{"id":920,"date":"2021-02-01T11:47:54","date_gmt":"2021-02-01T14:47:54","guid":{"rendered":"https:\/\/www.posgraduacao.unimontes.br\/ppgl\/?page_id=920"},"modified":"2026-03-17T10:07:28","modified_gmt":"2026-03-17T13:07:28","slug":"dissertacoes","status":"publish","type":"page","link":"https:\/\/www.posgraduacao.unimontes.br\/ppgl\/dissertacoes\/","title":{"rendered":"Disserta\u00e7\u00f5es"},"content":{"rendered":"
\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
\n

Ano<\/span><\/span><\/p>\n<\/td>\n

\n

T\u00edtulo<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Autor<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2025<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

AMIZADE, HOMOSSOCIABILIDADE E DOEN\u00c7A NA CORRESPOND\u00caNCIA ENTRE MACHADO DE ASSIS,MAGALH\u00c3ES DE AZEREDO E M\u00c1RIO DE ALENCARa><\/a><\/p>\n<\/td>\n

\n

MARIANNA DE MOURA COTTA<\/p>\n<\/td>\n<\/tr>\n

\n

2025<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

AS TESSITURAS DE COLASANTI: ENTRE(LA\u00c7OS) E SERPENTES, O LEITOR<\/a><\/p>\n<\/td>\n

\n

S\u00d4NIA ALVES DOS SANTOS FERNANDES<\/p>\n<\/td>\n<\/tr>\n

\n

2025<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

INTERSEC\u00c7\u00d5ES FEMININAS NO ROMANCE PEDA\u00c7OS DA FOME DE CAROLINA MARIA DE JESUS<\/a><\/p>\n<\/td>\n

\n

C\u00c1SSIA APARECIDA GUEDES TIAGO<\/p>\n<\/td>\n<\/tr>\n

\n

2025<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

EMBATE AO MEMORIC\u00cdDIO: O RESGATE DAS VOZES MULHERES A PARTIR DA PESQUISA E DA EDITORA\u00c7\u00c3O<\/span><\/a><\/p>\n<\/td>\n

\n

AMANDA ANT\u00d4NIA DE OLIVEIRA NOGUEIRA<\/p>\n<\/td>\n<\/tr>\n

\n

2025<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

LITERATURA SURDA EM MEM\u00d3RIAS: O SUJEITO SURDO E A FAM\u00cdLIA EM PROCESSO M\u00daTUO DE SUBJETIVA\u00c7\u00c3O<\/span><\/a><\/p>\n<\/td>\n

\n

LEANDRO FERREIRA MORAIS<\/p>\n<\/td>\n<\/tr>\n

\n

2025<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A CONSTRU\u00c7\u00c3O DA PERSONAGEM MARIA-NOVA EM BECOS DA MEM\u00d3RIA \u00c0 LUZ DE SUA EXPERI\u00caNCIA COMO LEITORA<\/span><\/a><\/p>\n<\/td>\n

\n

LUCIANE SOUZA VIEIRA LIMA<\/p>\n<\/td>\n<\/tr>\n

\n

2025<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

POESIA, ALTERIDADE E RESIST\u00caNCIA NO LIVRO OS DIAS PARTIDOS, DE ANT\u00d4NIO WAGNER ROCHA<\/a><\/td>\n\n

Wyara Monteiro Lima<\/p>\n<\/td>\n<\/tr>\n

\n

2025<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

O TIPO MADRASTA NOS CONTOS MARAVILHOSOS: BRANCA DE NEVE E OS SETE AN\u00d5ES DOS \u201cIRM\u00c3OS GRIMM\u201d E CINDERELA, DE CHARLES ERRAULT<\/span><\/a><\/p>\n<\/td>\n

\n

L\u00cdLIAN MARIA MENDES GUSM\u00c3O<\/p>\n<\/td>\n<\/tr>\n

\n

2025<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

DEITAR O VERMELHO SOBRE PAPEL BRANCO: UMA AN\u00c1LISE PO\u00c9TICA DA MET\u00c1FORA DA AUS\u00caNCIA EM VERMELHO AMARGO, DE BARTOLOMEU CAMPOS DE QUEIR\u00d3S<\/span><\/a><\/p>\n<\/td>\n

\n

BRUNA COSTA MOTA LIMA<\/p>\n<\/td>\n<\/tr>\n

\n

2025<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

TOPOFILIA, TOPOFOBIA E TOPOC\u00cdDIO EM CAMPO GERAL, DE GUIMAR\u00c3ES ROSA<\/span><\/a><\/p>\n<\/td>\n

\n

WAGNER APARECIDO SILVA<\/p>\n<\/td>\n<\/tr>\n

\n

2025<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

ENTRE SOM E SENTIDO: A M\u00daSICA FOLCL\u00d3RICA EM CANTIGAS DAS CREAN\u00c7AS E DO POVO E DAN\u00c7AS POPULARES DE ALEXINA DE MAGALH\u00c3ES PINTO<\/span><\/a><\/p>\n<\/td>\n

\n

CYNTIA CYBELLE PINHEIRO BARBOSA<\/p>\n<\/td>\n<\/tr>\n

\n

2025<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

ENCONTROS E DESENCONTROS NA CULTURA SURDA: M\u00e3os ao Vento, de Sylvia Lia Grespan Neves<\/span><\/a><\/p>\n<\/td>\n

\n

D\u00c9BORA AN\u00cdSIA GON\u00c7ALVES DUR\u00c3ES<\/p>\n<\/td>\n<\/tr>\n

\n

2025<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

CEC\u00cdLIA MEIRELES: DI\u00c1LOGOS MULTIFACETADOS<\/span><\/a><\/p>\n<\/td>\n

\n

MIRELLY MENDES DUR\u00c3ES FORTALEZA<\/p>\n<\/td>\n<\/tr>\n

\n

2025<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

A ESCRITA FEMININA E O DESVELAR DAS MULTIFACES DA MULHER EM PRANTOS, AMORES E OUTROS DESVARIOS, DE TEOLINDA GERS\u00c3O FNFICTIONS E O UNIVERSO QUEER: O PAPEL DAS FANFICTIONS E DA CIBERLITERATURA NO PROCESSO DA FORMA\u00c7\u00c3O DE LEITORES LGBTQIAP+<\/span><\/a><\/td>\n\n

J\u00caSSYKA SILVA CARDOSO<\/p>\n<\/td>\n<\/tr>\n

2025<\/td>\nAS CRIAN\u00c7AS EM CONTOS DE LYGIA FAGUNDES TELLES: UM ESTUDO EM LITERATURA E PSICAN\u00c1LISE<\/span><\/span><\/span><\/a><\/td>\nISABELA RUAS AGUIAR<\/td>\n<\/tr>\n
2025<\/td>\nA REPRESENTA\u00c7\u00c3O FEMININA EM CELESTE_ TRADI\u00c7\u00c3O, RUPTURA E LOUCURA, POR MARIA BENEDITA BORMANN O CINEMA E O CINEMATOGR\u00c1FICO EM ANA CRISTINA C\u00c9SAR<\/span><\/span><\/span><\/a><\/td>\nMILENA PLACIDO SILVA<\/td>\n<\/tr>\n
2025<\/td>\n\u00a0O CINEMA E O CINEMATOGR\u00c1FICO EM ANA CRISTINA C\u00c9SAR\u00a0<\/span><\/span><\/span><\/a><\/td>\nFERNANDA NOVAIS MENDES<\/td>\n<\/tr>\n
\n

2024<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

POESIA-VIT(R)AL: UMA LEITURA DAS IMAGENS PO\u00c9TICAS NA COMPOSI\u00c7\u00c3O DE IMAGENS IMORREDOURAS, DE OSVALDO ANDR\u00c9 DE MELLO<\/span><\/span><\/span><\/a><\/td>\n\n

