Bøger af Davi Gonçalves

This book discusses the decolonising challenge to the developmentalist depiction of the Amazon. It addresses, more specifically, the normative discourse of hegemonic temporality and spatiality whose biased tenets are put into question by Eduardo Galeano (1978) and Judith Halberstam (2005). Analysing Milton Hatoum's novel The Brothers (2002), my critique regarding how Amazonian time and space is constructed and problematised by its narrator¿s characterisation of the twin brothers Omar and Yaqub - the protagonists - is developed through an antipastoral and postcolonial approach, elaborated in the works of Frederick Douglass (1845) and Stuart Hall (1996). The findings are guided by my research questions regarding the narrator¿s response to Michael Bennett¿s concept of antipastoral ecocriticism (2001) and to the developmentalist discourse of linear temporality and hierarchic spatiality, as examined by Johannes Fabian (1983). The results of my literary analysis reveal how the narrator's ideological shift from a pastoral to antipastoral perspective concerning the utopian hope for ¿a glorious future¿ (Hatoum, 33) in the Amazon uncovers the inherent flaws of developmentalist linearity.

Relying on Jorge Luis Borges¿ (1972) theory of creative infidelity as the main theoretical framework for my professional practice and ontological reflection upon literature, translation, authorship, and originality, this study ends up inevitably overthrowing adamant ontological schisms that regrettably saturate much of our artistic historiography. After all, according to my idea of performative translation, it is not the translator¿s point of departure or his/her deliberate destiny that need to be stressed, but the journey per se. The rather speculative findings of my thesis thus highlight the conceptual contributions of taking Borges notion of translation as co-authorship ad litteram, which actually guides us eventually towards perhaps one of the most redemptive rationales for translating.

Document from the year 2017 in the subject English Language and Literature Studies - Literature, Federal University of Santa Catarina (CCE), course: Literary Studies, language: English, abstract: I propose in this study a comparative analysis of the following books: Fahrenheit 451 (BRADBURY, 1953), The Book Thief (ZUSAK, 2006), and The Shadow of the Wind (ZAFON, 2009), aiming at identifying how the presence of fire influences the development of each narrative. For the sake of organization, my reading is guided by three specific enquiries: 1) How the three monstrous creatures permeating the novels are structured ¿ Laín Coubert, the fireman, and Death, being fire behind their monstrousness. 2) To what extent literary fascination transforms the main characters of the stories ¿ chiefly in three key moments: the discovery of the secret library, the woman who is burnt with her books, and Clarisse¿s visit to the mayor¿s house. 3) What role the children emerging from these pieces ¿ Daniel, Clarisse, and Liesel ¿ play. With the framework of Borges¿ literary essay ¿The Wall and the Books¿ (1952) and Hoeven¿s book Lost Memory: Destroyed Libraries and Archives (1996), I establish such parallels as I envisage the ultimate goal of this reflection: how fire is deployed in these specific literary evidences. My results show that: each novel is a response to historical moments when books have been burnt to the benefit of a certain ideological agenda, albeit fire also serves other purposes therein. It is, in Zafón¿s (2009) novel, connected to the erasure of the past of a single man; in Zusak¿s (2006) as a tool of a specific dictatorial regime; and in Bradbury¿s (1953) completely institutionalized by hegemonic instances. As the destruction of threatening texts is a common strategy of censorship, my analysis allows me to conclude that this endeavor to silence literature ends up empowering its attributes. After all, the life of men shall always be more ephemeral than that of the words.