Literatura e ditadura: a construção de uma imagem de repressão e resistência

• Ano de defesa: 2018
• Autor(a) principal: Silva, Iranildo Mota da
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Brasil; UFRN; PROGRAMA DE PÓS-GRADUAÇÃO EM ESTUDOS DA LINGUAGEM
• Palavras-chave em Português: Literatura; Sociedade; Ditadura militar; Imagologia; CNPQ::LINGUISTICA, LETRAS E ARTES::LINGUISTICA
• Link de acesso: https://repositorio.ufrn.br/jspui/handle/123456789/25766

The military regime in Brazil brought negative and specific repercussions for the academic, cultural and social communities in the decades of 1960 and 1970. In this context, many artists and writers began to express their anguishes and ideological positions by means of social movements and literary art, in order to describe the events that marked a problematic period of political crisis. Based on the studies of Candido (2000,2006) and Borges (2010) concerning literature, history and society, on the ideas of dictatorship and repression found in Angelo (1994) and Brandão (1994) as well as the studies on Imagology of Pageaux and Machado (1988) and Pageaux (2011), this research fostered a literary and comparative analysis of two works Pessach: a travessia, written by Carlos Heitor Cony and published in 1967, before the Institutional Act Number 5 (AI5) and A festa: Romance: Contos, by Ivan Angelo, published in 1976 after AI5. In addition, the contributions of Orlandi (2007) and Foucault (2014) regarding the practice of silencing and silence using discourse, particularly the literary discourse, were important to analyze the images built from the discourse of resistance. Therefore, this study aimed to unveil the military dictatorship images present in the critical discourses of Cony and Angelo’s character-narrators, besides verifying the types of images built by the authors using their characters and narrative structures in order to describe Brazilian social and political moment through the eyes of the population and the artists of that time, especially the writers. To conclude, it was possible to verify in both novels a great presence of criticism related to the political regime with a divergence in the discursive focus of the narrators and thereby a change in the image of the regime that is presented to the readers.