MAGAZINE SUMMARY Téssera is a magazine of the ANPOLL WG "Imaginary, literary representations and cultural displacements". It edits two issues per year (biannually), with the rotation of the "Dossier" and "Free" editions, both accompanied by reviews. All papers presented here are developed from the field of Imaginary Studies, whose epistemological basis is based on the thought of Carl Gustav Jung, Gaston Bachelard, Gilbert Durand, Ernest Cassirer, Roger Caillois, Eleazar Mielietinski, Franco Crespi, Gary Greenberg, JW Rogerson, Joseph Campbell, KK Ruthven, Mircea Eliade, Jean-Jacques Wunenburger, Alberto Filipe Araújo, Ana Maria Lisboa de Mello, as well as in the exercise of criticism by Pierre Brunel, Jean Burgos, Jean-Pierre Richard, Georges Poulet, among others. Carefully consult the guidelines for the author at: http://www.seer.ufu.br/index.php/tessera.
Authors who publish in this journal agree to the following terms: Authors retain the copyright and waiver the journal the right of first publication, with the work simultaneously licensed under the Creative Commons Attribution License (CC BY-NC-ND 4.0), allowing the sharing of work with authorship recognition and preventing its commercial use. Authors are authorized to take additional contracts separately, for non-exclusive distribution of the version of the work published in this journal (publish in institutional repository or as a book chapter), with acknowledgment of authorship and initial publication in this journal.
O IMAGINÁRIO MÍTICO INDÍGENA E AFRICANO - COSMOGONIAS E OUTRAS CRIAÇÕES IMAGINÁRIAS - NA LITERATURA E NAS ARTES.
Copyright (c) 2022 Carlos Augusto de Melo , Zuleide Duarte http://creativecommons.org/licenses/by-nc-nd/4.0
Copyright (c) 2022 Vitor http://creativecommons.org/licenses/by-nc-nd/4.0
COMO DAVI KOPENAWA, SENDO UM CONTADOR DE HISTÓRIAS, DÁ CONSELHOS, OU SENÃO, ENSINA A ARTE DE NARRAR A WALTER BENJAMIN?
Davi Kopenawa, a contemporary Yanomami shaman and spokesman, believes that if white people, who live in an ignorant world, could hear his words, perhaps they would help each other to avoid or even postpone the falling sky. Walter Benjamin argues that the art of storytelling is already extinct in his essay The Storyteller from 1936. For Benjamin, the art of storytelling collapsed as the modern period took place in a consolidating capitalism analogy. It is fair enough to evoke the proverb Advice when most needed is least heeded. However, Davi Kopenawa seems to go against such a capitalist order by proposing another worldview with their cosmogonic narratives. In this sense, this article aims to confront the indigenous storyteller with the modern storyteller, proposed by Benjamin considering not only the art of storytelling, but also the art of counselling. Furthermore, I propose a reflection on Davi Kopenawa's words by launching the following proposition: how does Davi Kopenawa, as a storyteller, give a piece of advice or teach the art of storytelling to Walter Benjamin? This article will also articulate Yanomami indigenous narrative and Benjaminian essay to build an Ameridian Literary Theory as an imaginative listening invitation to other possible worlds.
Davi Kopenawa. Walter Benjamin. Contador de histórias. Teoria Literária Ameríndia.Teoria Literária.
Copyright (c) 2022 Brena Moura http://creativecommons.org/licenses/by-nc-nd/4.0
The Cursed Female in Lars von Trier’s 'Antichrist'
This essay proposes a reading of the 2009 movie Antichrist, written and directed by Lars von Trier, based on the theory of the imaginary, here understood from the studies of Durand (2012). In this examination movement, this work methodologically approaches Durand’s myth critique, although we are not following it to the letter. Cinema is taken as a technology of the imaginary, as it mobilizes images and affections. The chosen movie is special, as it operates in a symbolic and imaginal, psychoanalytical logic, abandoning “realism” to give way to daydreams, dreams, and manifestations of the unconscious. From the analysis, it is evident that conducting the film is the image of a cursed female inherited from the Judeo-Christian origin myths (Lilith, Eve), which culminates, in the Modern Age, in the figure of the witch.
