Littérature scientifique sur le sujet « Brazilian literature – fiction – 20th century »
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Articles de revues sur le sujet "Brazilian literature – fiction – 20th century"
1
Santos Porto, Ricardo. « Fiction, history, and politics in brazil in the poetic narrative of Cyro dos Anjos in the novel Montanha ». REVELL - REVISTA DE ESTUDOS LITERÁRIOS DA UEMS 2, no 35 (1 novembre 2023) : 185–206. http://dx.doi.org/10.61389/revell.v2i35.8326.
Texte intégralRésumé :
This paper aims to propose an analysis of the book Montanha, wrote by Cyro dos Anjos in 1956, using for this intent some concepts of the comparative literature, historical novel, and Roman a Clef. Cyro in this political novel tries to extract the essence from the facts in a very turbulent moment of the Brazilian society and brings them together to a very complex and fragmented plot. It is possible to observe in the construction of the storyline, an attempt to create a plot that could represent an innovation from the previous novels published by the author and a political novel that was deeply influenced by cinematographic elements and by the American novels produced in the first decades of the 20th century. To execute this analysis we worked with the theoretical framework of Antonio Candido with the book Brigada Ligeira, Alfredo Bosi com História Concisa da Literatura Brasileira, Vera Márcia Milanesi em Cyro dos Anjos: Memória e História e Wander Melo Miranda em Cyro & Drummond.
2
Serrano, Mary Luz Estupiñán. « The Hour of the Star : Life and Writing of Clarice Lispector ». Journal of Foreign Languages and Cultures 7, no 1 (28 juin 2023) : 089–102. http://dx.doi.org/10.53397/hunnu.jflc.202301010.
Texte intégralRésumé :
Clarice Lispector is one of the most important Brazilian writers of the 20th century. In her writings, she explores the limits of the Portuguese language and creates her own literary style. The article will map some of her aesthetic searches that are, at the same time, vital. The article is organized through two moments: a biographical one, in which relevant aspects of her life that will have an echo in her work are indicated; and another focused on her fiction writing, in which the aesthetic commitment of her books is highlighted. The Hour of the Star is the title of her latest novel, a title read by Hélène Cixous as an anticipatory metaphor for her own death. We return to it as a trope, no longer to refer to its finiteness but to celebrate its opportune rereading outside Latin America.
3
Neves, Márcia Seabra. « Um olhar sobre a ficção animalista de João Guimarães Rosa : devires e metamorfoses / The Animal Fiction of João Guimarães Rosa at a Glance : Becomings and Metamorphoses ». Caligrama : Revista de Estudos Românicos 25, no 2 (16 septembre 2020) : 99. http://dx.doi.org/10.17851/2238-3824.25.2.99-115.
Texte intégralRésumé :
Resumo: Nas últimas décadas, a inscrição do animal na literatura tem assumindo novos contornos e complexidades, assistindo-se à emergência de uma zooliteratura fundada numa apreensão inédita da animalidade e no trespassamento das fronteiras entre o humano e o não humano. Cada vez mais, os escritores têm multiplicado as tentativas de encenar, por procuração ficcional, novas formas de interação com o animal, seja pela via do compartilhamento de sentidos e afetos, seja pela dos devires e metamorfoses. Neste contexto, a ficção animalista do escritor brasileiro João Guimarães Rosa, um dos maiores animalistas do século XX, constitui um paradigma modelar da figuração literária do animal, visto e escrito, não como simples constructo teórico-ficcional, mas antes como sujeito dotado de uma subjetividade própria e capaz de um olhar interrogante e judicativo sobre o Homem. É o que se tentará demonstrar, neste trabalho, através da leitura crítica de três dos seus contos: “O burrinho pedrês” e “Conversa de bois”, de Sagarana (1946), e “Meu tio o Iauaretê”, de Estas estórias (1969).Palavras-chave: animal; humano; interação; compartilhamento; devir; metamorfose.Abstract: Over the last decades, animal presence in literature has taken on new forms and disclosed new complexities, giving rise toa zooliterature founded upon a renewed insight into animality and the trespassing of the frontiers separating humans and non-humans. Writers have progressively multiplied attempts to enact, through fiction, new forms of interaction with the animal, either through sharing of meaning and affection, or through becoming and metamorphosis. In this context, the Brazilian writer João Guimarães Rosa’s animal fiction, one of the most remarkable 20th century animalist fiction writers, offers a perfect paradigm of the literary figuration of the animal, both seen and written, considered not as a mere theoretical and fictional artifact, but rather as a subject invested with its own ontology and capable of interrogating and judging human behavior. This is the argument we will seek to demonstrate in this article through the critical reading of three of Rosa’s short stories: “O burrinho pedrês” and “Conversa de bois”, included in Sagarana (1946), and “Meu tio o Iauaretê”, from Estas estórias (1969).Keywords: animal; human; interaction; sharing; becomings; metamorphosis.
4
Luppi, Juan Pablo. « Vacas a matar. De la dicotomía soberana al umbral biopolítico en ficciones ganaderas del Cono Sur. » Altre Modernità, no 26 (29 novembre 2021) : 3–19. http://dx.doi.org/10.54103/2035-7680/16682.
Texte intégralRésumé :
RESUMEN: Nudo de tensión entre vida biológica e historicidad, la animalidad recorre la serie de mataderos que la crítica argentina ha indagado como ficción soberana, pautada por el dualismo político. La polarización de 1840 plasmada en El matadero de Echeverría, con titubeos narrativos frente a voces y cuerpos animalizados del sector popular, retorna desde mediados del siglo XX en versiones de la dicotomía civilización-barbarie, que mantienen la distinción naturaleza-cultura y las coordenadas de historicidad antropocéntrica, como la crónica de Walsh que en 1967 enmienda el reparto clasista de Echeverría. El umbral crítico de la vida (Agamben) emerge en reescrituras recientes del matadero, donde el flujo del capital atraviesa no solo el cuerpo del trabajador sino lo viviente. Un cuento de Kohan (2009) y una novela de Maia (2013) descubren bajo la dicotomía la complejidad de pasajes entre animales y humanos, donde indagan las economías de relaciones entre vidas protegidas y abandonadas. Confrontando las conflictividades culturales argentina y brasileña, marcadas por el peso de economías agroexportadoras y el dualismo como control de mezclas, estos relatos de trabajadores del ganado inquieren lo difuso del borde vida-muerte tras dos siglos de progreso humanista en América Latina.
