cometadata/datacite-titles-descriptions-related-identifiers huggingface dataset:
DOI: 10.6084/m9.figshare.7510670.v1
title: The weave of memory: Ana Miranda, Adriana Varejão and Tatiana Salem Levy

description: abstract Art is, at times, a re-elaboration of the past. It does not constitute a real past - even when it takes the form of the historical novel - but offers instead the vestiges of memory and its artistic or linguistic interpretation. I am referring here to the creative interpreters of memory such as the novelists Tatiana Salem-Levy (Lisbon, 1979) and Ana Miranda (Fortaleza, 1951), and the Brazilian artist Adriana Varejão (Rio de Janeiro, 1964). In all of them memory receives a new interpretation. In the work of these artists, the intention is not to remember but to recreate the past, producing new objects, new texts that may serve to interpret the memories, the possible reality of a remote, archaic time, which only art is capable of revealing.
DOI: 10.6084/m9.figshare.7518065
title: À propos a German brother: the fictionalization of an international family affair

description: abstract In framework in which new social voices in Brazilian literature make claims, what could be the relevance of Chico Buarque (1944), a well-known name in Brazilian culture, learning, at the age of 70, about the existence of his German half-brother Sergio Günther Ernst (1930-1981)? A brother that Buarque never met and who already had passed away 30 years ago? At first glance, there is none. Nonetheless, the international incident in the author’s family history served as inspiration and background story for the novel O irmão alemão, published in 2014. This text reveals itself as quite complex due to the transgression of its diegetic, political and chronological borders. In this article I examine how Buarque’s narrative combines facts and historical documents with an imaginary plot; how the book indirectly explores the traumatic history of authoritarian regimes; and how the narrator uses this “family novel” to work through the fantasies through which he establishes a relationship with his father and brothers.
DOI: 10.6084/m9.figshare.7510670
title: The weave of memory: Ana Miranda, Adriana Varejão and Tatiana Salem Levy

description: abstract Art is, at times, a re-elaboration of the past. It does not constitute a real past - even when it takes the form of the historical novel - but offers instead the vestiges of memory and its artistic or linguistic interpretation. I am referring here to the creative interpreters of memory such as the novelists Tatiana Salem-Levy (Lisbon, 1979) and Ana Miranda (Fortaleza, 1951), and the Brazilian artist Adriana Varejão (Rio de Janeiro, 1964). In all of them memory receives a new interpretation. In the work of these artists, the intention is not to remember but to recreate the past, producing new objects, new texts that may serve to interpret the memories, the possible reality of a remote, archaic time, which only art is capable of revealing.
DOI: 10.6084/m9.figshare.7509458
title: Carolina Maria de Jesus and Arthur Bispo do Rosario: a poetics of waste in the construction of artistic identity

description: abstract Resisting aesthetic expressions that came about in the wake of Brazil’s modernization process, during the “golden years” of the first half of the twentieth century, Arthur Santo Bispo do Rosario (1910-1984) moves from Sergipe to Rio de Janeiro and Carolina Maria Jesus (1914 -1977) from Minas Gerais to São Paulo. While Bispo do Rosario employed yarn, cloth and various types of waste materials, Carolina Maria de Jesus used newspapers, books, notebooks and materials that she carefully selected from the trash she collected. For both the artist and the writer, these waste products were at the same time substance and primary materials in their creative endeavors. Both used waste as a means of inserting and reaffirming their work within the confines of an exclusionary society. These artists’ work expresses aesthetic and creative procedures that fit within the parameters of modern and postmodern art. Their work challenges prevalent linguistic and visual systems by incorporating waste, garbage, and disposable materials.
DOI: 10.6084/m9.figshare.7509458.v1
title: Carolina Maria de Jesus and Arthur Bispo do Rosario: a poetics of waste in the construction of artistic identity