Copyright (c) 2022 Jessé Antunes Torres http://creativecommons.org/licenses/by-nc-nd/4.0
O MÉTODO ARQUETIPOLÓGICO E O ESTUDO DAS LITERATURAS INDÍGENAS E AFRODIASPÓRICAS
Intelectuais indígenas e afrodescendentes costumam ter o valor de suas produções literárias, muitas vezes, relativizado pela crítica tradicional, em razão de estabelecerem profundo vínculo com a oralidade. Entretanto, no mundo grego antigo, berço das civilizações ocidentais, temos notícias dos Aedos, poetas que cantavam hinos e canções, em complexa estrutura autoral: coletiva e com foco na oralidade. A literatura afrodiaspórica dá centralidade às histórias contadas como forma de transição da totalidade dos saberes, pela prática dos griôts. Da mesma forma, as culturas ameríndias recuperam as memórias ancestrais e promovem o fortalecimento da identidade cultural e espiritual pela contação de histórias. O método arquetipológico proposto por Durand (1996) apresenta a vantagem de poder ser associado às diferentes culturas e povos, de maneira sistematizada que pode ser capaz de operacionalizar relações não excludentes entre diferentes aspectos, entre eles, a oralidade e a escrita. Do excerto, podemos concluir que, a partir do emprego desses processos investigativos, torna-se possível dirimir questões valorativas e estigmatizantes nas concepções de povos e culturas diferentes. A metodologia adotada nessa análise é pesquisa interpretativa e documental dos textos literários eu compõem o corpus. Para as análises utilizamos como referencial teórico, autores como Durand, Esra pound, Graça Graúna, Márcia Kambeba, Lia Minápoty, Conceição Evaristo, Cristiane Sobral, Kiusam de Oliveira, Sidarta Ribeiro e Muniz Sodré, entre outros.
Archetypological Method; Contemporary Indigenous Literature; Aphrodiaspora Literature.
Copyright (c) 2022 Heliene Rosa da Costa http://creativecommons.org/licenses/by-nc-nd/4.0
SOL DE FEIRA BY LUIZ BACELLAR: AMAZONIC CULTURE AND IMAGINARY IN ORCHARD OF THE FICTION
Study situated in the field of the literary theory, linked to literature of Amazonian expression that aims at carrying out a critical analysis of the book of poems Sol de Feira, by Luiz Bacellar, in the sense of investigating how the poet recreates important elements of the Amazonian culture and imaginary. Sol de Feira is an inventive book of poetry where each poem is dedicated to a fruit of the Amazon. And each fruit, through the resource of the allegory, turns into a significant template of the elements of the culture and the imaginary of indigenous, caboclos and other Amazonians. The article shows theoretical reflections about the literary art, exploring the theory of the fictional woods, by Umberto Eco, and the concept of allegory. It also presents a theoretical framework about Amazonian culture. This theoretical framework instrumentalize an immersion in Bacellar poems, with view to investigate how the Amazonian universe and its contingencies are recreated in the book, by means of the poetic workshops.
Copyright (c) 2022 Lidiane Neves http://creativecommons.org/licenses/by-nc-nd/4.0
The jongo ritual and the mythical Afro-Brazilian imagery
The mythical imagery of the Afro-Brazilian ritual of jongo is analyzed. For the philosopher Eudoro de Souza, the religious ritual reverberates in the sensitivity and imagination of its protagonists, expressed in verse, gestures and sounds. Thus, jongo is investigated as a religious ritual, based on the ethnographic method of participant observation and the oral memory of “jongueiros”. It is concluded that the mythical imagery of jongo is composed of cult objects (bonfire, drums and rattles), ritual acts (“saravar a ngoma”, “ramming in the calunga”), magical gestures (dancing the “pemba”, planting and harvesting fruits), mythical images (armadillo, sunken earth and sea current) and spiritual characters (such as the “cumba” or “old jongueiro”). Such imagery establishes a channel of communication with ancestral spirits and the ritualization of a symbolic death, expressed in the condition of slavery and in the coming to Brazilian captivity. However, the ancestral presence allows for a ritual rebirth, with the return trip to the mythical Aruanda and the experience of prosperity in life in freedom.
