http://hdl.handle.net/20.500.11997/1140 2026-04-14T23:05:32Z 2026-04-14T23:05:32Z Süssekind, Flora http://hdl.handle.net/20.500.11997/852 2023-04-21T22:26:45Z 2002-01-01T00:00:00Z

Deterritorialization and literary form: Brazilian contemporary literature and urban experience Süssekind, Flora The study deals with the mediations between the urban social organization and the artistic form in contemporary Brazilian literature. It tries to contrast close, direct accounts, works that register explicitly the violent and excluding elements of everyday life in large Brazilian cities, works based on duplication and representability, to some processes of defiguration and deterritorialization which are also structural to Brazilian contemporary literature, and function as particularly critical interlocutors of an urban experience of violence, instability and segregation. For, if an imaginary representation of fear and violence is what fundamentally organizes the dominant urban landscape of Brazilian contemporary literature, what is habitual in the more documentary and illustrative urban literature is not the unfolding of perspective but rather the criminalpathological cataloguing of places and human types, the fear of social heterogeneity, the criminalization of social divisions, the reinforcement of a kind f urban paranoia - which partly explains the popularization, in tune with a generalized insecurity, of crime stories and detective thrillers in Brazil since the 1980-1990 decades. But this does not necessarily mean an increase in the complexity of formal processes, of literary practice and of the recent historical experience. A growing formal complexity and social awareness often resulting not exactly from this representational imposition, from the explicit, illustrative literary portraits of the urban, but rather from the production of nonrepresentational spaces and liminal, ambivalent, transitional zones of subjectivity, which I try to put into focus in this essay.

2002-01-01T00:00:00Z Rouchou, Joëlle http://hdl.handle.net/20.500.11997/842 2023-04-21T21:58:55Z 2005-01-01T00:00:00Z

Cinelândia: o cinema no primeiro ano da revista O Cruzeiro Rouchou, Joëlle Luzes, máquinas que voam, que falam, prédios altos numa metrópole do futuro desenhando o que seria o ano de 2026. O emblema do filme Metropolis (1926), do cineasta alemão Fritz Lang, é a modernidade no cinema. O cartaz com tipologia futurista apontando com setas em todas as direções dá o tom daquele que se tornou o filme fundador do gênero de ficção: cada vez mais máquinas, mais sofisticadas, mais modernas. É Futura, o robô-mulher, clone da personagem Maria, que vai salvar os oprimidos de uma sociedade dividida entre os ricos – que moram na cidade alta, rica e branca – e a massa de operários, que se esconde nos subterrâneos da cidade baixa, onde ficam as máquinas que geram a energia para os mais abastados.

2005-01-01T00:00:00Z Alencar, José Almino de http://hdl.handle.net/fcrb/236 2023-04-21T23:11:30Z 2001-01-01T00:00:00Z

Brasil é fatalmente uma democracia: Silvio Romero Alencar, José Almino de "Texto apresentado no seminário "Repensando o Brasil com Sílvio Romero" promovido pela Fundação Biblioteca Nacional no segundo semestre de 2001 no Centro Cultural da Justiça, e publicado na Revista Tempo Brasileiro, 145:5/37, abril-jun. 2001."

2001-01-01T00:00:00Z