches. The research corpus encompasses a set of 17 tweets taken from X (Twitter), following the guidelines established by Paveau (2021 [2017]), regarding the analysis of digital discourse. The theoretical approach adopted in this study amalgamates elements of dialogical discourse analysis, as outlined in the studies of Bakhtin (1993[1965], 1997[1979], 2010, 2013, 2016) and Voloshinov (2018[1929], 2013[1930]), French discourse analysis, based on the works of Maingueneau (2021; 2008a; 2000) and Charaudeau (2018, 2022), as well as argumentation in discourse supported by Amossy (2008). In the context of social networks and the internet, we also incorporated the theoretical contributions of Recuero (2009), Elm (2008), and Messenberg (2017). Regarding methodology, we situate this research as a qualitative study (Rohling, 2014; Bauer; Gaskell, 2002; Flick, 2004, 2012; Yin, 2016), of a documentary nature (Creswell, 2007; Charaudeau, 2011), based on the inductive method (Marconi; Lakatos, 2002). The corpus analysis found that the enunciator adopted religious discourse as a discursive strategy aiming to improve his ethical projection on X (Twitter). This occurred through the decontextualization and emptying of the meaning of biblical references, the confusion between factual and doctrinal truths, and the support of post-truths to maintain his ethos. Furthermore, the statements were structured using an authoritarian form of language, with the purpose of transforming the publications into statements that do not admit dialogue, contestation, or discussion. This strategy aimed to combat his antiethos, promoting himself as the only owner of the 'truth', by exercising his ethos as a leader and boss, often disseminating misinformation. Finally, Bolsonaro relied on religious constituent discourse to give credibility to his statements.

With the advent of the digital revolution, social interactions have increasingly become mediated by technology. The widespread use of social networks, such as Facebook and Twitter, has become integral to contemporary life, facilitating connections and interactions among individuals. This accessibility to online platforms, coupled with the ease of expressing opinions and judgments while maintaining a degree of distance and anonymity, has contributed to the proliferation of impoliteness in online discourse. Thus, there is a pressing need to investigate how impoliteness manifests in digital environments and its impact on the individuals involved. This study aims to analyze the characteristics of impoliteness and the construction of identities among interactants, focusing on narratives shared by dissident subjects on social networking sites. We selected Facebook and Twitter for analysis due to their popularity, with Facebook being the most widely used social network in Brazil and Twitter having a significant user base globally. Twenty posts, along with their corresponding comments and replies, were collected from both platforms using a qualitative-interpretivist and ethnomethodological approach. From these, ten posts that met the research criteria and were deemed representative were selected for detailed analysis. Theoretical frameworks drawn from (Im)politeness Studies, Queer Theory, Linguistics, and "small stories" narratives were employed to guide our analysis. Our investigation aimed to identify how impoliteness is managed within these networks, examining the presence of conventionalized impoliteness formulas and the perspectives of queer subjects on their experiences. Furthermore, we explored the relationship between impoliteness and the construction of queer identities, considering identity formation as situated and narrative-driven. Our findings suggest a significant correlation between experiences of impoliteness and queer identities, highlighting a normalization of queer identities as unacceptable, abject, and abnormal within societal norms. This relational aspect of identities reinforces the dominance of the heteronormative matrix, perpetuating its claim to being the sole, appropriate, legitimate, and authentic identity.

This research examines the cultural representations in the works of two popular and illiterate poets from the Sertão do Pajeú in Pernambuco, Brazil: "A Caçada Mal- Assombrada" by Vicente Preto, and three poems with a galloping (Galope à beira- mar) structure by the seaside by Pedro Tenório de Lima. The study seeks to understand the origins of these poets' imagination, exploring the underlying motivations behind their creation, as well as their respective contributions to the recording and resignification of a cultural scene that is still, from some perspectives, in transformation. It analyzes how their expression, shaped by localism and regional characteristics, reflects symbols and linguistic peculiarities stemming from migratory movements that influenced the locality. The research also investigates the contribution of the imagination to the memory and historicity of the local, prompting
reflections on the interaction between poetry, society, and cyberspace in the contemporaneity of the Brazil northeastern hinterlands, also including studies of reception linked to these works. Among the main authors worked on in the theoretical framework are: Antônio Cândido (1987 and 1988), Câmara Cascudo (1984 and 2000), Claude Lévi-Strauss (1955), Gayatri Spivak (2010), Homi Bhabha (2013), João Sautchuk (2009), Maurice Halbwachs (1990), Marcos Siscar (2016), Mikhail Bakhtin (1987), Paul Zumthor (1993), Stuart Hall (2003, 2006), and Walter
Benjamin (1987 and 2008).

This work investigates how the referencing of discourse objects and the construction of the point of view contribute to the (re)construction of meanings in cartoonist Laerte Coutinho's comics and how these contents can be taught to work with reading in language teaching. This work is based mainly on referentiation theory, in the point of view theory and the conception of reading with a socio-cognitive and interactional basis according to Koch and Elias (2011[2006]), Menegassi (2010) and Antunes (2003). Regarding the first theory, we align ourselves with the socio-cognitive and interactional approach to reference construction (Mondada and Dubois 2019[1995]). In this theoretical model, we understand that referentiation is a dynamic and complex process of constructing referents that portray reality (Koch and Marcuschi, 1998; Cavalcante, Custódio Filho and Brito, 2014; Cavalcante et al. 2020; Cavalcante and Martins, 2020). In turn point of view theory presents an enunciative and interactional bias and seeks to understand how perspectives and perceptions are constructed by subjects about objects (Rabatel, 2015; 2016[2008]; Cortez, 2011; 2013). In this context, we are guided by the fundamental assumption that one of the strategies for constructing a point of view is referentiation (Rabatel, 2016[2008]; Cortez, 2011). Regarding the methodology, we adopted a qualitative approach based on the inductive method (Gil, 2002; Taquette and Borges, 2020). We selected six comics for analysis that were divided into two groups: comics from the first phase (referring to the initial phase of the gender transition) and comics from the second phase (referring to the later phase of the gender transition). To develop the pedagogical part, we carried out field research, in which we developed and took to the classroom a didactic proposal that articulates the theoretical assumptions of the work with the reading of comics that are part of our corpus. This practical part of the research, carried out in a high school in the city of Serra Talhada, in the backlands of Pernambuco, enabled the generation of three materials: activities, production of posters and reports that were produced by the students. Our analyzes show that there is a greater incidence of recategorizations in humor-building situations in Laerte's comics from the first phase, as well as that the perspective of the character Hugo (referent) appears largely as upset and dissatisfied, as opposed to Muriel who is viewed as happy. We also observed that there is a greater incidence of dissonant points of view (POVs) in comics from the second phase, while there are more consonant POVs in comics from the first phase. In relation to the practical part of our research, the materials generated show the development of a critical reading on the part of the students regarding the theme of transphobia that permeates the comics covered in the activities.

Autism spectrum disorder is a neurodevelopmental disorder, which influences the social behavior, communication and language of the person on the spectrum. The first studies on ASD were carried out by Leo Kanner in the 1940s. Since then, research in different areas, especially in the clinical area, has investigated the disorder to understand how it works. The Brazilian Law No. 12.764, of December 27, 2012, establishes the National Policy for the Protection of the Rights of Persons with Autism Spectrum Disorder, which defends the right to inclusion, education and use of Assistive Technology (AT) when necessary for the development of the diagnosed person with the disorder. AT is an area of knowledge and it aims to facilitate the routine of people with disabilities, disorders and reduced mobility. AT resources and services can be used in the most diverse spheres of everyday life, such as adapting the environment and carrying out activities via voice command. Considering the inclusion laws and campaigns of recent decades, schools are increasingly accepting ASD students and the use of AT resources and services during classes can impact on the learning and development of these students. Thus, the objective of the present study is to analyze the reality of the English teacher, understanding their training course, the challenges present in teaching the language to autistic people and the use of digital technologies as Assistive Technology resources. To this end, questionnaires and interviews with English teachers were used as instruments to collect data. To analyze the teachers' responses, a qualitative methodology of a descriptive-interpretative nature was used in order to understand the reality of them. As a theoretical basis, Moita Lopes (2006/2011); DSM (2014) and ICD-11 (2022) manuals, Laws and Decrees, Galvão Filho (2009) and Bersch (2017) and among others. The results indicate that teachers did not receive training to teach ASD people and to use AT. Consequently, they do not know how to use new technologies as an assistive resource when teaching English to ASD students.

Among the various approaches to applied linguistics, there is a concern about how linguistic principles can be used, in a pragmatically used to solve real-world problems, thus motivating the present thesis. Based on our observations of the practice of English Reading (ER) by public school students, we found that this communicative ability is configured as incipient and often uncomfortable for these individuals, despite being a crucial linguistic skill in an increasingly globalized world. To promote the increase of reading proficiency in ER, we investigated the influence of students' habit in reading in digital games, leveraging a practice that seems to be common in most young people today. In order to examine the relationships between the reading habit during interactions with games and the improvement of proficiency in an additional language, our research takes on a translational character due to the use of a theoretical foundation from concepts of various areas of knowledge. We are anchored in a theoretical framework from linguistics researchers, focusing on studies related to the practice of ER; neuroscience, as we seek to understand how our brain learns and the intrinsic brain mechanisms related to reading; and the pedagogical use of digital games to explore the potential that games can offer to the educational environment. Our epistemological stance enabled us to investigate whether games can be used as a pedagogical tool for promoting English reading proficiency. Thus, from a corpus produced by five high school students, we analyzed the interaction of these young people with digital games and observing elements such as the time of exposure to games, the arrangement of texts in the respective digital environments and the strategies developed by the researched subjects to interact with the texts in ER in the virtual environment. The data collected allowed us to confirm that, by engaging in the pursuit of objectives proposed by the games, students apply their reading ability in a practical manner, with specific and well-defined purposes. These factors facilitated an instructional, active and dynamic involvement with reading in ER, demonstrating that interaction with digital games can be a relevant pedagogical resource for the development of reading proficiency in ER.

This research aims to analyze the development of the heroes created by Gilvan Lemos, specifically in three novels: "Noturno sem música" (1956), "Os olhos da treva" (1975) and "Morcego Cego" (1998), from the perspective of the Bildungsroman, or Novel of Formation. The primary objective is to assess the extent to which these novels may be interpreted within the framework of the Bildungsroman concept, taking into consideration both the similarities and distinctions in relation to this literary genre, which chronicles the journey of a hero towards their exemplary formation.  According to Maas (2000), the Bildungsroman represents a minimum canon and is often reinterpreted by various literary productions. The methodology employed in this research is qualitative in nature and is based on a bibliographical review, using the theoretical concepts of Maas (2020), Mazzari (1999, 2010, 2020), Moretti (2020), among others. The results obtained reveal that the heroes created by Lemos in the novels analyzed do indeed go through a process of formation, however, they fail to complete it in an exemplary manner. This is largely due to the historical and social context of modernity in which these characters are inserted, which prevents complete harmony between their internal development and external demands. As its main contribution, this study enriches the critical analysis of Gilvan Lemos' work and broadens the debate on the Bildungsroman genre. 

In the current conditions of production, more and more subjects, in our social formation, are fans of social networks, especially relationship applications. Since its creation in 2012, Grindr, a homoerotic dating app, has had an increasing number of users. With more than 10 million downloads made, the application has space for the heterogeneous constitution of subjects. Men-subjects who subscribe to the application seek the commodification of the body, inciting the desire of the other, of the possible subject-user. According to Vinhas (2021), the subject constitutes itself as an image of its body, that is, the body is the body of a subject, so that ideology also crosses it and makes it signify (VINHAS, 2014). I seek to analyze, with this work, inscribed in the theoretical-methodological device of Discourse Analysis by Michel Pêcheux, the functioning of the discourse of the commodification of the body from the discursivities collected in this relationship application. For this, taking up the theoretical-methodological assumptions of Pecheuxtian DA, in the first chapter, I discuss the notion of body, materiality, language, ideology, etc., analyzing three profiles in which I identify a process of selling the body. In the second chapter, I present the notions of virtual space, digital media, among others, in order to describe the features of Grindr. In this chapter, I analyze the functioning of the application's screens and tabs, in order to understand the subject's subjectivation movements that take place there. Finally, in the third chapter, with clippings made from Grindr, I work with materialities that textualize the male body as an object of the other's desire, so that the body slides into the commodity-body. Even though the body, in labor relations, has always been subjected to the oppression of capital, this functioning now presents itself in another way: the commodified body on Grindr is intertwined with a functioning of ideology, in its most perverse form (GRIGOLETTO, 2017), which makes the subject believe in his freedom, since, in this context, there would be no other subject under his control. From the analytical work, I understand that the body, the subject's materiality, crossed by commodification, slides into the commodity-body, which, through the subject's movements in the network, means by its inseparable entanglement to ideology, covered by a digital layer, that allows capital to produce other forms of domination.

Learning foreign languages, especially those spoken in countries which are economically important in world history such as English, German, Spanish and French, was restricted to the Brazilian elite for many centuries. This scenario has changed since the second half of the 20th century due to the advance of globalisation and, consequently, the development of new technologies that allows communication between different countries. As part of this new social and economic outlook, economic blocs, for instance, the European Union (EU) and Mercosur, were created and, hence, an advance in integration and mobility took place in order to fulfil the lack of skilled workers who are able to live and work in different places without language barriers. Therefore, It would be necessary for workers who are already integrated in the labour market to learn new languages and, concomitantly, for schools to invest in language teaching and in this way, even more mobility can be granted to future generations. Thus, in order to learn languages as fast as possible, new methods and educational approaches needed to be developed. This paper is about the Content and Language Integrated Learning (CLIL) approach which originated in Europe and which aims to accelerate language learning by teaching content and language in the same class. Although it was developed at the end of the last century, this approach only gained strength in Brazil from 2010 onwards with the emergence and growth of bilingual programmes in primary schools commercialised by national and international publishers. In order to analyse the application of this approach, we started the research by investigating the historical context of second language teaching and learning in the country, from the arrival of the Portuguese until the present days, taking into consideration the social, political and educational background of that era. Subsequently, we present the CLIL approach in detail, its origin and characteristics, as well as its variations in Brazil. Finally, we investigate the application of CLIL characteristics in textbooks used by bilingual programmes in the city of Recife, books that claim to use this approach as their guidance basis. The aim of this research is to offer support to department heads and teachers who want to implement a bilingual programme in their schools using CLIL as the basis for their bilingual education.

