Abstract The road novel genre, established by Jack Kerouac with the publication of On the road (1957), has as its main characteristic the narrative of the characters' journey, focusing on displacement. In its beginnings, the genre was produced by male authors and it was about the trajectory of the characters, also male, from one side to the other without a certain destination or motivation. However, nowadays, more and more women have appropriated the genre and modified it, as in Sing, unburied, sing, by Jesmyn Ward, published in 2017. Thus, this text aims to understand how the characters experience the journey and how black mobility is influenced by social constructions. The novel points to the difficulty that exists in relation to the appropriation of space by the black body, whose supposed notion that the automobile provides everyone with freedom of movement is constantly questioned by the fear present inside the car.

Resumo O gênero road novel, estabelecido a partir de Jack Kerouac com a publicação de On the road (1957), tem por principal característica a narrativa da viagem das personagens, com foco no deslocamento. Em seus primórdios, era produzido por autoria masculina e abordava a trajetória de personagens, também masculinos, de um lado para o outro sem destino ou motivação certa. Contudo, contemporaneamente, cada vez mais mulheres tem se apropriado do gênero e o modificado, como em Sing, unburied, sing, de Jesmyn Ward, publicado em 2017. Assim, este texto tem como objetivo entender como os personagens vivenciam a viagem e como a mobilidade negra é tangenciada por construções sociais. O romance aponta para a dificuldade existente em relação à apropriação do espaço pelo corpo negro, cuja suposta noção de que o automóvel proporciona a todos a liberdade de deslocamento é constantemente questionada pelo medo presente dentro do carro.

Abstract The purpose of this article is to report the process of building the international identity of Universidade Federal de Santa Catarina (UFSC), focusing on the Institutional Translation work carried out by its Translation Service at the International Relations Office (SINTER). We present the actions carried out between 2016 and 2022 that have contributed to expanding and standardizing institutional communication in English and giving greater visibility to the institution in the global scenario. Among such actions, we would like to highlight: the translation of institutional websites; the compilation of a Portuguese-English glossary, containing terms relevant to UFSC academic and administrative structure; and the creation of a writing guide in English. These and other complementary actions sought to approach the university community, joining efforts for the process of Comprehensive Internationalization underway at UFSC.

Resumo Este artigo relata o processo de construção da identidade internacional da Universidade Federal de Santa Catarina (UFSC), a partir do trabalho de Tradução Institucional realizado pelo Serviço de Tradução da Secretaria de Relações Institucionais (SINTER). Apresentamos as ações realizadas entre 2016 e 2022 que contribuíram para ampliar e uniformizar a comunicação institucional em língua inglesa e dar maior visibilidade à instituição no cenário global. Dentre elas, destacam-se: a tradução de websites institucionais; a disponibilização de um glossário português-inglês, contendo termos relevantes da estrutura acadêmica e administrativa da UFSC; e a elaboração de um guia de redação em língua inglesa. Essas e outras ações complementares buscaram aproximação com a comunidade universitária, unindo-se aos esforços do processo de internacionalização transversal em curso na UFSC.

Abstract This article examines the notebooks that Oscar Wilde kept for his Literae Humaniores studies at the University of Oxford and connects them to his maturity works to explain some of the aspects of the influence of Ancient Greek Literature on his modern conception of art criticism. Specifically, this article explains how he exploited certain ideas formulated by his precursors—such as Matthew Arnold’s idea of criticism, Walter Pater’s idea of impressionistic criticism, and John Addington Symonds’ idea of the regency of a canonical art—to substantiate a bold proposal to Victorian intelligentsia and cultural circles: namely, that, in Victorian Modernity, the critic should be raised to the condition of artist and her criticism to the condition of an art in itself.

Resumo Este artigo examina os cadernos que Oscar Wilde utilizou para seus estudos no curso de Literae Humaniores na Universidade de Oxford e os conecta às suas obras de maturidade para esclarecer alguns aspectos da influência da literatura grega antiga sobre sua concepção moderna de crítica de arte. Mais especificamente, este artigo esclarece como ele se valeu de certas ideias elaboradas por seus precursores—como a de crítica elaborada por Matthew Arnold, a de crítica impressionista elaborada por Walter Pater e a da regência de uma arte canônica elaborada por John Addington Symonds—para substanciar uma proposta bastante ousada à intelectualidade e ao meio cultural vitorianos: a de que na modernidade vitoriana o crítico deve ser elevado à condição de artista e sua crítica à condição de arte por sua própria conta.