description: abstract Resisting aesthetic expressions that came about in the wake of Brazil’s modernization process, during the “golden years” of the first half of the twentieth century, Arthur Santo Bispo do Rosario (1910-1984) moves from Sergipe to Rio de Janeiro and Carolina Maria Jesus (1914 -1977) from Minas Gerais to São Paulo. While Bispo do Rosario employed yarn, cloth and various types of waste materials, Carolina Maria de Jesus used newspapers, books, notebooks and materials that she carefully selected from the trash she collected. For both the artist and the writer, these waste products were at the same time substance and primary materials in their creative endeavors. Both used waste as a means of inserting and reaffirming their work within the confines of an exclusionary society. These artists’ work expresses aesthetic and creative procedures that fit within the parameters of modern and postmodern art. Their work challenges prevalent linguistic and visual systems by incorporating waste, garbage, and disposable materials.
DOI: 10.6084/m9.figshare.7509698.v1
title: Public policies for reading and literature: authoritarian legacy and influence of the market

description: abstract This essay examines how the legacy of authoritarian rule has impacted Brazil’s educational and cultural projects, including access to books and other literary manifestations. The article describes and discusses the key initiatives in the public sector that were implemented to counteract this legacy. Among these is the Proler (a national program to promote reading) in the 1980’s, and the PNLL - National Program for Books and Reading, that was launched in 2011. The essay establishes parallels between these two governmental programs and the track record of another program created to promote reading established at the UERJ (University of the State of Rio de Janeiro), which originated in Proler.
DOI: 10.6084/m9.figshare.7509698
title: Public policies for reading and literature: authoritarian legacy and influence of the market

description: abstract This essay examines how the legacy of authoritarian rule has impacted Brazil’s educational and cultural projects, including access to books and other literary manifestations. The article describes and discusses the key initiatives in the public sector that were implemented to counteract this legacy. Among these is the Proler (a national program to promote reading) in the 1980’s, and the PNLL - National Program for Books and Reading, that was launched in 2011. The essay establishes parallels between these two governmental programs and the track record of another program created to promote reading established at the UERJ (University of the State of Rio de Janeiro), which originated in Proler.
DOI: 10.6084/m9.figshare.7514132
title: The literature with scissors in hands: about Brandão, Burroughs and Gysin

description: abstract Zero, by Ignácio de Loyola Brandão, is a novel that generates discomfort and estrangement in its readers. Violence and chaos, both thematic and aesthetic, and its manner of composition: a collage of fragments and scraps, are elements that cause this estrangement. In this article, we propose that the experimental narrative voice that prevails in Zero text not only struggles against the Brazilian Military Dictatorship (the text’s historical context), but is also part of a lineage of works that, historically and in principle, are positioned against an oppressive discourse. Our critical dialogue focuses on the aesthetic and structural composition of Zero and its critical-political consequences. Therefore, we establish a correlation between this work and the experimental and libertarian literary technique developed by Burroughs and Gysin, proposing to read Zero as a type of cut-up novel.
DOI: 10.6084/m9.figshare.7514132.v1
title: The literature with scissors in hands: about Brandão, Burroughs and Gysin

description: abstract Zero, by Ignácio de Loyola Brandão, is a novel that generates discomfort and estrangement in its readers. Violence and chaos, both thematic and aesthetic, and its manner of composition: a collage of fragments and scraps, are elements that cause this estrangement. In this article, we propose that the experimental narrative voice that prevails in Zero text not only struggles against the Brazilian Military Dictatorship (the text’s historical context), but is also part of a lineage of works that, historically and in principle, are positioned against an oppressive discourse. Our critical dialogue focuses on the aesthetic and structural composition of Zero and its critical-political consequences. Therefore, we establish a correlation between this work and the experimental and libertarian literary technique developed by Burroughs and Gysin, proposing to read Zero as a type of cut-up novel.
DOI: 10.6084/m9.figshare.7508204
title: Forty years of the photobook Quarenta clics em Curitiba, by Leminski e Pires