Copyright (c) 2022 Ricardo Mattos http://creativecommons.org/licenses/by-nc-nd/4.0
A LINHA, O MANTO, O CRAVO, O BARCO, O ARCO, A FLECHA, A LANÇA, A FLOR, A MÁSCARA E A CABEÇA
Guided by Arthur Bispo do Rosário and some of his most iconic masterpieces, the text is woven through the thread he sews, as well as the line he writes. Other significant elements are traced as graphic-drawing, as presentification and personification of an ancestral poetic-performatic space, which modifies the community literacy process, the common ethos and becoming, erasing the imaginary constructions and systems of thought that want to be hegemonic. Brazilian cultural manifestations such as Maracatu de Baque Solto, Cavalo Marinho, Caretas de Acupe, Caboclinho, Guardas de Congado, Folia de Reis and Escolas de Samba are summoned, letting emanate from them present signifiers as grounded elements of Afro-Amerindian cultures.
Grafia ancestral; performance; Arthur Bispo do Rosário; manifestações culturais brasileiras; culturas afro-ameríndias.
Copyright (c) 2022 Ana Carolina Pedrosa Pontes http://creativecommons.org/licenses/by-nc-nd/4.0
The literature produced by indigenous writers has disseminated the voices of different native peoples. These writings address millenary philosophies and question the erasure imposed by hegemonic power. In this sense, it is essential to use the technology of alphabetic writing in order to safeguard oral memory and disseminate this knowledge to a wider audience. Among the authors who have followed this path, it is worth mentioning the production of Kanátyo Pataxó (1997), entitled Txopai e Itôhã, which narrates how the indigenous people of his people appeared on the planet. Taking into account the importance of this book, we seek to analyze this story by contemplating the verbal elements and the illustrations to highlight the perspective of the Pataxó world intrinsically linked to water. To do so, it will be necessary to dialogue with the indigenous theoretical production that discusses important critical categories to deal with these narratives, such as written-resistance (Adriana Pesca, 2020), cultural memory (Kaká Jecupé, 2020) and stories of yesteryear (Edson Kaxinawá et. al, 1996). In this way, the research highlights the importance of the indigenous people creating their own terminologies to refer to their ancestral legacy and contributes to expand the studies about the Pataxó writings, which reveal that this people are children of the waters. Keywords: Indigenous writings. Cultural memory. Stories of yesteryear. Kanátyo Pataxó.
Escritas indígenas. Memória cultural. Histórias de antigamente. Kanátyo Pataxó.
Copyright (c) 2022 Randra Kevelyn Barbosa Barros http://creativecommons.org/licenses/by-nc-nd/4.0
This article aims to analyze the character Iara in the short story "A Iara do Rio Santana", in the book "Visagens, Assombrações e Encantamentos da Amazônia" (2019), by Walcyr Monteiro (1940-2019). Iara is a legend that is part of Brazilian folklore; therefore, we will study it from the gothic, fictional unusual, and the fantastic as a mode perspective. In addition, we seek support from the studies of Flávio Garcia (2012), who describes the uncommon as a fictional category common to several literary genres. For Marisa Gama-Khalil (2019) apud Furtado (2011), the fantastic is a mode that aggregates heterogeneous texts and genres through a common aspect: the supernatural, integrating the fairy tale, the gothic, the marvelous, the strange, science fiction, and other modalities. To complement our theoretical basis in the ideas of Noël Carroll will be addressed, especially in this work "The philosophy of horror" (1990). We will also contemplate the works "Folk-lore Brésilien" (1889), by Frederico José de Santa-Anna Nery and "Lendas Brasileiras" (2015) and "Geografia dos Mitos Brasileiros" (2012), by Câmara Cascudo. In this way, we intend to explore the plurality that surrounds the narratives of this character through the Gothic bias. Iara is an unusual being that inhabits the Amazon rivers, carrying a scary curse: her mesmerizing song and deadly beauty transform her into a reaper of men, luring them to the bottom of the waters.