This research has as its main purpose analyse, under the Critical Discourse Analysis (CDA), especially based on Norman Fairclough and Gunther Kress and Theo Van Leeuwen works, the representation of suicide in the American Netflix series 13 Reasons Why. It is chased, as specific purposes, reflect about how discourse practices act in the way to sustain or suspend the social structure to maintain the discourse domination of stereotyping, guilting, exposing, and silencing suicide. Considering the importance of discussing about it, as a social phenomenon, public health issue and human crises, I conduct this research in the way of the understanding social basis views of suicide, as from observation of social and discursive aspects, in view of elements in the representational construction of the aforementioned series signifying suicide. It will be considered, thus, the perspective, social distance, transnationality, modality, salience and symbolic conception in the discursive audio-visual construction (Kress and van Leeuwen, 2006 [1996]), as its modes of evaluation, named evaluation stance, category based on Fairclough (2003). Therefore, I will analyse the first season, for it on in the main character, Hannah Baker, consummate her suicide, besides mention the “13 reasons” for her self-provoked death. Based on the analyses undertaken, it is possible to notice how social structures become reproductive of prejudice, taboos, and stereotypes, which crystallizes and potentiates excluding and silencing behaviours against people considered “suicidal”.

The objective of this dissertation is to compare the works A poesia em pânico (1939), by Murilo Mendes and A pintura em pânico (1943), by Jorge de Lima, with emphasis on the melancholic traits present in each production. For this, theoretical studies on melancholy have been recovered, especially with regard to the feelings of loss and sadness, inherent in this condition, as Freud (2010) discusses. In this perspective, it was observed that - in both works - melancholy finds its genesis at the moment of rupture with the sacred, when lyrical subjects move away from religiosities. In the books mentioned, melancholic representation is perceived both in the thought of divine punishment and in verses/photomontages in which aspects of self depreciation are evidenced. In addition, it was found that, in A pintura em pânico, the addition of another semiotic system - the photomontage - engenders a new way of catalysing melancholic images, including because the Alagoan dialogues not only with Murilo Mendes, but with other works of art history. Therefore, the fragmented structure - intrinsic to the collage technique - already points to the presence of melancholy. Starobinski (2016) , Freud (2010), Quinet (2006) Costa Lima (2017), Eisenstein (2002) and Friedrich (1978) support the critical-analytical itinerary of this work.

O propósito dessa dissertação é analisar, comparativamente, a representação do subúrbio carioca no romance Clara dos Anjos, de Lima Barreto, e no conto Espiral, de Geovani Martins, com o objetivo de explorar o que permanece como elemento fulcral na formação das relações construídas a partir deste espaço social. A análise tem como referência dois momentos históricos, completamente, distintos, uma vez que a produção de Lima Barreto pertence ao início do século XX e o conto de Martins, ao início do século XXI. Buscamos compreender as sintonias temática dos autores, por meio de uma análise paralela da trajetória intelectual de ambos, uma vez que os escritos dialogam em profundidade e sinalizam que, para eles, a literatura se propõe a algo maior. Procuramos, ainda, examinar as relações de ambivalência do colonialismo e dos sujeitos subalternizados nas referidas obras. Para tanto, investiga-se a fortuna crítica dos autores, a formação da América Latina e os acréscimos valorosos dos estudos pós-coloniais para concernir o impacto dessa origem traumática na produção textual dos dois. Por fim, investiga-se as questões de raça, políticas sociais e violência, como marca das obras em comento.

This work aims to contribute to the studies between society and language and focuses on the analysis of tweets written by women on contraception based on Systemic-Functional Linguistics (LSF) (HALLIDAY 1999; HALLIDAY & MATHISSIESSEN 2014. This theory conceives language as a semiotic potential in meeting the needs of the society in which it is used. The objective of the research is to verify marks of Evaluativity in the tweets in order to recognize the impacts of these marks in the construction of the message from the categories of the Subsystem of Attitude, such as of sociocultural behaviors and values (objects/beings). The specific theoretical framework on Evaluativity is based on the studies of Martin and White (2005), researchers who created and disseminated this theory from Halliday’s studies on LSF. The methodological cut was given by the collection of tweets in January 2021, in order to analyze how, after one year of the beginning of COVID-19, the impacts on the health and reproductive life of Brazilian women would manifest in the writings. It is proposed to study the opinions of women regarding contraception, since there is a great social responsibility about them about the use of contraceptives, even in pandemic times in which health difficulties were aggravated. As a result, it was observed that the Assessment was the category most used by the users, with 124 evaluative items, and the hypothesis that women have a more negative view regarding contraception and contraceptive methods was confirmed, by analyzing the linguistic resources chosen by them to publish the tweets.

This research aims to investigate the refractions of Christian discourses, specifically Christian iconography, from the perspective of subaltern bodies, as well as the responsive discourses to such refractions. Thus, we will question the duel between dialogic word vs. authoritarian word. We are based on the dialogic analysis of discourse, in its concepts of alterity, dialogism, discourse, and utterance outlined by the Bakhtin Circle (1999; 2000; 2002) and Volochínov (2018), as well as tracing a dialogue between Foucault (1995; 1999; 2008; 2009; 2013) and Bakhtin (1997; 1999), based on the notions of body, power, utterance, and discourse. In this way, we have a theoretical framework divided into two volumes: Dialogic Analysis of Discourse (ADD) and concepts from Foucauldian thought. The discourse material selected for the construction of the analysis corpus split into two interpretive processes that align with the type of research being conducted: a) the utterances that refract Christian imagery by subaltern voices; b) the responsive acts to these refractions - in order to reach the qualitative approach that guided the analysis, guided by the concepts-categories already exposed. The corpus built, submitted to the analytical process, emerged from two discursive events: a) the performance of the crucified transvestite in the São Paulo LGBT parade in 2015; b) the parade of the Mangueira samba school in 2020, which themes the representation of Christian iconography under the gaze of subaltern voices. The responsive acts and replies to these discourses are described from the voices of representatives of the political and religious fields, such as General Luiz Eduardo Ramos, former President Jair Bolsonaro, former Minister Damares Alves and pastor and Federal Deputy Marcos Feliciano. Thus, we question the discursive struggles around the image of Christ, the legitimacy of voices resistant to the authoritarian word, and the meaning effects from these positions highlighted here.

Este trabalho tem como tema principal a metamorfose como metáfora da
identidade moçambicana em “Contos do nascer da Terra” de Mia Couto. A partir dos
textos selecionados, abordaremos o uso da metamorfose como um recurso
relevante para a realização metafórica do desabrochar identitário moçambicano.
Assim, os contos da obra em estudo serão analisados no campo da Teoria da
Literatura (Linha de Pesquisa 1: Literatura, sociedade e memória). Nesse sentido,
abordaremos temáticas que revelam a religiosidade na literatura coutiana como
aspectos da tradição ancestral e circunstâncias onde o “insólito” se faz presente.
Dessa forma, os contos foram organizados em três ciclos temáticos: nos dois
primeiros, prevalecem as metáforas existenciais sobre a perspectiva do imaginário
popular moçambicano: a solidão humana na figura do idoso (o qual representa a
tradição); o além, como percepção de vida após a morte (filosofia muntu), bem como
a contação de estória, enquanto resgate identitário (memória ancestral), já no
terceiro eixo temático, realismo animista é associado ao sentimento de luto e de
renascimento, tendo como elemento principal a metáfora da metamorfose. Com
base nisso, no primeiro eixo temático, “O papel da ancestralidade africana na
identidade”; no segundo eixo temático teremos “Memória e oralidade na narrativa
breve de Couto; e no terceiro eixo temático “A metamorfose e Muntu nos contos de
Mia Couto”. As discussões e análises serão pautadas nos estudos dos seguintes
teóricos: Ana Mafalda Leite (2014) sobre oralidade e metamorfoses, Francisco Noa
(2015 e 2018) e Rita Chaves (2008) sobre a contextualização do espaço literário
moçambicano, de Stuart Hall (2006) sobre identidade e memória, de Ezio Lorenzo
Bono (2014) sobre a “ideia de pessoa muntu”. Quanto ao caráter mítico e lendário
dos contos, os estudos de Chiampi (1980) e Todorov (1994) sobre as concepções
de Realismo Maravilhoso e Fantástico, em contrapartida, os estudos de Sueli da
Silva Saraiva (2007) e Sílvio Ruiz Paradiso (2015/ 2020), sobre análise do insólito
em narrativas de autores africanos com base na concepção de Realismo Animista.
Dessa maneira pretende-se compreender como o imaginário popular de Mia Couto,
impresso nos contos, traduz, metaforicamente, elementos da cultura de
Moçambique, contribuindo para a realização identitária do povo africano e, de algum
modo, dos brasileiros.

The objective of this research was to observe how metafictional aspects existing in the novel Little Women [1868]/(2019), written by the American author Louisa May Alcott (1832-1888), were adapted for the film Little Women (2019), directed and scripted by Greta Gerwig (1983-). Concerning the theoretical contribution, we first discussed the concepts of metafiction, studied by Baldick (2001) and Bernardo (2010b), and analyzed how these definitions may be applied in the literature from the studies of Hutcheon (1980) and Waugh (2001). In the field of cinema, we analyzed how metafiction was observed through the works of Baláz (1983) and Xavier (2003). From the perspective of the Adaptation Studies, with Hutcheon (2011) and Stam (2005; 2006), we observed how the self-reflective and self-referential resource of metafiction is seen in the novel Little Women (2019) and with what intention those same elements were adapted in the movie Little Women (2019). This research also investigated the coming-of-age novel (Bildungsroman) based on the studies by Lukács (1994) and Noomé (2004), and what impact it had on Alcott’s literary work from the perspective of feminist critics such as Showalter (2020). With a film adaptation that highlights the feminist and progressive discourse existing in the literary work, we used the concept of femininity by Toril Moi (1989) and its relation with feminism, as well as the ideas related to women and literature by Woolf (2019). The corpus of analysis and interpretation of the research consists of selected excerpts from the novel and the film, pointing out where metafictionality is found in each of them, and why it was possibly used. We understand that the adaptation of Nineteenth-Century novels to films, as Gerwig’s Little Women, highlights the need to elaborate, adapt, and (re)interpret the narratives that bring current issues from contemporary society to be debated, such as misogyny, female oppression and sexism. It is, therefore, a study that seeks to highlight the relevance of Alcott’s work through Gerwig’s adaptation, joining, from metafiction, writer/character/director, as if they were all at the same time, place, and space.

El presente trabajo pretende realizar una "arqueología" del discurso de castas producido en Nueva España entre los siglos XVI y XVIII. Dicho discurso consiste en un conjunto de ideas y concepciones sobre la jerarquización social basada en el linaje, reveladoras del pensamiento y la ideología de las élites coloniales novohispanas. Así, se propone un amplio estudio de la retórica de las élites a lo largo del periodo virreinal, buscando identificar los orígenes del discurso, su evolución y sus diversas manifestaciones. Para ello, se revisan, por un lado, los textos oficiales y literarios producidos durante la época colonial, tanto en el propio Virreinato como en Europa. Por otro lado, se lleva a cabo un análisis de las imágenes producidas a lo largo del periodo, con especial atención al género de la pintura de castas, con el fin de poner de manifiesto el diálogo entre estos dos corpus. Este trabajo pretende subrayar la importancia de una lectura cruzada entre textos e imágenes para comprender los mecanismos de producción y cristalización de los discursos de poder en el imaginario colectivo de europeos y americanos. Su relevancia también radica en que la aproximación al periodo colonial permite comprender las relaciones de poder y los comportamientos discriminatorios que persisten en la actualidad como reminiscencias de las tensiones vigentes entre los siglos XVI y XVIII.

Europe has a direct influence on world systems and established prior structures that cross the concept of race. This extract caused an ontological difference between Europe and marginalized civilizations in global power dynamics. Africa began to be explored by European peoples around the 15th century, when it already had a highly organized political, social, and cultural system. In this century, the process of sabotage against black people began. Myths about characteristics of the black body were reproduced, as well as alienation based on the repetition of repressive mechanisms, which caused the black person to lose confidence in themselves, in addition to the domination of the Catholic Church and pseudo-justifications given for the continuation of exploitation. In the history of Brazil, the figure of the black person is marginalized in terms of their place in the society where the events occur and in the history that is told. Marginalization is a term that consistently represents many positions directed towards black people in past and current times. This complex process is constituted by areas such as politics, society, and culture, being valid for this study mainly in relation to language and literature. Therefore, in this dissertation, we propose to analyze, based on the generative constituents of a literature that aims to be black, how the characteristics of the text written by the black writer Domingos Caldas Barbosa in the work Viola de Lereno (1760) reveal the existence of a literature that reaffirms its blackness, even in the eighteenth-century context, based on historical, linguistic, and psychological factors, as well as locating and contextualizing the relevance of the work and the author; explaining the reformulation of narratives about black literary productions in the 1700s-1800s, starting with the work Viola de Lereno, and elucidating values of history, memory, and black existence. To fulfill the purpose of this dissertation, several readings were carried out, resulting in a list of authors that will be used as points of support for the arguments constructed throughout the study, whether for agreement or refutation. The main authors highlighted include David Brookshaw (1983), Zilá Bernd (1994), Domício Pronça Filho (2004), Conceição Evaristo (2008), Kabengele Munanga (2020), and Frantz Fanon (2008). This dissertation finds its relevance when it is still necessary to shed light on literary history and productions by black people in certain periods; when, in addition to a literary-academic bias, the project serves society in the perspective of rehabilitation and strengthening, through the analysis of literary texts, of the values of history, memory, and black existence.