ABSTRACT: Animality, a knot of tension between biological life and historicity, runs through the series of slaughterhouses that Argentine critics have investigated as sovereign fiction, guided by political dualism. The 1840 polarization embodied in Echeverría´s El matadero (The Slaughterhouse), with narrative hesitations about voices and animalized bodies of popular sector, has returned since the middle of the 20th century in versions of the civilization-barbarity dichotomy, which maintain the nature-culture distinction and the coordinates of anthropocentric historicity, such as Walsh's chronicle that in 1967 amends the class distribution of Echeverría. The critical threshold of life (Agamben) emerges in recent rewritings of the slaughterhouse, where the flow of capital passes through not only the body of the worker but also the living being. A story by Kohan (2009) and a novel by Maia (2013) discover under dichotomy the complexity of passages between animals and humans, where they investigate the economies of relationships between protected and abandoned lives. By confronting Argentine and Brazilian cultural conflicts, both marked by the weight of agro-export economies and dualism as control of mixtures, these stories of cattle workers inquire about the diffuseness of the life-death border after two centuries of humanist progress in Latin America.
5
Reimão, Sandra. « Detective literature - a panoramic approach ». Revista USP, no 140 (22 mars 2024) : 11–24. http://dx.doi.org/10.11606/issn.2316-9036.i140p11-24.
Texte intégralRésumé :
This paper is divided into two parts: in part I we address the origins and characteristics of the detective fiction literature and in part II we address detective fiction literature written by Brazilians. In each of these parts, there are three subdivisions organized as follows: Edgar Allan Poe and the birth of the detective genre; Conan Doyle’s Sherlock Holmes and Agatha Christie’s Hercule Poirot; On the detective fiction noir (part I); Around the Brazilian detective; Brazil: on crime and guilt; The expansion of Brazilian detective fiction literature in the XXIst century (part II).
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Simsone, Bārbala. « Science Fiction In Latvian Literature ». Interlitteraria 22, no 2 (16 janvier 2018) : 397. http://dx.doi.org/10.12697/il.2017.22.2.16.
Texte intégralRésumé :
The present paper is devoted to the overview of the beginnings and development of the genre of science fiction in Latvian literature. Similarly to other popular fiction genres, science fiction in Latvian literature has not been very popular due to social and historical reasons; however, during the course of the 20th century several authors have at least partially approached the genre and created either fully fledged science fiction works or literary works with science fiction elements in them. The paper looks at the first attempts to create science fiction-related works during the beginning of the 20th century; it then provides an insight into three epochs when the genre received comparatively wider attention: 1) the 1930s produced mainly adventure novels with elements of science fiction mirroring the correspondent world tendencies of that time period; 2) the period between the 1960s and 80s saw authors who had the courage to leave the strict platform of Soviet Social Realism, experimenting with a variety of science fiction elements in the postmodern literary context which allowed for a wide metaphoric interpretation. This epoch also saw the emergence of a specific phenomenon – humorous / satiric science fiction which the authors employed in order to offer social criticism of the Soviet lifestyle; 3) the beginning of the 21st century saw the emergence of several science fiction works by a new generation of writers: these works presently comprise the majority of newly published science fiction. The paper outlines the main tendencies of the newest Latvian science fiction such as authors experimenting with a variety of themes, the preference for dystopian future scenarios and humour. The paper offers brief conclusions as to the possible future of Latvian science fiction in context of the current developments in the genre.
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Saprykina, Elena Yu. « Humanized Artificial Body in the 20th Century Italian Literature ». Studia Litterarum 5, no 3 (2020) : 186–99. http://dx.doi.org/10.22455/2500-4247-2020-5-3-186-199.
Texte intégralRésumé :
In various epochs, science fiction writers shared an interest in problems related to the humanization of an artificial body and the process of human interaction with a man’s own creation. In the 20th century Italian literature, in particular, this theme emerged already at the dawn of the century (e.g. а futuristic novel by F.T. Marinetti) and was present up until the beginning of the current “age of artificial intelligence.” Fantastic plots of several short stories and novellas by D. Buzzati and T. Landolfi, written in the 1950s and 60s, depicted ambivalent perception of the technogenic civilization and its novelties by the modern cultural consciousness. On the one hand, these works reflected the turning of the machine into an indispensable attribute of the social status of the modern human, the guarant of her private life success and mental health. On the other hand, in science fiction, there is a clear tendency to dramatize the problems and difficulties that the technological age set for a human — in particular, the problem of preserving the privilege of the human consciousness over the increasingly sophisticated artificial intelligence of the machine.
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Hyttinen, Elsi. « Samaan aikaan toisaalla. 1910-luvun siirtolaiskuvaukset toisin kuvittelemisen tilana ». AVAIN - Kirjallisuudentutkimuksen aikakauslehti, no 1 (1 juin 2017) : 39–53. http://dx.doi.org/10.30665/av.64262.
Texte intégralRésumé :
Simultaneously Elsewhere. Imagining Migrancy in Early 20th Century Finnish Literature
The article discusses the functions of early 20th century Finnish language fiction on FinnishAmerican migrancy. The author suggests that fiction depicting migrant life served its contemporary readership as a utopic ”elsewhere” where mobility, gender and agency could be articulated differently from what could be done in literature depicting life in Finland. The argument is developed through readings of three reoccurring tropes articulating migrant subjectivity in fiction: the family (or, rather, its absence), the tramp and the urban housemaid.
From a transnational perspective, the article engages with, even if respectfully distances itself from, earlier research on FinnishAmerican migrant literature with its strong emphasis on reading fiction as representing reallife migrant. Instead, it is proposed that it might be fruitful to approach migrant literature and Finnish literature depicting life in Finland as a diffuse whole, where ideological investments are to an extent bound to locations but not explained causally by them.
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Hewitt, Lucy, et Stephen Graham. « Vertical cities : Representations of urban verticality in 20th-century science fiction literature ». Urban Studies 52, no 5 (22 avril 2014) : 923–37. http://dx.doi.org/10.1177/0042098014529345.