MARINA LET\u00cdCIA C\u00c2MARA<\/p>\n<\/td>\n<\/tr>\n

\n

2024<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

O HORROR E A VIOL\u00caNCIA COMO CAMPOS REFERENCIAIS DA CONSTRU\u00c7\u00c3O DO ESPA\u00c7O NARRATIVO: As Coisas que perdemos no Fogo FNFICTIONS E O UNIVERSO QUEER: O PAPEL DAS FANFICTIONS E DA CIBERLITERATURA NO PROCESSO DA FORMA\u00c7\u00c3O DE LEITORES LGBTQIAP+<\/span><\/span><\/a><\/td>\n\n

Lorena Ely Pereira Barbosa Ruas<\/p>\n<\/td>\n<\/tr>\n

\n

2024<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

LITERATURA E SOCIEDADE EM AS MENINAS, DE LYGIA FAGUNDES TELLES: UMA COMPREENS\u00c3O HIST\u00d3RICOLITER\u00c1RIA DA DITADURA MILITAR NO BRASIL<\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

MARIA DE LOURDES LIMA<\/p>\n<\/td>\n<\/tr>\n

\n

2024<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

\u00a0FNFICTIONS E O UNIVERSO QUEER: O PAPEL DAS FANFICTIONS E DA CIBERLITERATURA NO PROCESSO DA FORMA\u00c7\u00c3O DE LEITORES LGBTQIAP+<\/a><\/p>\n<\/td>\n

\n

\u00c2NGELA QUEIROZ ANTONIN<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2024<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

\u201cENTRE UIS E AIS, AS ENTRADAS PARA O DEL\u00cdRIO\u201d: A POESIA ER\u00d3TICA DE DAMI\u00c3O CORDEIRO<\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

\u00a0MALI\u00a0 JANETE SANTOS<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2024<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

ANA MARIA MACHADO: AS M\u00daLTIPLAS FACES DA MULHER NOS CONTOS DE LITERATURA INFANTOJUVENIL<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

\u00a0KELLY NOBRE DA SILVA<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2024<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

AS REPRESENTA\u00c7\u00d5ES DO NEGRO NA LITERATURA INFANTIL DE LUCIA MIGUEL PEREIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

YANNE MAIRA SILVA<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2024<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

O VIS\u00cdVEL E O INVIS\u00cdVEL: CORPO E EXPERI\u00caNCIAS EM A VIDA QUE NINGU\u00c9M V\u00ca, DE ELIANE BRUM<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

WALISSON OLIVEIRA SANTOS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2024<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A LITERATURA SURDA E SUA RELEV\u00c2NCIA NO PROCESSO EDUCACIONAL DO SUJEITO SURDO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

LENI APARECIDA RABELO DA SILVA MENDES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2024<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

ENTRE A PALAVRA E O OBJETO: A IMPORT\u00c2NCIA DOS PARATEXTOS NO PROCESSO DE SELE\u00c7\u00c3O DE LIVROS DO PNLD LITER\u00c1RIO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

\u00a0ALINE PEREIRA ROCHA LEAL<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2024<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

O FLUXO DA CONSCI\u00caNCIA NA DRAMATURGIA DE SILVIA GOMEZ ESTUDO LITER\u00c1RIO PARA ADAPTA\u00c7\u00c3O, MONTAGEM E ENCENA\u00c7\u00c3O DA PE\u00c7A MANTENHA FORA DO ALCANCE DO BEB\u00ca<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

\u00a0\u00c9DILA THAIS MAGALH\u00c3ES BASTOS\u00a0<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2024<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

LITERATURA INFANTIL E LENDAS IND\u00cdGENAS NA OBRA DE STELLA LEONARDOS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

\u00a0MARIA LUCIA\u00a0 NEVES OLIVA\u00a0<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2024<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

OS PERSONAGENS DE MARTA MORGADO-Representa\u00e7\u00e3o do Sujeito Surdo na Literatura Brasileira de Sinais Surda<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

BRUNO LUTIANY FAGUNDES MON\u00c7\u00c3O<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2024<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A PALAVRA QUE RASGA A CARNE: O conceito de D\u00e9soeuvrement da linguagem na literatura de Antonin Artaud<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

\u00a0MICHELLE MARTINS DE ALMEIDA\u00a0<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2024<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A DESSACRALIZA\u00c7\u00c3O NO AUTO DA COMPADECIDA: O PALHA\u00c7O COMO S\u00cdMBOLO DO MOVIMENTO ARMORIAL<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ALYSSON JORGE ALVES DE ANDRADE<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2023<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

MANOEL DE BARROS, fot\u00f3grafo: um estudo de poesia e imagem<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/td>\n\n

GUSTAVO HENRIQUE RAMOS SILVA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2023<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Intimismo no romance Amanhecer de L\u00facia Miguel Pereira<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ERLANE ANTUNES GON\u00c7ALVES\u00a0<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2023<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A VIDA NA CORDA BAMBA: viol\u00eancia e criminalidade em Olhos d’\u00e1gua, de Concei\u00e7\u00e3o Evaristo<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ANA DA CONCEI\u00c7\u00c3O RODRIGUES DA CRUZ<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2023<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Grande sert\u00e3o: veredas \u2013 o livro como arte<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

REGINALDO ALVES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2023<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

ATRITO & ENCONTRO: MODOS DE LER PARQUE DAS RU\u00cdNAS DE MAR\u00cdLIA GARCIA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ZENAIDE TAMIRES COSTA SANTANA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2023<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

CORPOS DE FRUTESC\u00caNCIAS E A COR DA PELE DE MEM\u00d3RIAS A po\u00e9tica negra de Concei\u00e7\u00e3o Evaristo em Poemas da recorda\u00e7\u00e3o e outros movimentos<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

LORENNA DE ARA\u00daJO SOUZA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2023<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

O conceito de engajamento na cr\u00edtica liter\u00e1ria de W. Benjamin: Um recorte do per\u00edodo entreguerras, de 1925 a 1935<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

RODRIGO ROCHA REZENDE DE OLIVEIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2023<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

REESCREVENDO A HIST\u00d3RIA DE MENINAS NEGRAS: Kiusam de Oliveira e a Literatura Negro-Brasileira do Encantamento<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

VIVIANE DE JESUS BARBOSA<\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2023<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

RELA\u00c7\u00d5ES DE PODER EM O IRM\u00c3O ALEM\u00c3O, DE CHICO BUARQUE, NO CONTEXTO DA DITADURA MILITAR, NO BRASIL<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