Abstract This article aims to investigate challenges of the (co)existence between humans and posthumans represented in two contemporary works of fiction: the novel Klara and the Sun (2021), by Kazuo Ishiguro, and the film After Yang (2021), by Kogonada. Both works narrate the effects of the presence of posthuman individuals in human families. The present text will be organized considering two focus points: firstly, the way in which those works of fiction problematize notions of human and posthuman identities, especially taking into account questions such as memory, race and faith; secondly, the manners in which these technological beings are inserted into the context of human families. Thus, this article intends to demonstrate how Klara and the Sun and After Yang are works which test the limits of posthuman representation, questioning essentialist humanist paradigms.

Resumo Este artigo objetiva investigar desafios da (con)vivência entre seres humanos e pós-humanos representados em duas obras de ficção contemporânea: o romance Klara e o Sol (2021), de Kazuo Ishiguro, e o filme After Yang (2021), de Kogonada. Os dois trabalhos narram os efeitos da presença de indivíduos pós-humanos em famílias humanas. O presente texto será organizado a partir de dois focos de análise: primeiramente, a maneira que essas obras de ficção problematizam noções de identidade humana e pós-humana, especialmente considerando questões como memória, raça e fé; e em segundo lugar, as formas que esses entes tecnológicos se inserem em um contexto familiar humano. Sendo assim, esse trabalho pretende mostrar como Klara e o Sol e After Yang são obras que testam os limites da representação pós-humana, questionando paradigmas essencialistas do humanismo.

Abstract Quite widespread in the United States, the term “speculative fiction” indicates an extensive literary production in which alternative conjunctures, times and spaces have been imagined, resulting in a literary corpus rich in meanings. This article demonstrates how speculative fiction, a controversial concept, reflects the human condition from its specific mechanisms. Following the theoretical discussion, the article offers an analysis of the short story “The Visit” (2021), by the renowned writer Chimamanda Ngozi Adichie, part of the anthology Black Stars. The investigation shows how “The Visit” can be read as an example of speculative literature, adding to it the author’s own feminist gaze. This could be implied from the fact that the artistic use of speculative elements results in a work that instigates readers to rethink the absurdities of gender inequality based on the literary creation of an oppressive matriarchy.

Resumo Bastante difundido nos Estados Unidos, o termo “ficção especulativa” indica uma extensa produção literária na qual conjunturas, tempos e espaços alternativos têm sido imaginados, resultando em um corpus literário rico de significados. Este artigo demonstra de que forma a ficção especulativa, conceito controverso, reflete a condição humana a partir de seus mecanismos específicos. Em sequência à discussão teórica, o artigo oferece uma análise do conto “The Visit” (2021), da consagrada escritora Chimamanda Ngozi Adichie, parte da coletânea Black Stars. A investigação evidencia como “The Visit” pode ser lido como exemplo de literatura especulativa, acrescentando a ela o olhar feminista que é próprio da autora. Isso pôde ser depreendido tendo em vista que o uso artístico dos elementos especulativos resulta em uma obra que instiga leitoras e leitores a repensar os absurdos da desigualdade de gênero a partir da criação literária de um matriarcado opressor.

Abstract The present paper discusses the United-Statesian TV show Buffy the Vampire Slayer reassessing its protagonist, Buffy Summers, in 2022, twenty-five years after its first broadcasting. As a teenage girl turned into a vampire/demon hunter, Buffy undergoes significant changes in relation to her calling as a slayer. Reluctant at first, she comes to terms with her responsibilities later in the series, in a movement that echoes Joseph Campbell’s definition of the monomyth. The authors propose to discuss Buffy’s changes throughout the series, emphasizing key narrative moments, in order to illustrate how the character evolves from what could be perceived as an archetype similar to the “final girl” to a (feminist?) heroine. Additionally, the authors comment on the abuse allegations against Buffy’s creator Joss Whedon, and how they relate to the series’ legacy twenty-five years later.