Texte intégralRésumé :
This paper seeks to intersect two recent trends in urban research. First, it takes seriously the recognition that established traditions of research concerned with urban space have tended to privilege the horizontal extension of cities to the neglect of their vertical or volumetric extension. Second, the paper contributes to the resurgence of interest among social scientists in the validity of fiction – and especially speculative or science fiction – as a source of critical commentary and as a mode of knowledge that can exist in close reciprocity with non-fictional work. From these two starting points the paper develops a reading of the dialogue between the representations of vertical urban life that have featured in landmark works of 20th-century science fiction literature and key themes in contemporary urban analysis.
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Kaywell, Joan F., et Kathleen Oropallo. « Young Adult Literature : Modernizing the Study of History Using Young Adult Literature ». English Journal 87, no 1 (1 janvier 1998) : 102–7. http://dx.doi.org/10.58680/ej19983519.
Texte intégralRésumé :
Presents brief annotations of 61 books of young adult historical fiction and nonfiction that address other time periods (biblical time period, the 1700s, the 1800s, the 20th century, political unrest overseas, and chronicles) that could be used in the classroom as part of a unit of study. Describes possible activities using five of the books.
Thèses sur le sujet "Brazilian literature – fiction – 20th century"
1
Arantes, Geraldo Noel. « Campos de Carvalho = literatura e deslugar na ficção brasileira do século XX ». [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270338.
Texte intégralRésumé :
Orientador: Vilma Sant'Anna ArêasTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: A história da literatura é também a história de autores e obras outsiders, ocultadas que estão em plano secundário ou pouco visível. No Brasil, Walter Campos de Carvalho (1916-1998) é um desses autores. Seus livros movimentaram a cena literária brasileira de meados do século XX, principalmente pela oferta de uma dicção polêmica e algo incendiária. Humor, iconoclastia, ateísmo, sexualidade problemática e espírito anarquista consagram-no como uma das vozes mais inquietas da moderna ficção brasileira. Seu espírito contestador mobilizou um fiel público de admiradores - público que o colocou em uma posição que bem poderíamos nomear Cult -, mas também contribuiu para o isolamento que o teria levado a romper com a literatura. Recolhido ao silêncio por mais de trinta anos, o escritor ficou na gangorra que ora o eleva, prometendo-lhe o ressurgimento, ora o despreza fazendo com que volte ao olvido. Neste trabalho, busco novos aspectos do autor e de sua trajetória, explorando textos no geral desconhecidos e rigorosamente preservados de qualquer trabalho de análise. Igualmente procurei ângulos recônditos de obras mais visitadas como A lua vem da Ásia e A Chuva Imóvel, não porque almejasse a crítica do ineditismo, mas simplesmente por não assentir com todas as formas pelas quais o autor é visto e com os estereótipos usualmente ofertados pela crítica que o alcançou
Abstract: The history of literature is also the literary history of outside writers and work, hidden like they are in a second level, lacking visibility. In Brazil, Walter Campos de Carvalho (1916-1998) is one of these writers. His books showed up the Brazilian literary scene in the middle of the 20th century, mainly due to the polemic and some incendiary diction it had to offer. Humor, iconoclasm, atheism, problematic sexuality and anarchist spirit consecrated him like as one of the most outspoken voices of the Brazilian modern fiction. His refutable mind mobilized a faithful public of admirers - such a public that put him in a position we might well call Cult -, but also contributed to the isolation that would lead to a break with the literature. Withdrawn in silence for over thirty years, the writer was in a see-saw that would raise him, promising him resurgence, then despise him making him return to oblivion. In this work I seek new aspects of Campos literature and its history, exploring texts in general unknown and strictly preserved of any analytical work. I also tried recondite angles on two of his more popular books A lua vem da Ásia and A Chuva Imóvel, not because I craved a critique of originality, but simply for not assenting to all the ways in which the author is seen an the stereotypes usually offered by critics that attained him
Doutorado
Teoria e Critica Literaria
Doutor em Teoria e História Literária
2
Rodrigues, Marcos Antonio 1988. « Álvaro Lins : leitor de Graciliano Ramos / ». Assis, 2015. http://hdl.handle.net/11449/124459.
Texte intégralRésumé :
Orientador: Rubens Pereira dos SantosBanca: Marcio Roberto Pereira
Banca: Luciana Brito
Resumo: Álvaro Lins (1912-1970) por meio de sua crítica-jornalística, desenvolveu um trabalho em que, num primeiro momento, se restringiu mais à biografia e à psicologia dos escritores. Mais tarde, ele procura se libertar da tendência de teor impressionista, passando a adotar um caráter científico para a crítica literária. Desse modo, almeja-se nesse trabalho abordá-lo enquanto leitor de Graciliano Ramos (1892-1953); para tanto, tem-se com fulcro de análise os três ensaios escritos sobre ficção do escritor alagoano que estão compilados no posfácio de Vidas Secas (Valores e Misérias das Vidas Secas): I - Graciliano Ramos em termos de construção do romance e arte do estilo; II - As "memórias" do romancista explicam a natureza e a espécie dos seus romances; III - Romances, novelas e contos: visão em bloco de uma obra de ficcionista. Intenta-se assim estabelecer um breve delineamento dos procedimentos temáticos e formais evocados pelo crítico pernambucano sobre a prosa do romancista brasileiro, além de levar em conta que ele foi um dos pioneiros na sua recepção, acompanhado seu percurso, de modo que contribuiu para a sua consagração em nossas letras
Abstract: Álvaro Lins (1912-1970) through his critical-journalistic, developed a work that, in the first moment, was restricted more to the biography and psychology of writers. Later, he tries to break free of Impressionism content trend, adopting a scientific character for book review. Thus, we aim in this work approach it as reader of Graciliano Ramos (1892-1953); to this end, has been with analysis fulcrum three written tests on about fiction of Brazilian writer that are compiled in the afterword of Barren Lives (Values and Miseries of Barren Lives): I - Graciliano Ramos in terms of construction of the novel and style art; II - "Memories" of the novelist explain the nature and kind of his novels; III - Novels, novellas and short stories: vision block of a work of fiction writer. Thus intends to establish a brief outline of the thematic and formal procedures referred by Brazilian reviewer about the prose of the Brazilian novelist, and take into account that he was a pioneer in its reception, accompanied your route so that contributed to their consecration in our literature
Mestre
3
Valle, Diego Gomes do 1984. « João Gilberto Noll e a estética do não-eu ». [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270097.