description: abstract Quarenta clics em Curitiba, published in 1976, is a rare, almost unprecedented example of a Brazilian literary photobook. Conceived collaboratively by Paulo Leminski and Jack Pires, the work does not appear in any anthology dedicated to the “photobook” genre. Neither is it mentioned as an artist book project in specialized publications. It is, in sum, neglected by literary criticism and by historiography. This is Leminski’s sole inter-mediatic experiment and the author’s first haiku publication. In this paper, we introduce Quarenta clics em Curitiba, alternating excerpts from this work with fragments from Click: Zen e a Arte da Fotografia, an essay in which Leminski, who is considered one of the most creative and important Brazilian writers of the second half of the twentieth century, describes the various stages of this photobook project.
DOI: 10.6084/m9.figshare.7508204.v1
title: Forty years of the photobook Quarenta clics em Curitiba, by Leminski e Pires

description: abstract Quarenta clics em Curitiba, published in 1976, is a rare, almost unprecedented example of a Brazilian literary photobook. Conceived collaboratively by Paulo Leminski and Jack Pires, the work does not appear in any anthology dedicated to the “photobook” genre. Neither is it mentioned as an artist book project in specialized publications. It is, in sum, neglected by literary criticism and by historiography. This is Leminski’s sole inter-mediatic experiment and the author’s first haiku publication. In this paper, we introduce Quarenta clics em Curitiba, alternating excerpts from this work with fragments from Click: Zen e a Arte da Fotografia, an essay in which Leminski, who is considered one of the most creative and important Brazilian writers of the second half of the twentieth century, describes the various stages of this photobook project.
DOI: 10.6084/m9.figshare.7518932
title: The burning sun of Hilda Hilst and Georges Bataille

description: abstract Hilda Hilst and Georges Bataille were authors who constantly challenged the ethical and aesthetic limits in their literary work. In this article, by means of the image of the sun - which has in it the idea of transgression and interdiction - we want to think in which sense the literary activity oscillates between breaking the socially imposed covenants and preserving them as a responsibility to the reader. Ultimately, this vertiginous ethic would line up with the experience of the impossible, proposed by Bataille.
DOI: 10.6084/m9.figshare.7518932.v1
title: The burning sun of Hilda Hilst and Georges Bataille

description: abstract Hilda Hilst and Georges Bataille were authors who constantly challenged the ethical and aesthetic limits in their literary work. In this article, by means of the image of the sun - which has in it the idea of transgression and interdiction - we want to think in which sense the literary activity oscillates between breaking the socially imposed covenants and preserving them as a responsibility to the reader. Ultimately, this vertiginous ethic would line up with the experience of the impossible, proposed by Bataille.
DOI: 10.6084/m9.figshare.5861610
title: Translating tolo: “I sing what she sang that he said...” or “When we sing, we are all hyper women”

description: abstract Among the Carib people of the Upper Xingu, a regional multilingual system of the southern periphery of the Amazon, tolo is a ritual, dance and singing performed exclusively by women. The tolo songs form a ritual and musical complex in contrast/complementarity with the kagutu flutes, a masculine domain that is forbidden to women. The tolos are short sung poems that evoke the name of a human lover/beloved as a substitute for an itseke (“hyper-being”), called or named by the kagutu flute. Tolo are, thus, profane musical versions of the kagutu pieces. In this article, previous studies are summarized. At the same time, the present article focuses on the parallel and recursive structure of these songs, whose “texts” in Upper Xingu Carib are narratives of events, feelings and passions that permeate the everyday life of women (and men) in a village of the southern Amazon. Examples taken from a vast and internally complex repertoire of almost 400 songs, collected among the Kuikuro people, illustrate the work of transcription and possible, though arduous, translation of this Amerindian vocal and verbal art.
DOI: 10.6084/m9.figshare.5861610.v1
title: Translating tolo: “I sing what she sang that he said...” or “When we sing, we are all hyper women”