Iara. A Iara do Rio Santana. Walcyr Monteiro. Gothic. Uncommon.
Copyright (c) 2022 Daniele Mendes Sousa, Danielle da Silva Rodrigues, Suellen Cordovil da Silva http://creativecommons.org/licenses/by-nc-nd/4.0
In an invitation to travel, this essay seeks to think the José Leonilson’s restless nomadism, and how his rooted relations or displacements with space produced meanings of belonging and inhabited his poetic works in constant movement between inside and outside, affective geographies and bodily effects, realities and fictions. For this, the north will be thinking about why his only work in the open and in tessera is in his hometown, the south the movements of people and languages, in an attempt to understand the Northeast as a place of lack, revolt or longing, and geographies as personal and bodily cartographies, until you reach the east, where the “sewing room” will be seen as a paradigm and, to the west, a jumble of travel notebooks that carry aesthetic impulses and life experiments, people, impressions and dreams that make Leonilson want to carry the world on his back, or at least in his works. Citizen of the world, he made his art his baggage.
Copyright (c) 2021 Marina Baltazar Mattos, Gustavo Silveira Ribeiro
Imaginários do(s) deslocamento(s) na contemporaneidade: representações dos sujeitos em trânsito.
Copyright (c) 2021 Rodrigo de Freitas Faqueri, Daniele Aparecida Pereira Zaratin
A novel not written, a travel not done: Roland Barthes by Paloma Vidal, in ‘Não escrever’
Between 2015 and 2018, Paloma Vidal develops the literary project Não escrever (“do not write”), expressed in many ways, as class notes, performances, travels, a journal, a cartonero book. This paper analysis the presence of Roland Barthes in the cartonero book Não escrever (2018) by different entries: a fiction character, an intellectual, a biography person. Displacement will be shown in different instances throughout this paper.
Copyright (c) 2021 Katerina Blasques Kaspar
The present article studies the displacement of the Guadeloupe writer Maryse Condé to Africa, taking as a literary object two autobiographies by the author: Le coeur à rire et à pleurer (1999) and La vie sans fards (2012). We consider the displacement portrayed in these works beyond the physical and spatial ones, of the black diasporas. There is also an affective and identity displacement represented in her initial interest in the negritude movement, in the mythical Africa and in the dialogue with the growing anticolonialist thinking in the 20th century. For the critical and theoretical contribution, we rely on the authors Aimé Césaire, Frantz Fanon, Édouard Glissant, Eurídice Figueiredo, Grada Kilomba, among others.
Copyright (c) 2021 Maria Letícia Macêdo Bezerra
Metamorphoses: displacement and belonging in “Tudo são histórias de amor”, by Dulce Maria Cardoso
In this article, is proposed a reading of the short story “Tudo são histórias de amor”, by the Portuguese author Dulce Maria Cardoso, based on its multiple textual layers, understanding them as part of the process of (re)construction of the subject who narrates. The narrator, who introduces herself as Jinja, an ex stray dog, says she “got into Dulce's head” when she was writing a text about Lisbon, “Metamorfoses”. Jinja and Dulce, sharing the voice, also identify themselves with Dulce Maria Cardoso, who inserts herself into the text with autobiographical indices referring to her exile experience, having been “retornada”. The narrator, then, being described here as a fragmented, displaced, and decentralized subject (HUTCHEON, 1991; SAID, 2004; HALL, 2006), uses several literary strategies to write about the “simultaneous dimensions” (SAID, 2003, p. 59) that she experiences in the process of belonging to Lisbon.