Texte intégralRésumé :
Orientador: Maria Eugênia da Gama Alves Boaventura DiasTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Esta tese tem como objeto a obra romanesca de João Gilberto Noll, que é composta de doze romances publicados até o presente momento. A ideia que alimentou nosso ímpeto inicial foi surpreender na heterogeneidade dos diversos romances uma certa unidade que poderia ser o princípio estruturante dos romances de Noll. Correndo o risco de sermos demasiado sistemáticos, empreendemos tal trabalho. Divide-se esta tese em dois momentos distintos e complementares, a saber: primeiramente traçamos, um tanto quanto abstratamente, o que há de constante, o traço comum entre os doze heróis (que, em certo sentido, são o mesmo) que falam nos romances. Destacamos, neste primeiro momento da tese, a importância que a análise temporal teve, fornecendo talvez a chave interpretativa mais importante para se compreender as questões identitárias que os romances em questão evocam. Neste sentido, teóricos como Paul Ricoeur e Jean Pouillon forneceram a base teórica para se estabelecer uma visão substancial do fazer narrativo no tempo. Na segunda parte, cada romance é compulsado de maneira a concretizar os corolários produzidos na primeira parte da tese. Buscamos evitar o périplo teleológico, no qual estaria dado já no início o fim em direção ao qual conduziríamos nossa exposição. Sendo assim, a hipótese que se transformou em tese sustenta que todos estes romances são, na sua essência mesma, dramas identitários nos quais seus heróis deliberadamente buscam o não-ser, aquilo que não são, mas que anelam profunda e angustiadamente. Não se trata de uma carência de ser, mas de uma busca consciente pelos limites do eu diante do não-eu. As análises de cada romance nos permitiram demonstrar sobejamente que esta hipótese se confirma tout court e nos conduzem a reflexões que são de teor filosófico - uma vez que dizem respeito aos nossos dramas existenciais -, às quais buscamos encontrar respectivos filósofos para nos auxiliar
Abstract: This thesis focuses on the novelistic work by João Gilberto Noll, which comprises twelve published novels until the present moment. The idea that nurtured our initial impetus was to come upon, at the diversity of the various novels, a certain unit that could be the structuring principle of the novels by Noll. At the risk of being too systematic, we undertake such work. This thesis is divided into two distinct and complementary moments, namely: first we trace, somewhat abstractly, what is constant, the common thread among the twelve heroes (which, in a sense, are the same) who speak in the novels. In this first moment of the thesis, we emphasize, the importance of the temporal analysis, perhaps providing the most important interpretative key to understand the identity issues that the novels in question evoke. In this sense, theorists such as Paul Ricoeur and Jean Pouillon provided the theoretical basis for establishing a substantial vision of the narrative in time. In the second part, each novel is examined in order to achieve the corollaries produced in the first part of the thesis. We seek to avoid the teleological periplus, in which the end would be already given at the beginning of the way of our exposition. Thus, the hypothesis that turned into thesis argues that all these novels are, in their essence, identity dramas in which their heroes deliberately seek the non-being, what they are not, but what they wish to be deep and anxiously. It is not a lack of being, but it is a percipient search for the limits of the self before the not-self. The analysis of each novel allowed us to widely demonstrate that this hypothesis is confirmed tout court and they lead us to philosophical reflections - once they are related to our existential dramas - to which we seek to find respective philosophers to help us
Doutorado
Teoria e Critica Literaria
Doutor em Teoria e História Literária
4
Schincariol, Marcelo Tadeu. « A arte complexa de ser infeliz = a ficção de Cornelio Penna ». [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269950.
Texte intégralRésumé :
Orientador: Enid Yatsuda FredericoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Neste trabalho, apresenta-se uma leitura da ficção de Cornélio Penna que privilegia a articulação entre as dimensões religiosa e social, aproximando assim os dois extremos em que grande parte da crítica tem localizado a obra do autor. Trata-se de um percurso de análise em que a noção de Itabirismo, conforme a concebe Cornélio Penna, ilumina o mergulho do romancista no universo de nossa formação social e cultural, como também o diálogo entre sua ficção e o grande romance católico do início do século XX.
Abstract: The present study consists of an analysis of Cornélio Penna's fiction focusing on the intersection between both religious and social dimensions in his work. In its analytical path, the notion of Itabirismo, conceived by the novelist, highlights his journey into the Brazilian cultural background, as well as the dialogue between his fiction and the Catholic novel from the beginning of the 20th century.
Doutorado
Literatura Brasileira
Doutor em Teoria e História Literária
5
Rodrigues, Marcos Antonio [UNESP]. « Álvaro Lins : leitor de Graciliano Ramos ». Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/124459.
Texte intégralRésumé :
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000834023.pdf: 702167 bytes, checksum: d6bef4a4cc2d9e7e447d70baed312e2f (MD5)Álvaro Lins (1912-1970) por meio de sua crítica-jornalística, desenvolveu um trabalho em que, num primeiro momento, se restringiu mais à biografia e à psicologia dos escritores. Mais tarde, ele procura se libertar da tendência de teor impressionista, passando a adotar um caráter científico para a crítica literária. Desse modo, almeja-se nesse trabalho abordá-lo enquanto leitor de Graciliano Ramos (1892-1953); para tanto, tem-se com fulcro de análise os três ensaios escritos sobre ficção do escritor alagoano que estão compilados no posfácio de Vidas Secas (Valores e Misérias das Vidas Secas): I - Graciliano Ramos em termos de construção do romance e arte do estilo; II - As memórias do romancista explicam a natureza e a espécie dos seus romances; III - Romances, novelas e contos: visão em bloco de uma obra de ficcionista. Intenta-se assim estabelecer um breve delineamento dos procedimentos temáticos e formais evocados pelo crítico pernambucano sobre a prosa do romancista brasileiro, além de levar em conta que ele foi um dos pioneiros na sua recepção, acompanhado seu percurso, de modo que contribuiu para a sua consagração em nossas letras
Álvaro Lins (1912-1970) through his critical-journalistic, developed a work that, in the first moment, was restricted more to the biography and psychology of writers. Later, he tries to break free of Impressionism content trend, adopting a scientific character for book review. Thus, we aim in this work approach it as reader of Graciliano Ramos (1892-1953); to this end, has been with analysis fulcrum three written tests on about fiction of Brazilian writer that are compiled in the afterword of Barren Lives (Values and Miseries of Barren Lives): I - Graciliano Ramos in terms of construction of the novel and style art; II - Memories of the novelist explain the nature and kind of his novels; III - Novels, novellas and short stories: vision block of a work of fiction writer. Thus intends to establish a brief outline of the thematic and formal procedures referred by Brazilian reviewer about the prose of the Brazilian novelist, and take into account that he was a pioneer in its reception, accompanied your route so that contributed to their consecration in our literature
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Soares, Filho Antonio Coutinho. « Cosmogonia profana : uma leitura de O visitante, de Osman Lins ». Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20148.
