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O campo literário afro-brasileiro e a recepção de Carolina Maria de Jesus
No full textThe article is divided into two sections, the first discusses the construction of an African-Brazilian literary field from an epistemological point of view, considering the fall of the unified modern subject and the resulting shock of their frames of reference on one side, and another, the contemporary conception of "return of the author" and the index of self-referentiality increasingly present in fiction works. In the second section we see these problems in the work of the writer Carolina Maria de Jesus, whose reception in the context of debut was marked by assumptions of race, gender and class.O artigo está dividido em duas partes; na primeira discute-se a construção de um campo literário afro-brasileiro do ponto de vista epistemológico, considerando a queda do sujeito moderno unificado e o consequente abalo de seus quadros de referência de um lado, e de outro, a concepção contemporânea do "retorno do autor" e os índices de auto-referencialidade cada vez mais presentes nas obras de ficção. Na segunda, observa-se tais problemáticas na obra da escritora Carolina Maria de Jesus, cuja recepção, no contexto de estreia, foi marcada por pressupostos de raça, gênero e classe
"Ponciá Vicêncio": narrativa e contramemória colonial
Get PDFThe paper is composed of three parts. In the first, I draw some parallels between Conceição Evaristo's work Ponciá Vicêncio, comparing to other novels by brazilian black authors, signaling the contiguity of a dispersed, but communicating, set of novels that are interspersed by the romanesque genre and by the authorship of black women – as the pioneer Úrsula, of Maria Firmina dos Reis, published in the nineteenth century; Água funda (1946), by Ruth Guimarães, the first novel by a black author published after the end of slavery; Pedaços da fome (1963) and Diário de Bitita (1986), both of Carolina Maria de Jesus; As mulheres de Tijucopapo (1982), Marilene Felinto and Um defeito de cor (2006), by Ana Maria Gonçalves. In a second moment, I approach the concept of “escrevivência”, observing its borderline location between fiction, realism and autobiography, emphasizing that the critical invoice of the concept generates an amplification of its respective scope. Finally, I highlight some lines of strength of the work, in order to emphasize its narrative power to forge and make visible the colonial counter-memories of the nation.O artigo se compõe de três partes. Na primeira, traço alguns paralelos entre a obra Ponciá Vicêncio, de Conceição Evaristo, frente a outros romances de autoras negras brasileiras, sinalizando a contiguidade de um conjunto disperso, porém comunicante, de obras que se cruzam pelo gênero romanesco e pela autoria de mulheres negras – como o pioneiro Úrsula, de Maria Firmina dos Reis, publicado no século XIX; Água funda (1946), de Ruth Guimarães, primeiro romance de uma autora negra publicado depois do fim da escravidão; Pedaços da fome (1963) e Diário de Bitita (1986), ambos de Carolina Maria de Jesus; As mulheres de Tijucopapo (1982), de Marilene Felinto e Um defeito de cor (2006), de Ana Maria Gonçalves. Em um segundo momento abordo o conceito de escrevivência, observando sua localização limítrofe entre ficção, realismo e autobiografia, salientando que fortuna crítica do conceito gera uma ampliação dos seus respectivos alcances. Por fim, destaco algumas linhas de força da obra, visando frisar sua potência narrativa de forjar e tornar visíveis contramemórias coloniais da nação
"Ponciá Vicêncio": narrativa e contramemória colonial
No full textThe paper is composed of three parts. In the first, I draw some parallels between Conceição Evaristo's work Ponciá Vicêncio, comparing to other novels by brazilian black authors, signaling the contiguity of a dispersed, but communicating, set of novels that are interspersed by the romanesque genre and by the authorship of black women – as the pioneer Úrsula, of Maria Firmina dos Reis, published in the nineteenth century; Água funda (1946), by Ruth Guimarães, the first novel by a black author published after the end of slavery; Pedaços da fome (1963) and Diário de Bitita (1986), both of Carolina Maria de Jesus; As mulheres de Tijucopapo (1982), Marilene Felinto and Um defeito de cor (2006), by Ana Maria Gonçalves. In a second moment, I approach the concept of “escrevivência”, observing its borderline location between fiction, realism and autobiography, emphasizing that the critical invoice of the concept generates an amplification of its respective scope. Finally, I highlight some lines of strength of the work, in order to emphasize its narrative power to forge and make visible the colonial counter-memories of the nation.O artigo se compõe de três partes. Na primeira, traço alguns paralelos entre a obra Ponciá Vicêncio, de Conceição Evaristo, frente a outros romances de autoras negras brasileiras, sinalizando a contiguidade de um conjunto disperso, porém comunicante, de obras que se cruzam pelo gênero romanesco e pela autoria de mulheres negras – como o pioneiro Úrsula, de Maria Firmina dos Reis, publicado no século XIX; Água funda (1946), de Ruth Guimarães, primeiro romance de uma autora negra publicado depois do fim da escravidão; Pedaços da fome (1963) e Diário de Bitita (1986), ambos de Carolina Maria de Jesus; As mulheres de Tijucopapo (1982), de Marilene Felinto e Um defeito de cor (2006), de Ana Maria Gonçalves. Em um segundo momento abordo o conceito de escrevivência, observando sua localização limítrofe entre ficção, realismo e autobiografia, salientando que fortuna crítica do conceito gera uma ampliação dos seus respectivos alcances. Por fim, destaco algumas linhas de força da obra, visando frisar sua potência narrativa de forjar e tornar visíveis contramemórias coloniais da nação
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
A experiência literária marginal em três atos: O maldito dos anos 70, o "periférico" contemporâneo e a outsider Carolina Maria de Jesus
No full textMargin is a polysemy term, its meaning includes social, cultural and epistemological instances. In this article we visited the concept from three different approaches: first, linking it to the experience of marginal literature of the 1970s; second, focusing on a more contemporary arena of peripheral literature; and third, the place occupied by outsider writer Carolina Maria de Jesus, contemporary writer of literature marginal - but located at another margin, and precursor of peripheral literature - though without matching all of her assumptions.Margem é um termo polissêmico, seu sentido abarca as instâncias do social, do cultural e do epistemológico. Neste artigo visitamos o conceito a partir de três abordagens diferentes: primeiro, articulando-o à experiência da literatura marginal dos anos 1970; segundo, trazendo a reflexão para a arena mais contemporânea da literatura periférica e em terceiro analisando o lugar de outsider ocupado pela escritora Carolina Maria de Jesus, contemporânea da literatura marginal - mas disposta noutra margem, e precursora da literatura periférica - embora sem corresponder a todos os seus pressupostos
Carolina Maria de Jesus: a morada da palavra
Get PDFNeste artigo tratamos da escrita autobiográfica de Carolina Maria de Jesus (1914-1977), destacando os livros Quarto de despejo: diário de uma favelada (1960); Casa de Alvenaria (1961) e Diário de Bitita (1986). A escritora inscreve na narrativa uma experiência pautada nos lugares de raça, gênero e classe que desloca o lugar comum do sujeito tradicional do discurso autobiográfico, fazendo emergir uma nova voz na literatura brasileira.
[Recebido: 9 set. 2015 – Aceito: 8 nov. 2015
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