José de Alencar in Cena: Studies of Alencarian Dramaturgy. Volume 2
Keywords:
Brazilian literature, Brazilian theater, José de Alencar, HistorySynopsis
When I was invited to preface the work that is now before us, I couldn't help but remember my conversations with the great Sergipe poet Hunald Fontes de Alencar. Alencar was already in the last years of his life, and every time I visited Aracaju I tried to find him somehow. Unfortunately, there were not as many times as I would have liked, but, in those liquid times that Zygmunt Bauman announced to us a few years ago, I am sure that a fast and strong friendship developed between us. When we first met, Hunald had just finished writing one of his last texts before leaving us forever. A text for theater in honor of the American singer Billie Holiday. It was only after her death, in 2016, that we could see the dream of this heart and soul native of Aracaju come true: Billie Holiday – A Canção was finally assembled and was a huge success with the public.
Chapters
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Women who read are dangerousmoral standards and women's social control in José de Alencar's female profiles
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Two literary faces in José de Alencar
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Revisiting social and commercial issues in the theatrical text O Credit to José de Alencar
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Sewing sources: property, freedom and slavery in three Alencarian texts – The Familiar Demon (1857); speeches Parliamentarians (1870-1871); The Estate (1883)
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José de Alencar and slaverya reading of Alencar's thought from Erasmo's New Political Letters (1867-1868) and O Demônio Familiar (1857)
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“Scene open to slavery”speeches and representations about slavery in “O Demônio Familiar” by José de Alencar
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Mãe, by José de Alencar, and O Mulato, by Aluísio Azevedothe reflection of the pain of denial of black motherhood
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The project of independence of Brazil n´O Jesuíta (1861), by José de Alencar
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The representation of male profiles in As Asas de Um Anjo
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The Cruel Punishment of the Fallen AngelSociety and Prostitution in The Atonement (1868)
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