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Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-06-08T13:24:33Z
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Antonio Coutinho Soares Filho.pdf: 789799 bytes, checksum: 7d4dabc562cc362d9d4fb980060b0b6c (MD5)Made available in DSpace on 2017-06-08T13:24:33Z (GMT). No. of bitstreams: 1 Antonio Coutinho Soares Filho.pdf: 789799 bytes, checksum: 7d4dabc562cc362d9d4fb980060b0b6c (MD5) Previous issue date: 2017-05-29
Universidade Estadual do Maranhão - UEMA
In the whole of Brazilian literature, Osman Lins is a name that stands out for the quality and diversity of his production. Novelist, playwright, essayist, among other attributions, the writer has an aesthetic refinement as well as a reflexive posture in face of the cultural, social and political obstacles of the country. The osmanianos studies often highlight the author's romanesque experiments in his so-called maturity phase. Not exclusively, the prior creation to this period still lacks major critical exams, such as the novel debut, The Visitor (1955) corpus of this research. Besides the interesting textual warp, this work presents a humble fortune review, which gives rise to this work. It should be added that on several occasions the writer affirms that the cosmogonical attitude along with the preoccupations with the national ills and the reflection on the creative process, guide his life and the literary work. That said, one wonders how this worldview is presented in The Visitor. Taking into account the traced interdiscurssive of the narrative and the novelist’s social-critcism and point of view. The proposed analysis considers the mythological, biblical, and liturgical inscriptions as well as the development of his story in the plot. In the face of it, there’s a hypothesis is that Lins, in a subversive modulation brings to the scene elements of the Eden myth and Christian liturgy but he also highlights the contradictions of a society that privileges appearances, victimizing the woman mainly. In the theoretical-critical articulation a review of the analytical itinerary of the corpus is done, with the help of Nitrini (1987, 2001, 2003, 2004), Andrade (2001, 2004, 2014) and Ribeiro (2016), among others. The concepts of threshold — Benjamin (1987), Gagnebin (2010); Devices and profanation, according to Agamben (2009, 2010, respectively), also guide this research. The theoretical-critical complete this framework itself, brings reflections on the poetic–myth creation according to the thinking of Mielietinski (1987), Eliade (2010), Perrone-Moisés (1998), Benjamin (2013), Derrida (2005) and Bastazin (2006). The methodological course, starting from the narrative structure and the critical fortune of the work, examines the aesthetic inversions operationalized by osmanian writing. The visitor, Osman Lins' first creative gesture despite his myth-poetic features presents through an introspective plot a sharp vision of the manipulation game that sustains the society, a principle that distorts the essence of the being and search to conceal the contradictory nature of power
No conjunto da literatura brasileira, Osman Lins é um nome que se destaca pela qualidade e pela diversidade de sua produção. Romancista, dramaturgo, ensaísta, dentre outras atribuições, o escritor possui um requinte estético bem como uma postura reflexiva em face dos entraves culturais, sociais e políticos do país. Os estudos osmanianos, com frequência, destacam os experimentos romanescos do autor em sua chamada fase de maturidade. Não exclusivamente, a criação anterior a esse período ainda carece de maiores exames críticos, a exemplo do romance de estreia, O visitante (1955), corpus desta pesquisa. Além da interessante urdidura textual, essa obra apresenta uma fortuna crítica modesta, o que enseja este trabalho. Acrescente-se que, em várias ocasiões, o escritor afirma que a atitude cosmogônica, aliada às preocupações com as mazelas nacionais e à reflexão sobre o processo criativo, orientam sua vida e o ofício literário. Isso posto, pergunta-se como essa cosmovisão se presentifica em O visitante. Levando em conta o traçado interdiscursivo da narrativa e a postura crítico-social do romancista, a análise proposta considera as inscrições mitológicas, bíblicas e litúrgicas, bem como seus desdobramentos escriturais no enredo. Diante disso, a hipótese é que Lins, numa modulação subversiva, traz à cena elementos do mito edênico e da liturgia cristã, como também expõe as contradições de uma sociedade que privilegia as aparências, vitimando, principalmente, a mulher. Na articulação crítico-teórica, faz-se uma revisão do itinerário analítico do corpus, ao que se conta com o auxílio de Nitrini (1987; 2001; 2003; 2004), Andrade (2001; 2004; 2014) e Ribeiro (2014), dentre outros. Os conceitos de limiar — Benjamin (1987), Gagnebin (2010); dispositivos e profanação, segundo Agamben (2009; 2010, respectivamente), também orientam a pesquisa. Completam o quadro teórico-crítico da mesma, as reflexões em torno da criação mito-poética conforme o pensamento de Mielietinski (1987), Eliade (2010), Perrone-Moisés (1998), Benjamin (2013), Derrida (2005) e Bastazin (2006). O percurso metodológico, partindo da estrutura narrativa e da fortuna crítica da obra, examina as inversões estéticas operacionalizadas pela escritura osmaniana. Portanto, O visitante, primeiro gesto criativo de Osman Lins, não obstante seus traços mito-poéticos, apresenta, por meio de uma trama introspectiva, uma arguta visão do jogo de manipulação que sustenta a sociedade, princípio que desvirtua a essência do ser e busca ocultar a natureza contraditória do poder
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Kay, Barbara J. Goodsell. « Conflictual representations : North American representations of war in the 20th century / ». Thesis, [Hong Kong] : University of Hong Kong, 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13762096.
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Gardam, Sarah Christine. « THE PATHOS OF TEMPORALITY IN MID-20TH CENTURY ASIAN AMERICAN FICTION ». Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/487648.
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EnglishPh.D.