Resumo O presente trabalho discute a série de TV estadunidense Buffy, A Caça-Vampiros, reconsiderando sua protagonista, Buffy Summers, em 2022, vinte e cinco anos após sua primeira transmissão. Uma adolescente transformada em caçadora de vampiros/demônios, Buffy sofre mudanças significativas em relação a seu chamado como caçadora. Inicialmente relutante, ela passa, mais tarde na série, a aceitar suas responsabilidades, em um movimento que ecoa a definiçào do monomito desenvolvida por Joseph Campbell. Os autores propõem discutir as mudanças de Buffy na série, enfatizando importantes momentos narrativos, de forma a ilustrar como a personagem evolui do que pode ser visto como urn arquétipo similar ao da "final girl" para uma heroína (feminista?). Além disso, os autores comentam sobre as acusações de abuso por parte do criador da série, Joss Whedon, e como elas interferem no legado da série vinte e cinco anos depois.

Abstract This article presents a critical reading of the novels Parable of the Sower (2018) and Parable of the Talents (2019) by the African-American author Octavia E. Butler, focusing on the analysis of the different representations and experiences of marginalized bodies in these dystopic productions. In the context of these narratives, it is understood that marginalized bodies are those who suffer most from the effects of an unstoppable capitalist exploitation, a climate crisis with no precedents and the inability of government administration. This category includes bodies of different races, genders, ages and others. The theoretical support used comprises mainly notions of body exposed in the works A sociologia do corpo (2007), by David Le Breton, Microfísica do Poder (1998), by Michel Foucault and Changing Bodies in the Fiction of Octavia Butler: Slaves, Aliens, and Vampires, by Gregory Hampton (2010).

Resumo Este artigo apresenta uma leitura crítica dos romances A Parábola do Semeador (2018) e A Parábola dos Talentos (2019) da autora afro-americana Octavia E. Butler, com foco na análise das diferentes representações e experiências de corpos marginalizados nessas produções distópicas. No contexto dessas narrativas, entendem-se corpos marginalizados como aqueles que mais sofrem pelos efeitos de uma exploração capitalista desenfreada, de uma crise climática sem precedentes e da incapacidade de gerência do governo. Nessa categoria, incluem-se corpos de diferentes raças, gêneros, idades, entre outros. O suporte teórico utilizado compreende principalmente noções de corpo expostas nas obras A Sociologia do Corpo, de David Le Breton (2007), Microfísica do Poder, de Michel Foucault (1998) e Changing Bodies in the Fiction of Octavia Butler: Slaves, Aliens, and Vampires, de Gregory Hampton (2010).

Abstract Grace Darling Wetherbee Coolidge’s 1917 book Teepee Neighbors is a little-known collection of twenty-nine sketches of Indian life on the Wind River Reservation, Wyoming, where she worked as a missionary from 1902 to 1910. Only recently have Coolidge’s personal papers been made publicly available by the Pioneers Museum in Colorado Springs, Colorado, allowing scholars to investigate the true contours of her life for the first time. These primary source materials shed new light on a woman who—though born to great privilege in New York City—rejected a life of leisure and wealth in favor of a subsistence existence on a remote Indian reservation, devoted to charitable acts. This paper offers the first accurate essay-length biographical treatment of Grace Coolidge. It as well analyzes selections of her Teepee Neighbors as an attempt to generate sympathy among white readers for a colonized people, the Arapaho, and to offer a critique of Euro-American society from the standpoint of the communal Indian values she encountered at Wind River. Coolidge’s project, however, is ultimately hampered by her own ethnocentrism and admitted inability to understand Indian cultures.

Abstract Cece Bell released her autobiographical comic El Deafo (2014) in print and digital versions, transposing herself into the anthropomorphic rabbit Cece, who speaks of her hearing loss experience at four after having contracted meningitis. Young Cece wears a hearing aid on her long rabbit ears, showing her animal, human, and technological hybrid body to others. Nevertheless, she assumes the identity of the superhero “El Deafo,” her alter-ego, to cope with her daily challenges in a community composed mostly of hearing individuals, first as an escape to her imaginary world and later for accepting her identity as deaf. This paper aims to analyse El Deafo as an autobiographical comic, considering the representation of deafness through an unstable hybrid body and a transgression of the narrative levels based on the notion of metalepsis, drawn by Genette, Kukkonen, and Ryan in various media.

