http://repositorio.ufc.br/handle/riufc/23840 Wed, 08 Apr 2026 13:28:11 GMT 2026-04-08T13:28:11Z http://repositorio.ufc.br/handle/riufc/85414 Título: A mentalidade insubmissa e o exercício da contracolonização no canto-poema de Odete Semedo Autor(es): Alves, Jonh Jefferson do Nascimento Abstract: This thesis investigates how the poems of Guinean writer Odete Semedo express and make public the political, social, and cultural conflicts of Guinea-Bissau, highlighting processes of resistance and re-existence on both subjective and collective levels. The main objective of the study is to analyze the discursive and symbolic mechanisms that reveal the formation of subjects whose mentalities are guided by decolonial and counter-colonial postures, observing how poetry can act as an instrument of confrontation against Eurocentrism, colonialism, and racism. The research focuses on the critical analysis of poems from No Fundo do Canto (2007), seeking to understand how these poetic texts configure an insubmissive poetry that thematizes and tensions the epistemic-political conditions responsible for the production and reproduction of political and cultural minorities. Methodologically, this is a critical-analytical and bibliographical study based on the interpretive reading of the main corpus, complemented by other poems pertinent to the context of production, in dialogue with theoretical and critical texts that support and deepen the proposed analysis. The theoretical framework articulates the contributions of Moema Parente Augel (2007) on Guinean literature; Roberto Pontes (2006) and Raymond Williams (1977) regarding the notions of residuality, mentality, and insubmissive poetry; and thinkers such as Aníbal Quijano (2000), Walter Mignolo (2011), and Antônio Bispo dos Santos (2023), who ground the discussion on decoloniality and counter-coloniality. It is worth emphasizing that this study contributes to broadening the debate on the role of African Portuguese-language literature in the construction of alternative epistemologies, as well as in the formulation of liberating discursive practices. Tipo: Tese Wed, 01 Jan 2025 00:00:00 GMT http://repositorio.ufc.br/handle/riufc/85414 2025-01-01T00:00:00Z http://repositorio.ufc.br/handle/riufc/85325 Título: Literatura e jornalismo cultural: Queima de arquivo, de Gilmar de Carvalho Autor(es): Castro, Lídia Barroso Gomes Tipo: Tese Wed, 01 Jan 2025 00:00:00 GMT http://repositorio.ufc.br/handle/riufc/85325 2025-01-01T00:00:00Z http://repositorio.ufc.br/handle/riufc/85312 Título: De Blimunda a Maria de Magdala e Lilith: a singularização da configuração discursiva sobre o simulacro feminino no Projeto Literário Saramaguiano Autor(es): Lima, Janyele Gadelha de Abstract: This study aims to analyze the euphoric discursive configuration of female performance inside the discourse of Saramago, considering as corpus the novels “Baltasar and Bimunda” (1982), “The gospel according to Jesus Christ” (1991) and “Caim” (2009) Considered a great exponent of the global literary scene, José de Sousa Saramago produced works marked by a persuasive act aimed at giving voice to those who are socially oppressed, amongst those, women. Thus, it is noticeable in his texts a thematic-figurative reconstruction that surrounds the female universe, making it so that the woman is no longer presented as a simulacrum of a secondary and passive subject but instead becomes a strong, independent, intelligent and empowered actor who seeks to break chains and social standards. In this way, by performing a brief recap of the theoretical foundations coming from Discursive Semiotics, based on Greimas (1975, 1976), Barros (1988, 1997), Bertrand (2003), Pietroforte (2008) and Fiorin (2016), it is observed that the euphoric female recurrence in Saramagos’s texts is fruit of a literary project of the author, who finds in Blimunda, Mary of Magdala and Lilith a feminine triad of actualization over a feminine simulacrum, thus resulting in the construction of a discursive configuration of feminine appreciation. Furthermore, our research notes that in Mary of Madgala and Lilith there is the synthesis of this discursive configuration, made possible, above all, by the parodic resource of intertextuality – Bakhtin (1992, 2004), Kristeva (1974), Barthes (2002), Fiorin (1994, 2011). Tipo: Tese Thu, 01 Jan 2026 00:00:00 GMT http://repositorio.ufc.br/handle/riufc/85312 2026-01-01T00:00:00Z http://repositorio.ufc.br/handle/riufc/85056 Título: O Palimpsesto Narrativo em Os sinos da Agonia, de Autran Dourado Autor(es): Ramos, Angélica Maria de Almeida Carvalho Abstract: From the perspective of Gérard Genette, the palimpsest is a parchment whose original inscription has been scraped away to allow for a new text to be written. Rather than concealing the traces of the first layer, however, this process reveals them—so that the old can be read through the transparency of the new. It is precisely in this overlapping of narratives that we locate our object of study: a narrative parchment in perpetual transformation, deformed, mutilated, and constantly reinvented through writings that intertwine within the porous universe of literary art. Palimpsestic reading is grounded in the premise that no text emerges by chance. Every text is a hypertext, maintaining a secret and subterranean relationship with other texts (hypotexts), which may be read in their verticality and opacity within a single work. This type of reading demands from the reader a fertile memory, activating a powerful theory—that of intertextuality. Intertextuality operates through numerous mechanisms: emulation, parody, pastiche, imitation, epigraph, quotation, among others, all meticulously conceptualized by Genette. In this light, the present study aims to investigate the novel Os Sinos da Agonia (1974), by Autran Dourado, through the lens of the palimpsest, exploring three structuring layers: the formal, the mythological, and the historical-discursive. The analysis departs from the hypothesis that these narratives are constructed as superimposed layers of memory, time and language, articulating baroque strategies, archetypes and historical figures. The research highlights how Dourado mobilizes intertextual references—such as the Greek tragedy of Euripides and the colonial text of Simão Ferreira Machado—in order to craft a literature marked by fragmentation, duplicity, and the tension between overlapping temporalities within the fabric of the novel. The figure of the Homo sacer, the ritual of death in effigy, and the presence of tragic characters born from catastrophe reveal an aesthetic-philosophical project that interrogates the human condition and the instability of historical discourse. Thus, Dourado’s works become spaces of symbolic resistance, where the reader, activating their own memory, is called upon to excavate hidden meanings beneath the textual surface. To carry out such reflections, we draw upon the works of scholars such as Genette, Bakhtin, Samoyault, Hutcheon, Aristotle, Jung, Walter Benjamin, Vernant, Agamben, among others. Based on these theoretical foundations, this study proposes an archaeological reading of Os Sinos da Agonia, understanding the novel as a field of textual and symbolic forces. The analysis seeks to reveal how the past resurfaces within the narrative not as a static trace, but as a living presence, constantly in tension between baroque aesthetics, myth, and history. Tipo: Tese Wed, 01 Jan 2025 00:00:00 GMT http://repositorio.ufc.br/handle/riufc/85056 2025-01-01T00:00:00Z