https://repositorio.ufpb.br/jspui/handle/tede/5440 PPGL Wed, 05 Aug 2026 22:43:13 GMT 2026-08-05T22:43:13Z https://repositorio.ufpb.br/jspui/handle/123456789/38513 Título: Uma herança romântica : a natureza como reflexo de liberdade em Admirável Mundo Novo, de Aldous Huxley Autor(es): Nóbrega, Renato de Medeiros Orientador: Santos, Luciane Alves Abstract: This research aims to identify how the concept of nature, as seen by English Romanticism, was translated into Aldous Huxley's Brave New World (1932). As a dystopia focused on authoritarian repression, its plot criticizes mass control maneuvers, acting as a "fire warning" (Hilário, 2013). Aldous Huxley is an English writer who excels at instigating critical thought by fictionalizing "societies of control" (Costa, 2004). In his work, the urban center is averse to representations of nature in the formation of the category of "space." Huxley presents a highly alienated London, viewing nature as an escape mechanism and a symbol of freedom. The research infers the possible influence of the English Romantic movement on the corpus, as it was a precursor to narratives where nature serves as a refuge. The bibliographic framework guides the analysis through the following organization: the first chapter conceptualizes the dystopia genre with the aid of texts from authors such as Gregory Claeys (2017), Débora Loane do Amaral e Souza (2019), and Leomir Cardoso Hilário (2013). The second chapter focuses on how nature emerges as a representation of freedom in this literary context, based on the writings of Edmund Blunden (1949), Rodrigo Campos (2022), and Evanir Pavloski (2017). Finally, the third chapter focuses on the analysis and rethinks the relationship between humans and the natural world aiming for more human pathways. Editor: Universidade Federal da Paraíba Tipo: Dissertação Mon, 17 Nov 2025 00:00:00 GMT https://repositorio.ufpb.br/jspui/handle/123456789/38513 2025-11-17T00:00:00Z https://repositorio.ufpb.br/jspui/handle/123456789/38254 Título: Maternidade etnorreligiosa em Fique Comigo, de Ayobami Adebayo Autor(es): Benicio, Isabelle Coutinho Ramos Orientador: Kütter, Cíntia Acosta Abstract: This dissertation examines ethnoreligious motherhood as a literary analytical category, represented in the Anglo-Nigerian work Stay With Me, by writer Ayọ̀bámi Adébáyọ̀ (2025), published in 2017. The corpus presents a female subject, represented by the protagonist Yejide, whose motherhood is constantly permeated by ethnic, religious, and contemporary values. In this category, we understand that women's roles as mothers are guided by specific traditions. To deepen our analysis of the work, we first present an overview of the Yoruba peoples, bringing African voices to bear on the historiography, which includes ethnic and religious aspects. To this end, we draw on the discussions of Abiodun Adediran (1984), Saburi Biobaku (1958), Cheikh Anta Diop (2014), and Wande Abimbola (1981). In the same chapter, we also included Oyèrónké Oyewùmí's (2021) theory of the de-gendering of pre- colonial Yoruba peoples, in which she argues for the existence of a unique social organization among these peoples based on seniority and lineage. At the same time, Bibi Bakare-Yusuf's (2004) critical contributions to Oyewùmí's theory are also included. In the following chapter, the discussions engage with the themes of African feminisms, gender, polygamy, and ethnoreligious motherhood by authors Awa Thiam (2025), Chimamanda Ngozi Adichie (2014), Ifi Amadiume (1997), and Amina Mama (1995). Finally, we analyze the category of ethnoreligious motherhood in the work Stay With Me, using the 2025 edition translated into Portuguese. In this analysis, we examine how the character Yejide's maternal experience is shaped by a complex web of cultural norms, family pressures, and spiritual beliefs. We observe how Yoruba values directly influence the perception of fertility, sterility, and the social legitimacy of motherhood, transforming it into a field of meanings. Critical reading reveals that ethnoreligious motherhood is not simply a personal or natural attribute of the protagonist, but a social practice permeated by relationships of seniority