Lack of understanding regarding the role that temporality-pathos plays in Asian American literature leads scholars to misread many textual passages as deviations from the implied authors’ political critiques. This dissertation invites scholars to recognize temporality-focused passages in Younghill Kang’s East Goes West, Carlos Bulosan’s America is in the Heart, and John Okada’s No-No Boy, as part of a pathos formula developed by avant-garde Asian American writers to resist systemic alienations experienced by Asian Americans by diagnosing and treating America’s empathy gap. I find that each of pathae examined – the pathos of finitude, the pathos of idealism, and the pathos of confusion – appears in each of the major primary texts discussed, and that these pathae not only invite similitude-based empathy from a wide readership, but also prompt, via multiple methods, the expansion of empathy. First, the authors use these pathae diagnostically: the pathos of finitude makes visible American imperialism’s destruction of prior ways of life; the pathos of idealism exposes the falsity of the futures promised by liberalism; and the pathos of confusion counters the destructive nationalisms that fractured the era. Second, the authors use these temporality pathae to identify the instrumentalist reasoning underlying these capitalist ideologies and to show how they stunt American empathy. Third, the authors deploy formal and thematic complexities that cultivate empathy-generating faculties of mind and cultivate alternative forms of reasoning.
Temple University--Theses
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Sabatini, Sandra. « Making babies, representations of the infant in 20th century Canadian fiction ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ60564.pdf.
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Mbatsha, Thembisa. « A critical analysis of the screen adaptation of Saule’s Unyana womntu ». Thesis, University of Fort Hare, 2012. http://hdl.handle.net/10353/d1018674.
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This research will concentrate on various aspects of the screen adaptation of “Unyana womntu” (Saule, 1989). This study comprises of six chapters. In Chapter 1 of this study, the research aims and objectives are formulated. The research methods that are to be followed will involve a thorough reading of the written text, as well as a comprehensive repetitive viewing of all the episodes of the screen version. In the final part of Chapter 1, background information is provided on the personal life of the author as well as on his contributions to the African literary tradition. Background information on the production of the screen version is also provided. In the Chapter 2, the theoretical aspects of the phenomenon of literary adaptation are discussed. This discussion provides a framework for the analysis of the adaptation of “Unyana womntu” (Saule, 1989) in the remaining chapters of this study. The aim of this chapter is to identify and discuss the most important principles which come into play when the written text is adapted into a screen production. Since the screen production belongs to the genre of the performing arts, this chapter is introduced with a discussion on the performing arts and on the drama, in particular. The section will be concluded with a discussion on the different sub-types of the drama which can be found, including the screen production. The main emphasis is on an analysis of the basic features and principles of the drama in screen format. Since the screen play Unyana Womntu (1998) is based upon a novel by the same title, the literary features of the novel are to be discussed here as well. The specific features of the Xhosa novel will also receive attention.
Livres sur le sujet "Brazilian literature – fiction – 20th century"
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Ginway, M. Elizabeth. Brazilian science fiction : Cultural myths and nationhood in the land of the future. Lewisburg [Pa.] : Bucknell University Press, 2004.
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J, Sadlier Darlene, dir. One hundred years after tomorrow : Brazilian women's fiction in the 20th century. Bloomington : Indiana University Press, 1992.
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Hamby, Barbara. Lester Higata's 20th century. Iowa City : University of Iowa Press, 2010.
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Engrácio, Arthur. Os tristes. Manaus, AM : Edições Governo do Estado, 1997.
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Senna, Homero. República das letras : Entrevistas com 20 grandes escritores brasileiros. 3e éd. Rio de Janeiro, RJ : Civilização Brasileira, 1996.
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Castello, José. Inventário das sombras. Rio de Janeiro : Editora Record, 1999.
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1945-, Halpern Daniel, dir. Antaeus : Fiction, poetry, documents. London : Harvill, 1991.
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Rela, Walter. Medio siglo de poesía brasileña, 1922-1972 : Modernismo y experimentalismo, noticia y manifiestos. Montevideo : Instituto de Cultura Uruguaio-Brasileiro, 2004.
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Dalcastagnè, Regina. Literatura brasileira contemporânea : Um território contestado. Rio de Janeiro, RJ : EdUERJ, 2012.
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Darrow, Kathy D. Nineteenth-century literature criticism. Detroit, Mich : Gale, 2009.
Trouver le texte intégralChapitres de livres sur le sujet "Brazilian literature – fiction – 20th century"
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Corwin, Jay. « Honor killing in 20th-Century Latin American Fiction ». Dans The Routledge Handbook of Violence in Latin American Literature, 115–22. New York : Routledge, 2022. http://dx.doi.org/10.4324/9780367520069-9.
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Graziani, Michela. « Dai primi trattati portoghesi di astronomia alla «Nube di Magellano» di Haroldo de Campos ». Dans Studi e saggi, 441–58. Florence : Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-467-0.35.
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Starting with the first astronomical treatises of the 16th century, this work focuses on the metaliterary concept of travel and on the attraction that astronomy, specifically the Magellanic clouds, produce in the Portuguese treaties of the modern age and in the Portuguese and Brazilian literature of the 20th century.
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Wincencjusz-Patyna, Anita. « Chapter 5. From Halley’s Comet to the Scout Kwapiszon ». Dans Children’s Literature, Culture, and Cognition, 123–43. Amsterdam : John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.17.05win.
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This chapter presents a historic review of the use of photomontage and photo-based collage in Polish books for children (fiction and poetry) in the 20th century. The earliest example dates from 1934, whereas the latest one is dated 1981. The chapter begins with an outline of the artistic background in the period 1918–1939, it gives a short typology of photo-based illustrations, and then analyses the only known examples of genuine photomontage created for children’s books before World War II, namely works by Aleksander Krzywobłocki and Jerzy Janisch in Kometa Halley’a (Halley’s Comet) by Alina Lan, and a sample of works by Franciszka and Stefan Themerson. The chapter continues through the period of the so-called Polish School of Illustration (1950s–1970s), paying special attention to Adam Kilian and Stanisław Zamecznik’s illustrations, and ends with a presentation of the extensive and varied use of photography in illustrations by Bohdan Butenko, one of Poland’s most prominent illustrators.
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« Fiction : 18th Century see Novel : 18th Century Fiction : British—19th Century see Novel : Romantic Era , Novel : Victorian Fiction : British—20th Century ». Dans Reader's Guide to Literature in English, 532–75. Routledge, 2012. http://dx.doi.org/10.4324/9780203303290-26.