MARCONE EDSON RODRIGUES DE OLIVEIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2023<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A VIS\u00c3O CR\u00cdTICA DA EXPLORA\u00c7\u00c3O MINERAL COMO ATIVISMO POL\u00cdTICO NA POESIA DE CARLOS DRUMMOND DE ANDRADE<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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ALESSANDRA LUCI XAVIER DE OLIVEIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2023<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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\u00d3PERA DOS MORTOS, DE AUTRAN DOURADO: UM ESTUDO SOBRE A HONRA E TRANSGRESS\u00c3O DA PERSONAGEM ROSALINA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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EDNA DOARES SANTOS SIQUEIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2023<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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Elisa Lispector: po\u00e9tica, mem\u00f3ria e os dilemas da maternidade<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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AL\u00cdNICE ALVES JARDIM LOPES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2023<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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EM TEIA DE AUTRAN DOURADO – OS FIOS ENOVELADOS DA MELANCOLIA – Eliezer de Souza Guimar\u00e3es<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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ELIEZER DE SOUZA GUIMAR\u00c3ES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2023<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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QUANDO A LITERATURA SE TORNA SIMULACRO: SOCIEDADE E FIC\u00c7\u00c3O EM SIMULACROS, DE S\u00c9RGIO SANT’ANNA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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DANIEL FERNANDES GUSM\u00c3O<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2023<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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\u201cCANTIGAS DOS PRETOS\u201d: a presen\u00e7a da voz negra no livro Cantigas das crean\u00e7as e do povo e dan\u00e7as populares (1916), de Alexina de Magalh\u00e3es Pinto<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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CELIANE FERREIRA REIS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2023<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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LITERATURA E A FORMA\u00c7\u00c3O DO LEITOR: USO DAS M\u00cdDIAS TECNOL\u00d3GICAS NA EDUCA\u00c7\u00c3O B\u00c1SICA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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ORLINDA IMACULADA MOREIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2023<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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VIAGEM E CRIA\u00c7\u00c3O EM POEMAS ITALIANOS, DE CEC\u00cdLIA MEIRELES: tessituras a partir da pedra e da \u00e1gua<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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ANNY COSTA CHAVES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2023<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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PRA DIZER O QUE SE CALA: PROTAGONISMO FEMININO NEGRO EM AS MULHERES DE TIJUCOPAPO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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LUARA SILVA VELOSO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2023<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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A PRODU\u00c7\u00c3O DE SUBJETIVIDADE EM N\u00c3O VER\u00c1S PA\u00cdS NENHUM<\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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J\u00daLIO CIPRIANO DA SILVA NETO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2023<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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LITERATURA, HIST\u00d3RIA E G\u00caNERO – REPRESENTA\u00c7\u00d5ES DE DONA BEJA NO ROMANCE HIST\u00d3RICO A VIDA EM FLOR DE DONA B\u00caJA, DE AGRIPA VASCONCELOS<\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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VIN\u00cdCIUS AMARANTE NASCIMENTO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2023<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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MULHERES EM TRAVESSIA: UMA AN\u00c1LISE DA TRAJET\u00d3RIA DAS PERSONAGENS FEMININAS CONSTRU\u00cdDAS SOB O SIGNO DA PROSTITUI\u00c7\u00c3O EM GUIMAR\u00c3ES ROSA E KONSTANTIN CHRISTOFF<\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

Isabella Santos Ramos<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2022<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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BECOS, BARRACOS E BURACOS: AFETOS E FABULA\u00c7\u00c3O DELEUZIANA EM BECOS DA MEM\u00d3RIA, DE CONCEI\u00c7\u00c3O EVARISTO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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MARCIA LARISSA MOURAO GOULART<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2022<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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LITERATURA E CINEMA: DOIS SOBREVOOS SOBRE A OBRA ABRIL DESPEDA\u00c7ADO A PARTIR DE ISMAIL KADAR\u00c9 E WALTER SALLES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a> <\/span><\/p>\n<\/td>\n

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ALEX TARCISIO AGUIAR RAMOS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2022<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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VIOL\u00caNCIA E RELIGIOSIDADE NOS CONTOS INFANTIS: ERA UMA VEZ … DE J\u00daLIA LOPES DE ALMEIDA E MARIA E SEUS BONECOS DE L\u00daCIA MIGUEL PEREIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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KATIA GONCALVES SILVA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2022<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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AS REPRESENTA\u00c7\u00d5ES DA MULHER NO ROMANCE AUR\u00c9LIA, DE D\u00c9LIA (MARIA BENEDITA BORMANN)<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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ANA HELOISE BATISTA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2022<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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\u00c0 MODA DE TRAG\u00c9DIA GREGA EM AMOR CRUEL, AMOR VINGADOR DE MARIA JOS\u00c9 DE QUEIROZ<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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JACIANE MUNIZ DE AGUIAR<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2022<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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GUIMAR\u00c3ES ROSA E OS BICHOS: UMA LEITURA DA PO\u00c9TICA DO ANIMAL EM MANUELZ\u00c3O E MIGUILIM<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

IANA RANY PIMENTA ALVES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2022<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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DENTRO DA TOCA \u2013 O PROCESSO DE CRIA\u00c7\u00c3O ART\u00cdSTICA DE GEORGINO J\u00daNIOR<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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CLAUDILENE CAMPOS FARIAS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2022<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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CR\u00d4NICAS DE EDUCA\u00c7\u00c3O DE CEC\u00cdLIA MEIRELES: O LETRAMENTO LITER\u00c1RIO NA INF\u00c2NCIA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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\u00c9LLEN C\u00c1SSIA ESTEVES COSTA SANTA ROSA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2022<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

VIOL\u00caNCIA E RELIGIOSIDADE NOS CONTOS INFANTIS: ERA UMA VEZ … DE J\u00daLIA LOPES DE ALMEIDA E MARIA E SEUS BONECOS DE L\u00daCIA MIGUEL PEREIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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K\u00c1TIA GON\u00c7ALVES SILVA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2022<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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HIST\u00d3RIAS DE DOIS MUNDOS COM HER\u00d3IS SURDOS: Representa\u00e7\u00e3o da fam\u00edlia nos processos de forma\u00e7\u00e3o humana em Marta Morgado e Cl\u00e1udia Bisol<\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ROSANA FR\u00d3ES SANTOS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2021<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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DI\u00c1LOGO COM O C\u00c2NONE NA FIC\u00c7\u00c3O DE AUGUSTA FARO: LINHAS DE FOR\u00c7A NA PRODU\u00c7\u00c3O LITER\u00c1RIA CONTEMPOR\u00c2NEA FEMININA<\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

AMANDA CRISTINE OLIVEIRA NASCIMENTO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2021<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

DAS FOGUEIRAS DA INQUISI\u00c7\u00c3O AO INC\u00caNDIO N’ O CORTI\u00c7O: A BRUXA COMO ARQU\u00c9TIPO E ESTERE\u00d3TIPO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ANDRESSA RODRIGUES DE FREITAS PAULINO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2021<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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A LITERATURA EM LIVRO DID\u00c1TICO DA EDUCA\u00c7\u00c3O B\u00c1SICA: ENTRE O LETRAMENTO LITER\u00c1RIO E A PEDAGOGIZA\u00c7\u00c3O<\/span><\/span><\/span><\/span><\/span><\/span>
\n<\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ELIS\u00c2NGELA MESQUITA SILVA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2021<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

MULHERES AO ESPELHO: AS M\u00daLTIPLAS FACES DO FEMININO EM DUAS IRM\u00c3S, DE MARIA BENEDITA C\u00c2MARA BORMANN<\/span><\/span><\/span><\/span><\/span><\/span>
\n<\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

GERUSA ALVES DOS SANTOS DIAS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2021<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

CRISTIANE SOBRAL: UMA VOZ DE RESIST\u00caNCIA NA POESIA CONTEMPOR\u00c2NEA<\/span><\/span><\/span><\/span><\/span><\/span>
\n<\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

KAREN KATI\u00daCIA OLIVEIRA LEITE<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2021<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

LEITURA E SEXUALIDADE EM ANATOMIA DO PARA\u00cdSO DE BEATRIZ BRACHER<\/span><\/span><\/span><\/span><\/span><\/span>
\n<\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

Karina Gisele Cevales Viana<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2021<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A MONSTRUOSIDADE NO CONTO MACHADIANO: MET\u00c1FORAS DO MAL NA SOCIEDADE BRASILEIRA<\/span><\/span><\/span><\/span><\/span><\/span>
\n<\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

L\u00cdLIAN APARECIDA FERREIRA DE MELO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2021<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A CIDADE-CAPITAL: MEM\u00d3RIA E FIC\u00c7\u00c3O EM CIDADE LIVRE, DE JO\u00c3O ALMINO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span>
\n<\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

LUCIANA TOLENTINO PRATES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2021<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

O HOMOEROTISMO E A RELA\u00c7\u00c3O DE ESPA\u00c7O NA BUSCA IDENTIT\u00c1RIA DO NARRADOR-PERSONAGEM NA OBRA ONDE ANDAR\u00c1 DULCE VEIGA?, DE CAIO FERNANDO ABREU<\/span><\/span><\/span><\/span><\/span><\/span>
\n<\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

PEDRO HENRIQUE ANTUNES XAVIER SOUTO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2021<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

ENSIQLOP\u00c9DIA DA DESREGULAGEM Q\u00d4MICA: AS CONEX\u00d5ES ENTRE O GROTESCO E O C\u00d4MICO NOS TEXTOS TEATRAIS DE QORPO-SANTO<\/span><\/span><\/span><\/span><\/span><\/span>
\n<\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