This research proposes to analyze the ways of expressing suicide in the book The fall, written by the philosopher Albert Camus (1913-1960), pointing out ways in which these ways of saying are intertwined with the networks of symbolic constructions crossed by the theme. Points of (de)stabilization of these networks that cross the ways of saying suicide in the referred work and its effects of meaning on the understanding of this practice in the twentieth century and in the contemporary world were outlined. Camus (1913-1960) lived the post-war period and presents his philosophy by elaborating anguishes and dilemmas of his time through literary devices such as short stories and novels, being constituted as a relevant object of study both from a literary and philosophical point of view, provoking a great impact on the construction of 20th century thought (LINS, 2016). From the perspective of Michel Pêcheux (1997; 2008; 2012; 2019), this work seeks to understand the effects of meaning on the term suicide that are constructed in Camus' writing regarding the possible places of this notion in the set of the work. Starting from the relationship between literary discourse and the theoretical constructions of Lacanian psychoanalysis, the understanding of suicide as an act was discussed, tracing a reflection on the effects of the ways of saying suicide analyzed in Camus's work for a questioning-reformulation in the way of understanding - say suicide and its prevention in the National Policy for the Prevention of Self-Mutilation and Suicide. Questioning voluntary death within hegemonic productions of meaning opens space for a polysemic listening to this practice and, thus, to its care strategies. The work of Discourse Analysis (DA) stands out here as a theoretical-analytical device that enables reading gestures about discursive understandings in different orders and whose concreteness is produced through the various materialities produced from a political-ideological place. The DA was brought as a possibility of amplification of the symbolic work through the language making sense, forming notions of its context, of the conditions of discursive production and, consequently, of the historical positions previously assumed. This texture sustains a web of relationships between the linguistic materiality of the texts, the historical processes and the social practices that participate in their production conditions. For analysis, clippings of discursive sequences were outlined within the corpus which touch the construction of the notion of “suicide”. From this movement, it was possible to explore – taking into account different reading gestures and ways of saying about this notion – notes of meaning effects, composing suicide as a movement faceted by polysemic dimensions based on concepts such as enigma, punishment and resentment. Thus, movements of tension and rupture in the network of meanings were promoted, opening questions in front of this practice, placing it as pluralized and distant from a univocal conception of the phenomenon. Given the above, it was possible to build an opening for the understanding of voluntary death as an experience endowed with a semantic heterogeneity, which enables not only the expansion of possible conditioning factors and other possibilities of care, but the encounter with the dimension of acting as language. 

Death in the arts, especially in literature, holds on an undeniable space, has being personified and symbolized across the various periods of time, peoples, and cultures. Received faces, body, expressions, and attributes that it has been constructed over the time and in to according with the contextual aspects of each period. Given this, this one investigation objectives to analyze this theme of representing death like woman in 19 turns of the century literature, specifically, in the poetry of Rubén Darío and Cruz e Sousa, at the lights of Thematology - a field of comparative literature that focuses on the study of themes and this one in literary works. To execute this analysis, particularly, we have focused on the transformations that about 18th and 19th centuries experienced in the influenced by Rationalist, Enlightenment and Positivism, just like the popular revolutions that permeated those years in order to assimilate the socio-historical context in which Romanticism emerged and, subsequently, neo-romanticism, commonly known as Symbolism. As a result, we will analyze and selected poems from the works of Rubén Darío, a Nicaraguan modernist poetry whom was influenced by of the prevailing symbolist aesthetic of this time in France, as like selected poems has chosen from Cruz e Sousa, Brazilian Symbolist and pre-modernist poetry in order to highlight where the aspects of death woman converge and diverge in Ibero-American Symbolist poem.

ABSTRACT

This research, entitled Contributions to the teaching of E/FL: Foreignisms and Neologisms in the Lexicon of Current Spanish in the Light of Lexicography, of a descriptive nature and focused on a field today considered fundamentally theoretical, aims to discuss the concepts of Lexicology, Lexicography and Neologisms, and analyze slogans corresponding to four modern dictionaries of the Spanish language, highlighted, published in the last two decades, (SECO et al, 1999; MOLINER, 2007; ALVAR EZQUERRA, 1994; 2003). The methodological procedures of a practical nature establish a corpus with the lexemes that will be the object of our analysis from a collection in the aforementioned dictionaries. The work has as its starting point for its development a critical review of the most important works carried out and published up to the present and of those that may be published in the course of research related to the Spanish language and its teaching. The study shows the structuring of dictionaries and their types, their relevance for language teaching, and how societies and cultures are revealed through these works. It also seeks to reflect, discuss and understand how discourses are produced and conveyed through these dictionaries, in order to demonstrate that contemporary language contains a large number of lexical units arising from the lexical creativity of speakers, manifested in their orality. With this, the research intends to contribute to the development of dictionary studies and lead to reflections on Lexicography in E/FL teaching.

Para além da produção poética, são constantes as declarações de Cabral acerca da sua relação com a pintura – considerada, por ele, a grande arte8 . O escritor chega a comparar o seu fazer poético – dependente, segundo ele, do ato de ver – à criação de um quadro: “Eu, para escrever, preciso ver muito o que estou escrevendo, sou incapaz de compor uma coisa de cabeça e ditar. O poema, para mim, é como se eu pintasse um quadro” (MELO NETO, 2020, p. 848). Assim, é a partir da aproximação com a pintura que Cabral destaca o caráter visual da sua poesia – “[...] a função do poeta é dar a ver” (MELO NETO, 2020, p. 849, grifo do autor). Não por acaso, são inúmeros os poemas em que a visão – sentido ironicamente perdido por João Cabral no fim de sua vida – é colocada como central. Este trabalho de pesquisa se volta para o processo de tradução intersemiótica, no livro O cão sem plumas, de João Cabral de Melo Neto, por meio das fotografias de Maureen Bisilliat, como forma de ressignificação do poema cabralino.

A presente pesquisa aborda o tema da maternidade e maternagem intrinsecamente ligadas às questões de gênero, raça e classe na obra Quarto de despejo - Diário de uma favelada, de Carolina Maria de Jesus (2014). Adotamos um postura de metodologia feminista decolonial por entender que esse estudo vai além de determinar que Carolina Maria de Jesus é negra e pobre e tudo que ela vive no seu Quarto de Despejo é por conta da sua raça, intentamos compreender como seu corpo materno preto é consequência da colonialidade, no qual a colonialidade do saber, do ser e do poder são mantidas de forma insistente e aterrorizante. E que, para além disso, a colonialidade de gênero  está  presente, no qual o sexo sustenta a colonialidade do poder,  a dominação racial e de gênero. Isto posto  podemos ter alguma medida  da mais profunda destruição histórica dessa imposição colonial ao qual Carolina nos apresenta em sua obra. Em nossas observações daremos enfoque às estruturas patriarcais e de controle do corpo materno preto, posto que a maternidade vem acompanhada por questões sociais e está bem nítida na obra  Caroliniana. Dessarte compreendemos a necessidade de estudar obras escritas por mulheres negras pela relevância em ouvir a sua voz e vermos como o cânone literário pode ser comandando pelo patriarcado branco heteronormativo e que, nesse contexto, a escrita das mulheres negras tem sido apagada durante a história.

Discutir como a maternidade de Carolina é vivida e como se transforma em sua maternagem merece reflexão teórica inicial, inclusive sobre os arquétipos e suas projeções no cotidiano das comunidades brasileiras. Desse modo vamos investigar  as particularidades do corpo negro materno excluído e invisibilizado pela perpetuação do discurso patriarcal,  como reivindicação dentro da escrita literária e como uma atitude feminista com escopo no exercício da maternagem de Carolina Maria de Jesus, incluindo os estudos de Vânia Vasconcelos, Badinter,  Lélia Gonzalez, Patrícia Hill Collins, Sueli Carneiro,Grada Kilomba, Cristina Stevens, Constância Duarte, entre outras,   que reiteram as dificuldades do exercício pleno da maternidade negra frente às fortes barreiras sociais.

The research aims to demonstrate that in "Glória" (2012), a novel by Victor Heringer, there is a dual procedure through which we recognize the possibility of apprehending a characteristic malaise of contemporaneity, while it expresses this not only thematically, but especially through formal literary elements. According to Joel Birman (2014), we can characterize the current malaise as a feeling of emptiness of existence, which in the novel takes shape in what the narrator refers to as "desgosto" (disgust). This malaise is presented in the novel through the formal articulation of a hero marked by tragedy, whose plot action engages with the tradition of comedy. "Glória" narrates the trajectory of the Alencar Costa and Oliveira siblings - comprised of Benjamim, a frustrated artist; Daniel, a successful bureaucrat; and Abel, a rising pastor - a family whose members are fated to die not from accidents or illness, but from "desgosto," an acute and unpredictable melancholy that haunts them from generation to generation. Thus, as a result, it becomes evident that it is through the resizing of the hero, whose world is no longer their measure (LUKACS, 2012), and crossed by inventive irony, that Heringer organizes "desgosto" as a structuring trait of his heroes. With this, he not only problematizes the supposed panaceas that gave horizon to the subject, but also brings into his fold a reflection on the language of the novel as a literary genre. Finally, we observe how Heringer's irony serves as the author's response to one of the main theoretical questions of literature that crossed the critical debate of the 20th century: the crisis of representability. Heringer incorporates this crisis into his mode of expression through formal heresy to fictionally reflect on his time and, above all, the artistic creation of his time.

This work analyzed the three children's plays by the Pernambuco playwright Luiz Marinho, Foi um Dia, As Aventuras do Capitão Flúor, no Reinado do Dente Cariado and A Família Ratoplan, written between the seventies and eighties, a period marked by a literary and theatrical production for more playful, creative, diversified children with daring themes and less moralizing and pedagogical. To carry out this study, initially, the various possible ways of conceptualizing children's literature and the difficulties encountered by those who work with this genre are known, which are directly available to the subalternity of the implicit reader, the child. Finally, always trying to observe the child's closest point of view, in the sense of making use of and understanding the work directed at him, this research revealed in Marinho's texts the innovations and concomitant trends for him, concluding that the playwright is part of the group of authors of the so-called contemporary phase of Brazilian children's literature.

This research aimed to analyze the work Contos Negreiros (2005), by the Brazilian writer Marcelino Freire, under the approach of Subaltern Studies and Queer Theory. The proposal was to connect characters from the work to marginalized social groups, in order to demonstrate how subaltern communities can speak through Freire's literature. Following this direction, this research sought to collaborate with studies on subalternity in literature, proposing hypotheses about the speech of excluded communities and perceiving their power of representation. Initially, we used works from the field of Subaltern and Queer Studies, highlighting Gramsci (2002) and Spivak (2010) and their concepts of hegemony and subalternity. For Spivak (2010), the subordinate has silence as an inherent condition, as there are a series of barriers against him that prevent him from speaking and being heard. In addition, we brought the issue around Queer Theory, where we highlighted the relevance of works by Gloria Anzaldúa (1987) and Guacira Lopes Louro (1997). The latter explains that the concept of queer serves to define a way of challenging the norms that regulate society. In this sense, seeking to recognize some heterogeneous voices of subaltern subjects in Contos negreiros (2005), we relied on the theoretical contribution of studies about the literary character, where the contributions of Antonio Candido (2010) and Beth Brait (1985) were important to us. Thus, we paid attention to the characters that inhabit Freire's work, since they are responsible for rescuing the voices of the peripheries of Brazil. Among those are homosexuals, illiterates, thieves, prostitutes, abused children, exploited Indians and black people. In addition to those problems, sex tourism and organ and human trafficking still emerge. We selected five stories from this work for analysis, namely Trabalhadores do Brasil, Solar dos Príncipes, Vaniclélia, Totonha and Coração. Our proposal was to discuss them from the presented concepts, in an attempt to verify how Freire's characters corroborate with the decolonial struggle, since we believe that those tales are capable of making the reader observe Freire's narratives through the bias of those who they could never tell. Going in this direction, we can say that the creation of subaltern and queer characters in contemporary Brazilian literature can serve as a positive reinforcement in the battle against the subalternization of peripheral subjects

The present study had as general objective to analyze the representations of themes related to contemporary South Korean literature in the novel The Vegetarian (2007), by the author Han Kang, through the intermedia references woven throughout the three chapters that make up the work. Published in 2007 in South Korea, the book received the International Booker Prize in 2016 (9 years later), gaining attention due to Deborah Smith's translation into English. Amid the controversies over the edition not being faithful to the Korean author's writing, it is undeniable that this recognition raised Han Kang and The Vegetarian to a global apogee, causing the novel to be read and studied worldwide. Thus, in the West, despite being a contemporary novel, critical fortune already shows itself in a voluptuous development. Therefore, we believe that it is necessary to analyze the historical context to which the work and its author belong, and, for this, we use the field of study of intermediality to propose a reading exercise to the work The Vegetarian. Starting from a crossover of perspectives: diachronic, from the proposal of Müller (2012); and synchronic, based on the studies of Claus Clüver (1997; 2006; 2012) and Irina Rajewsky (2012a; 2012b); in addition to the interdisciplinary study outlined by Lars Elleström (2021). We also trace a path of reading intermediality both as a phenomenon that presents a complex historical network and as a category of analysis. In the mid-1960s, South Korea experienced dizzying changes in its historical, political, social, and economic fabrics, which reverberated in artistic production — especially in contemporary South Korean literature. Thus, we discuss from the study of Lee (2007), on the cultural hybridity in contemporary South Korean literature, and the use of the concept of "hybrid writing" – referring to the mixtures of literary texts with new cultural texts that were accessed by the authors within this new globalized era, the phenomenon of the Korean Wave — and the society of mass consumption, which induced the authors to think about themes such as the mutations of themes related to femininity, sexuality and violence produced by a post-industrial world. To build a more solid theoretical apparatus in relation to this historical and cultural path of contemporary South Korean literature, we rely on the studies of Cho, 2000; Yi et al., 2001; Kim, 2002; Lee, 2003; Elfving-Hwang; (2010); Kwon; Fulton, 2020. Therefore, from these considerations, we see that Han Kang discusses both issues that encompass the theme of femininity (the domestic environment, female sexuality, and motherhood), as well as discusses the consequences that human beings must sustain due to the advances of post-industrialization. Thus, we argue that these themes can be triggered in Han Kang's text from the intermedia references present in the novel. Therefore, we consider this novel a happy example of an amalgam of what contemporary South Korean literature has to offer the reader, and The Vegetarian, the quintessence of Han Kang's aesthetic project.