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« Sonia Coutinho’s Short Fiction : ». Dans Gender, Discourse, and Desire in Twentieth-Century Brazilian Women's Literature, 93–112. Purdue University Press, 2004. http://dx.doi.org/10.2307/j.ctt6wq4tx.9.
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Saprykina, Elena Yu. « Android in the 20th Century Italian Literature ». Dans Artificial Body in the World Intellectual and Artistic Culture, 270–83. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0719-9-270-283.
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In various epochs, science fiction writers shared an interest in problems related to the humanization of an artificial body and the process of human interaction with a man’s own creation. In the 20th century Italian literature, in particular, this theme emerged already at the dawn of the century (e. g. а futuristic novel by F.T. Marinetti) and was present up until the beginning of the current “age of artificial intelligence”. Fantastic plots of several short stories and novellas by D. Buzzati and T. Landolfi, written in the 1950s and 1960s, depicted ambivalent perception of the technogenic civilization and its novelties by the modern cultural consciousness. On the one hand, these works reflected the turning of the machine into an indispensable attribute of the social status of the modern human, the guarant of her private life success and mental health. On the other hand, in science fiction, there is a clear tendency to dramatize the problems and difficulties that the technological age set for a human — in particular, the problem of preserving the privilege of the human consciousness over the increasingly sophisticated artificial intelligence of the machine.
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Burianová, Zuzana. « The Search for the Singularity of Brazilian Literature in the 20th Century ». Dans Centers and Peripheries in Romance Language Literatures in the Americas and Africa, 199–234. BRILL, 2024. http://dx.doi.org/10.1163/9789004691131_009.
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Westengard, Laura. « Queer Gothic Literature and Culture ». Dans Twentieth-Century Gothic, 259–72. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474490122.003.0017.
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Here, it is observed that since the first Gothic novel, Horace Walpole’s The Castle of Otranto (1764), the Gothic has included themes of transgressive sexuality. Though Gothic themes and tropes have morphed over the years to reflect shifting cultural anxieties and desires, Gothicism along with its inherent queerness has persisted in various forms up to the present. This chapter highlights examples of queer Gothic in 20th-century cultural production across multiple genres and media, including queer Gothic cinema such as Dracula’s Daughter (1936), Rebecca (1940), and Suddenly Last Summer (1959), fiction such as Shirley Jackson’s The Haunting of Hill House (1959) and Anne Rice’s The Vampire Chronicles (1976–), and late 20th century AIDS-era visual and performance art. Through these examples, the chapter examines queerness within the Gothic, the gothicism in queer culture, and the function of the queer Gothic as an anti-normative orientation.
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Bílek, Jan. « Ferdinand Peroutka and his perception of Russian literature ». Dans Inter-Slavic cultural ties. Results and perspectives of research, 110–32. Institute of Slavic Studies RAS, 2021. http://dx.doi.org/10.31168/0452-7.08.
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The Study presents the most important person of the journalism of the 20th century, in the context of development of the Czech journalism. It brings Peroutka´s (1895-1978) brief biography and emphasizes his activities in the journal Přítomnost. The author points to Peroutka´s connection with the friendly group around Karel Čapek, to his imprisonment in a concentration camp and his life in exile in the United States of America, connected with his cooperation with Radio Free Europe. He describes Peroutka´s journalistic and fiction work (short stories, dramas, and a novel). He deals with Peroutka´s attitude to the fiction literature, especially to the Russian fiction, which had been the subject of Peroutka´s interest for more than 60 years. Based on the analysis of the book-published work, the author documents Peroutka´s orientation in the given questions and his opinions on both the whole of Russian fiction literature and its important representatives: Tolstoy, Chekhov, Dostojevsky, Pasternak, Solzhenitsyn.
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Rogachewskaya, Marina S. « History of Fiction as the History of Human Consciousness (Based on D. Lodge’s Work “Consciousness and the Novel”) ». Dans “The History of Literature” : Non-scientific sources of a scientific genre, 318–33. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0684-0-318-333.
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Fiction and the relevant conceptualizing academic discipline have been developing in parallel. Human consciousness is simultaneously a tool for understanding the world and its artistic representation and the object of human comprehension of our inner nature. Consciousness has been represented in fiction beginning from its perception as a material substance in the Middle Ages, through naming the emotions, expansion of the range of feelings depicted in the Renaissance literature, through the first-person narration and identification of the thought and the word, towards the discovery of the unconscious and the ways of its representation in the epoch of Modernism, and equation of the processes of consciousness and the principles of functioning of the artificial intelligence during the Postmodern period. Consciousness as a tool became an object of artistic discovery in the 20th century inspiring the emergence of the “novel of consciousness” genre. The English writer and critic D. Lodge in his work “Consciousness and the Novel” expounded the basic caveats about human consciousness, drawing attention to the contingence of fiction and science, as well as fiction and the history of its studies.
Actes de conférences sur le sujet "Brazilian literature – fiction – 20th century"
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Harris, Kiana T. « LITERARY GEOLOGY : THE DEPICTION AND ACCURACY OF GEOLOGY AND ITS SUBFIELDS IN VICTORIAN AND EARLY 20TH CENTURY SCIENCE FICTION LITERATURE ». Dans GSA Annual Meeting in Indianapolis, Indiana, USA - 2018. Geological Society of America, 2018. http://dx.doi.org/10.1130/abs/2018am-315813.
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Koblenkova, Diana V. « ON SOME TRENDS IN THE SATIRICAL LITERATURE AND CINEMATOGRAPHY OF SWEDEN AT THE END OF THE 20TH — BEGINNING OF THE 21ST CENTURY (C.-J. VALLGREN AND R. ÖSTLUND) ». Dans Second Scientific readings in memory of Professor V. P. Berkov. St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063576.