Copyright (c) 2021 Larissa Fonseca e Silva
Starting from a mythic-symbolic analysis, with the contribution of Mircea Eliade, this article seeks to reflect on the survival of this imaginary in the imagetical construction of the female body, focusing on its ambiguities and manifestations in the contemporary image.
Metaphors of the nation and the migrant experience in Luanda, Lisboa, Paraíso and Também os brancos sabem dançar
African diasporas and migrations contributed to the production of a literature starring individuals whose experience of displacement and the feeling of non-belonging manifest the need to build an identity regarding the demands of the new territory. How to be a foreigner, feeling at home? The nation's metaphors are a concept that aims to reflect on signs that allow citizens outside their native territory to maintain the link with the elements that were part of the construction of their national identity such as language, music, literature. The study is based on the experiences of the characters in the novels Luanda, Lisboa, Paraíso (2019), by Djaimilia Pereira de Almeida and Também os brancos sabem dançar (2018), by Kalaf Epalanga. Initially, a theoretical discussion is elaborated for the formulation of the concept of metaphor of the nation, based on Literary Theory which, in an interdisciplinary dialogue with other areas of knowledge such as Sociology, Geography, Philosophy and History, analyzes the presence of these metaphors in the lives of migrant characters.
Esta resenha pretende apresentar e analisar brevemente o livro de poesias Deriva, de Adriana Lisboa, publicado em 2019, pela editora Relicário. A partir de teóricos e críticos literários como Michel Maffesoli, Silviano Santiago e Luciano Trigo, serão abordadas, pelas perspectivas social, lírico-amorosa e artística, as seguintes questões: deslocamentos, migrações, fronteiras, estrangeiridade, cartografias.
Copyright (c) 2021 Analice de Oliveira Martins
“Second class citizen”: female subjects and identity fragmentation in a post-colonial world
Contemporaneity bears the marks of its time such as geographical, symbolic and ontological shifts, but also the historical traces of colonial exploitation and the identity fragmentation that it potentiated. This literary analysis, based on the volume “Second Class Citizen” (2018) by the Nigerian writer Buchi Emecheta, aims to problematize the identity fragmentation and transmutation experienced by immigrants, as well as its contemporary effects. In this reflection, the role of Literature as a tool for the consolidation of a new enunciative locus of such groups and subjects is addressed, as well as its centrality for the reconstruction of historical and political narratives based on the dialectic process of identity construction. Based on the highly autobiographical experiences of the character Adah different types of displacement and alterity can be observed: the place of women in Igbo patriarchal society, the framing of African immigrants, and their descendants, in the English social structure, and the importance of immigrant women to the establishment of new literary perspectives and female subjects. The volume, published in the 70’s, raises questions that reflect in today’s society and contributes to the understanding of the historical processes of deterritorialization and identity re-signification here addressed.
This essay analyzes the representation of memory and identity in the novel Até que as pedras se tornem mais leves que a água (2017), by the Portuguese writer António Lobo Antunes. The novel is constituted under the tension between colonizer and colonized and between the dichotomy of remembering and forgetting. António Lobo Antunes' narrative points to Portuguese colonialism as a trauma that fragments the identity and existence of both the colonized and the colonizer. The novel demonstrates that the consequences of imperialism still survive in contemporary Portuguese society. António Lobo Antunes' literature presents itself as a memory discourse which rescues the last chapters of the Portuguese colonial empire.
Copyright (c) 2021 Pietro Pacheco, Leonardo von Pfeil Rommel
Copyright (c) 2021 Vitor Hugo Luís Geraldo
The imaginary on cordel literature Antonio Conselheiro: o profeta do sertão
Based on a perspective of analytical psychology and the collective imagination, this approach makes a mythical and archetypal reading of the imaginary in the cordel literature. The object of analysis is a Brazilian cordel literature, whose title is Antonio Conselheiro: o profeta do sertão (RINARÉ, 2015). In order to interpret the myths and archetypes that organize Antonio Conselheiro's messianic image in Rinaré's poetics, the following can be noted: the mythology of the Divine Child as an original landmark in his mystical trajectory; the Wise Old Man archetype in his virtues of a spiritual counsellor; and the myth of the Savior, accentuating his figure as hope for a destiny with beatitudes in Canudos.