This work aims to analyze the behavior of /S/ in syllabic coda in the speech of bilingual indigenous people of Latundê as L1 and Portuguese as L2, who inhabit the Indigenous Terra Tubarão-Latundê, located in the State of Rondônia. This research is based on the assumptions of Linguistic Contact and Bilingualism (THOMASON, 2001; ROMAINE, 1995; WEINREICH,1953; MATRAS, 2010; HICKEY, 2010, among others), verifying the phenomenon of phonological transfer from one language to another. The choice of theme resulted from the hypothesis that the non-existence of sibilant phonemes in syllabic life in Latundê would interfere with the production of the coda /S/ in Portuguese as a second language. In the analysis, we observed that the behavior of this coda in the available data, considering linguistic and social conditions. The corpus was constituted from recordings made between 1995 and 2016. The analysis was of a qualitative nature, and the phonetic data were submitted to the Praat software, to confirm the hearing perception. As a result of our analysis, in view of the behavior of the sibilant fricative coda, the following phenomena were attested: deletion of /S/ in a syllabic coda, with more frequent occurrence, followed by the realization of the voiceless alveolar fricative [s]. In addition to these phenomena, the realization of voiced alveolar [z], voiceless palatal [ʃ], voiced palate [Ʒ], voiceless glottal [h] and voiced glottal [ɦ] occurred, in addition to these phenomena. rare sounds in the corpus. The phenomena analyzed were confronted with sociolinguistic studies on the phenomenon in portuguese as L1, in order to compare relevant restrictions and assess the role of Latundê interference in indigenous portuguese. In view of the research findings, we consider that the interference is responsible for the deletion of /S/; that the production of the coda as a voiceless alveolar fricative segment [s], alongside its voiced and palatal counterparts, as well as voiced and voiceless florals, although coinciding in some respects, does not largely obey the constraints observed in Portuguese L1. Such behavior also confirms the occurrence of interference of the L1 in the L2, resulting from the linguistic contact experienced by the Latundê people.

This work aims to describe modal marks, specifically the notions of possibility and necessity in which deaf signers of Libras perform and the situational contexts in which they present themselves. In this way, we use a theoretical foundation that has as its framework the modality within the semantics of possible worlds, Kratzer's main theory (1981, 1991, 2008 and 2010). We start with the guiding question: how is the phenomenon of modality encoded in Brazilian Sign Language – Libras considering the production conditions and the particularities of this visual-spatial modality language? To this end, we used the contextualized elicitation methodology described by Matthewson (2004) and Sanchez-Mendes (2014). The research corpus included bilingual deaf people belonging to the academic community of the Federal University of Pernambuco, with 6 participants including teachers and students. We present 6 questions with situational contexts aiming to obtain results using possibility and necessity modals that were recorded and described through glosses. As a result, we observed that, just like oral languages, Libras has its modal strength marked by the lexicon. ‘POSSIBLE’ and ‘NEED’ present themselves as the signs used by the deaf that encode possible worlds in a variable way into epistemic and circumstantial/root. As we were able to observe in the findings the duplication of hands and non-manual marks seem to be an important factor for the modal basis of Libras. Circumstantial necessity modals double the number of hands to get closer to universal possible worlds.

This study aims to analyze the narrative of "A Color Defect,” by the writer Ana Maria Gonçalves. Set in the early 19th century, the narrative covers the life story of Kehinde, a black woman born in Savalu, Africa, who is captured and brought to Brazil to be enslaved as a child. Throughout her life, Kehinde faces many challenges due to the need to live in a slave-owning society, under the effects of coloniality of power (QUIJANO, 2005), gender (LUGONES, 2014), and many other forms of violence. During her education, Kehinde has the opportunity to learn her first letters and has contact with literature. This meeting turns out to be transformative for her life because, through many literary readings, she acquires a level of intellectuality that makes her face life differently and gives her the strength to overcome the sufferings she went through. We propose a reading of "A Color Defect" from the perspective of a female education novel (PINTO, 1990), as the narrative presents us with the entire formative process of the character Kehinde in various dimensions: intellectual, personal, cultural, and financial (MIRANDA, 2019). In this sense, the influence of African and Brazilian culture is shown to be in constant interaction, contributing to its constant cultural conflict. Such conflicts influence the way Kehinde exercises her motherhood, also permeated by her experiences and pain as a black mother in the diaspora, acting in the constant opposition between Africa and Brazil (SILVA, 2019). We recognize in Kehinde the voice of a historical counter-narrative (CALADO, 2018), for her role in narrating her experiences (GINZBURG, 2012), for her intellectuality acquired through literature (CANDIDO, 1972), and her resistance movements, which show new possibilities of self-presentation of black women in Brazilian literature (EVARISTO, 2005). With that, Kehinde configures herself as a black mother who has a lot to teach, narrate, tell, and literarily nourish all her reading children.

The present work has the purpose of scrutinizing the narrative of Juan Carlos Onetti, in particular the so-called cycle of Santa María. Initially, we intended to make a theoretical approach, drawing especially from ideas related to the baroque and the classic, to analyze the set of texts from Santa María. The main purpose was to better understand, from the classical-baroque dyad, some central characteristics of the author's writing, namely: intertextuality – or the self-referentiality that, being so intense, borders on a proposal of a total literary work –, metalanguage – as we talk about a literature that analyzes literary creation as it creates itself – and the obsessive fictional rewriting about simulacrums, dualities and hoaxes; something that was once called the imposture game. This initiative is present in the study, however the plurivocity of potential interpretations of the author's writings and the narrative complexity that came to the surface made us embark on a much more essayistic journey with the aims of getting closer to such a particular literary proposal. Onetti is a writer who dedicated his life – more than 60 years of it, at least – to writing fiction about the precariousness of our discourses, characters, stories, and narratives; and he did so by creating speeches, characters, stories and narratives that were just as precarious, but with a clear awareness of their condition. It is a narrative that intends to be total, but elaborated on the faults, absences, misunderstandings, and flaws. Throughout this work, therefore, we sought a myriad of parallels that would allow us some understanding of a literary construction that, on the one hand, brings modernity and the avant-garde to Spanish-American literature and, on the other, tries to undermine the surface of the abstruse (and absurd) condition that some call existence. To this end, we dedicated a long time to analyzing the writer's texts in the light of the literature of the late 19th century (using authors such as Tolstoy, Conrad and Henry James), of the literary vanguards of the early 20th century (with an obvious emphasis on Faulkner), of the rio-platense literature of the period (with all attention to Arlt and Borges) and even of the contemporary literature. The result achieved was a sort of long literary essay on Onetti's narrative.

America is surrounded by different visions of colonial alterity in relation to the History and Memory of the continent, therefore, the investigation of these aspects from the internal perspective helps to break with the paradigms imposed by the spirit of coloniality present in the region, proposing the understanding of the American identity and the breaking of the European imaginary impregnated in the expressions of culture, politics, and social organization. Knowing the constitution of our own History allows us to see the hidden spaces and the narratives not told by the colonizer. Therefore, the present work has as main objectives: to understand the role of Andrés Cassard,s publications for the diffusion of Freemasonry in Cuba; to assist in understanding the vision of Freemasonry projected by Cassard; to promote the debate on the vision of nationalism defended by Cassard in his articles in the periodical El Espejo Masónico (1866-1867). For this purpose, an analysis was carried out of fourteen articles written by Andrés Cassard in the periodical El Espejo Masónico (1866-1867), published in a facsimile version by Ediciones Extramuros in 2007, reproducing the originals available at the Library of the University of Cádiz. As theoretical bases, we rely on the contributions of Cultural, Post-Cultural and Decolonial Studies. We could perceive, through the literary productions of Andrés Cassard, the defense for the formation of a Cuban national community based on the principles of Freemasonry, linked to a conservative liberal political bias, thus revealing the multifaceted configuration of Cuban nationalism and its consequences in the press at the end of the 19th century.

The touchy interaction between fictional narrative and historiographical narrative still constitutes a recurring theme in the round table among theorists. By establishing themselves as writings that investigate man in each social context, many scholars, literary critics, historians, and philosophers could not resist the provocation of examining them, making, therefore, a kind of comparison in order to identify and distinguish their peculiarities. Effectively, according to the investigations of Luiz Costa Lima (2006), although the historical and literary discourses present certain affinities, for example, overcoming the intolerable son of time, oblivion (lethe), the two narratives are irreconcilable in terms of pretension: the history is concerned with the objective reporting of facts; literature with the aesthetic elaboration of these facts in accented words. Therefore, in terms of results, it could be said that history gathers facts, with the purpose of verifying them, from the meticulous examination of documents, while literature reconfigures the representation of the world, through the reformulation of reality (LIMA, 2006, p. 291). However, the boundaries between the territories of fiction and fact become hazy by the initiative of the historical novel. According to the theoretical perspectives of Marina Acero (2006), during Romanticism, historiography and novel were involved in a kind of conflicting contact, since they turned to the analysis of human behavior and social customs – nevertheless, the novel seemed to act as a more effective textual resource as knowing about human condition in different moments of past and present. It’s precisely in this suggestive connection between fictional writing and the historical report, between linguistically constructed reality and daily live reality, that the historical novel, entitled Confesiones de la monja alférez: la verdadera historia de Catalina de Erauso (2005) by the Chilean writer, Juanita Gallardo, is found, since, in its preface, there is a warning about a constant game between reality and fiction. Regarding the mentioned historical novel, there is a manifest intertextuality with the autobiographical text, entitled Historia de la Monja Alférez, Catalina de Erauso, escrita por ella misma (2018), which is inserted in the narrative through quotations in strategic positions, contributing with the verisimilitude of the novel that intends to be the true version of the Catalina de Erauso’s life. As a consequence, realizing the multiple perspective related to autobiographical narrative, as it presents an indetermination not only in terms of history and literature, but also manifests oscillations in terms of travel chronicles, picaresque novels and service memorials; it’s appropriate to observe how the narrative disposition of a life introduces possibilities and a respective reordering of that life, in the sense of collaborating with the idea of enactment as a factor of plasticity of human beings (ISER, 2013). Finally, contemplating the interaction between reality and fiction in the existential plot of a novice-soldier, belonging to the seventeenth century, the objective is to identify the interlacement (history-fiction) available, not only in the autobiographical account, but also in the novelized version of this, by the purpose of investigating if life can be configured in fabulous matter. The theories of Pozuelo (1993), Philippe Lejeune (2014), Bakhtin (2018), Calligaris (1998), Maravall (2009), Silva (1999) and Hatzfeld (1988) have been used to support discussions about Baroque culture, autobiographical genre characteristics, and historical novel structure. In addition, the present work also discusses the trajectory of historical women who, like Catalina de Erauso, were skilled with the pen and weapons in different historical contexts.

In this thesis, a study is carried out on the theme of the divine in the works of Lenilde Freitas and Hilda Hilst in three main areas: the dream, the body and the ecstasy. In relation to the dream, specific aspects of dream activity, such as torpor and insomnia, and of the dream as a project are analyzed. Carl Jung's concept of shadow is close to the personifications of the fragmented identities of the contemporary subject in the literarytext. It also discusses the voluminous naming of the divine, as well as the composition of images related to the divine body, and its implications on the ability of language to say the absolute. Physical sensations and the effect of the passage of time on the body are considered from the perspective of the accumulation of meanings that this causes, as well as the notion of apartment implicit in obscenity. From the attempt at communion with the divine, analogies with pregnancy and with cannibalism and theophagy are analyzed, resulting in a poeteophagy. About ecstasy, the mobility of the spirit and its interaction with the body are examined, resignified in literature, which also contemplates an everyday ecstasy. The alteration of meanings and the consequent remake of consented ideas are linked to the experiences of drunkenness and madness, seen as ways of accessing knowledge. And the formal procedures used to elaborate the divine in literature are echoed in the image of circularity, which allows a marked opening in the formulation of a theme that defies the limits of the word. The texts of both authors dialogue with each other and with other authors of the literary tradition, such as San Juan de la Cruz, Teresa D'Ávila, Fernando Pessoa, Kafka and Vladimir Nabokov, and theorists such as Nietzsche, Kierkegaard, Michel Serres, Gaston Bachelard, Octavio Paz, George Bataille, Paul Valery and Gilbert Rouget.

This thesis aims to reflect about the reasons that made the gender auto to be reintroduced into the Brazilian literary system in the twentieth century. For that, starts with an analysis of the formal elements of the religious theater from the classical Antiquity, through the medieval and Gil Vicente’s autos, to the Brazilian modern theater, in which the religious character is replaced with a radical conscience concerning the historicity of the artistic forms. Specifically, this thesis observes the most historically consequent kinds of autos, the miracle plays, the mystery plays and the morality plays, that were re-elaborated by a remarkable generation of writers in Pernambuco. Although its inadequacy has been taken for granted when it comes to the historical concert of artistic genders, the one we here analyze places a series of reflections in the center of the discussion about the future of the modern literary forms. It’s our interest to observe how Hermilo Borba Filho, Ariano Suassuna, and Osman Lins reclaim, in specific ways, this dramatic form, at the same time extracting what interested them in this tradition and injecting into it the content of an interpretation of the modernity in Brazil. 