and rigidity. Editor: Universidade Federal da Paraíba Tipo: Dissertação Wed, 04 Feb 2026 00:00:00 GMT https://repositorio.ufpb.br/jspui/handle/123456789/38254 2026-02-04T00:00:00Z https://repositorio.ufpb.br/jspui/handle/123456789/38239 Título: Escrita do corpo marica: autoficção performática em Luís Capucho e Pablo Pérez Autor(es): Silva Neto, Antonio Carlos Batista da Orientador: Schneider, Liane Abstract: Departing from the concept of performative auto-fiction, this dissertation revisits the notion of auto-fiction in contemporary times, structuring a theoretical-critical thought, the writing of the marica body, through performances attached to the field of (homo)sexuality and (homo) textuality in South American contexts, especially in respect to bodies marked (in real and fictional ways) by HIV. In this sense, the idea was to unveil strategies involved in the construction of subjectivity and processes of self referrentiality, rememory and stream of consciousness (James, 1890) in the writing of the double subject, author/character, in Mamãe me adora (2012), by the Brazilian writer Luis Capucho, and in Querido Nicolas (2016), by the Argentinian Pablo Perez, stories crossed by the theme of HIV infection. Imbricated in both analyzed narratives, through gender performances and performativities (Butler, 2003 [1990]) present in the stories, this study brings to light the thematic categories of infection (Sontag, 1990 [1989]) and affection (Spinoza, 2009; Diniz, 2016) on marica displaced bodies. The comparative analysis highlights that Capucho and Pérez construct narratives in which the seropositive body is not only attached to stigma and death but is transformed into a source of aesthetic, ethic and affective power, reorganizing ways of living ad narrating. Writing is here taken as a space for affirmative ways of living, freed from imposed cis-heteronormativity since in both narratives the characters/authors construct literary paths permeated by stigma, but also by serodiscordant relationship, anti-retroviral therapy, sexual desire, resignifying the infected body by the force of emotional and sexual attachment that resist the logic of abjection. One comes to conclude that the writing of the marica body, as it appears in Capucho and Pérez, not only dislocates literary production on HIV out of the death circle but also illustrates new possible ways of living, destigmatizing south American modes of subjectivity. Central theoretical supports of this study include, besides Klinger (2006), for auto-fiction, Doubrovsky (1977); for the study of HIV infection as a discursive epidemic, Bessa (1997); for the discussion of non- heterocentric affectivity, Preciado (2018), among others.; A partir de la noción de “autoficción performática” (Klinger, 2006), esta tesis realiza una lectura de la autoficción en la contemporaneidad y construye un pensamiento teórico-crítico, la escritura del cuerpo marica, a partir de las performances vinculadas al campo de la (homo)sexualidad y de la (homo)textualidad, en contextos sudamericanos, que atraviesan el cuerpo, real y ficcional, que vive con VIH. En este sentido, se examinan las estrategias en la construcción de la subjetividad y los procesos de autorreferencialidad, rememoración y/o de flujos de conciencia (James, 1890) en la escritura del sujeto doble, autor-personaje, en Mamãe me adora (2012), del escritor brasileño Luís Capucho, y Querido Nicolás (2016), del escritor argentino Pablo Pérez, historias atravesadas por la temática de la infección por VIH. Entrelazadas en las narrativas en cuestión y mediante las performances y performatividades de género (Butler, 2003 [1990]) allí presentadas, se exteriorizan las categorías temáticas de infección (Sontag, 1990 [1989]) y afecto (Spinoza, 2009; Diniz, 2016) en los cuerpos marica en desplazamiento. Así, el análisis comparativo evidencia que Capucho y Pérez tejen narrativas en las que el cuerpo seropositivo deja de ser solo un signo de estigma o muerte y se transforma en potencia estética, ética y afectiva, reorganizando, sobre todo, los modos de narrar y de vivir. La escritura se configura, a su vez, como espacio de afirmación de modos de vida que escapan a la