http://www.bdtd.uerj.br/handle/1/3643 2026-10-11T08:20:02Z 2026-10-11T08:20:02Z Lopes, Thiago Wallace Rodrigues dos Santos http://www.bdtd.uerj.br/handle/1/26229 2026-09-28T14:22:01Z 2026-06-30T00:00:00Z

Título: “Eu sou o que sou”: as metáforas na construção da imagem de Deus em canções evangélicas Autor: Lopes, Thiago Wallace Rodrigues dos Santos Primeiro orientador: Conforte, André Nemi Abstract: This thesis analyzes the metaphors used in the conceptualization of God in Brazilian evangelical song lyrics, through a survey of metaphorical expressions in these lyrics. We seek to understand the elaboration and construction of these metaphors, how they operate in the context of the lyrics under analysis, and how these conceptions manifest within evangelical Christianity, so as to build a linguistic understanding of how these metaphors influence communication and textual interpretation within this religious group. To this end, we draw on theories addressing metaphor, its importance, and its dissemination in everyday communicative situations. We turn to traditional scholarship through Aristotle (2011a; 2011b), Castro (1978), Martins (2012), and Ricoeur (2015), as well as cognitive investigations via Lakoff and Johnson (2002) and Ferrari (2020), among other theorists, to present our understanding of metaphor. We also seek to understand the construction of song lyrics as a textual genre, their importance for worship services and the communicative practices of evangelical Christian faith, and the way in which they build conceptions for apprehending the idea and image of God through metaphorical structures; for this purpose, we draw primarily on Wisnik (2017) and Rojo and Moura (2019). We develop a descriptive analysis of the identified metaphors in order to understand the ways in which God, as portrayed through song lyrics, is perceived within evangelical religion and how this relationship is established. We therefore hope to contribute to linguistic studies through the categorization of metaphorical structures for the idea of God, their distribution across a categorical framework, identifying the meanings each construction encompasses and their functioning in language, as well as understanding their contributions to the expressive use of metaphor; Esta tesis analiza las metáforas utilizadas en la conceptualización de Dios en las letras de canciones evangélicas brasileñas, mediante un relevamiento de las expresiones metafóricas presentes en dichas letras. Buscamos comprender la elaboración y la construcción de estas metáforas, cómo actúan en el contexto de las letras analizadas y como estas concepciones se manifiestan dentro del cristianismo evangélico, de modo de construir una percepción lingüística de cómo estas metáforas influyen en la comunicación y en la interpretación textual de este grupo religioso. Para ello, nos adentramos en las teorías que abordan la metáfora, su importancia y su diseminación en el cotidiano de las situaciones comunicativas. Recurrimos, entonces, a los estudios tradicionales a través de Aristóteles (2011a; 2011b), Castro (1978), Martins (2012) y Ricoeur (2015), así como a las investigaciones cognitivas por medio de Lakoff y Johnson (2002) y Ferrari (2020), entre otros teóricos, para presentar nuestra perspectiva acerca de la metáfora. Buscamos también comprender la construcción de la letra de canción en tanto género textual, su importancia para los cultos y para las prácticas comunicativas de la fe cristiana evangélica, así como la manera en que construyen concepciones para aprehender la idea y la imagen de Dios a través de las estructuras metafóricas; con este fin, tomamos como base teórica, principalmente, a Wisnik (2017) y a Rojo y Moura (2019). Elaboramos un análisis descriptivo de las metáforas identificadas, para intentar comprender las maneras en que Dios, a través de las letras de canciones, es concebido dentro de la religión evangélica y cómo se establece esa relación. Esperamos, por tanto, contribuir a los estudios lingüísticos mediante la categorización de las estructuras metafóricas relativas a la idea de Dios, su distribución en un cuadro categorial, señalando los sentidos que cada construcción abarca y sus funcionamientos en la lengua, así como comprender sus contribuciones al uso expresivo de las metáforas Instituição: Universidade do Estado do Rio de Janeiro Tipo do documento: Tese