This study aims to investigate the use and linguistic attitudes about nominal number agreement in Guinea-Bissau Portuguese (GBP), focusing on the repercussions of linguistic contact between Portuguese and Guinean, as well as verifying the implications of this scenario on the sociolinguistic identity of Guinean citizens who speaks this variety of Portuguese. The hypothesis of this research is that, concerning the use of nominal number agreement, considering that it constitutes a variable rule in the written language of people with a low level of education (without complete University Education) - based on data from Paraiso (2019), due, among other factors, to the influence of Guinean morphosyntax in the GBP -, it is possible that the speech data indicate the maintenance of this typology of linguistic rule and that the perception data point to the speakers' awareness of this variation, being characterized by the demonstration of predominantly positive subjective evaluations regarding the use of nominal number agreement in GBP. We justify this investigation based on Labov ([1972] 2008: 150), who argues that, in addition to quantitative analyses, it is important for sociolinguistic studies to verify other forms of social behavior on a linguistic variant, including features that can be observed in types of explicit evaluative behavior, which we associate with linguistic attitudes. The specific objectives of this work seek to understand: 1) how does Guinean coexist with the GBP?; 2) what contrasts are possible between the inflectional morphology of number in Guinean and PGB found in the data under analysis; 3) what are the patterns of noun number agreement found in the spoken language of PGB; and 4) what comparisons are possible between production data (speech) and perception data (linguistic attitudes), bearing in mind the sociolinguistic identity of GBP speakers. To do so, we based the investigation on the theory of Variationist Sociolinguistics (LABOV [1972] 2008), since this theoretical contribution includes the social evaluation of speakers about linguistic uses, a domain that we analyze in the field of linguistic attitudes from the perspective of Social Psychology by Lambert; Lambert ([1966] 1981). Methodologically, we conducted interviews with 70 GBP-speaking Guinean collaborators - students at the University of International Integration of Afro-Brazilian Lusophony, located in Ceará (UNILAB-CE); as well as applying a sociolinguistic questionnaire, both based on Pissurno (2017); as also applying a linguistic perception test, based on Cardoso (2015). The results obtained indicate that: 1) based on the collected speech data, GBP is mostly used in the school environment, where its use is mandatory, while Guinean is widely used in the country, including at school, as a language that mediates the process of teaching-learning, even if this is not explicitly allowed; 2) the inflectional morphology of Guinean differs from that of GBP in the sense that, in the former, not all elements of the phrase need to receive the morphological plural mark, while in the latter, all the necessary elements must receive the plural morpheme; 3) the type of rule associated with nominal number agreement in the spoken language of GBP, based on the data from this study, is variable, with a percentage of 92% for the form with standard agreement and 8% for the non-standard form; 4) although the speech data pointed to an identity construction based predominantly on the participants' relationship with Guinean, their subjective evaluations regarding GBP were mostly positive, indicating that they are able to recognize that GBP is another variety of Portuguese and which has its own characteristics arising from the existing linguistic contact in the country.

Writer. Playwright. Critical. Teacher. Osman Lins has always been a committed intellectual and an enthusiastic lover of literature. In the collection of articles published in the press and gathered in the book Do ideal e da Glória: problema inculturais Brasileiros, he frankly addresses aspects of cultural life at the time (1965-1976), which, after almost sixty years, still resurface with force, attesting to the relevance of many of his concerns. Some of these articles, therefore, contain the germs of the proposition of a literary research very close to that which today populate university courses focused on Creative Writing. As a writer, teacher, playwright and filmmaker, I have always been interested in Osmanian work; which I use as inspiration for my own productions, from academic to artistic ones. Thus, involved in an ambitious film adaptation project of the narrative “Retábulo de Santa Joana Carolina”, from the book Nove, Novena (1966), by the writer from Pernambuco, while at the same time that I was poring over the process of writing a doctoral thesis on this author, I saw the two activities inevitably intertwine, resulting in this hybrid work that I present to the Graduate Program in Letters at UFPE. The text initially deals with the very particular experimental way of conceiving the fictional narrative of the Retábulo, revealing how much Osman Lins stood up to orthodoxy also in the field of creation. Hence his interest in radical experiences carried out by the French, such as the Nouveau Roman in literature and the Nouvelle Vague in cinema, with which he established close contact during a scholarship that took him to Europe in the 1960s. The study of this parallel between literature and modern cinema also guided me in my own process of adapting the work in question, which resulted in the writing of a film script. It was possible, in this joint process of mine, to reach an intimacy with many aspects of literary creation that simple theorization would not allow. Quoting Osman Lins: “We also obtained something that the teacher and the student rarely know in the classroom: the joy of doing.” (1977, p. 78).

The purpose of this study is to formalize the concept of Construção de Especificação com Advérbio (CEA) as a structure of formal features and to integrate these findings into the Minimalist Grammar developed by Stabler (1997), following the framework of the Minimalist Program proposed by Chomsky (1995b). For this purpose, I am employing a variant of the Minimalist Grammar (GM) proposed by Keenan e Stabler (2003). The central objective is to analyze this linguistic phenomenon and apply the results to Minimalist Grammar, aiming to explain the involved derivation steps. Sentences that feature CEA are characterized by substituting a more general and comprehensive description with a more restricted one, or by transitioning from a generic context to a more specific example, through the use of adverbs of specification, such as "mainly", "especially", and "specifically", among others. These adverbs serve the function of providing greater precision to linguistic expressions. The chosen approach employs a descriptive method to identify the structure of CEA and its relationship with other sentence elements, especially those affected by CEA. Additionally, sentence elements are transformed into con- structions composed of phonetic, semantic, syntactic, and grammatical features, with a primary focus on the formal aspects of Minimalist Grammar. Among these traits, selection traits stand out, determining the choice of a specific category (=f), licensing traits, requiring the movement of a designated expression (=f), and licensor traits, which are necessitated by an expression. The elimination of formal features is also a significant step, as it enables the activation of generative operations (select, merge, and move). The findings obtained reveal that the phenomenon in question is constituted by an adverb that specifies the verb’s argument, without, however, altering the sentence elements, thereby maintaining semantic continuity. In the context of GM, sentence construction undergoes a series of operations that identify relevant features and forward expressions to the derivational space. The integration of CEA into the sentence structure is accomplished through the operation of select, starting from an unpronounced expression, and is integrated into the structure previously constituted by expressions that lack a direct relationship. This process indicates that CEA presents syntactic independence with its own projection.

This dissertation, inserted in the area of Applied Linguistics, namely Indisciplinary (MOITA LOPES, 2006), aims to analyze the discursive functionality of translanguage in the context of university students who were also studying Portuguese as a foreign language in the Portuguese Flagship Program at the University of Georgia (UGA/USA). To build the theoretical basis of this research, I began conceptualizing translanguage and tracing its relations with areas of important connections, such as the Decolonial studies and Education. To this end, I put in dialogue the thoughts of García (2011), Canagarajah (2013), Mignolo (2018), Walsh (2018), Quijano (2007), among others. The corpus of the research was collected during my Visiting Scholar Program (Doutorado Sanduiche PSDE/CAPE), through a critical-collaborative methodology (NININ and MAGALHÃES, 2017), having, also, an ethnographic character (LUCENA E CARDOSO, 2018). It focused on the observation of 13 classes, which ranged from 3 to 10 students per session, during the months of October/2021 to March/2022. Data analysis indicates that translanguage is a relevant pedagogical resource, playing an important role in complex and interdependent areas of the students’ life, namely: social, academic, linguistic and personal areas.

In this work, I analyze existential problems that provide a singular view to the written memories of Paulo Honório. I argue, based on reflections made by Freud (2011) and Kristeva about the fundamental void that constitutes modern subject, that melancholy is a literary device which gives a form and a shape to the narrative of S. Bernardo. To prove my hypothesis, I describe a fictional game that is basilar to the book created by the existence of three different “people” implicated in its construction: 1) Graciliano Ramos, empirical author, who signs the cover; 2) Paulo Honório, the fictional memorialist; 3) the other Paulo Honório, the one who truly lived the moments recreated by the memorialist. That device allows the lector to put under suspect the discourse presented on the book and to agree or disagree with the conclusions of the narrator. Because of that, I affirm that it is impossible to avoid the subjective elements contained in the novel; and that impossibility it is a cosmopolite feature of Graciliano Ramos’ fiction. Still in this perspective, I see motivation to consider Paulo Honório a very more complex character than most critics do. And I also reconsider the relation between the farmer and his wife, Madalena: he is not only moved by financial interests, but by complex human feelings (which he also cannot fully understand). I conclude that it is not possible to restrict the meanings of S. Bernardo to social, collective, regional or national problems.

Among the most common characteristics of Sebastião Uchoa Leite's poetics is the dialogue established with other media. References to characters from movies and comic strips, as well as to painters and composers, populate his poems. At the same time, techniques and methods characteristic of cinema and newspapers are mimicked by the poet, who introduces cutting and editing processes in his writings, in addition to the typical form of writing used in newsrooms. The object of study of this work is this intermedia referential practice, its effects, and circumstances. Starting from notions of code and intertextuality found mainly in the writings of Julia Kristeva and Roland Barthes, and the ideas about intermediality of Irina Rajewsky and Peter Wagner, we analyze the effects that references to other languages have in poems. Always comparing the results with comments and opinions from critics and academic studies, we relate the intermediality in the poet's work with the traces of self-awareness and metatextuality, from which reflections arise both about poetry itself and the referenced media. An important point is how the interpretation process itself and expectations regarding media codes seem to be suggested by the poet. We also speculate on the reasons why a contemporary Brazilian poet chooses languages beyond poetry to develop his diction, such as the consideration of his place in the world and the poetic tradition.

Since 1996, the New London Group (NLG) has been calling attention to the development of a plural society not only linguistically but also culturally that communicates more and more through multiliteracies, that is, through multifaceted texts that involve various semiosis and circulate widely and quickly in increasingly digital environments. In the manifesto A Pedagogy of Multiliteracies: Designing Social Futures (1996), the NLG proposes to think about these issues mentioned directing them to school in defense of a Pedagogy of Multiliteracies. In Brazil, multiliteracies are part of proposals in official documents such as, for example, the BNCC, which in turn influence/guide school practices in the country and the production of textbooks. By looking at the matter of multiliteracies, our main interest was, therefore, to analyze, from a discursive perspective, the writing and reading activities that, in the English language textbook, are based on proposals for multiliteracies. We were interested in analyzing the discourse materialized in the most representative activities of the proposal of the Pedagogy of Multiliterations (THE NEW LONDON GROUP, 1996). This analysis also implied determining the conditions for the production of multiliteracies writing-reading in the English language textbook, which, in turn, involves the relationship between the technological/digital universe, the need for multiliteracies and the subjects involved in this process. We use the theoretical-analytical device of materialist Discourse Analysis (PÊCHEUX, [1975] 2014, [1969] 2019; ORLANDI, [1996] 2007, [1983] 1987, [1999] 2020, [1988] 2012) to treat the corpus which was consisted of 10 writing-reading activities extracted from the three volumes of the Alive High collection which we consider them to be the most representative concerning the adhesion to the proposed by the Pedagogy of Multiliteracies in the textbook, that is, a group of activities that work with writing-reading in the production of meanings in multifaceted texts composed of different semiosis in increasingly digital environments. The aforementioned collection was chosen, among others available, based on the following criteria: a) it is the only one that works with the complex approach to language learning (BORGES & PAIVA, 2011) which understands language as an object at the same time individual and social imbricated in a cognitive and social-historic-political-cultural complexity; b) presents a significant circulation of copies (almost 04 million copies) since it started to appear as an option of choice in a National Textbook Program in Brazil, reaching a significant audience of students, teachers and schools; c) third most chosen English-language textbook since 2015, according to data from the National Education Development Fund (2021), which has never been out of the catalog since then, which demonstrates good adherence by teachers/schools. The initial hypothesis was that the conditions of productions of writing-reading activities involving multiliteracies in the chosen textbook are run through by discourses presented in the Manifesto evidenced on pre-constructed and paraphrastic movements of construction of meanings through materialization of the pedagogical discourse in the activities of the corpus.

How to define a novel that proposes, in its layers, to reflect the very process of literary creation? How to define an essay that fictionalizes to present a point of view? To what extent is the novel essayistic or to what extent is the essay fictional? This dissertation aims to analyze the essayistic perspective of the first four novels by the writer Carola Saavedra and to think, from that, the possibilities of the literary, the novel and the essay within a synchronic framework, in which novel is a reflection of the historical context in which they are published - the ensaification of everything -, but also within a diachronic vision, in which the novels are inserted in an experimental Cervantine tradition. Here we prove the hypothesis that Carola Saavedra's novels are essayists by nature and launch themselves into the unknown future as timeless.

The present research aims to analyze the efficiency of the explicit teaching of the sound patterns of the English language made possible only by virtual gatherings, in remote teaching. Specifically, regarding the development of the syllabic level of phonological awareness in the reduction of the paragoge phenomenon performed as a syllabic adaptation strategy by Brazilian Portuguese (BP) speakers. Through the collected data, we scrutinized the possible difficulties of some eighth-grade students of the elementary level in a school in a small town in Pernambuco (state of Brazil), submitted to emergency remote teaching methodologies, during the teaching/learning process of syllabic patterns of the English language (EL) developed for this job. We also describe which factors possibly influence the success, or failure, of pronunciation classes in a remote context. For this, we took as theoretical support the works of Alves (2012) and Aquino (2009) to deal with the theory of phonological awareness of BP and additional language; the works of Fragozo (2017), Eckman (2008) and Blank and Zimmer (2009) to discuss the phenomena of phonological transfer and marking; Cristófaro-Silva (2015), Câmara Jr. (1992), Masip (2014), Seara, Nunes and Volcão (2011) and Yavas (2011) to describe the phonological inventory of the languages of interest to this research (Brazilian Portuguese and American English) and also for the detailing of its syllabic structural patterns; finally, to weave about the meaning and challenges of Remote teaching, we are guided by Rodrigues (2020), Coscarelli, (2020), Junqueira (2020) and Rojo (2020). Data collection was carried out through two questionnaires and two pronunciation tests. The first questionnaire collected personal information from the research volunteers. The first pronunciation test tested the participants' knowledge of the syllabic patterns of the EL through the oralization of ten different sentences, which were duly recorded and observed in the PRAAT software. The post-test investigated the learning of the syllabic patterns of the LI of the volunteers after an intervention program applied in the online meetings of the teacher-researcher. Participants re-oralized the ten sentences after the intervention. The second questionnaire aimed to collect information about the methodology of the intervention program applied, becoming important as a way of suggesting and reflecting on adaptations of the remote teaching modality for teaching LI pronunciation. Regarding the data analysis, the procedures performed were of a comparative order, with the confrontation of oral tests in spectrogram and interpretive format, through the appreciation of the answers to the questionnaires. The results demonstrate that remote teaching can be efficient depending on the methodology applied. Factors that instigate and stimulate learners are essential for the success of remote study

This research is based on the theoretical-methodological contribution created by Halliday (1985) and developed by Halliday and Matthiessen (2014) and followers in Brazil and worldwide. Its focus is to analyze Pope Francis' speeches in the light of the FSL, investigating more closely and in correlation with the contexts of Culture and Situation, the contribution of Mental Processes, constitutive of the Transitivity System, for the construction of the general meaning of the speeches that compose the corpus. The objective is, in this way, to study how the process of construction of the Ecclesiology of Pope Francis takes place, more specifically, in the documents Evangelii Gaudium (2013) and Laudato Si (2015), in which the Pontiff establishes relationships not only with Catholics, but also with Catholics, because with civil society, as official documents of the Catholic Church are read by millions of people around the world. The collection of Mental Processes, for further classification and analysis, was carried out with the support of the Wordsmith Tools software, developed in 1996 by Mike Scott, with which we located the radicals of Mental Processes inserted in a significant textual portion to understand their lexical context. -grammatical and semantic-discursive. The classification of Mental Processes was carried out within the systemic-functional molds, however, following more closely the framework presented by Fuzer and Cabral (2014), who point out four types of Processes, namely: Cognitive, Desiderative, Emotive and Perceptive. The analysis carried out revealed a greater number of occurrences of Cognitive Processes, which seems to make evident the search for a referential language, in dialogue with other areas of knowledge, including the scientific, in order to talk both with Catholics and with the with civil society, which includes people of different faiths. In addition, the analyzes made it possible to understand that the choice of the Mental Processes used in the Pope Francis speeches investigated by us was not random, but they fulfilled, and still fulfill, a semantic-discursive lexical-grammatical function of their own in achieving the desired communicative purposes. by the Supreme Pontiff in his Ecclesiology.