Abstract In Alice Munro’s short story “Boys and Girls,” society’s involvement in creating gendered lives is narrated by an eleven-year-old girl. To provide a linguistic analysis of her psychosexual development shaped by her family, in this study, all utterances are analyzed by employing a theoretical framework composed of Austin’s (1962) Speech Act Theory and Lipsitz Bem’s (1981) Gender Schema Theory. Analysis of the utterances postulates that the family’s stereotypical and value-ridden statements affect the child’s understanding of the making of a woman as the narrator’s psychosexual development occurs under the influence of sex-typed individuals who mainly use implicit performatives primarily marked as verdictive utterances. Hence, the narrator’s immediate social environment exerts their authority and power through specific linguistic constructions, as exemplified in the forceful use of the verdictives.

Abstract This paper focuses on the narratological aspect of the setting as informed by the distinguishing concepts of “place” and “space” championed by the humanist geographer Tuan (2012, 2001). To explore such aspects, we chose three short stories written by African women writers that keep the African continent as the main setting: “Leaving Lamu”, by Lily Mabura (Kenya); “Porcelain”, by Henrietta Rose-Innes (South Africa), and “The Homecoming” by Milly Jafta (Namibia). In our close reading and comparison of the short stories, we highlight how the space described becomes a place for the protagonists. We also resort to postcolonial assumptions (Ashcroft et al., 2013) to inform the reader on the idiosyncrasies of a continent, still seen as “exotic” by many, whose subtleties, through the literary practice, become familiar, as they are, above all, humane.

Resumo Este artigo enfoca o aspecto narratológico do cenário conforme os conceitos distintos de “espaço” e “lugar” defendidos pelo geógrafo humanista Tuan (2012, 2001). Para explorar tal aspecto, selecionamos três contos de autoras africanas contemporâneas que mantêm o continente africano como cenário principal: “Leaving Lamu” de Lily Mabura (Quênia); “Porcelain” de Henrietta Rose-Innes (África do Sul), e “The Homecoming” de Milly Jafta (Namíbia). Em nossa análise e comparação dos contos, detalhamos como o espaço descrito em cada uma das histórias se torna um lugar para cada uma das protagonistas. Recorremos também a pressupostos pós-coloniais (Ashcroft et al., 2013) para informar o leitor sobre as idiossincrasias de um continente, ainda visto como “exótico” por muitos, cujas sutilezas, por meio da prática literária, se tornam familiares, pois são, acima de tudo, humanas.

Abstract Nidhi Chanani in her debut graphic novel, Pashmina synthesizes the diasporic dilemma of dislocation and relocation in a multicultural context through Nimisha’s character. As a first-generation immigrant, Nimisha projects the concept of “cultural transplantation” in a diasporic setting. She represents the Indian-American women and brings out their quandaries, joys, and sorrows during their struggle between relocation and acculturation. Seen through the eyes of Priyanka, Pashmina charts Nimisha’s quest for identity in India and the diaspora. Trough the psychological, cultural, and generational conflict of Nimisha and her daughter, Nidhi Chanani presents a mother-daughter duo to us who challenge the traditional concept of diasporic womanhood in various ways. The present paper demarcates the zones of Nidhi Chanani’s female diasporic characters’ confirmation of the prevalent diasporic theories and their breaking from them. It further proceeds to focus on how the traditional concept of diasporic victimhood and forced exile has given way to emancipation and identity formation. Finally, the article examines how the graphic novel presents America as a total antithesis to India: although geographically alien, the country is perceived by immigrant women as a place in which they can survive with dignity and respect. Nimishas s character firstgeneration first generation cultural transplantation setting IndianAmerican Indian American quandaries joys acculturation Priyanka diaspora psychological daughter motherdaughter mother ways Chananis characters them formation Finally alien respect

Abstract Taking into account Rita Felski’s (1995) discussion on stereotypical representations of women in modernity and the New Woman movement, in this paper we analyse George Egerton’s short story “The Regeneration of Two” (1894) from the perspective of Donna Haraway’s cyborg imagery and the concept of cyborg writing. We demonstrate that “The Regeneration of Two” dialogues with Haraway’s proposition of a cyborg writing as it opposes an oppressive patriarchal system with the creation of a women’s community. To do so, we explore two main aspects of cyborg imagery present in the short story: the fractured identities and the community of political kinship, resulting in a subversive “cyborgian epiphany.” This epiphany informs Egerton’s progressive and intersectional representation of gender relations and of women’s writing part and parcel of the late 19th-century radical feminist New Woman movement.