This paper discusses the lyrics of one of the great names of the contemporary Brazilian poetry, Maria Lucia Dal Farra, based on the analysis of three poems - Manha, Culinaria and Sustância -, included in Livro de auras (1994), the first literary work published by the author. The objective was to investigate how, in these poems, the daily life is problematized, as a generalizing and repetitive space, characterized by the immediacy and lack of reflection, in favor of a poetry that places this daily life aspect in the female universe and, with an intense meditative tone, reconnects the lost human ties, weaving a mythical time. This encounter dramatizes a poetic attitude that, plunging into experiences considered trivial, makes current the space taken by the affective memory and filled with a sense of belonging and perpetuates it. After the attempt to theoretically comprehend the daily life (Kujawski, 1991; Heller, 1992; Maffesoli, 1998), followed by the poems’ literary analysis, the conclusion reached is that the path that starts at the present day and reaches the essential meaning revelation configures important formal and perspective traits in the figuration of this lyric’s universe.

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This paper analyses the rewriting of John Thomas and Lady Jane (1977), the second version of a representative modern narrative, Lady Chatterley’s Lover (1928), by D. H. Lawrence, and the corresponding film, Lady Chatterley (2006), by the French director Pascale Ferran. Based on theoretical principles of film adaptation as translation (Cattrysse, 2014), on the discussion of translation as a kind of rewriting (Lefevere, 1992), and on principles of intersemiotic translation (Plaza, 2001), the aspects of the process of the main characters’ construction and the reception of the film will be discussed, as well as its role in the representation of Lawrence’s search for a classical unity in his vision of man.

Heart of darkness , by Joseph Conrad, is a narrative full of gaps, which may be interpreted by the reader in different ways. These gaps involve both what is silenced by the narrative and the darkness which is impenetrable by the eyes of the narrator. Therefore, literary criticism, based on different views, has applied its characteristic looks towards these gaps, and thus discovered many ways of reading Conrad’s text. This work aims at exposing different ways to interpret the unspoken and unfathomable based on different contemporary theories of literature: Deconstruction, Psychoanalytic Criticism, Reader-Response Criticism and New Historicism. In order to do this, essays by J. Hillis Miller, Frederick R. Karl, Ross C. Murfin, Adena Rosmarin and Brook Thomas, present in the collection Heart of darkness: a case study in contemporary criticism , edited by Ross C. Murfin, are used as theoretical reference. We intend to demonstrate how the different perspectives, taken together, support the relativity of the interpretation, while they affirm the impossibility of a full understanding, by the ‘civilized European’, of the meaning of the narrative he weaves about the culture he intends to master.

The paper analyzes the meaning of terror and love, tragic feelings, on the utopian Latin American imaginary from the novel Canaan (1902), by Graca Aranha, and Cosmic Raza (1925), by the Mexican Jose Vasconcelos, focusing on conflicts between race and the environment, expressed therein. On the one hand, dominates the Graca Aranha’s view, for whom the submission of man to nature means the cosmic terror; on the other hand, Vasconcelos’s vision, who finds in love a strategy for promoting the new American man. Although, they are distinct, we observe, in these works, some points of convergence and other points of tension around the evaluation of concepts race and nature. Moreover, these views are surrounded by a Christian worldview.

The aim of this paper is to present a compared reading of the travel guides Lisboa: o que o turista deve ver (1925), by Fernando Pessoa and Guia de Ouro Preto (1938) , by Manuel Bandeira, in the scope of the studies in literature and tourism. The reading highlights the authorial intent in each text, the historical and cultural context in which they arose, and the political changes – considering that these guides are not only works of the Modernist movement, but also nationalist expressions in search of reclaiming the national identity. Additionally, the article places the guides by Pessoa and Bandeira in the historiography of tourism and literature, both in Portugal and in Brazil, and focuses on the fact that both texts reinterpret the cities, create myths and encourage a close look – that shifts between fiction and reality – on the city spaces in Lisbon and Ouro Preto.

The Diary of Anne Frank draws an unparalleled instant for producing individual, institutional and collective subjectivity. In this ambience, a probing analysis of the mediations of subjectification will then be conducted. Apparently, such mediations are rooted in milieus that not only integrate the actants but also mold imaginable places and non-places they are amid (Auge, 2000). Hence, Anne Frank’s faciality (Deleuze & Guattari, 1996) finds place in her diary, between strategies of history and fiction. Noticeably, the Jewish young lady’s textual performance penned in her Secret Annex reveals well-defined constitutions and constant shifts of a potential rhizomatic identity (Deleuze & Guattari, 1995) moved not unlikely by the heterotopias of deviation (Foucault, 2001). The surroundings narrated and experienced by her are also linked to the diasporic complexion (Hall, 2003) capable of allowing the subject to diversify existential belongings under imminent risk of extinction into contexts which go along with mechanisms of survival, tolerance and the maintenance of basic conditions of existence.

In this article, we suggest the concepts of performance (Butler, 1990) and narrative performativity (Berns, 2013) as analytical tools for reflecting upon Toda Lana Turner tem seu Johnny Stompanato , a short story by the Brazilian writer Sonia Coutinho. A double movement will guide our analysis: we present an articulation between a perspective that takes into account the gender constitution of the characters and a narratological approach towards the reflexive/metafictional form which marks the composition of the short story. By making use of an ironical, intertextual and multi-layered style of writing, Sonia Coutinho constructs a narrative that proposes different discursive agencies in relation to the many instances in which characters’ subjectivities take place. In this sense, we consider this short story as having a deep mark of what we might understand as post-modern literature, for the multiplicity of spaces, characters and times is characteristic of a collective agency between reality and fiction.

The transitional role played by the Phaeacians in The Odyssey has built into a kind of ‘communis opinio’ among Homeric scholars. Mixing divergent elements, these people seem to set a connection between Odysseus’ previous adventures and his re-entering in Ithaca. His quick 3-day stay in this unknown land gives him the opportunity to recall his sufferings since he left Troy, and manages to build a relationship between narrator and audience that helps us understand not only Odysseus’ character, but also the character of those who entertain him. I will focus on how Homer characterizes the Phaeacians as an ‘intermediate’ people, mixing opposite elements which are epitomized in their ability to sail.

The core discussion in this paper focuses on the apprehension of the imaginary corresponding to the social reality of the Portuguese poet Fernando Pessoa (1888-1935). Our main concern lies on its descriptive effects according to an analysis of the homoerotic images that can be grasped in Ode Maritima by Alvaro de Campos, Pessoa’s most undisciplined and impetuous heteronym. Ode Maritima was first published in 1925 in Orpheu , a magazine that gave rise to Portuguese Modernism. We believe that the issues we highlight herein, based on the confrontation between the anguish felt by the ‘lyric I’ and the ‘closet’ (Sedgwick, 2007), permit a glimpse of the Pessoan imaginary coercively marked by heteronormativity.