http://repositorio.ufc.br/handle/riufc/23842 2026-04-03T18:10:36Z 2026-04-03T18:10:36Z Maia, Evanilson Fernandes http://repositorio.ufc.br/handle/riufc/83750 2025-12-09T11:59:04Z 2025-01-01T00:00:00Z

Título: Rompendo o silêncio público: a formação histórica dos atingidos pelo Açude Castanhão (Ceará, 1985-2002) Autor(es): Maia, Evanilson Fernandes Abstract: This dissertation analyzes the process of organization and formation of the people affected by the Castanhão Dam, in Ceará, between 1985 and 2002, emphasizing their constitution as a collective political subject and the rupture of the public silence that initially rendered them invisible. The research seeks to understand how historically marginalized populations—small farmers, vazanteiros (floodplain cultivators), day laborers, fishers, tenants, and landless peasants—especially women, who played a central role in community organization, developed instruments of struggle and built a common identity as “dam-affected people,” based on the experience of resistance against a state and corporate project that disregarded their rights. Methodologically, the study adopts a qualitative approach, combining documentary analysis, bibliographic research, and interviews with local leaders. It examined minutes and records of the Jaguaribara Residents’ Association, documents of the Movement of People Affected by Dams (MAB), issues of the newsletter Castanhão e o Povo, reports and records of the Multiparticipatory Group, and press articles, confronted with oral testimonies and collective memories. The theoretical framework is grounded in E. P. Thompson, James Scott, Ranajit Guha, Frederico de Castro Neves, and Ecléa Bosi, articulating concepts of class, identity, memory, and subaltern resistance. The results demonstrate that resistance was decisive in challenging the hegemonic project. The affected communities broke institutional silence through mobilizations, newsletters, marches, occupations, and negotiations, in which the presence and leadership of women were fundamental to give coherence to the struggles and to secure the right to rural resettlement for hundreds of families, despite strong state pressure to prioritize urban resettlement and relocation to the new city of Jaguaribara. This dispute revealed the central contradiction between two models of displacement: on the one hand, the urban resettlement, planned to concentrate the population in a space defined by the State; on the other, the rural resettlement, the result of organized struggle, which demanded land, agricultural production, and the continuity of community ties. In this confrontation, the affected communities asserted their political agency and challenged the modernizing discourse that justified the dam in the name of “progress.” The study shows that their public emergence was not limited to denouncing rights violations but consolidated insurgent practices and collective knowledge that redefined territory, social memory, and political struggle in the Jaguaribe Valley. It concludes that, by achieving rural resettlement, denouncing the inequalities imposed by urban resettlement, and highlighting women’s protagonism, the affected communities reconfigured their condition of subalternity, inscribing themselves as historical subjects and protagonists of their own history Tipo: Dissertação

2025-01-01T00:00:00Z Augusto, Carolina de Fátima Linhares http://repositorio.ufc.br/handle/riufc/83213 2026-01-16T12:41:59Z 2025-01-01T00:00:00Z

Título: A louca autofágica: a invenção de si na escrita de Maura Lopes Cançado em hospício é Deus - diário I (1965) Autor(es): Augusto, Carolina de Fátima Linhares Abstract: This study aims to analyze Maura Lopes Cançado’s diary, Hospício é Deus: diário I (1968), written during her confinement at the Gustavo Riedel asylum (Rio de Janeiro), as a literary movement of self-invention through the practices of self-writing. Drawing on Philippe Lejeune’s work on autobiography and the diary, as well as Mikhail Bakhtin’s reflections on speech genres, this research investigates how the author employs this intimate writing form to fictionalize herself as a “mad” writer. By choosing the diary as her discursive form, Maura also adopts the foundational characteristics of the genre—those that shape its structure and enable it to convey a particular kind of enunciation—chief among them, sincerity. The hypothesis is that this fictional exercise stems from a desire to invent herself as a great writer, using the diary and madness as a means of affiliating herself with authors she explicitly mentions in her intimate writing, such as Dostoevsky, Sartre, and Clarice Lispector. From this starting point, Maura’s writing may be understood as a deliberate literary construction: she selects, edits, narrates, and publishes, navigating the inherent fissures of the genre and playing the “game of sincerity,” thus crafting a credible character. The research connects this inventive process to its critical reception following the publication of the diary, considering that Maura had already published in Jornal do Brasil and was connected to writers such as Reynaldo Jardim, Assis Brasil, and Ferreira Gullar. Her diary was read and, apparently, well received by the literary critics of Rio de Janeiro. Analyzing this reception is crucial to understanding how her fictional endeavor was interpreted. In this sense, and once again drawing on Bakhtin’s theoretical contributions, the diary is conceived as a space in which time takes form—becoming part of its movement and integrating itself into the narrative as a mode of perceiving the surrounding world. The research thus seeks to investigate the diary as the embodiment of “madness-time,” a mode of experiencing the passage of time within the asylum. Tipo: Dissertação

2025-01-01T00:00:00Z Silva, Jeferson de Castro http://repositorio.ufc.br/handle/riufc/83100 2026-01-16T12:31:10Z 2025-01-01T00:00:00Z

Título: Corpos escaveirados: imagens de fome e miséria da Seca do Ceará (1877-1879 Autor(es): Silva, Jeferson de Castro Tipo: Dissertação

2025-01-01T00:00:00Z Silva, João Pedro Ferreira da http://repositorio.ufc.br/handle/riufc/83038 2025-10-14T14:30:39Z 2025-01-01T00:00:00Z

Título: Tiktokzação: ensaios sobre a forma da história como mercadoria nas redes Autor(es): Silva, João Pedro Ferreira da Abstract: Throughout the development of capitalist society, it is possible to observe the various cultural transformations triggered by technologies. As these mechanisms become more popularized, the next changes and mutations occur more rapidly. Recognizing this means that, beyond an economic, social, or political process, technologies — especially communication technologies — also represent an experience of time. Pointing to this aspect, it becomes necessary to question not only how we deal with these other temporalities, but also how these other dynamics of time affect historiographical production. While the interest in occupying digital spaces, especially TikTok, with discussions and narratives about the past is significant, there is a lack of debate on the limits of these social networks and their influences on the historian and their production. Little attention is given to the practice of historiographical production as a labor that involves, beyond other aspects, work time, dedication, and the psychological and physical wear and tear of the historian. In this preamble, the conjecture that guides this work aims to inquire how the production of history is impacted by the current reality of social networks, particularly TikTok. The choice of platform profiles as a source was made not only because of their popularity, but also because their format has become a production and consumption trend. Can we affirm that its operational model mobilizes new ways of producing the past? If such specificities exist, how are they materialized? My hypothesis is that the dynamics of social networks have altered — but not completely transformed — certain aspects of historiographical production, which are now subject to a logic of individual and algorithmic consumption, determined both by the spectacularized market logic and by increasingly accelerated and individualized time factors. These dynamics are permeated by a time that directly inserts and interferes with the process of production, circulation, and consumption of these videos on the platform. Content about history on social networks begins to function as a product/result aimed at entertainment, especially with high digital circulation. Beyond questioning TikTok profiles, the intention is to shed light not only on the ways in which the past is narrated but also to reflect on the material and real conditions of producing history in the present time. Tipo: Dissertação

2025-01-01T00:00:00Z