DSpace Coleção:http://repositorio.ufc.br/handle/riufc/238392026-06-06T05:43:25Z2026-06-06T05:43:25ZO pulsar das palavras errantes: pobreza e nomadismo em Nélida PiñonNascimento, Marcelo Lucas Monteiro dohttp://repositorio.ufc.br/handle/riufc/864792026-05-26T14:58:31Z2026-01-01T00:00:00ZTítulo: O pulsar das palavras errantes: pobreza e nomadismo em Nélida Piñon
Autor(es): Nascimento, Marcelo Lucas Monteiro do
Tipo: Dissertação2026-01-01T00:00:00ZO despedaçamento dos corpos: uma leitura de As Bacantes de EurípidesPinheiro, Gabriela Almeidahttp://repositorio.ufc.br/handle/riufc/864182026-05-22T14:22:52Z2026-01-01T00:00:00ZTítulo: O despedaçamento dos corpos: uma leitura de As Bacantes de Eurípides
Autor(es): Pinheiro, Gabriela Almeida
Abstract: The Bacchae, by Euripides (484–406 BC), a play first performed in 405 BC, is not only one of the oldest accounts of the rites of Maenadism, but also deals with themes such as violence and power. This work proposes to analyze it through dismemberment, understood not as the exact moment when the body is torn apart, but as a process, its effect being proportional to the tension that prescribes it. The term sparagmós, in Ancient Greek, designates a semantic field that, although vast, is marked by the sense of violence, whether committed by humans or animals. The erasure and silencing of the body result in the appeasement of the collective. Finally, the body that is mourned is the body that, regaining reason, perceives its own violence. It is in the process in which joy and glory are transformed into mourning that the play ends. Perceiving a system of equivalences inserted in the tragedy The Bacchae, this work is based on the proposal of René Girard (1990) and configured as a bibliographic review research. It is observed that violence, in the form of dishonor and outrage, is the event that will trigger the need for another action on the formal level, which, in the case of The Bacchae, is Dionysus' revenge. For the myth, it is the resolution, it is what finds its explanation in the preceding lineages. For the action, it is continuity and throws us into another game, that of violent ambiguity. Therefore, we conclude that dismemberment can be used as a key to interpreting the play. In addition to the aforementioned Girard (1990), Aristotle (2008), Dodds (2002), Eagleton (2013), Pereira (2001), Eliade (1972), Vernant (2006), Lesky (1996), Foley (2019), and Otto (2017) are used as a theoretical basis.
Tipo: Dissertação2026-01-01T00:00:00ZNarrativas de resistência nas águas da memória: o protagonismo de mulheres negras entre a ficção de Conceição Evaristo e o Poço da Draga (Fortaleza-CE)Silva, Thaís Andradehttp://repositorio.ufc.br/handle/riufc/862212026-05-12T13:09:06Z2026-01-01T00:00:00ZTítulo: Narrativas de resistência nas águas da memória: o protagonismo de mulheres negras entre a ficção de Conceição Evaristo e o Poço da Draga (Fortaleza-CE)
Autor(es): Silva, Thaís Andrade
Tipo: Dissertação2026-01-01T00:00:00ZEntre o real e o ficcional em O Conto da Aia: as táticas de sobrevivência e resistência na República de GileadLima, Gabriel Moita dehttp://repositorio.ufc.br/handle/riufc/862172026-05-12T12:28:10Z2026-01-01T00:00:00ZTítulo: Entre o real e o ficcional em O Conto da Aia: as táticas de sobrevivência e resistência na República de Gilead
Autor(es): Lima, Gabriel Moita de
Abstract: This dissertation aims to study the perspectives present in The Handmaid's Tale (1985), by Canadian author Margaret Atwood (1939–), as a literary dystopia, examining how this narrative has contributed to and continues to be impactful as a form of opposition to adverse moments, positioning itself against predominant political configurations, as well as dictatorial and totalitarian governments, constituting resistance and criticism of them, with a close link to reality. Such resistance is not occasional; it is demonstrated by the author through certain characters and the survival tactics they employ, whether passively or actively. Dystopian novels often allow questioning and reflection on the society in which we live, on present and past societies. Therefore, it is possible to perceive that dystopian works are concerned not only with the present they portray or the past they criticize, but also with the future they fear, should reality continue on the same path — which makes the genre unique, showing that, even with fantastical or supposedly unreal characteristics, it remains closer to reality than it appears. Recognizing that the work in question reflects societies of the past while also displaying characteristics of so-called "more modern societies," as a form of protest, and understanding how it accomplishes this, is fundamental to this research.
Tipo: Dissertação2026-01-01T00:00:00Z