Avalovara, novel written by Osman Lins and published in 1973, has a structuring that draws the reader's attention from the beginning of reading. The analysis of this structure is the center of this work. More than just analyzing this structure, we aim to observe its aftereffects on the novel, as a literary genre. From the assumption that Avalovara's self-reference and selfconsciousness makes it a work attentive to its own nature, we intend to resort to this structure to reflect on the possibilities and impossibilities of the modern novel. To settle the basis of the debate about the genre, we notably resort to Georg Lukács, Ian Watt, Mikhail Bakhtin and Anatol Rosenfeld. After this succinct macroscopic foundation, we will analyze the transformation of the novel in the 20th century, paying special attention to the experimental and disruptive element that marks the period — element that, we believe, allowed the emergence of a novel such as Avalovara. Then, considering the fact that Avalovara uses the restriction of its own creative freedom to exercise it, we will reflect on the challenging nature of this attitude — paying attention to the repercussions of this behavior inside and outside the mentioned novel. To accomplish this goal, we draw parallels between Osman's work, Nouveau Roman and the french group Oulipo. The last one, specifically, gives us the concept of contrainte, fundamental to the subsequent inquiries. From the careful analysis of the two narrative cores that deal with the crafting of the novel, we will make some observations about the rigorous method of the author and its implications on the novel universe. For the end, we will observe how the constraint mechanisms and other aspects of Avalovara (such as the representation of reality, the self-reference and the relation between subject and cosmos) makes a challenge to the modern novel, as a genre and literary structure. 

The current work proposes to understand the functioning of the discourse on abortion in the virtual space, especially on Instagram. In order to comprehend the character of the functioning of this discourse, it was essential to understand the theoretical relationship between discourse, subject and history, proposed by the French perspective of Discourse Analysis (DA), founded by M. Pêcheux and developed here in Brazil by Eni Orlandi and other scholars, which will work as a theoretical-ethodological support for this research. The research corpus is formed by discursive sequences (DS) about abortion that are inscribed in different Discursive Formations (DF), which mobilize meanings of “crime” and “right” in the virtual space. In this sense, we investigate how the antagonistic discourses on abortion make the relations of control exercised by the State, the Church and society over female bodies work. Through the analysis, we understand that the circulation of meanings about abortion in the virtual space (GRIGOLETTO, 2011) cannot be separated from the empirical space, nor from the discursive space, since the virtual is the result of social capitalist formation and, as such, cannot be dissociated from the others. For that reason, we understand that the discourses on abortion that circulate in the virtual space are not neutral, since they are determined by the “complex of ideological formations”, which provide evidence about abortion practices and reflect the contradictions of class, race and genre.

In the book Esse cabelo, by Djaimilia Pereira de Almeida, the narrator Mila organizes her curly hair biography, revisiting memories of hers and her relatives. Luso-Angolan woman born in an interracial family with multiple nationalities, she lives the in-betweenness of diasporic identity; thus, her writing follows the process of understanding herself as a black woman in Portuguese society. Therefore, among the narrative, we can perceive a vast history of a geopolitical relationship between two continents: Europe and Africa. From this, the present work aims to discuss the protagonist's relationship with the spaces where she lived, in the surrounding Lisboa — sites that reveal domestic and collective experiences crossed by social, political, and historical questions. Besides, it seeks to analyze the hybridism that permeates the novel, which walks between the fictional and the essayist. Associating the novel's form, its polysemic language, and what the book approaches, the research aims to highlight the construction of a dense and actual literary work. In this discussion, we bounce Mila's singular point of view about the Lisboa she has grown and the coloniality that persists, setting social asymmetries reflected in the spaces and the ways of living them. In this sense, the narrator rescues the beauty salon's routes — traumatic memories — exposing the colonial mentality over different appearances, followed by racism and sexism, that anchors a beauty and femininity standard spread at that time. All these aspects emerge in Mila's intimate reflections and digressions, which lean towards the essayist. Some of the theoretical references used in this study are Stuart Hall (2013), Grada Kilomba (2019), Joana Henriques Gorjão (2016), Sheila Khan (2015), João Barrento (2010), Maurice Halbwachs (2016), among others. Based on the discussions proposed by these theorists, we analyze how the character repositioned herself through the memories and how she changed the perceptions of herself through this process. Between spaces and times, Mila claims the right to narrate her hair biography; with that, she creates a map from your remembrances. So she can recognize herself in her family and draw a map of herself by accessing her roots, reconnecting with a part of hers mutilated by the environment where she grew up.

Este trabalho consiste na análise do Diário de Lima, escrito entre 1640 e 1686 por Joseph de Mugaburu, sargento do vice-reino, e continuado após sua morte até 1694, pelo seu filho, o clérigo Francisco de Mugaburu. Publicado apenas em 1917 por Carlos Romero e José Urtuega, o diário revela uma série de perspectivas acerca da cidade de Lima, através das cerimônias, tragédias e festividades que seus autores tem oportunidade de vivenciar e registrar. Testemunho de um período de grandes transformações na cidade e no vice-reino, o diário carrega consigo um conjunto de questões que são de fundamental importância para a elaboração deste trabalho. Cumpre destacar que, tomado como resultado de um complexo percurso histórico, sua redação remonta ao estabelecimento da escrita como eixo fundamental para a constituição da cidade colonial. Portanto, o êxito da escrita como ferramenta hegemônica da urbe andina é observado em relação às formas de escrita que já existiam antes da chegada do elemento europeu. São também avaliadas as confluências e dissonâncias entre escrita e oralidade, vistas como instrumento central na progressiva consolidação da colonialidade. Em visto disso, buscamos, com este trajeto, elaborar um percurso que descreve e define o Diário de Lima como efetivo meio de narrar a história de uma cidade caracterizada pela conjunção de muito diversos fatos culturais, capazes de dar vida a uma caracterização identitária completamente singular.

A relação dialógica entre as manifestações do sagrado-profano e a literatura existe desde as primeiras manifestações de consciência da linguagem humana, as quais se entrecruzam e formam um labirinto de possibilidades de leituras e inter-relacionamento de saberes. Nesse sentido, este trabalho busca realizar um estudo sobre a obra O fiel e a pedra, do escritor Osman Lins, a partir do conceito de hierofania e sua relação com o caráter de ressignificação do cânone literário pelo crivo da memória. Para uma melhor dinamicidade de leitura, o trabalho desdobra-se a partir de três pontos principais. O primeiro volta-se às investigações que estreitam as duas áreas de conhecimento em foco (o discurso de religiosidade e a literatura), além de discorrer sobre aspectos relativos ao mito, ao mundo sagrado e ao mundo profano e à reflexão da crítica e tradição literárias; o segundo está alinhado às discussões que enlaçam a crítica da linguagem, a memória e a literatura, por meio de elementos tradicionais presentes nos ritos de passagem e a imagem do silêncio assinalados como metáforas da própria obra; e por último, discute-se o processo de visão acerca da crítica da linguagem à luz da trajetória poética osmaniana, bem como a importância da memória para formação do cânone literário. Por essa perspectiva, será possível observar como as reflexões apresentadas, nesta pesquisa, empenham uma releitura crítica do romance O fiel e a pedra em permanentes e diferentes diálogos com os aspectos que atravessam a expressão do binômio sagrado-profano relevantes à tríade: criação, crítica e teoria literárias.

Este trabalho tem como objetivo investigar os processos fonético/fonológicos da palatalização das oclusivas alveolares produzidos no Português Brasileiro falado em Santana do Ipanema sob a ótica da Sociolinguística Variacionista (LABOV, 2008 [1972]), fazendo a contraposição dos dados linguísticos coletados com variáveis externas (idade, gênero e estilo) e internas (contexto precedente, contexto seguinte, tonicidade, tamanho da palavra, vozeamento e fronteira lexical), a fim de identificar quais fatores favorecem ou inibem tal processo. A pesquisa busca analisar os processos de palatalização em contexto fonológico progressivo, visto que a produção do fenômeno, nesse contexto, é mais acentuada na região estudada. Pesquisas anteriores apontaram para uma maior produtividade da palatalização progressiva no Nordeste (SANTOS, 1996; MOTA; ROLEMBERG, 1997; HENRIQUE; HORA, 2012; SOUZA NETO, 2014; OLIVEIRA, 2017; SOUZA NETO, 2020). Nesta cidade, o uso mais recorrente é o da palatalização progressiva, em que o elemento fonológico que dispara o processo está localizado em posição precedente às oclusivas alveolares, em palavras como “gos[tꭍ]o” e “fes[tꭍ]a” e são condicionadas principalmente pela idade do colaborador. Utilizamos como referencial teórico a geometria dos traços fonológicos de Clements e Hume (1996), a partir da qual será apresentada uma proposta de análise da palatalização realizada nesta comunidade de fala. Desta forma, partimos do pressuposto de que os traços fonológicos distintivos se organizem em uma hierarquia que pode ser apresentada por meio de esquema arbóreo que obedece a critérios específicos de constrição. Assim, a partir do método hipotético-dedutivo, defendemos a hipótese de que certos traços fonológicos engatilham o processo de palatalização das oclusivas alveolares.

Our interactions nowadays have been progressively permeated by digital technologies, which have enabled new forms of text production, organization, and circulation (BARTON; LEE, 2015) and the emergence of new genres and textual dynamics (MARCUSCHI, 2010). This context poses theoretical and pedagogical challenges for the work with digital productions, which demand shifts and expansions on the notions of text and literacy. In this sense, based on a transdisciplinary approach, the present research combines contributions on the notion of text in the field of Text Linguistics (CAVALCANTE et al., 2019), as well as on (new/multi/trans) literacies (STREET, 2014; HAMILTON, BARTON, IVANIC, 2000; GEE, 2015; KLEIMAN, 1995; 2015; NEW LONDON GROUP, 1996; KRESS, 2000; LANKSHEAR; KNOBEL, 2007, KALANTZIS; COPE, 2008; COPE; KALANTZIS, 2000; 2009; 2015; SMITH; STORNAIUOLO; PHILIPS, 2018), its trans/multimodal (SHIPKA, 2016) and technodiscursive dimension (PAVEAU, 2017, 2019, 2021). Our aim is to investigate the modes of digital production in the context of online teaching and in the development of language teaching proposals, focusing on the compositional and pedagogical aspects mobilized by the pre-service teachers, participants of the research. The present research is methodologically characterized as a qualitative-interpretivist case study (MOITA LOPES, 1994; SEVERINO, 2007; ANDRÉ, 2013), and explores the data generated from a minicourse, in which pre-service teachers, Letras undergraduate students, participated. Our analysis focus on the pre-service teachers’ technodiscursive production trajectories in the online minicourse community using the Scholar platform (Common Ground - University of Illinois), culminating in the construction of digital learning modules for language teaching. The participants' productions, including the modules as digital artifacts, evidenced the emergence of technotextual dynamics that result from the relationship between linguistic and technological elements. In this process, the participants/teachers actively mobilized technodiscursive elements of the digital ecosystem (trans/multimodal, hypertextual, delinearized), reflecting an expanded notion of text and the work with textual production in their interactions and in the way they organized and pedagogically guided their teaching proposals. We also highlight the relevance of working with the meaning-making possibilities of the digital in teaching and teacher education, which requires the creation of opportunities for experimentation and engagement with these new forms, in order to encourage the expansion of their repertoires and critical and ethical reflection on the meaning-making challenges and possibilities on the web. With this, we reiterate, therefore, the importance of investigating the (techno)textual dynamics that emerge from the digital, which result from the co-constitutive relation of several elements distributed in technodiscursive ecologies and that demand a broader look at communicative practices, including teaching and learning contexts. We hope that our research contributes to future investigations and the work with digital texts and the technodiscursive affordances of online ecosystems.