RODOLFO ATHAYDE DE MORAIS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2021<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

LITERATURA SURDA: A escrita de si e a constitui\u00e7\u00e3o identit\u00e1ria do Sujeito Surdo<\/span><\/span><\/span><\/span><\/span><\/span>
\n<\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ROSILENE APARECIDA FROES SANTOS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2021<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

AS PALAVRAS DAN\u00c7AM POESIA E PERFORMANCE EM PARANGOLIVRO, DE AROLDO PEREIRA<\/span><\/span><\/span><\/span><\/span><\/span>
\n<\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

TATY ALKMIM GUSM\u00c3O<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2021<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

ASSOCIA\u00c7\u00c3O ENTRE PRAZER GASTRON\u00d4MICO E PRAZER SEXUAL EM MIGO, DE DARCY RIBEIRO: COMIDA, TRANSGRESS\u00c3O E EROTISMO<\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

VERA L\u00daCIA NOBRE DA SILVA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2020<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

ENTRE \u201cGENTE DE FERRO, GENTE DE FOGO\u201d: UMA AN\u00c1LISE DE E… FEITO DE LUZ, DE ANA CRUZ, PELAS VIAS DA ANCESTRALIDADE<\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

AMANDA GUSM\u00c3O FERNANDES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2020<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

AS TRAN\u00c7AS DE HORT\u00caNCIA: ENTRELA\u00c7OS DE TEXTO E TINTA NO LIVRO DE MARCELO LELIS<\/span><\/span><\/span><\/span><\/span><\/span>
\n<\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ANDR\u00c9IA GLAICIELLY DIEGER ROCHA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2020<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A PALAVRA E O SOM: estudo comparado entre Grande sert\u00e3o: veredas e a cantata c\u00eanica Ser-t\u00e3o dentro da gente<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

C\u00cdCERO FERREIRA PINTO NETO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2020<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

LITERATURA DA SECA EM LIVROS DID\u00c1TICOS DE L\u00cdNGUA PORTUGUESA DO 3\u00ba ANO DO ENSINO M\u00c9DIO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span>
\n<\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

DANIELLE FERREIRA DE SOUZA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2020<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Dois Irm\u00e3os: Mem\u00f3ria, Perspectiva e Cor<\/span><\/span><\/span><\/span><\/span><\/span>
\n<\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

EMERSON DANTAS E PIMENTA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2020<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

ENTRE O SERT\u00c3O E O MUSSEQUE: ANCESTRALIDADE, ORALIDADE E SIGNIFICADO DA PRESEN\u00c7A DE VELHOS E DE JOVENS EM PRIMEIRAS EST\u00d3RIAS E LUUANDA<\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

EUR\u00cdPEDES XAVIER SOUTO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2020<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

CLARISSA: A CONSTRU\u00c7\u00c3O DE MASCULINIDADES COMO MET\u00c1FORAS DA SOCIEDADE GA\u00daCHA DA D\u00c9CADA DE 1930<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

HEIDY CRISTINA BOAVENTURA SIQUEIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2020<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

INSUBMISSAS L\u00c1GRIMAS DE MULHERES, DE CONCEI\u00c7\u00c3O EVARISTO: A DESCONSTRU\u00c7\u00c3O DOS DISCURSOS HEGEM\u00d4NICOS E O SURGIMENTO DE UM NOVO ARQUETIPO DE HEROI<\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

Javier Santos Sanchez<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2020<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

OS PARATEXTOS DE ALEXINA DE MAGALH\u00c3ES PINTO EM CANTIGAS DAS CRIAN\u00c7AS E DO POVO E DAN\u00c7AS POPULARES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

LAURA EMANUELA GON\u00c7ALVES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2020<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A ESCRITA MONSTRUOSA DE L\u00daCIO CARDOSO. UMA LEITURA DA TRILOGIA O MUNDO SEM DEUS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

MARINA COUTO RIBEIRO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2020<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

ANIMAIS ESCRITOS: A ARANHA E O CAVALO NO ROMANCEIRO DA INCONFID\u00caNCIA, DE CEC\u00cdLIA MEIRELES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

MIRIANE SANTOS PRATES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2020<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

ENTRE HERAN\u00c7AS E MIST\u00c9RIOS: o Realismo Animista em Ponci\u00e1 Vic\u00eancio, de Concei\u00e7\u00e3o Evaristo e O alegre canto da perdiz, de Paulina Chiziane<\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

TAMIRES MAIARA SANTOS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2020<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

SLAM DO CORPO: MARGINALIDADE E DIFEREN\u00c7A \u2013 UMA LITERATURA MENOR<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

THEMIS FARIAS DE FRAN\u00c7A<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2020<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

ARQU\u00c9TIPO E CAN\u00c7\u00c3O EM CARLOS DRUMMOND DE ANDRADE<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

VIVIANA MARIA VIEIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2020<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A SEXUALIDADE PERIF\u00c9RICA EM O MULO, DE DARCY RIBEIRO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

VIVIANE RODRIGUES RIBEIRO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2019<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

VIAGENS EM PALAVRAS: Di\u00e1logos entre Passeios na ilha, de Carlos Drummond de Andrade, e Passeio a Ouro Preto, de L\u00facia Machado de Almeida<\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

AMANDA STEPHANIE RODRIGUES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2019<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A M\u00c1QUINA PROMESSAS DE AMOR A DESCONHECIDOS ENQUANTO ESPERO O FIM DO MUNDO DE PEDRO FRANZ<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ANDRE LUIZ FERREIRA DE OLIVEIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2019<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

O barro, a lama e a ressignifica\u00e7\u00e3o da inf\u00e2ncia n\u2019As mulheres de Tijucopapo, de Marilene Felinto<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

CHRISTIANE APARECIDA DURAES OLIVEIRA LUNA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2019<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

ASPECTOS DA TRADU\u00c7\u00c3O EM L\u00cdNGUA INGLESA DE UMA VIDA EM SEGREDO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

DANIELA DE AZEVEDO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2019<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

O DESEJO PEDOF\u00cdLICO EM CONTOS DE AUTRAN DOURADO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

DANIELA RODRIGUES SOARES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2019<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

As rela\u00e7\u00f5es de g\u00eanero e a cr\u00edtica \u00e0 fam\u00edlia em A Fal\u00eancia, de J\u00falia Lopes de Almeida, e Cabra- Cega, de L\u00facia Miguel Pereira<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

EGLA PEREIRA CRUZ<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2019<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Encenando o Desengano \u00e0 luz do Erotismo<\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

FABRICIOSAMUEL CARDOSO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2019<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

DE CORTI\u00c7O EM CORTI\u00c7O: MULHER E ESPA\u00c7O SOCIALNA OBRA MEM\u00d3RIAS DE MARTA, DE J\u00daLIA LOPES DE ALMEIDA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

GESSICA SABRINE PINHEIRO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2019<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

AMOR QUE T\u00c3O TERNAMENTE FERES \u2013 UM ESTUDO DAS RELA\u00c7\u00d5ES DE AMOR E EROTISMO NO ROMANCE EM NOME DO DESEJO (1983) DE JO\u00c3O SILV\u00c9RIO TREVISAN<\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

MABLY LOPES DE CASTRO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2019<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

FIGURA\u00c7\u00d5ES DO MASCULINO EM INVEN\u00c7\u00c3O A DUAS VOZES , DE MARIA JOS\u00c9 DE QUEIROZ<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

NADINY PRATES FIUZA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2019<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Representa\u00e7\u00e3o do Feminino: Espa\u00e7o e mito em Atire em Sofia, de S\u00f4nia Coutinho<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

NEMIA RIBEIRO ALVES LOPES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2019<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

DOIS CART\u00d3GRAFOS M\u00cdOPES E SUAS GEOPO\u00c9TICAS DOS SERT\u00d5ES DE CANUDOS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