This article analyzes the book A Dama e o Unicórnio by the Portuguese writer Maria Teresa Horta, whose poems dialogue with the medieval tapestries of the 15th century, from the National Museum of the Middle Ages in Paris. This analysis focuses on the presence and possible meanings of the unicorn myth in the Western imagination, as well as the way in which the poems tackle the mysterious relationship between the fabulous animal and the lady.
Copyright (c) 2021 Ana Maria Lisboa de Mello
The hells in the ‘Divine Comedy’ and the frescoes in the scrovegni chapel:
This article aims to demonstrate all the impact that the work “Divina Comédia” written by the author Dante Alighieri had on pictorial productions in the 14th century in Italy. In particular, the painting made by the painter Giotto di Bondone in the Scrovegni chapel in Padua will be covered. To achieve such an objective, the verses of this story will be compared with the images, mainly in the part of the fresco on the theme of the Last Judgment, in which Hell and the characters present in this space are similar to the author's description. Therefore, we will present an overview of these close relations between these artistic segments that conveyed a perspective of culture and mentalities in the medieval period.
Copyright (c) 2021 Thatiane Piazza de Melo
The existential absurdity in Horacio Quiroga
The purpose of this article is to investigate how nature is configured as an inhospitable and indifferent space to human existence in the short story A la deriva, by Horacio Quiroga, expressing what the Franco-Algerian philosopher, Alberto Camus, called existential absurdity. According to Camus, the absurdity of existence arises from the simultaneous coexistence of human consciousness in the face of a world to which it tries to order. The individual's relentless and relentless search for an existential sense causes a fracture that we recognize as the absurd. It is the impotence that we have to think with our concepts and with our words the events of the world outside our consciences. Thus, we intend to present how Camus's philosophy translates into Quiroga's nature through the analysis of the natural space in the author's work in the light of the concept of top-analysis brought by Gaston Bachelard.
Copyright (c) 2021 Ayanne Larissa Almeida de souza
Le voyage en Amazonie dans le cinéma contemporain
This article examines the question of the exotic gaze and its reproduction in Latin America’s travel imaginary. On the basis of two fiction films that approach the theme of expeditions through the Amazon rainforest, namely The Lost City of Z (James Gray, 2015) and Embrace of the Serpent (Ciro Guerra, 2014), we will first explore the distancing effect between spectator and represented landscape, and its connection to an exotic discourse. Then we will argue that the depiction of a troubled gaze may introduce, paradoxically, a sensitive assimilation of the body by the explored space.
Imágenes míticas y oníricas: un análisis desde La psicología arquetipal
To develop this article we rely on archetypal psychology and, fundamentally, on the words of James Hillman, its main representat. Our objective with this Work is to reexamine his thinking and review in his texts the fundamental ideas that revolve around mythical and dream imagens, which represent a distancing from the narrow rational and tradicional models still present. We chose a priori some theoretical directions of mythopoetics to guide this research on images, so we will also give emphasis to authors such as Mircea Eliade, Ernst Cassirer and Gaston Bachelard who approach this topic from a more mythical-symbolic perspective.
Copyright (c) 2021 José Francisco da Silva Filho
The present work intends to analyze the spatial representations and the spatiality of language in the short story O Elevador, showing how this element reflects processes of violence, disillusionment and resistance. For this, we will show how the story is structured and how the space and landscapes presented demarcate the Luandese space. From the analysis of space and its implications in the construction of the characters, we will have a perspective of the representation of the crisis in the fictional, very tributary to the real, making evident the representation of a society that lives the impacts of war, neocolonialism and capitalism.
Copyright (c) 2020 Renata Cristine Gomes de Souza