Revista Estudos Anglo-Americanos (E-Journal - Universidade Federal de Santa Catarina, UFSC)
Not a member yet
175 research outputs found
Sort by
TEMPORAL DIMENSION: ORDER, DURATION AND FREQUENCY IN MARKUS ZUSAK’S THE BOOK THIEF
Get PDFThis article aims at analyzing the temporal dimension that guides the young-adult novel The Book Thief, by the Australian author Markus Zusak. Written in 2005, this work shows the life of Liesel Meminger, a nine-year old German girl who witnesses the Nazi period in Germany. The story is narrated through the eyes of Death, the soul collector who follows Liesel’s trajectory making comments about her life and about humanity. Consequently, as death is supposed to be a timeless omniscient entity, it is relevant to discuss the representation of time, which is analyzed through the theoretical propositions of Gérard Genette and Mieke Bal, mainly. The focus of this analysis relies on the aspects of order, duration and frequency of the events, since the narrator manipulates time through constant shifts in the chronological order and frequently interrupts the narrative to add his comment, which also affect the temporal dimension in the book.
O AMOR DE FEDRA (1996): A REVISITAÇÃO DO MITO POR SARAH KANE
Get PDFA dramaturga britânica Sarah Kane teve uma carreira bastante curta, escrevendo apenas cinco peças entre 1995 e 1999, além do roteiro de um filme para a TV. O breve espaço de tempo em que produziu sua obra, no entanto, não impediu que ela fosse considerada como uma das mais importantes figuras da dramaturgia britânica na virada do milênio. Em sua segunda peça, O amor de Fedra (1996), a autora rearticula a história da heroína de Creta, lançando um novo olhar sobre questões como o desejo e as relações familiares. Assim, ao apropriar-se e recriar elementos essenciais do mito grego, ela produz uma obra contemporânea com traços de humor negro. O presente artigo tem como objetivo analisar esse trabalho de Kane, considerando-o como uma releitura tanto do mito grego – entendido como um conjunto de diferentes versões – quanto de outros textos, escritos por dramaturgos que se serviram da forma dramática de raízes aristotélicas, dentre eles Eurípides, Sêneca e Racine. Para tanto, serão investigados os recursos utilizados por Kane para retextualizar e subverter as versões anteriores: como construiu as personagens, em que mundo as situou e, principalmente, que linguagem empregou para imprimir marcas da contemporaneidade, como o individualismo, o consumismo, a violência nas relações sociais e pessoais, a exacerbação da sexualidade e a profunda indiferença pelo semelhante, entre outras. Para embasar a análise, além dos textos dos dramaturgos mencionados, serão utilizados os postulados teóricos de Hans-Thies Lehmann, Patrice Pavis, Antonin Artaud e Linda Hutcheon.
CENSURA E MACARTHISMO EM FORCE OF EVIL, DE ABRAHAM POLONSKY
Get PDFDirigido por Abraham Polonsky em 1948, Force of Evil combina, tanto em sua forma como em seu conteúdo, a constante ameaça de perseguição política nos EUA durante o macarthismo com estratégias para contornar a censura cinematográfica, além de uma liberdade criativa poucas vezes vista em Hollywood. Por meio da análise de duas sequências do filme e do estudo de suas condições de produção, verificaremos como se dá o encaminhamento dessas questões no filme de Polonsky.