In his thesis, we study the journalistic receptions of the two last novels written by Brazilian writer Rachel de Queiroz: Dôra, Doralina (1975) and Memorial de Maria Moura (1992). The corpus is composed not only by the literary works of the author, but also by notes, news, reports, bestsellers lists and articles of literary criticism conveyed in the main Brazilian newspapers and magazines when both novels were published. The articles are the most important material of our research. By considering these fresh opinions on the novels, we analyse what judgements on Queiroz’s works were made in periodicals of the second half of the 20th century. During that process, it was possible to identify the locus of the novels when facing the trends of that time, as well as the constant remarks in the press Queiroz deserved during her 70 years of literary activity. A clipping of our vast bibliography shows the importance of the following critical and theoretical sources: (a) Reader-Response Criticism, with Zilberman (1989) and Jauss (1994), who helped us to understand how a literary work is received by its primary public, when it is published; (b) Regionalism in Brazilian Fiction, with Leite (1978), Almeida (1999), Coutinho (2004), Candido (2011) et al., who made it possible to judge how Queiroz’s works were classified; (c) Narratology, with Genette (2017), Reuter (2004; 2014), Bourneuf and Ouellet (1976), all of them present in our analyses of the novels; (d) the History and Development of Literary Criticism in Brazil, with Coutinho (1986; 1987), Martins (1986; 2002), Rocha (2011) et al., to whom a panoramic chapter was dedicated and who, afterwards, were employed to verify the press activity during the last decades of the 20th century. A brief biobiography of the author was displayed; it was mainly based on the press articles that took her on consideration. When analysing the critical works on Dôra Doralina and Memorial de Maria Moura, we also offered our own views on the books, many times in contrast with the first impressions which appeared in the press

The thesis focuses on the comparative study of the works The Meursault Case (2013), by Algerian writer and journalist Kamel Daoud and The Stranger (1942), by Albert Camus.  Daoud performs what I call a "post-colonial parodic translation" of the Camusian classic, so the aim of this study is to problematize the possible resignifications operated by Daoud's fiction in relation to the French text regarding two central aspects. The first is his suggestion of a revision and supplementation of the traditional criticism around The Stranger, based mainly on the (almost unilateral) reading that the novel would be an arm of Camus' philosophical thought, whose emblematic concept is the "absurd", present in The Myth of Sisyphus (1941), so that the Algerian novel also offers another prism of reading the French work through the "gap" of the gender issue, linked to the coloniality of power. The second aspect, in turn, consists in the re-significations introduced by Daoud regarding points (which become, here, analytical marks) such as: the representations of Arab alterities in the narrative, crossed by the post-colonial conjuncture; the redimensioned configurations of the sacred and Islamic religiosity; the weaving of geographical images of the diegesis as elements of local memory; the representations of gender in the contemporary Algerian fictional conjuncture. The research follows theoretically the field of Postcolonial Studies, with emphasis on the thought of Edward Said (1995), Stuart Hall (2003), Walter Mignolo (2008), Anibal Quijano (2005), Edgardo Lander (2005), Inocencia Mata (2016), Maria Lugones (2008), as well as is aligned with the notion of "parody" from the perspective of the "poetics of postmodernism" by Canadian Linha Hutcheon (1999) and with the theoretical category of "translation" as understood by Eneida Souza (1993), João Alexandre Barbosa (2005), and Else Vieira (1992). The study is organized in four chapters. In the first, I discuss the contributions of Postcolonial Studies to the construction of the analysis developed; in the second, I present a reading of how Daoud's work illuminates points of review of the critical tradition around The Stranger, sectored particularly in three central names: Sartre, Barthes and Edward Said; in the third, I supplement the traditional critical field with an updated re-reading of the Camusian novel, bringing the problem of gender, based precisely on the contours of Daoud's fiction and its critical sifting through the dialogism it establishes with Camus's classic. In this perspective, I follow the line of Postcolonial Studies (QUIJANO, 2005; LUGONES, 2008) and feminist criticism, as conceived by Zinani (2015). In the fourth and last chapter, I finalize the approach to the intertextual relationship between Daoud and Camus, focusing on the postcolonial parodic translation of The Foreigner operated by the Algerian writer, investigating the analytical markers listed above. Finally, I present the final considerations, pointing out the importance of The Meursault Affair in the contemporary peripheral literary field, not infrequently crossed by insistent tensions between Algeria and France, concerning, above all, the issue of Arab immigration and Islamism.

This thesis aims to Agustina Bessa-Luís'  writings of herself in her works from the theoretical bias of automidiality. Thus, this is a bibliographic and qualitative research, in which the works O livro de Agustina (2014), by the Portuguese author Agustina Bessa-Luís and the documentary,  Agustina Bessa-Luis:Nasci adulta e morrerei criança, by António Almeida and her books dialogues with the literary texts, the short story Um inverno frio, the novel Um cão que sonha and the biographical book As meninas will be analyzed and all of them were written by the same author in study. The thesis has two chapters, one being a theoretical, in which, by topics, the theories that dialogue and promote automediality are divided. And the second chapter is intended for the analysis of the works, according to theory. Thus, it is in the last chapter that we observe in different forms of texts that Agustina Bessa-Luis, weaves her subjectivity as a writer And it is in this versatility of literary and cinematographic genres, that we identify in writing and autobiographical revelations, how the writer builds her automediality. Thus, we can say that this self is raised through the image of a writer created by herself. Or rather, we can say that the subject Agustina, presented in her works, is, in fact, the subject - writer Agustina Bessa-Luis.

This study aims to describe and analyze the segmental and prosodic phonology of the Aikanã language, based on formalist theories of Phonology. It is estimated that Aikanã is spoken by about 250 individuals, from a community of 400 people, who lives mostly in two indigenous territories located in the Southeastern region of the Brazilian state of Rondônia, where they form the ethnic majority. The corpus analyzed for this study is comprised of roughly 180 hours of oral data collected in loco, with 10 individuals, in the Tubarão-Latundê indigenous land. For a systematic investigation of Aikanã phonology, this study is divided in six chapters. Chapter 1 presents the ethnohistorical and sociolinguistic characteristics of the Aikanã people, a bibliographic review of relevant linguistic studies, methodological and ethical issues of fieldwork, as well as a morphology sketch, which shows that Aikanã behaves morphologically as an agglutinating language with a tendency to polysynthesis VAN DER VOORT, 2011; 2013, 2015; VAN DER VOORT; BIRCHALL, 2020). Chapter 2 focuses on the phonetic-articulatory and distributional properties of vowels and consonants. This chapter also provides an analysis of syllable structure, syllabification and related phonological processes, with emphasis on cases of coalescence, vowel mutation, elision, vowel lengthening, and glides and diphthongs formation, identified as language specific resources to avoid heterosyllabic vowel sequences. These and other phonological processes are analyzed following the Feature Geometry framework (CLEMENTS; HUME, 1995). In Chapter 3, a phonetic-articulatory study based on static palatography and linguogram methods, aiming to discuss the phonetic-phonological status of anterior coronals, supports the proposal that the features [distributed] and [anterior] are important for feature specification of this class in the language. Chapter 4, a phonetic-phonological analysis of nasality emphasizing the extend and direction of nasal harmony showed that [+nasal] spreads only to segments specified as [+voice], what shows an intrinsic relation between nasality and voicing in this language. Regarding to the accent, the Chapter 5 provides a phonetic study to determine which acoustic correlate was more relevant when comparing stress and unstressed vowels, shows that only F0 was relevant. This indicates that Aikanã patterns as a pitch-accent language (BECKMAN, 1986; VAN DER HULST, 2011). Chapter 6 discusses the phonology of word-stress for verbs and non-verbs, and shows that the stress is free, contrastive, insensitive to syllable-weight, and unlimited. In distributional terms, the lexical stress tends to be marked to the left-edged stressed morpheme or, depending on dominance relations (cf. HALLE; VERGNAUD, 1987a,b), it can also be assigned to the right-edge stressed morpheme.

This research aims to analyze how and which lexical-grammatical and semantic-discourse resources are used to express attitude during dueling MCs, seeking to understand how evaluations construct meaning in the genre in question in light of the Appraisal System (Martin, 2000; Martin and Rose, 2003 [2007]; Martin and White, 2005). Such a theoretical approach falls within the scope of Systemic-Functional Linguistics (Halliday and Matthiessen, 1999; Halliday and Matthiessen, 2014). In this sense, the Transitivity System, a LSF category, proves to be relevant, since ideational meanings can also imprint an evaluative charge. In relation to MC duels, also called MC battles and rhyme battles, our main theoretical sources are: Pimentel (1997), Rose (1994), Shusterman (1998), Marques (2013), and Teperman (2013). The rhyme battle is a genre of the oral sphere linked to the universe of hip-hop and rap, whose origin dates back to verbal games of African origin, such as the dozens and signifying. Generally, the participants who engage in these disputes are young people, mostly from the suburbs, who want, besides having their voices heard, to show off their skills with words. To visualize this evaluative movement within this practice, we selected six duels from "Batalha da Escadaria," a competition that has been held since 2008 in downtown Recife, one of the most traditional in Brazil. Sixteen MCs are drawn to participate in the competition and face each other until a winner is reached. After choosing the battles, which were available on Youtube and occurred in 2018, 2019, and 2020, the transcription process began. Then, there was the marking of all evaluative items and, finally, their classification according to the categories of the Appraisal System, namely, affect, judgment, and appreciation. The analysis shows a high degree of judgmental evaluations, making us realize that the MC tends to build a positive image of himself, using resources that focus on his ability and competence; some material process acquires, in these moments, an agentive semantics. Referring to their opponent, MCs usually associate them with lack of rhyming skills and lack of content, so it is common to use mental processes in order to question their opponent's cognitive capacity. Another issue revealed concerns the use of comparisons with personalities, characters, and institutions to make evaluations. The MCs focus on a certain characteristic of the referenced object to attribute it to themselves or to their opponent, trying, in this way, to direct the gaze of the public that follows the event. We saw that the category affection worked as an auxiliary in the construction of these personas. In relation to appreciation, the items rhyme and rap are evaluated as text and discourse, which referred to aspects related to form as well as to content. The activity of evaluating, taken by Martin and White (2005) as intrinsic to human reality, gains relevance in the battles to the extent that it is configured as a fundamental tool for the MCs to show themselves superior to each other. It is through evaluations that several strategies are mobilized to mark the differences between opponents.

No século XIX, devido aos avanços científicos da época, houve o surgimento de escolas literárias que atenderam mais às necessidades socias e artísticas do que o Romantismo – escola literária em voga na época. O Naturalismo e o Realismo então surgem com grande influência do cientificismo. Estas escolas renderam frutos em diversos lugares do mundo, inclusive no Brasil. Este trabalho dedica-se a analisar e assim, consequentemente, valorizar, a obra de um autor pernambucano que costuma ser esquecida nos manuais e Histórias da literatura. Morbus: um romance patológico (2005), de Faria Neves Sobrinho, é um romance que se encaixa no molde naturalista, mas que não costuma ser estudado no meio literário. Neste trabalho, além de nos debruçarmos sobre o contexto social do século XIX, as características das escolas romântica, realista e naturalista; faremos a análise do romance de Faria Neves exemplificando-as através de trechos da obra. Veremos como traços naturalistas importantes como a neurose hereditária, o anticlericalismo e a histeria se manifestam neste romance exemplar do autor pernambucano Faria Neves Sobrinho.

The theory of “mental models”, proposed by van Dijk (2014; 2017), is a fundamental approach for critical discourse analysis, it is forged based on principles that we take as the highest value and of utmost importance for understanding the world, it reveals us concepts built on the basis of representations of reality. At this work, we analyze Mental Models as a result of socio-cognitive processes, which serve to maintain power hierarchies. We understand, therefore, that to focus on them is to promote the deconstruction of stereotypes and, thus, recover the identity of marginalized groups. As an investigative locus, we insert ourselves in virtual spheres of interaction because we understand that currently, the internet figures as a web in which new relationships are woven every day that connect society in a network; the themes arising from these links interfere in the construction of human thought and, consequently, in the attitudes of its users. Thus, our proposal is to clarify hidden meanings through derogatory categorizations attributed to women militants of the feminist cause, present in Facebook comments, focusing on the linguistic-discursive analysis of posts that reflect symbolic and sexist violence in these spaces. We aim, with this, to obtain the cognitive-discursive relationship of the representations erected via mental models, which perpetrate sexist dominance and solidify misogynistic realities. For this, we anchored in multidisciplinary assumptions grounded, above all, in the Critical Discourse Analysis, specifically, through the theories developed by van Dijk (1998; 2014; 2015a; 2015b; 2015c; 2017), which, through the interface of sociocognition, reveal to us the body of meanings that make up mental representations. To understand the social constitution of gender, we turn to Beauvoir (2016) and Butler (2003;2019); with regard to the technological/ideological influences of digital media, we rely, essentially, on Recuero (2015) and Zuboff (2019); as for the theoretical-analytic discussions, we seek support in Ciulla (2014); Cavalcante (2011); Falcone (2008). Methodologically, we entered the textual domains of the Facebook fanpage Quebrando o Tabu, as this is a page that covers topics of relevance to society, especially about gender violence, and whose high number of followers ensure a rich source of Mental Models. By highlighting these users' ways of referring, our aim is to show how certain referents are re-signified in the construction of interaction/signification networks, according to social representations, through categorizations. Thus, it is worth emphasizing that our analysis focuses on the lexical and even multisemiotic scope of these categorizations. The results reveal that Mental Models are personal and evaluated, therefore, influenceable. They induce categorizations that, in turn, operate on the socio-cognitive understanding of the communicative event in which the interactants are inserted. Thus, Mental Models, supported by the context, inflict symbolic traits on the discursive production inherent to the knowledge and beliefs shared between groups. It is, therefore, through these elaborations that representations are born and solidified in the social environment, consolidating models that legitimize an ideologically oriented “reality”.

This paper analyzes the literary bases that compose and particularize the memorialistic form in Dom Casmurro (1900) and Memorial de Aires (1908), by Machado de Assis, observing how in these novels memory is a structuring literary device that gives continuity and, at the same time, renews the mnemonic project proposed by Machado in Memórias póstumas de Brás Cubas. For this, we revisit the literary pantheon that founded the compositional turn of the author post-1880, namely: the shandism that is a tradition composed by the revitalization of one of the oldest literary formats in literature - the menipal satire. It is known that, initially, it was rescued by Luciano de Samósata with his Lucianic tradition and that, later, it influenced Laurence Sterne, direct heir of the structural aesthetics that revolutionized his and Machado's writing and, according to Sergio Paulo Rouanet (2007), the main responsible for the definition of the categories currently known as the Shandian form. Thus, in order to explore such extensions, this study was anchored mainly in O riso e a melancolia: a forma shandiana em Sterne, Diderot, Xavier de Maistre, Almeida Garrett e Machado de Assis (2007), developed by Rouanet with the intention of expanding the Shandian characteristics punctuated in Memórias Póstumas, in the narratives of Bento Santiago and in that of Councillor Aires, noticing how these, in their conditions of thinking erratic, manage to refunctionalize these properties, which, within the legitimation of the authorial intention, distances itself at certain points from those established by the lines of the defunct-author. With this, it is observed how memory incorporates, in the eyes of Bentinho and Aires, a transfiguring tool, and even a lyrical one, of cosmovisions that reify, from a capricious subjective contingency, time, space, and textuality in the digression and fragmentation of a melancholic laughter that ironizes the language of narratives traditionally constructed as copies of reality. Therefore, the study gathered in this dissertation turns to the laurels of Machado's literary tradition, seeking to understand the pillars of mastery that sustained the stubborn and diplomatic production of one of the Brazilian writers who best knew how to unravel man and his limitations.