PEDRO BORGES PIMENTA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2019<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Teia de vida: pol\u00edtica, modernismo e \u201cmineiridade\u201d na cr\u00edtica de Francisco Igl\u00e9sias<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

RENATA SOARES VELOSO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2019<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

AO SOM DA M\u00daSICA: RITMO, TEMPO E SONORIDADES NA NARRATIVA DE CAN\u00c3A, DE GRA\u00c7A ARANHA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ROSANGELA CARDOSO DE JESUS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2019<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A Representa\u00e7\u00e3o Social das Mulheres e as Tecnologias de G\u00eanero em Parque Industrial, de Patr\u00edcia Galv\u00e3o<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

TAISLANE VIEIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2018<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

AVE, VAQUEIRO: representa\u00e7\u00f5es do vaqueiro na fic\u00e7\u00e3o de Guimar\u00e3es Rosa<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ANDREA MENDES DE ALMEIDA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2018<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A experi\u00eancia do \u00caxtase: a composi\u00e7\u00e3o do corpo na po\u00e9tica de Ana C.<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

BRENDA KYMBERLLY SOUZA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2018<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

MACHADO DE ASSIS: HUMOR E IRONIA NAS ALUS\u00d5ES \u00c0S CONFISS\u00d5ES DE SANTO AGOSTINHO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

CARLOS HENRIQUE TEIXEIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2018<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

ANT\u00d4NIO D\u00d3: OS PERSONAGENS. Representa\u00e7\u00f5es do jagun\u00e7o na literatura de Manoel Ambr\u00f3sio e Petr\u00f4nio Braz<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

CRISTIANE ALVES DE ALMEIDA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2018<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

O COTIDIANO DAS LAVADEIRAS COMO REPRESENTA\u00c7\u00c3O SOCIAL EM O CORTI\u00c7O, DE ALU\u00cdSIO AZEVEDO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

CRISTIANE QUEIROZ DUARTE<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2018<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A EST\u00c9TICA DA GLOBALIZA\u00c7\u00c3O EM PASSAPORTE, DE FERNANDO BONASSI<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

DOCE MIRIAN VELOSO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2018<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

ABSURDO EXISTENCIAL E PO\u00c9TICA DO NONSENSE EM VACA DE NARIZ SUTIL E A CHUVA IM\u00d3VEL, DE CAMPOS DE CARVALHO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ELSON DIAS DE OLIVEIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2018<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

UMA CR\u00cdTICA PARADOXAL: o m\u00e9todo de Jo\u00e3o Luiz Lafet\u00e1<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ENOLIA NUNES FERREIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2018<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

CASAS E ROSAS: MET\u00c1FORAS DA (RE) CRIA\u00c7\u00c3O LITER\u00c1RIA EM \u00d3PERA DOS MORTOS E \u201cA ROSE FOR EMILY\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

FERNANDA MENDES OLIVEIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2018<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

PALAVRA-CORPO EM SUMIDOURO A figura\u00e7\u00e3o corp\u00f3rea da palavra em Olga Savary<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

FERNANDA XAVIER MAIA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2018<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Perspectivas do matrim\u00f4nio em El s\u00ed de las ni\u00f1as e em Senhora – reafirma\u00e7\u00e3o ou cr\u00edtica da tradi\u00e7\u00e3o?<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

JESSICA APARECIDA SOUZA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2018<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A REPRESENTA\u00c7\u00c3O FEMININA NO ROMANCE OUTROS CANTOS, DE MARIA VAL\u00c9RIA REZENDE<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

JULIANA SILVEIRA PAIVA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2018<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Sangue, alegoria e est\u00e9tica na escrita de Luiz Canabrava (Uma leitura de Sangue de Rosaura)<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

LEONARDO TADEU NOGUEIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2018<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

MARIANELA E MACAB\u00c9A: uma reflex\u00e3o sobre a pobreza e a orfandade em Marianela e A Hora da Estrela<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

RITA GABRIELA VIEIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2018<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Ouro Preto na fic\u00e7\u00e3o de Rui Mour\u00e3o (1991-2015)<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

TANIA TAMIRES DURAES ZUBA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2018<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

COSMOPOLITA MASCARADA: de Wilson a Cle\u00f3patra em Do fundo do po\u00e7o se v\u00ea a lua, de Joca Reiners Terron<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

THAIS MARQUES RODRIGUES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2017<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Era uma vez: regionalismo, est\u00e9tica e narratividade na fic\u00e7\u00e3o de Manoel Ambr\u00f3sio<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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AIMEE LAFETA GUIMARAES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2017<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

NOS BRA\u00c7OS DE ULISSES: Amor e mito em Uma aprendizagem ou O livro dos Prazeres, de Clarice Lispector<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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ALEXANDRE MANOEL FONSECA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2017<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

PASSEIOS PO\u00c9TICOS A CIDADE DE SABAR\u00c1 EM ESCRITOS MODERNOS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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CAMILA DE SOUZA RAMOS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2017<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Viol\u00eancia contra a mulher negra: Uma leitura de Insubmissas l\u00e1grimas de mulheres<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

CRISTIANE RODRIGUES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2017<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A inven\u00e7\u00e3o de uma terceira margem: dissolu\u00e7\u00e3o do sujeito e devir-rio<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

DANIEL SILVA MORAES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2017<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Douta loucura: uma abordagem dos contos “O alienista\", de Machado de Assis, e “O sistema do doutor Alcatr\u00e3o e do professor Pena\", de Edgar Allan Poe<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ELIZABETH DIAS LESSA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2017<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Maria Firmina dos Reis: a voz negra na Literatura Brasileira dos oitocentos<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

GERALDO FERREIRA DA SILVA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2017<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

DESCONSTRUINDO CLB: UM JOGO ER\u00d3TICO DE VELAR E (DES)VELAR<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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INGRID DA SILVA MARINHO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2017<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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(De)cifrando enigmas: o medo e a coragem no Grande Sert\u00e3o<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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JUNIA CLEIZE GOMES PEREIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2017<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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O COLAPSO DA I F\u00c2 CIA A CO TEMPORA EIDADE: figura\u00e7\u00f5es da viol\u00eancia infantojuvenil em 100 hist\u00f3rias colhidas na rua, de Fernando Bonassi<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

MIRIAM PEIXOTO DE FREITAS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2017<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Caminhos inusitados: reflex\u00f5es sobre a narrativa “A terra dos meninos pelados\", de Graciliano Ramos<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

PATRICIA BRAGA FERREIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2017<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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Engajamento em A morte e a morte de Quincas Berro d’\u00c1gua, de Jorge Amado<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

SAMARA PEREIRA BALEEIRO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2017<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Dimens\u00f5es quixotescas na narrativa “O alienista\", de Machado de Assis<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

SILVANA MENDES CORDEIRO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2017<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A identidade e o sujeito p\u00f3s-moderno em “O mulo\" de Darcy Ribeiro<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

SIMEIA DE BRITO OLIVA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2017<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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NARRATIVA DA DI\u00c1SPORA JUDAICA: Uma an\u00e1lise de O Centauro no Jardim, de Moacyr Scliar<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

THAIS RIOS DE AGUIAR<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2016<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

\u201cNovela das oito\u201d: g\u00eanero de formas em di\u00e1logo em poemas de Gilberto Mendon\u00e7a Teles<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

CARMELIA DANIEL DOS SANTOS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2016<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A REPRESENTA\u00c7\u00c3O DO LETRAMENTO EM NARRATIVAS DE INF\u00c2NCIA DE BARTOLOMEU CAMPOS DE QUEIR\u00d3S<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

CASSIA REGINA MACHADO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2016<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

ENTRE ESPELHOS E UNIC\u00d3RNIOS Representa\u00e7\u00f5es femininas em contos de resist\u00eancia de Marina Colasanti<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

CINTHIA FREITAS DE SOUZA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2016<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A f\u00e1bula na dramaturgia de Oscar Von Pfuhl: um estudo da est\u00e9tica, da moral e da consci\u00eancias em sua po\u00e9tica<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