description: abstract Among the Carib people of the Upper Xingu, a regional multilingual system of the southern periphery of the Amazon, tolo is a ritual, dance and singing performed exclusively by women. The tolo songs form a ritual and musical complex in contrast/complementarity with the kagutu flutes, a masculine domain that is forbidden to women. The tolos are short sung poems that evoke the name of a human lover/beloved as a substitute for an itseke (“hyper-being”), called or named by the kagutu flute. Tolo are, thus, profane musical versions of the kagutu pieces. In this article, previous studies are summarized. At the same time, the present article focuses on the parallel and recursive structure of these songs, whose “texts” in Upper Xingu Carib are narratives of events, feelings and passions that permeate the everyday life of women (and men) in a village of the southern Amazon. Examples taken from a vast and internally complex repertoire of almost 400 songs, collected among the Kuikuro people, illustrate the work of transcription and possible, though arduous, translation of this Amerindian vocal and verbal art.
DOI: 10.6084/m9.figshare.7514381
title: Children’s literature and the politeness alterity left to the next page

description: abstract Rorbeto is a polydactyl boy who beckons us and signals the presence of a different body in children's literature. Although in in the present time, various discourses and images, dialogues and characters are found in children's literature, the allusion to a different body in children's literature is still sparse or incomplete. Often, when this body appears in a literary work it can contribute to stereotypes and stigmas, which stem from cultural processes that contribute to the construction of corporal difference as a means of exclusion. The literary work Um garoto chamado Rorbeto (2005), written by Gabriel O Pensador, and illustrated by Daniel Bueno, includes another type of body, one that is larger and distinct from the normative body that traditionally appears in children’s literature. This body is a demanding body that is neither displaced nor demystified.
DOI: 10.6084/m9.figshare.7514381.v1
title: Children’s literature and the politeness alterity left to the next page

description: abstract Rorbeto is a polydactyl boy who beckons us and signals the presence of a different body in children's literature. Although in in the present time, various discourses and images, dialogues and characters are found in children's literature, the allusion to a different body in children's literature is still sparse or incomplete. Often, when this body appears in a literary work it can contribute to stereotypes and stigmas, which stem from cultural processes that contribute to the construction of corporal difference as a means of exclusion. The literary work Um garoto chamado Rorbeto (2005), written by Gabriel O Pensador, and illustrated by Daniel Bueno, includes another type of body, one that is larger and distinct from the normative body that traditionally appears in children’s literature. This body is a demanding body that is neither displaced nor demystified.
DOI: 10.6084/m9.figshare.7509137
title: The father-son relationship with Down syndrome in O filho eterno and Mallko y papá

description: abstract Literature, as noted by the father character in the novel, O filho eterno by Cristóvão Tezza, did not bring to the literary scene protagonists with Down syndrome. In light of this, the present article discusses two contemporary literary works: O filho eterno, by the Brazilian author Cristóvão Tezza (2007) and Mallko y papá, by the Argentine author Gusti Rosemffet (2016). Both works portray the daily lives of parents who have children with Down syndrome. The article underscores how the relationship between fathers and sons with Down syndrome emblematizes the social process of accepting difference. The theoretical references will be Bakhtin (1979; 2003), who will be used to reflect on the time and space of enunciation; Perrone-Moisés (2016), whose work will be employed to understand the implications of the auto-fictional genre; and Gilbert (2017), whose text will assist us in thinking about the representation of Down syndrome in cultural productions.
DOI: 10.6084/m9.figshare.7244417
title: Poetry, document, authorship

description: Abstract This essay seeks to understand procedures found in various contemporary poetry books that, through the use of documents, simultaneously question the role of authorship and produce a sense of estrangement in the perception of the real. In the examples examined here, the book of poems is presented as a minimal unit of poetry. This understanding launches a series questions concerning the underpinning of the genre - the printed media - as a fundamental element in the reception of these works.
DOI: 10.6084/m9.figshare.7244417.v1
title: Poetry, document, authorship

description: Abstract This essay seeks to understand procedures found in various contemporary poetry books that, through the use of documents, simultaneously question the role of authorship and produce a sense of estrangement in the perception of the real. In the examples examined here, the book of poems is presented as a minimal unit of poetry. This understanding launches a series questions concerning the underpinning of the genre - the printed media - as a fundamental element in the reception of these works.
DOI: 10.6084/m9.figshare.7244771
title: Book fairs and guests of honour: a showcase for the promotion of reading abroad (also)?