cisheteronormatividad, ya que, en ambas obras, los autores-personajes construyen recorridos literarios permeados por el estigma, pero también por las relaciones serodiscordantes, la terapia antirretroviral, el deseo, la resignificación del cuerpo infectado y la fuerza de los vínculos afectivos y sexuales que resisten a la lógica de la abyección. Se concluye, por lo tanto, que la escritura del cuerpo marica, tal como aparece en Capucho y Pérez, no solo desplaza la literatura sobre el VIH del eje de la muerte, sino que también ilustra nuevas formas de vida posibles y modos de subjetivación sudamericanos no estigmatizantes. Los apoyos teóricos centrales incluyen, además de Klinger (2006), a Doubrovsky (1977) para la autoficción; Bessa (1997) en el estudio sobre la infección del VIH como epidemia discursiva; y Preciado (2018) en la construcción de un argumento sobre la afectividad no heterocentrada. Editor: Universidade Federal da Paraíba Tipo: Tese Tue, 29 Jul 2025 00:00:00 GMT https://repositorio.ufpb.br/jspui/handle/123456789/38239 2025-07-29T00:00:00Z https://repositorio.ufpb.br/jspui/handle/123456789/38047 Título: O estereótipo problematizado em orange is the new black: colonialismo, intermidialidade e políticas da metaficção Autor(es): Silva, Juliana Miranda Cavalcante da Orientador: Azerêdo, Genilda Alves de Abstract: The process of colonization is anchored in the delegitimization of the colonized as an individual being. In this regard, the inferiorization of the colonized caused by the use of stereotypes (as it acts directly on the construction of otherness and on the resulting relations of that process) is the main tool of the colonizer (Bhabha, 1998). By assigning a fixed block of characteristics to a person or a group of people, stereotype erases individuality, delegitimizes and dehumanizes the stereotyped, silencing their voice. The potential of art to contribute to the reinforcement of stereotypes (and thus, to the maintenance of the ruling power) is connected to the tentative representation of "truth" by fiction through realism, sold as a mirror to the world without any important opposition until the second half of the 20th century, when the correspondence between truth and realism started to be bluntly questioned (Certeau, 1998; Barthes, 2004, 2011; Genette, 2015). In the production of aesthetic texts, the use of metalinguistic and intermedial artifices to lay bare the narrative procedures with a critical distance provided, mainly, by irony (Hutcheon, 1995), gained force. Therefore, it is possible to say that the Netflix TV series Orange Is the New Black, produced between 2013 and 2019, is both product of the social and artistic momentum as it is vanguard and an inspiration for other works. Diverging from the exploitation genre, so common in the fictional pieces about incarcerated women, the show focalizes on the inter and intrapersonal relations that permeate the lives of those women, addressing matters of race, gender, mental issues, sexual orientation, privileges (or the lack thereof), without avoiding stereotypes, but confronting them instead. This study aims to analyze how stereotypes are presented and confronted in Orange, focusing on two events (Judy King’s auction and the game Fantasy Inmate) and two characters (Piper Chapman and Poussey Washington). The analysis is the final step of a process that includes the theoretical contextualization of the stereotype concept, metafiction and intermediality, at first, and the problematization of stereotype (in relation to metafiction and intermediality) later. The research methodology included reading and systematizing theoretical-critical material about our object (focusing on the authors we consider more relevant to our research), including audiovisual material, as well as debates in the classroom about theory of narrative, metafiction and audiovisual resources. The study acknowledges that Orange Is the New Black confronts stereotypes mainly through metafiction and intermediality, with irony as an effect in both cases. Editor: Universidade Federal da Paraíba Tipo: Dissertação Wed, 31 Aug 2022 00:00:00 GMT https://repositorio.ufpb.br/jspui/handle/123456789/38047 2022-08-31T00:00:00Z