CLAUDIA DE ANDRADE SOUTO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2016<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

EU SOU POESIA: a imagem transfigurada pelo olhar de Mario Quintana<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

EMANOELLE PATENTE SANTOS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2016<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

\u201cO SUBIR BAHIA E DESCER FLORESTA\u201d \u2013 A Rua da Bahia como espa\u00e7o para constru\u00e7\u00e3o das mem\u00f3rias de Pedro Nava e de Carlos Drummond de Andrade<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ERIKA PEREIRA SOARES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2016<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

GRANDE SERT\u00c3O: VEREDAS – UM CANCIONEIRO SERTANEJO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

FERNANDA NAYANNE BARBOSA E ALVES DE OLIVEIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2016<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

REPRESENTA\u00c7\u00d5ES DE CIGANAS EM CERVANTES, M\u00c9RIM\u00c9E E MACHADO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

IANNY LIMA MAIA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2016<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Representa\u00e7\u00f5es do Bacharel em Direito em Mem\u00f3rias P\u00f3stumas de Br\u00e1s Cubas e em Dom Casmurro, de Machado de Assis<\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

OS DIREITOS DE SIMOES S\u00c3O MOVIDOS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2016<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A HIST\u00d3RIA CONTA A HIST\u00d3RIA: MEM\u00d3RIA E NARRATIVIDADE EM LEITE DERRAMADO, DE CHICO BUARQUE DE HOLANDA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

LUIZA LELES OLIVA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2016<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Espelhar e\/ou refratar: uma an\u00e1lise das t\u00e9cnicas narrativas de Modesto Carone em Resumo de Ana\u00a0<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

RAYANE ARANTES SANTOS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2016<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

METAMORFOSE EM CONTOS DE MURILO RUBI\u00c3O: O INS\u00d3LITO COMO CR\u00cdTICA DA SOCIEDADE<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ROMANA TATIANE SOARES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2016<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

CENAS, QUADROS E ATOS G\u00caNERO E REPRESENTA\u00c7\u00c3O FEMININA NO TEATRO DE FRAN\u00c7A J\u00daNIOR<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ROSILENE SILVA SANTOS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2016<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

POLIFONIA, G\u00caNERO E VIOL\u00caNCIA EM A DAN\u00c7A DOS CABELOS, DE CARLOS HERCULANO LOPES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

SHANTYNETT SOUZA FERREIRA MAGALHAES ALVES\u00a0<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2015<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

DRUMMOND E A PUBLICIDADE: UM JOGO SEM\u00c2NTICO<\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ANDREA NOGUEIRA DO AMARAL FERREIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2015<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

ESPECTROS, MITOS E HIST\u00d3RIAS DE MINAS EM MADRINHA LUA, DE HENRIQUETA LISBOA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

DAIANA SANTOS MACHADO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2015<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A constru\u00e7\u00e3o das personagens femininas em Noite na Taverna<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

GERSIANE FRANCIERE FREITAS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2015<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

NA ESTRADA, SEM LA\u00c7OS: O retorno de Lilith em A Casa dos Budas Felizes<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

JULIANA ANTUNES BARRETO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2015<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Uma escrita \u00e0 margem: o romance Maria Dus\u00e1, de Lindolfo Rocha<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

JUNIA TANUSIA ANTUNES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2015<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

NAS \u00c1GUAS TURVAS DO DESCONHECIDO: UM ESTUDO DE UMA APRENDIZAGEM OU O LIVRO DOS PRAZERES, DE CLARICE LISPECTOR<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

KEDYLA SINTIA ALVES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2015<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

TRANSGRESS\u00c3O, VIOL\u00caNCIA E EROTISMO EM SUD\u00c1RIO, DE GUIOMAR DE GRAMMONT<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

LEONARDO RODRIGUES VIEIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2015<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

TUTAM\u00c9IA: O c\u00edrculo de prender perus e a escritura de Guimar\u00e3es Rosa<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

MAIRA PINHEIRO TAVARES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2015<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Escrita em Palimpsesto – uma leitura de Cartas para Mariana de Osmar Oliva<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

MARCIO ADRIANO SILVA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2015<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

PERSPECTIVAS EST\u00c9TICAS EM O FILHO DO PESCADOR, DE TEIXEIRA E SOUSA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

NOEMIA COUTINHO PEREIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2015<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

VERSIPROSA, DE CARLOS DRUMMOND DE ANDRADE: UMA PO\u00c9TICA IR\u00d4NICA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

SONIA PEREIRA DIAS FONSECA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2015<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Chica que manda e o projeto liter\u00e1rio de Agripa Vasconcelos<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

TARCISIO RAIMUNDO BENFICA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2015<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

INADEQUADOS E INCOMUNIC\u00c1VEIS: Um passeio pelas ru\u00ednas da modernidade nos contos de Luiz Vilela<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

THIAGO FAGUNDES SILVA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2015<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

RETRATOS DE MULHERES QUE AFIRMAM OU DESARRANJAM A TRADI\u00c7\u00c3O EM TODA NUDEZ SER\u00c1 CASTIGADA e LA CASA DE BERNARDA ALBA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

THIAGO LAMONIER SOUZA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2015<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

DO DISCURSO POL\u00cdTICO AO DISCURSO LITER\u00c1RIO: O (N\u00c3O) LUGAR DO NEGRO NA NA\u00c7\u00c3O IMAGINADA POR JOS\u00c9 DE ALENCAR<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ZILDETE LOPES DE SOUZA GON\u00c7ALVES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2014<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

NOT\u00cdCIAS EM VERSOS O processo de cria\u00e7\u00e3o em Carlos Drummond de Andrade<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ANDREIA PEREIRA DA SILVA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2014<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

VERSOS EM FESTA Signos da carnavaliza\u00e7\u00e3o liter\u00e1ria em Saciologia Goiana carnavaliza\u00e7\u00e3o liter\u00e1ria em Saciologia Goiana<\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

DAMARIS DE SOUZA RAMOS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2014<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Um presente de Morfeu? A ins\u00f3lita g\u00eanese de Uma vida em segredo<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ELIZABETH MARLY MARTINS PEREIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2014<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

FIGURA\u00c7\u00d5ES FEMININAS NO BORDADO TEXTUAL DE N\u00c9LIDA PI\u00d1ON: um estudo de Tempo das Frutas<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ILMAR RODRIGUES FERNANDES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2014<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

VELHICE DESEJANTE Sexualidade e envelhecimento na fic\u00e7\u00e3o de Lygia Fagundes Telles<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

JOSYE GONCALVES FERREIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2014<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

SERRANO DE PIL\u00c3O ARCADO: as mitopo\u00e9ticas do sert\u00e3o s\u00e3o-franciscano na saga de Ant\u00f4nio D\u00f3<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

JUDITE CORREA SANTOS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2014<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

LITERATURA E LOUCURA: A CARNALIDADE DA LOUCURA DE MAURA LOPES CAN\u00c7ADO EM \u201cHOSP\u00cdCIO \u00c9 DEUS\u201d<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

MARCIA MOREIRA CUSTODIO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2014<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

ARQUITETURA MUSICAL EM ACENOS E AFAGOS, DE JO\u00c3O GILBERTO NOLL<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

MARIA AMELIA CASTILHO FEITOSA CALLADO\u00a0<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2014<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

O duo ir\u00f4nico em S\u00e3o Bernardo: uma rela\u00e7\u00e3o palimps\u00eastica com Dom Casmurro<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

OSLEIDE BOTELHO DE FREITAS OLIVEIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2014<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

O CORPO E SUAS \u2015CRU\u00c9IS\u2016 EXIG\u00caNCIAS EM A VIA CRUCIS DO CORPO, DE CLARICE<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

PATRICIA LOPES DA SILVA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2014<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

O SER DE FLOR DA MORTE EM CENA: Exist\u00eancia e crise do sujeito moderno<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

RENATA MAURICIO SAMPAIO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2014<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