2026-06-30T00:00:00Z Fernandes, Clara Sampaio http://www.bdtd.uerj.br/handle/1/26221 2026-09-25T17:32:06Z 2026-07-13T00:00:00Z

Título: Ìyàmi Òṣòròngà e Gabriela: a libertação do sujeito feminino sob uma perspectiva intermidiática e iorubá Autor: Fernandes, Clara Sampaio Primeiro orientador: Ribas, Maria Cristina Cardoso Abstract: Through the process of transposing Jorge Amado’s literary work Gabriela, Cravo e Canela (1958) into the miniseries Gabriela (2012), adapted by Walcyr Carrasco, and with a specific focus on the intermedial constitution of the female construct, this study seeks to problematize the construction of the image of women, particularly as immoral, lustful, and perverse figures — especially Black women — promoted by the Western patriarchal and colonial system. Grounded in African ancestry and cosmology, more specifically in Nigerian Yoruba traditions, while drawing on objects of analysis from Brazilian literature and cinematography, this investigation examines the female characters Ofenísia, Sinhazinha, and Gabriela, both on screen and on the page. The analysis focuses on the silences imposed upon these women, the construction of stereotypes and single stories surrounding the female subject, as well as the possibility of rewriting the images and destinies established for this subject. Furthermore, particular attention is devoted to the thoughts and behaviors of these characters in relation to the moral standards dictated by society, as well as to their feelings and ways of perceiving the world. The aim is to determine whether there is a common thread connecting them, whether they constitute distinct figurations that place them along different lines, or whether, together, they form a hybrid representation of the feminine, as if they were a multidimensional composition. These questions are explored through a dialogue with the ancestral collective of Yoruba female deities, Ìyàmi Òṣòròngà. From the perspective of Intermediality, understood as the interaction among different arts and as the translation from one semiotic system into another, with particular emphasis on the subcategory of media transposition (Rajewsky, 2012), the theoretical foundations of this field are established through the works of Claus Clüver (2011) and Lars Elleström (2021). Media combinations and modalities are examined, as well as the effects of meaning and the transformations of circumstances produced through such interactions, with a view to enhancing the expressiveness of an “instinctive” feminine, particularly through the free exercise of women’s sensuality and sexuality Instituição: Universidade do Estado do Rio de Janeiro Tipo do documento: Tese

2026-07-13T00:00:00Z Silva, Tallyson Tamberg Cavalcante Oliveira da http://www.bdtd.uerj.br/handle/1/26171 2026-09-17T14:36:20Z 2026-08-12T00:00:00Z

Título: Entre a tradição e a modernidade: vestígios tópicos do amor cortês trovadoresco na lírica amorosa de Gonçalves Dias Autor: Silva, Tallyson Tamberg Cavalcante Oliveira da Primeiro orientador: Souza, Roberto Acízelo Quelha de Abstract: From a comparative perspective, this study seeks to identify and analyze vestiges of troubadour courtly love in the love poetry of Gonçalves Dias. To this end, it focuses on this particular dimension of the Maranhão-born poet’s work, which provides an especially productive field for examining the persistence and reconfiguration of courtly conventions within Brazilian Romanticism. For the necessary comparative analysis, a representative selection of cantigas de amor from Galician-Portuguese troubadour poetry—a literary period of the medieval Iberian Peninsula and the birthplace of Portuguese-language literature—is considered, without disregarding, when relevant, affinities with lyrical procedures also associated with the cantigas de amigo. The study thus seeks to explain why and how Gonçalves Dias’s poetry reappropriates procedures, themes, and modes of sensibility characteristic of medieval lyricism, particularly in its treatment of love. Its methodological framework is grounded in Comparative Literature, especially in studies of literary and cultural residuality, an investigative method systematized by Roberto Pontes, as well as in topical research (Toposforschung), most notably developed by Ernst Robert Curtius. The thesis therefore proceeds primarily through the analysis and comparison of the most representative topoi of Galician-Portuguese cantigas de amor and their reworking in the love poems of Gonçalves Dias. Finally, the study addresses an aspect that remains underexplored both in the critical reception of Gonçalves Dias and in the history of Brazilian Romantic poetry: the residual presence of troubadour traditions in his work, thereby revealing the medieval nuances of a central oeuvre within the nineteenth-century literary canon Instituição: Universidade do Estado do Rio de Janeiro Tipo do documento: Tese