description: Abstract The main aim of this paper is to analyze international book fairs in this century and to see to which extend they represent a space of possibilities (economic, cultural, symbolic) for the countries (/cultures/cities) which appear, by reason of their literary production, appear as guests of honor in such fairs. The paper’s hypothesis is that this honor can also be an opportunity to promote the reading of these authors and their cultures -national, local, related to a particular canon or not- in a transnational space where translation plays a central role. For this reason, using the methodology of sociology of literature, we examine we use Brazil’s participation in the Salon du Livre de Paris, in 2015 as a case study. The country was designed as a guest of honor for the second time in this event’s history.
DOI: 10.6084/m9.figshare.7244771.v1
title: Book fairs and guests of honour: a showcase for the promotion of reading abroad (also)?

description: Abstract The main aim of this paper is to analyze international book fairs in this century and to see to which extend they represent a space of possibilities (economic, cultural, symbolic) for the countries (/cultures/cities) which appear, by reason of their literary production, appear as guests of honor in such fairs. The paper’s hypothesis is that this honor can also be an opportunity to promote the reading of these authors and their cultures -national, local, related to a particular canon or not- in a transnational space where translation plays a central role. For this reason, using the methodology of sociology of literature, we examine we use Brazil’s participation in the Salon du Livre de Paris, in 2015 as a case study. The country was designed as a guest of honor for the second time in this event’s history.
DOI: 10.6084/m9.figshare.7773428
title: Brazilian democracy among rats and vampires: rereading Lygia Fagundes Telles

description: Abstract The topicality of Lygia Fagundes Telles distinguishes itself throughout her literary production, given the approximations of her text with the political debate raised by the current context of the country. The issues present in the work of the writer from São Paulo gain clear contemporary contours in the imminent demolition of Brazilian democracy, threatened by the plots and the continuous coups warped by the national political elite. This article intends to couple the short-story “Seminário dos ratos”, published for the first time in 1977, with the narratives and images that plague our political experience of the present, reassembling the tradition of vampire stories, another figure that has strongly reappeared in this moment we live in.
DOI: 10.6084/m9.figshare.7773428.v1
title: Brazilian democracy among rats and vampires: rereading Lygia Fagundes Telles

description: Abstract The topicality of Lygia Fagundes Telles distinguishes itself throughout her literary production, given the approximations of her text with the political debate raised by the current context of the country. The issues present in the work of the writer from São Paulo gain clear contemporary contours in the imminent demolition of Brazilian democracy, threatened by the plots and the continuous coups warped by the national political elite. This article intends to couple the short-story “Seminário dos ratos”, published for the first time in 1977, with the narratives and images that plague our political experience of the present, reassembling the tradition of vampire stories, another figure that has strongly reappeared in this moment we live in.
DOI: 10.6084/m9.figshare.7773131
title: Desire of beauty and ritual in Amerindian verbal arts

description: Abstract This essay aims at discussing an aesthetic practice involving storytelling. Quem Conta um conto is a group connected with the Universidade Federal do Rio Grande do Sul that has been experimenting with activities related to oral narratives in a Mbyá-Guarani school. Considering the desire for beauty that underpins indigenous life, it has been possible, by means of verbal art, to understand the relationships between different kinds of poetics. Verbal art has also been a helpful tool in understanding the ways in which this community creatively borrows from other people’s points of view. It has also been possible to understand Amerindian artistic practices as ritualistic means of maintaining both the balance of the cosmos and of the community.