MEM\u00d3RIA E RECONHECIMENTO: UMA LEITURA DO POEMA \u201cESQUECIMENTO\u201d, DE CRUZ E SOUSA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ROSANE FERREIRA DE SOUSA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2014<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

POESIA E CR\u00cdTICA: TRILOGIA PO\u00c9TICA DE GILBERTO MENDON\u00c7A TELES UNIVERSIDADE<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ROSEMARY FERREIRA DE SOUZA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2014<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A reconstru\u00e7\u00e3o do protagonista Martim como uma quest\u00e3o de linguagem em A Ma\u00e7\u00e3 no Escuro, de Clarice Lispector [manuscrito]<\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

THEREZA CHRISTINA NARCISO MOEBOS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2014<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

IDENTIDADES E NARRATIVAS NA P\u00d3S-MODERNIDADE: Uma leitura d\u00b4O livro dos nomes, de Maria Esther Maciel<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

UMBELINA DA CONCEICAO MEDEIROS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2014<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

PO\u00c9TICA DO ELEFANTE: guerra e fragmenta\u00e7\u00e3o em A Rosa do Povo\u00a0<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

VALERIA DAIANE SOARES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2013<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Revista Klaxon: Est\u00e9tica e Ideologia Modernista na Cr\u00edtica e na Poesia de M\u00e1rio de Andrade<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ADALBERTO RAFAEL GUIMARAES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2013<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

O Guarani de Alencar: do texto aos quadrinhos: tradi\u00e7\u00e3o e m\u00eddia<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ARIANE LAURA DE SOUZA GALDINO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2013<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Ouro Preto: a cidade das letras no Romanceiro da Inconfid\u00eancia, de Cec\u00edlia Meireles<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

DEBORA DE SOUZA MENDES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2013<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

O erotismo em Viagem, de Cec\u00edlia Meireles<\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

DULCILENE BRITO LOPES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2013<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

TRANSCULTURA\u00c7\u00c3O EM MA\u00cdRA, DE DARCY RIBEIRO<\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ELISE APARECIDA DE OLIVEIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2013<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

UMA QUEST\u00c3O DE ESTILO? O Fragmento Liter\u00e1rio em \u00c1lvares de Azevedo<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ELIZANGELA FERNANDES BARBOSA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2013<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

CR\u00cdTICA, EFEITOS DE SUPERF\u00cdCIE E EROTISMO EM O V\u00d4O DA MADRUGADA, DE S\u00c9RGIO SANT\u2019ANNA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

FABIANA CARDOSO DA FONSECA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2013<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

UM DISPOSITIVO LABIR\u00cdNTICO: As identidades em Nove noites, de Bernardo Carvalho<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

FABIO PALMEIRA ELEUTERIO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2013<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

GILBERTO MENDON\u00c7A TELES: POESIA E ESCRITA DE SI<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

JACQUELINE BEATRIZ TEIXEIRA BARBOSA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2013<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Ascens\u00e3o feminina em \u201cD\u00e3o-Lalal\u00e3o\u201d: registros da modernidade no sert\u00e3o rosiano<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

JOELI TEIXEIRA ANTUNES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2013<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A (des)constru\u00e7\u00e3o do defunto estramb\u00f3tico de Machado: Da narra\u00e7\u00e3o ao voice-over<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

JOSELIA DOS SANTOS OLIVEIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2013<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

REPRESENTA\u00c7\u00c3O DA MULHER ESCRITORA EM V\u00c9SPERAS, DE ADRIANA LUNARDI<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

MARIA ZENEIDE DE MACEDO MELO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2013<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

O BAILE DE ESGRIMAS: REFLEX\u00c3O SOBRE A IRA E O DISCURSO COL\u00c9RICO EM CLARICE LISPECTOR<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

PABLO VINICIUS DIAS SIQUEIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2013<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Figura\u00e7\u00f5es do feminino em “Fuga em espelhos\", de Guiomar de Grammont<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

SANDRA RENATA FONSECA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2013<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Configura\u00e7\u00f5es do c\u00f4mico em Serafim Ponte Grande, de Oswald de Andrade<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

VIVIANE RODRIGUES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2012<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

MULHERES DE DUAS PONTES: a g\u00eanese e as representa\u00e7\u00f5es do feminino em O risco do bordado, no romance de Autran Dourado<\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ANA GABRIELA GONCALVES RIBEIRO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2012<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

Hipertextualidade em “O Cheiro de Deus\", de Roberto Drumond<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

DAIANE SILVA DE ANDRADE<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2012<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

DIMENS\u00d5ES DO ESPA\u00c7O: UMA ABORDAGEM DE INOC\u00caNCIA, DE VISCONDE DE TAUNAY<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

EDINILIA NASCIMENTO CRUZ<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2012<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A FISSURA DO DUPLO EM A EDUCA\u00c7\u00c3O PELA PEDRA: CONSOLIDA\u00c7\u00c3O DE UMA PR\u00c1TICA DE ANTILIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

EDNEIA RODRIGUES RIBEIRO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2012<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

NOS SOBRADOS DE MINAS: constru\u00e7\u00e3o da mem\u00f3ria e cria\u00e7\u00e3o liter\u00e1ria na autobiografia de Cyro dos Anjos<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

ELAINE GON\u00c7ALVES MACIEL<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2012<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

DO DESTOANTE AO DESTOADO: OS DESLOCADOS A literatura infantil de Clarice Lispector<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

FLAVIA ALVES FIGUEIREDO SOUZA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2012<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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REPRESENTA\u00c7\u00d5ES FEMININAS E IDENTIDADE NACIONAL Uma leitura aleg\u00f3rica de Luc\u00edola e Senhora, de Jos\u00e9 de Alencar<\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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GREICIELLEN RODRIGUES MOREIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2012<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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INCORPORA\u00c7\u00c3O DAS TENS\u00d5ES DA SOCIEDADE OITOCENTISTA PELA PO\u00c9TICA DE CRUZ E SOUSA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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HAMILTON CARLOS SOUTO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2012<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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Subverter e controlar: Dos modos de domina\u00e7\u00e3o em “A est\u00f3ria de L\u00e9lio e Lina\", de Guimar\u00e3es Rosa.<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

HELEN CRISTINA PEREIRA ROCHA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2012<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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DISCURSO E SUBJETIVIDADE EM LAVOURA ARCAICA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

JACQUELINE RIBEIRO DE SOUZA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2012<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A ESCRITA TRAVESTIDA DE DESEJO: Travestimento, Identidade e Homoerotismo em narrativas de L\u00facio Cardoso<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

LEANDRO JUNIO SANTOS QUEIROZ<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2012<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

M\u00fasica e sonoridade em A cidade ilhada, de Milton Hatoum<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

MARIA CECILIA GONCALVES DE CARVALHO ROCHA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2012<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

OS RITOS DE PASSAGEM PELO CORA\u00c7\u00c3O SELVAGEM DA VIDA: UM ESTUDO DE PERTO DO CORA\u00c7\u00c3O SELVAGEM, DE CLARICE LISPECTOR<\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

RODRIGO FELIPE VELOSO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2012<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

AGONIA DA CARNE: M\u00cdSTICA E EROTISMO EM A OBSCENA SENHORA D, DE HILDA HILST<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

THAISE MARIA DIAS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2012<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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PALAVRAS EM SUOR MAIOR: duas antologias po\u00e9ticas do Baixo Jequitinhonha na d\u00e9cada de oitenta.<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

THIAGO MACHADO DE MATOS SILVA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2012<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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PO\u00c9TICAS HIPERTEXTUAIS: REDES DE SENTIDO DA TRADI\u00c7\u00c3O E DA MEM\u00d3RIA EM A ROSA DO POVO E A HORA VAGABUNDA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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VANESSA LEITE BARRETO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2012<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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HABITANTE DA TARDE: O (n\u00e3o) lugar do poeta Em\u00edlio Moura<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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VIVIANA PEREIRA SILVA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2011<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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PRIMEIRAS E OUTRAS EST\u00d3RIAS Uma tradu\u00e7\u00e3o intersemi\u00f3tica da literatura para o cinema\u00a0<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