The connections between discourse and culture have become, in recent decades, the focus of numerous investigations, located in different fields of knowledge, which demonstrate the importance of interdisciplinary dialogue for the apprehension of the phenomenon. This work presents a reading of this connection from the intersection between the fields of French Discourse Analysis and British Cultural Studies, both materialist in orientation. From the first field, the theoretical contributions of authors such as Michel Pêcheux, Eni Orlandi and Alice Krieg-Planque on the relations between language and history are taken up; from the second, the proposals of Raymond Williams, Stuart Hall and Richard Johnson on the relations between culture and communication. The objective is to understand the role played by culture in the construction of women's representations in journalistic discourse. The object of investigation is a set of three women's periodicals produced in Penedo (AL), in the transition from the 19th to the 20th century. Culture is seen as a structure that works between the production and reproduction of reality. For the analysis of women’s representations, the existence, in the period, of a maternalist discourse built from religious and medical knowledge is considered. Furthermore, the dominant image of the “beautiful sex”, as a way of defining women, is identified as the basis on which the press's statements are built, either to reinforce it or to contest it. The analyzes present two distinct discursive functionings in the periodicals. The first of them, marked mainly in the periodical A Palavra (1888-1898), is characterized by an overvaluation of the woman-mother image, defending her role in the formation of future country's citizens, but based on a moralizing determination. The second functioning, located mainly in the newspapers A Flor (1909) and Alvorada (1910), is characterized by the contestation of the religious discourse linked to the image of the woman, seeking to signify her in an association with other roles, especially those linked to the social movements of the period, like the suffragette movement and the demands for access to the professional world. From this contradictory functioning of gender discourses, we argue in favor of considering culture as an object marked by a paradoxical functioning, highlighting its importance in the establishment of political clashes that take place through the fights of meanings in each conjuncture.

A partir dos personagens, este estudo tem o objetivo de realizar uma leitura integrada de como se constrói o olhar nos romances Lavoura arcaica (NASSAR, 1989) e Um copo de cólera (NASSAR, 1992), e de como esse olhar se transmuta para o cinema, através das adaptações homônimas realizadas, respectivamente, por Carvalho (2001) e por Abranches (1999). Para tanto, inicialmente desenvolve-se uma base teórica, na qual são evidenciados os cinco eixos teóricos que sustentam todo o percurso. Estes são: a estrutura textual; a transtextualidade; a semiótica peirceana; a fenomenologia da memória e a adaptação fílmica. Partindo-se dos próprios textos das obras nassarianas – sabendo-se que os personagens das obras acumulam a dupla função de atuação (dentro e fora dos textos) e de narração do discurso narrativo – constata-se a presença recorrente do verbo “olhar”, do substantivo “olho”, bem como das suas flexões, sinônimos e afins. Esses signos compõem o tipo de frequência narrativa chamada por Genette (2017, p. 183) de “singulativa”, devido à igualdade entre o número de ocorrências e o de citações no tecido textual. Com o intuito de mensurar essa recorrência, assim como para fins de material de apoio, realiza-se uma catalogação desses ícones verbais para cada obra, dispostas nos anexos 1 e 2. Do texto para os sentidos, o olhar é compreendido como um “movimento interno do ser que se põe em busca de informações e de significações” (BOSI, 1988, p. 66). Esse movimento é articulado a partir da tríade percepção (o sujeito que vê e é visto), expressão (a linguagem proporcionada pelos olhos) e memória (as imagens impregnadas na mente), sustentada, principalmente, a partir da fenomenologia da percepção dos trabalhos de Bergson (1999), Merleau-Ponty (1999; 2003; 2004) e Ricouer (2007). De efeitos práticos, articulam-se quatro aspectos da chamada rede icônica e simbólica (pela perspectiva peirceana, o percurso que os ícones fazem até os símbolos), para a investigação de como esse olhar funciona nos dois romances. Estes são: a função dos olhos; a associação com animais; as relações interpessoais e a ambígua abstração temporal. Na sequência, esses aspectos são retomados a partir da integração das imagens das lembranças, articuladas entre os sentimentos de desejo e de perdão. Na análise fílmica, realizam-se redimensionamentos no caminho percorrido acerca dos livros a fim de se investigar como ocorre a transmutação do olhar. Dessa forma, constata-se que, com base em Hutcheon (2013, p. 48), no processo de tradução fílmica, partem-se de signos verbais literários, governados pelo “contar”, para os signos imagéticos fílmicos, alicerçados pelo “mostrar”. Destaca-se também que, mesmo com as aproximações com a literatura, os filmes são também lidos como obras autônomas, donas de uma linguagem própria, tal como Johnson (1982) defende. Sobre a análise das películas, podem ser constatadas algumas peculiaridades na transmutação da frequência singulativa. Em Lavoura arcaica (CARVALHO, 2001), percebe-se a utilização de quatro grandes efeitos na linguagem expressa na tela: o uso da distorção das imagens em momentos específicos; a presença de cenas incidentais simbólicas, a especulação ficcional e a recriação/sobreposição de tempos. Por sua vez, os narradores de Um copo de cólera (ABRANCHES, 1999) lançam mão de quebras da quarta parede, chamadas por Souza (2018, p. 152) de “planos metanarrativos”.

Brazilian Portuguese presents particularities that differentiate it from other languages, such as the possibility of an anthroponym being accompanied or not by a definite article: “o João” and “João”. However, we can find a third variant of this phenomenon: a form in which the article does not present the same grammatical gender as the anthroponym, as “a João”. This variant has an emergent character and has been found in LGBT+ speech, being explained as a speaker's mark to expose both their feeling of belonging to the community and its causes (PEREIRA, 2020). Therefore, we developed an empirical study to verify the subjective evaluations of university students from Recife about this last variant, based on sociolinguistic studies that controlled the subjective evaluation of their informants (LABOV, 2008 [1972]; CARDOSO, 2015 [1989]). For this purpose, we developed two data collection instruments: a questionnaire with objective questions – to obtain belief data – and another containing a judgment test with a scale, more specifically the Likert scale – to obtain attitudes data –, which were judged by 60 informants, stratified according to two control variables: gender self-identification, understood here as a social construct, and sexuality, understood as an affective-sexual orientation. The results of this research point to the fact that we are facing a phenomenon that has significant interference from one of the two variables, namely: sexuality: individuals belonging to the LGBT+ community have linguistic beliefs and attitudes highly favorable to the controlled variant, while those who they do not belong to the community tend to go the opposite way. This result, then, supports our hypothesis that favoring this variant is related to the individual's sense of belonging.

In this work, we seek to converge two complementary investigations, with the objective of verifying    the influence of Greek and the processes of word formation in the Pharmacy lexicon, passing through more specific objectives, such as: analyzing the etymology of the lexicon; describe the formation of compounds of Greek origin and their categorization in Portuguese; compare the processes of term formation in the Pharmacy lexicon with those of the common language; describe the architecture of morphological and syntactic compounds and analyze the morpho-semantic behavior of affixes. In the first part, the influence of Greek in the Pharmacy lexicon is analyzed, in a well-defined sample, within the universe constituted by the 1066 Pharmacy terms that make up the dictionary elaborated by Fernandes (author), in the Master's Dissertation, entitled Elements for a systematization of Pharmacy Terms: a Terminology approach, defended at the Federal University of Ceará in 1998. In the second part, the processes of term formation are analyzed, taking as corpus for analysis all the terms contained in the aforementioned dictionary. The analysis of the influence of the Greek language is initially based on theoretical, philosophical and historical support, addressing the construction of meaning, the Greek influence and its categorization in Portuguese, culminating in the construction of 133 etymological sheets, with which we proceeded the analysis of variation, position and linkage of radicals and semantic drift. It is supported by a literature produced by classical and contemporary philologists, grammarians and linguists, among which are highlighted Peirce (1931), Sapir-Whorf (1929), Goes (1937), Saussure (1916), Said Ali (1931-1964) , Nunes (1919-1975), Antenor Nascentes (1932), Campos (1935), Streck (1994), Greimas (1973), Hernandez (1974), Cuesta e Luz (1971), Martinet (1974), Pedro Luft (1979 -2000), Cunha & Cintra(1984,1985),Scalise(1984),Hacken(1994),Sandmann(1989),Willians(1981),Warren(1990),Joseph(1998),Rocha(1998),Giannoulopoulou(2000),Pereira(2005),Baeskow(2004),Contende(2008),Preié (2008), Lüdeling (2009), Corbin (2001), Monteiro (1989,2002), Kastovsky (1982-2009), Ralli (2007) ,2008,2010), Brinton and Traugott (2005), Tomaszewicz (2008), Petropoulou (2009), Bauer(1988-1998-2005), Booij (2000, 2010), Almeida (2010), Faria(2011), Barreto (2012), Oliveira and Gonçalves (2011); Masip (1999, 2003); Iacobim (2004) and Villalba (1994, 2000, 2004, 2008, 2010, 2012). In the description of the formation processes, based on the theory of X-Barra, the morphological and syntactic compositions are analyzed, based on the model by Villlava (2000) and the affixes used in the compositions, highlighting, in these, the constructed meaning and the phenomena of homophony and competition among them. The influence of Greek is relevant in the construction of scientific language; the order of the stems is fixed differently from those in the common language, as well as the linking of these with greater productivity through consonants. Morphological and syntactic compositions present architecture with greater complexity than those of common language. Suffixes have position-specific peculiarities and present competition and homophony within scientific language.

Uma perspectiva de análise feminista e pós-colonial acerca da vivência das personagens femininas do romance Caramelo e dos contos “Woman Hollering Creek”, “Never Marry a Mexican” e “Bien Pretty” pertencentes à obra Woman Hollering Creek and other stories da escritora chicana Sandra Cisneros foi a proposta utilizada por esta dissertação para ilustrar como a transculturalidade influencia a vida feminina no ambiente de fronteira México/Estados Unidos. As chicanas vivem em uma situação ímpar de vulnerabilidade social pois sofrem com uma tripla pressão social de gênero, da cultura mexicana de origem e da americana de vivência. Assim, nosso estudo se volta para a literatura no intuito de investigar como as personagens femininas de Cisneros têm suas identidades e subjetividades afetadas pelo ambiente de fronteira física e cultural. Para isso, percorremos o caminho do feminismo chicano, do significado da fronteira e de como esse ambiente potencializa a violência contra a mulher, com respaldo teórico dos Estudos Culturais/Pós-Coloniais, dentre os quais citamos Anzaldúa (1987), Spivak (2010), Hall (2015) e Walter (2015). Através desse estudo, pudemos problematizar as vivências de mulheres marcadas pelo fenômeno da transculturação com a representação das culturas em trânsito: a de origem mexicana e a estadunidense com seus trajetos de conflito, tensão e preconceito. Sandra Cisneros, através de sua literatura, discute a problemática da mulher chicana, ao mostrar sua situação de vulnerabilidade, de sofrimento e de dar uma saída, mesmo que no imaginário literário, para suas personagens. Pois, como dito por Walter (2015), a capacidade da literatura está em justamente permitir a abertura do horizonte do leitor para que este tenha a possibilidade de avaliar suas escolhas, ou seja, de mudar o que acredita estar errado e de manter o que está certo. No caso da perspectiva do feminismo chicano, vemos que é possível que a mulher se empodere e procure se “descolonizar” tanto do machismo de sua cultura patriarcal de origem como da condição de subalternidade imposta pela hegemonia anglo-americana.

Este trabalho se propõe a discutir os sentidos sobre a malandragem que atravessam o discurso de Bezerra da Silva, mais especificamente, sua produção musical, em dois períodos distintos: a fase malandra, tomada aqui na década de 80 e 90, e a gospel, no ano de 2005. Para tanto, vamos revisitar as condições sócio-históricas do que chamaremos Formação Discursiva da Malandragem, definida neste trabalho a partir de dois eixos condutores: o trabalho e a espiritualidade. Esse retorno à história permitiu-nos compreender como a mudança do regime colonial para o capitalista, no Rio de Janeiro, afetou diretamente a vida de centenas de ex-escravos e descendentes ao tentar afastá-los do centro da cidade e do contato com as camadas mais abastadas, não lhes garantindo as mínimas condições de vida. Nesse contexto surge um movimento de resistência dessa classe oprimida impulsionado pelo projeto de tornar a cidade “branca”, burguesa. Em virtude disso, entendemos inicialmente a malandragem no sentido de resistência a esses projetos, materializando-se na figura de um representante de uma classe negro-proletária que habita o imaginário nacional e que encontra no samba e na espiritualidade cantada a possibilidade de fuga da realidade a que é submetido, garantindo sua permanência no corpo social. Apoiados nos estudos da Análise de discurso de orientação pecheuxtiana, especialmente sobre a noção de formação discursiva e os conceitos a ela relacionados, procuramos delimitar o que definimos “FD da malandragem”, descrevendo os discursos sobre o trabalho e a espiritualidade que a atravessam e provocam deslizamentos de sentidos sobre o malandro e a malandragem . A delimitação dessa FD se mostrou necessária para que pudéssemos, a partir dela, verificar os deslocamentos que encontramos na produção de Bezerra da Silva com relação ao modo de compreender o malandro e a malandragem no morro, seja pelo viés do trabalho, seja na relação com a espiritualidade. Pelo viés do trabalho, temos deslizamentos de sentidos em relação ao malandro quando aparecem sujeitos que se relacionam com as drogas, seja como trabalho alternativo, seja em relação ao uso. No que diz respeito à espiritualidade, tem-se também deslizamentos de sentidos em relação à figura do pai de santo que procura ludibriar o outro para ganhar dinheiro, ao orixá pelo qual o sujeito clama e, na fase gospel, tem-se uma tentativa de afastamento do malandro tradicional e com a FD que o dominava, no intuito de romper com os sentidos sobre o malandro e a malandragem estabelecidos.