OS EFEITOS DE UM BILHETE: REPRESENTAÇÕES DA PERDA EM VIRGINIA WOOLF E MARCEL PROUST
Get PDFA primeira cena do romance The Years de Virginia Woolf, 1936, narra uma mulher à beira da morte. Posteriormente, consecutivas mortes ocorreram. Não houve desapontamentos. Alguma naturalidade rodeou a fala dos personagens. A perda iminente tornou-se suportável. Nossa análise considera a representação do anúncio de morte na realidade ficcional em The Years um ponto de diferença em relação à representação de outras perdas no romance woolfiano e, alargando a perspectiva, no romance moderno. Nosso contraponto será, primeiramente, a cena do romance proustiano Du côté de chez Swann, 1913. Nesse volume, temos a cena do “Não há resposta” da mãe, a qual é recusada pelo pequeno Marcel. Mais adiante, nas cenas de Albertine disparue, 1925, ao receber o bilhete da morte de Albertine, Marcel novamente nega. Há a mobilização de defesas para o “Não há resposta”. A cena do bilhete se repete em The Years. O convite do funeral de Rose é enviado. A prima de Rose também diz que não há resposta, mas, logo a narrativa segue para a cena do funeral sem grandes repercussões. Temos dois bilhetes sem resposta. Porém, os efeitos ecoam de formas diferentes na literatura de Virginia Woolf e de Marcel Proust. Em The Years, parece-nos que não há metáforas para a morte. Em Proust, a falta de resposta da mãe retorna de outra forma, deslocada, distorcida em metáforas e metonímias. Nesse sentido, como se constrói a narrativa woolfiana a partir da não-mediação, não-metaforização, defronte a perda em The Years
“NOWHERE DEFINITE”: MEDIATION AND THE CONTROL OF NATURE IN MARGARET ATWOOD’S “DEATH BY LANDSCAPE”
Get PDFThe overall goal of this article is to identify in which sense the wilderness, and its contrast with more metropolitan settings, has offered Canada a unique story and source of imagery. Inasmuch as “Atwood’s fascination with the distinction between the two alternatives (urban/wilderness) is pervasive” (AURYLAITE, 2004, p. 41) throughout her work, our specific purpose is to analyse how, in Margaret Atwood’s short story “Death by Landscape” (1977), the character Lucy incorporates such debate and conflict between these “two alternatives”. The dichotomy nature/landscape upon which the story is based provides a reflection on not only the process of creation and Canadian national identity, but also on what it is to be a woman, or to become a woman in the patriarchal world – Lucy chooses not to become a woman in the terms of patriarchal society. As a representative of the transformation from girl into women – that is divided by the confusing frontier wherein adolescence is positioned – Lucy decides not to appropriate the discourse that surrounds her existence but to problematise it through her inner and outer actions: desiring that which should not be desired and contemptuous of that which should be commended. Lucy’s characterisation in “Death by Landscape” (ATWOOD, 1977) gives readers a chance to reconsider their own epistemes on the wilderness vs. landscape binarism vis-à-vis how hegemonic society has manufactured and idealised nature and any similar binarisms materialising due to its objectified axioms
MORRISON AND THE BRONTËS: THE ARCANA OF THE ARCHETYPAL THREE SISTERS
Get PDFThis article presents a reading of the play We Are Three Sisters, written in 2011, by the British poet and playwright Philip Blake Morrison, in order to discuss the links among fiction, reality and biographical information based on the perspectives of Adaptation Studies and Imaginary Studies. As backdrop for the creation of We Are Three Sisters, Morrison uses the text Three Sisters, written by the Russian playwright Anton Chekhov, adapting its historic and social context, filling his play with information about the life of the Brontë sisters. Besides being three great authors of the Victorian canon, the Brontë sisters are also British cultural icons, so often represented as characters in fictional biographies, novels, movies, ballets and plays. To write his appropriation of the Brontës\u27 life, Morrison utilizes Juliet Barker\u27s biography, while using Chekhov\u27s play as a shadow text, a matrix that serves as the basis for his creation, a scaffold around which he builds up his fiction. This paper both analyzes the intertwining of reality and fiction performed by Morrison through adaptation and transposition processes and presents a reading of the symbolic content of the three sisters archetype from the perspective of the Imaginary Studies
"WHAT WOMEN LIKE AND WHAT MEN SEEK”: GENDER POLARIZATION IN (PSEUDO) SCIENTIFIC DISCOURSES
Get PDFThis study, inserted in the field of Language and Gender, investigates the reproduction of gender polarization in (pseudo) scientific discourse. In order to do so, we first analyzed a workshop proposal for a research event at a renowned higher education institution in Brazil entitled “What women like and what men seek: the neurobehavioral basis of passion”. In order to have a more contextualized understanding of such workshop, we also looked into the curriculum of the researcher who proposed it (which is available in the Brazilian Lattes platform) as well as a personal blog in which he writes about relationships and his views on related issues. Departing from an analysis grounded on theories of Language and Gender (FAIRCLOUGH, 1995, 2003; CAMERON, 1998; WODAK, 1997), our purpose is to problematize the ways in which scientific discourse may function so as to reinforce gender binarism and gender stereotypes. Indeed, it is possible to conclude that the texts not only reproduce gender polarization but also seem to work to maintain the heterosexual market(BING; BERGVALL, 1996). Moreover, the problem of gender polarization in scientific discourses seems to be related to another kind of binarism: the division between hard sciences and soft sciences.