2026-08-12T00:00:00Z Azevedo, Marcela Ansaloni de http://www.bdtd.uerj.br/handle/1/26147 2026-09-11T17:47:06Z 2026-06-30T00:00:00Z

Título: De flor discreta a selva densa: formas breves na obra de Maria Judite de Carvalho Autor: Azevedo, Marcela Ansaloni de Primeiro orientador: David, Sérgio Nazar Abstract: La présente thèse de doctorat se consacre à l’étude de l’œuvre de Maria Judite de Carvalho (1921–1998), produite durant l’Estado Novo portugais. Elle examine de quelle manière ses formes brèves opèrent comme stratégies de résistance esthétique et politique à l’immobilisme social et à la mise au silence imposés par le régime salazariste. En articulant les réflexions de Walter Benjamin (1987) sur la crise du récit et de l’expérience, le concept de témoignage littéraire formulé par Shoshana Felman (2000) et les discussions de Jeanne Marie Gagnebin (2002) autour du trauma, la thèse soutient que la « discrétion » de l’écriture juditienne constitue un procédé esthétique délibéré de contestation. La thèse démontre comment l’autrice recourt à l’ironie, à l’ellipse, à l’implicite, au retournement narratif et à l’articulation d’un « palimpseste de genres » pour intervenir dans le champ littéraire, en enregistrant les effets de la violence politique et du système patriarcal sur la subjectivité des personnages, notamment féminins. Sur le plan méthodologique, la recherche repose sur l’analyse littéraire interprétative, articulée à la critique féministe et aux études de genre. Elle s’appuie sur une investigation archivistique et documentaire, comprenant le recensement de chroniques de la presse périodique de l’époque non rassemblées en volume, ainsi que l’examen d’une partie des archives inédites de l’écrivaine. Organisée en sections consacrées aussi bien à la contextualisation historico-littéraire qu’à l’analyse des différents genres, la thèse met en évidence l’érosion des mythes bourgeois et du confinement domestique comme manifestations d’un trauma collectif. Elle conclut que l’économie expressive de Maria Judite de Carvalho transforme le quotidien en un espace de tension politique, consolidant son écriture comme un exercice de résistance esthétique et une problématisation des voix historiquement marginalisées; This doctoral dissertation focuses on the work of Maria Judite de Carvalho (1921–1998), produced during the Portuguese Estado Novo regime. It investigates how her short forms operate as strategies of aesthetic and political resistance to the social immobility and silencing imposed by the Salazarism regime. Drawing on Walter Benjamin's (1987) reflections on the crisis of narration and experience, the concept of literary testimony formulated by Shoshana Felman (2000), and Jeanne Marie Gagnebin's (2002) discussions on trauma, the study argues that the so-called "discretion" of Carvalho's writing constitutes a deliberate aesthetic procedure of contestation. The dissertation demonstrates how the author employs irony, ellipsis, implication, narrative reversal, and the articulation of a "palimpsest of genres" to intervene in the literary field, recording the effects of political violence and patriarchalism on the subjectivity of her characters, particularly female ones. Methodologically, the research is grounded in interpretive literary analysis, articulated with feminist criticism and gender studies. It draws on archival and documentary research, which included the survey of newspaper chronicles from the periodical press of the period not yet collected in volume form, as well as the examination of part of the writer's unpublished estate. Organized into sections devoted both to historical-literary contextualization and to the analysis of different genres, the dissertation highlights the erosion of bourgeois myths and domestic confinement as manifestations of collective trauma. It concludes that Maria Judite de Carvalho's expressive economy transforms everyday life into a space of political tension, consolidating her writing as an exercise in aesthetic resistance and a questioning of historically marginalized voices Instituição: Universidade do Estado do Rio de Janeiro Tipo do documento: Tese

2026-06-30T00:00:00Z