CACIO XAVIER PEREIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2011<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

OLHAR E MEM\u00d3RIA EM O AMANUENSE BELMIRO, DE CYRO DOS ANJOS\u00a0<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

CATIANA FERNANDES FERREIRA SILVA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2011<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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A TRADI\u00c7\u00c3O MEMORIAL\u00cdSTICA MINEIRA: a obra de Waldemar Euz\u00e9bio Pereira<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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DANILO AGUIAR MARTINS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2011<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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POL\u00cdTICA DA IRONIA Uma leitura d\u2019O presidente negro, de Monteiro Lobato<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

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EDILSON BARBOSA CARVALHO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2011<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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Entrem\u00eddias [manuscrito]: estudo de Brazileira! Preta, M\u00e1quina de Pinball e Vida de Gato, de Clarah Averbuck e de Nome pr\u00f3prio, de Murilo Salles<\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

EDNA MORAIS MARTINS DA SILVA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2011<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

MACHADO DE ASSIS E O MITO ANTISSEMITA A genealogia como contraponto cr\u00edtico ao estere\u00f3tipo do judeu em Pap\u00e9is avulsos<\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

GILSON PEREIRA NEVES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2011<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

A M\u00c1SCARA DO PAI MORTO – ESTUDO SOBRE O PATERNALISMO EM HELENA E CASA VELHA, DE MACHADO DE ASSIS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

JONATAS GONCALVES REGO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2011<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

METAMORFOSES, METALINGUAGEM E REPRESENTA\u00c7\u00d5ES FEMININAS EM CONTOS DE MURILO RUBI\u00c3O<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

JUCILENE DE LOURDES VIEIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

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2011<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

CRIME E LIBERTA\u00c7\u00c3O: Um estudo de A Ma\u00e7\u00e3 no Escuro, de Clarice Lispector<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

JULIO CESAR VIEIRA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2011<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

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ENTRE CAL\u00cdOPE E CLIO: a loucura sob a pena da Literatura e da Hist\u00f3ria<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

K\u00c9SIA TAVARES CELESTINO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2011<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

OS CAMINHOS EXISTENCIAIS EM O ENCONTRO MARCADO<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

MARCELO ANTUNES NEVES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2011<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

GRANDE SERT\u00c3O: VEREDAS \u2013 O SERT\u00c3O COMO DESVELAMENTO DA CONDI\u00c7\u00c3O HUMANA\u00a0<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

MARCELO NILO NARCIS MOEBUS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2011<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

MASCULINIDADE E ELITE IMPERIAL BRASILEIRA: UMA REINTERPRETA\u00c7\u00c3O DAS OBRAS RESSURREI\u00c7\u00c3O, A M\u00c3O E A LUVA, HELENA E IAI\u00c1 GARCIA\u00a0<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span> <\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

MARINA LEITE GONCALVES<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2011<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

AUS\u00caNCIA E TRANSCEND\u00caNCIA: VAZIO, NONSENSE E CRIA\u00c7\u00c3O EM TUTAM\u00c9IA \u2013 TERCEIRAS EST\u00d3RIAS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

SAMANTHA PIRES DOS SANTOS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2011<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

RITOS DE PASSAGEM: a inf\u00e2ncia em \u201cCampo Geral\u201d, de Guimar\u00e3es Rosa<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

TELLY WILL FONSECA DE ALMEIDA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n

\n

2011<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n

\n

TEMPO, MEM\u00d3RIA E TRADI\u00c7\u00c3O EM PAIX\u00d5ES ALEGRES, DE JOS\u00c9 ANT\u00d4NIO DE SOUZA<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/a><\/p>\n<\/td>\n

\n

WALDHETT BARBOSA MATOS<\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/span><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div><\/div><\/div><\/div><\/div><\/section>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":8,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"yoast_head":"\nDisserta\u00e7\u00f5es - Programa de P\u00f3s-Gradua\u00e7\u00e3o em Letras\/Estudos Liter\u00e1rios<\/title>\n<meta name=\"robots\" content=\"index, follow\" \/>\n<meta name=\"googlebot\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta name=\"bingbot\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.posgraduacao.unimontes.br\/ppgl\/dissertacoes\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Disserta\u00e7\u00f5es - Programa de P\u00f3s-Gradua\u00e7\u00e3o em Letras\/Estudos Liter\u00e1rios\" \/>\n<meta property=\"og:description\" content=\"Ano T\u00edtulo Autor 2025 AMIZADE, HOMOSSOCIABILIDADE E DOEN\u00c7A NA CORRESPOND\u00caNCIA ENTRE MACHADO DE ASSIS,MAGALH\u00c3ES DE AZEREDO E M\u00c1RIO DE ALENCARa> MARIANNA DE MOURA COTTA 2025 AS TESSITURAS DE COLASANTI: ENTRE(LA\u00c7OS) E SERPENTES, O LEITOR S\u00d4NIA ALVES DOS SANTOS FERNANDES 2025 INTERSEC\u00c7\u00d5ES FEMININAS NO ROMANCE PEDA\u00c7OS DA FOME DE CAROLINA MARIA DE JESUS C\u00c1SSIA APARECIDA GUEDES […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.posgraduacao.unimontes.br\/ppgl\/dissertacoes\/\" \/>\n<meta property=\"og:site_name\" content=\"Programa de P\u00f3s-Gradua\u00e7\u00e3o em Letras\/Estudos Liter\u00e1rios\" \/>\n<meta property=\"article:modified_time\" content=\"2026-03-17T13:07:28+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.posgraduacao.unimontes.br\/ppgl\/#website\",\"url\":\"https:\/\/www.posgraduacao.unimontes.br\/ppgl\/\",\"name\":\"Programa de P\\u00f3s-Gradua\\u00e7\\u00e3o em Letras\/Estudos Liter\\u00e1rios\",\"description\":\"Universidade Estadual de Montes Claros - Unimontes\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":\"https:\/\/www.posgraduacao.unimontes.br\/ppgl\/?s={search_term_string}\",\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"pt-BR\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.posgraduacao.unimontes.br\/ppgl\/dissertacoes\/#webpage\",\"url\":\"https:\/\/www.posgraduacao.unimontes.br\/ppgl\/dissertacoes\/\",\"name\":\"Disserta\\u00e7\\u00f5es - Programa de P\\u00f3s-Gradua\\u00e7\\u00e3o em Letras\/Estudos Liter\\u00e1rios\",\"isPartOf\":{\"@id\":\"https:\/\/www.posgraduacao.unimontes.br\/ppgl\/#website\"},\"datePublished\":\"2021-02-01T14:47:54+00:00\",\"dateModified\":\"2026-03-17T13:07:28+00:00\",\"inLanguage\":\"pt-BR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.posgraduacao.unimontes.br\/ppgl\/dissertacoes\/\"]}]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","_links":{"self":[{"href":"https:\/\/www.posgraduacao.unimontes.br\/ppgl\/wp-json\/wp\/v2\/pages\/920"}],"collection":[{"href":"https:\/\/www.posgraduacao.unimontes.br\/ppgl\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.posgraduacao.unimontes.br\/ppgl\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.posgraduacao.unimontes.br\/ppgl\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/www.posgraduacao.unimontes.br\/ppgl\/wp-json\/wp\/v2\/comments?post=920"}],"version-history":[{"count":90,"href":"https:\/\/www.posgraduacao.unimontes.br\/ppgl\/wp-json\/wp\/v2\/pages\/920\/revisions"}],"predecessor-version":[{"id":3043,"href":"https:\/\/www.posgraduacao.unimontes.br\/ppgl\/wp-json\/wp\/v2\/pages\/920\/revisions\/3043"}],"wp:attachment":[{"href":"https:\/\/www.posgraduacao.unimontes.br\/ppgl\/wp-json\/wp\/v2\/media?parent=920"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}