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The article deals with satirical tendencies in Swedish literature and cinema of the end of the 20th — beginning of the 21st century. On the example of the book by C.-J. Vallgren “This is for you for a brochure, Mr. Bachmann” and R. Östlund’s paintings “Turist” (“Force Majeure”), “Voluntarily-compulsory”, “The Square” and “Triangle of Sadness”, the main problems of Swedish society are analyzed, which are becoming pan-European scale. The paper concludes that both authors consider the most significant problems to be the disappearance of independent thinking, the distortion of ethical principles, the fear of losing personal well-being against the backdrop of growing ethnic and class contradictions in Europe, indicating the beginning of a new socio-political stage in society. Comprehending European double standards, hypocrisy, ostentatious political correctness, the authors testify that European society is turning into a refined capitalist minority that has lost its main value orientation — Christian humanism. The poetics of the literary and cinematographic works of Vallgren and Östlund differ significantly from the methods of their predecessors: modern authors abandon the satirical principles of secondary convention, allowing themselves only slight exaggeration. This testifies to the desire for journalism, documentary depiction, the movement from fiction to non-fiction, to the understanding of the historical context and socio-political perspective.
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Vasileva, Irina. « ABOUT THE BOUNDARY MARKERS OF THE TRANSITION PERIODS : LYRICAL DIGRESSIONS IN THE FICTION BY ANTON CHEKHOV ». Dans 50th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063183.03.
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Anton Chekhov is generally acknowledged as a writer who symbolizes a transition period, marks the end of the Classical Russian literature of the 19th century and establishes the basics of the poetics of the 20th century. Scholars are traditionally focused on Chekhov’s innovations but not on the connections with the previous tradition. This contribution makes an attempt to reassess the aspect of Chekhov’s poetics which could be called historical “form’s thinking” (in Alexander Mikhailov’s terminology). I mean the features of tradition which result from historical dynamics of culture and are beyond individual principles of artistic consciousness. In the culture prior to the New Age, topos was a form which included both principles and ways of thinking. In this research I analyze lyrical digressions in the Russian fiction of the 19th century which correlate with topoi on the basis of their constitution. The strategy of lyrical digressions rests on the movement between two poles of the being: historical and eternal, individual and universal, etc. Before Chekhov, this movement was strictly hierarchical. In Chekhov’s lyrical digressions one can easily notice a shift of semantic coordinates when the concrete and the situational becomes valuable. However, the poles themselves (individual and universal) and the movement between them remain invariable. It is possible to claim that Chekhov’s poetics although discovers the boundaries of semantic dynamics of the lyrical digressions (as a constant form) is not aware of any other principle of thinking. This fact distinguishes Chekhov from his younger contemporaries and makes him the writer of the classical 19th century. Refs 20.
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Genese-Plaude, Inta. « URBAN CULTURAL PRACTICES AS A MIRROR OF THE MODERNIZATION OF LATE 19TH CENTURY SOCIETY AND LIFESTYLE IN AUGUSTS DEGLAVS� NOVEL �RIGA� ». Dans 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s10.24.
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The study focuses on the late 19th century city as an equivalent of the formation of a modern society. In fiction, especially in novels, the depiction of the 19th/20th century city has always attracted attention as a reflection of the formation of modern society through portrayals of both daily life and the development trends of the era's ideas. Writer, publicist, social activist Augusts Deglavs (1862�1922) created a unique portrait of the modernization of the city in Latvian literature with his novel �Riga� (�Riga�) (part 1 in 1912, part 2 in 1921). The novel demonstrates the awakening of Latvians and their formation as a cultural nation in a multicultural society in the conditions of double colonialism in the second half of the 19th century. One of the focal points of the novel is the diverse spectrum of cultural practices in an emerging industrial and multicultural society. The novel shows that cultural practices are determined by power hegemony and confrontation, various social experiences, ethnic, professional, religious affiliations, ideologies, behavioural norms and mass cultural emancipation. The research was conducted in a culture-oriented perspective, involving the social sciences and the current interdisciplinary approach. The approach of Cultural Studies and New Historicism method are used, with which it is possible to discover how Augusts Deglavs� novel is rooted in the cultural practices, circulation of ideas and historical developments of the era. New Historicism looks at literature as one of the voices in the polyphony of history or an era, a voice which can sound just as powerful in content as the voice of history and culture itself, because literature is one of the links in the chain of cultural processes.
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Carneiro De Carvalho, Vânia. « Decoration and Nostalgia - Historical Study on Visual Matrices and Forms of Diffusion of Fêtes Galantes in the 20th Century ». Dans 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001365.
Texte intégralRésumé :
In São Paulo/Brazil, between the years 1950 and 1980, porcelain sculptures representing courtesy scenes were fashionable in wealthy and middle-class homes. Several Brazilian factories started to produce such images and many others were imported, the most of them from Germany. These representations were inspired by the fêtes gallants, a rococo style genre from the 18th century. Factories like Meissen, Limoges and Capodimonte produced thousands of copies which circulated in Western Europe and the Russian Empire. During the 19th century, from French institutional policies, the fêtes galantes were revalued along with the recovery of the rococo. This political and cultural movement resulted not only in domestic interiors decorated with authentic pieces from the 18th century gathered together by collectors, but also in the production of new objects. Following decorative practices, studies anachronistically reclassified 18th artisans as artists, constructing their biographies, circumscribing their peculiarities, and identifying their works. Many pieces from the privates collections ended in museums. The porcelain aristocratic figures won the world and are produced until today. It was at the end of the 19th century, in the region of Thuringia, that the technique of lace porcelain emerged. Produced by women in a male-dominated environment, the technique involved the use of cotton fabric soaked with porcelain mass which was then sewed and molded over the porcelain bodies of male and female figures. After that, the piece was placed in the oven at high temperature, burning the fabric and leaving the lace porcelain. It is significant and relevant for the purposes of this research that the lace porcelain technique was never recognized as a object of interest by the academic literature on porcelain. It is likely that the presence of the female labor, the practice of sewing and the use of fabric have been interpreted by the male academic and amateur elite as discredit elements. Added to this, the lace porcelain became very popular in the 20th century. The reinterpretation of rococo in the 20th century was also understood as a lack of artistic inventiveness associated with marketing interests, which resulted in the marginalization of these sculptures. What is proposed here is to study these objects as pieces of domestic decoration practices, recognizing in them capacities to act on the production of social, age and gender distinctions. I intend, therefore, to demonstrate how these small and seemingly insignificant objects were associated with decorative practices of fixing women in the domestic space in Brazil during the 20th century. They acted not alone but in connection with other contemporary phenomena such as post-war fashion, the glamorization of personalities from the American movie and European aristocracy and the rise of Disney movies, which promoted the gallant pair as a romantic idea for children in the western world.