This study has the objective to analyze the relationship between body and mind in Alexander Lowen´s publications to discuss how the body illness is related to the character structures. For this, we seek to know how the body appears as a concept in the perspective presented by the author; discuss how is and how historically builds the relationship between body and mind in his approach; know how the character and illness concepts were built in his theory; discuss how the author develops the relationship between both. It was assumed as hypothesis that the character appears as an important joint point between mind and body and that its constitution is related to the body illness. Bibliographic and qualitative research was used, and the method used was Categorical Content Analysis of Lowen publications, his precursors and also of current articles on the topic. Five categories were developed to analyze the collected information: child development; the concept of energy; the relationship between the ego and the body; the emotions and sexuality; and the individual's relationship with the historical and social context in which they live. We conclude that the character appears as a fundamental and resulting element in the relationship between mind and body and that its constitution follows the same function of the illness, which is to react to a stressor element and restore the body's balance. Therefore, there is a relationship between them, since different types of character handle the particular disease forms. It is noticed that individuals with a combination of oral and rigid traits have unique characteristics that make them more prone to bodily illness than individuals with other character structures. This way of categorization changes among the author´s publications. We emphasize the importance of the concepts discussed by Lowen in structuring his theory and in developing a perspective in psychology that addresses the body and mind in an integrated manner.

Insanity as social object, is composed by a discourse networking, that have outlined a broad way in arts in general and specially in literature. Many writers from the national canon performed the esthetics crossing by the insanity route and have been legated to the universe of the exciting letters reflections about the insanity phenomenon. Bernardo Élis makes part of this group, and by the way, the Brazilian writer exposed the signs of the hard reality experienced by the man who lived in the wilds of Brazil and with this consolidated artistically the insanity fate as a key element of interpretation of small goianas communities in mid-century XX. So, esthetically represented, the insanity becomes to be the metaphor of spoiled identity and the madman, by his time, becomes to be the difference subject. Following also in this way, with this study intends to reflect about of numerous speeches socially constructed in relation to the insane person and the insane representation in some tales from Ermos e Gerais (1944), namely: “O louco da sombra”, “A virgem santíssima do quarto de Joana”, “André Louco”. From the analysis of language, observation of the antics narrator, and the composition of character, whose objective is to find if the literary text protects itself as space of emancipation, knowledge of each other from themselves, or, reinforces the negatives stereotypes of the socially marginalized groups. For this agreement, this study will base on philosophic assumptions from Michel Foucault about the insanity.

Following a general trend of the human sciences, the arrival of post-modernity in literary studies has culminated in the so-called “death of the author”. With resonances that can be noted in some theorists as Roland Barthes (2004), Michel Foucault (2006, 1996), Umberto Eco (2005, 2003, 2004, 2001, 1986), Stanley Fish (2003, 1990) and Linda Hutcheon (2000; 1991; 1984), the post-modern distrust in meaning and the conviction that what a literary work means not only does not depend on the author but also finds in him an obstacle to the reader’s creativity are widely disseminated notions that have found their place in the metafiction theory by means of Hutcheon (1991; 1984), and Patrícia Waugh (1984). However, in this thesis, based on the assumptions of the hermeneutic realism theory, an interpretive approach according to which the meaning of a text is prior to its reading and is in many respects does not dependent on it, I propose to review the role of the author in metafictional novels, searching for appropriate readings for such novels. My theory is that author and writer are separate entities and that, among the four sources of enunciation of a novel (writer, author, narrator and character), the author is the one responsible for opening the work, activating the reading and actualizing the metafictionality. By means of a dialogue with theorists from several fields of the human sciences, I seek to defend the author from his opponents and show that, in the relationships he establishes with the character in novels of protagonist writer (as in A Rainha dos cárceres da Grécia, Bufo & Spallanzani and O Chalaça), the metafictional author addresses us, making communicative calls to us, and calling our attention to the fictionality of the text. So, what I do in this thesis is to show that since the attacks to the notions of person, intention and interpretive authoritarianism may even relate to the writer , but never to the author, he cannot and should not be killed. The author, I seek to prove, is a constitutive element of fictional language and is also the other with whom we communicate in reading metafictional novels. The result is that our interaction with such aesthetic person is essential in order that, through the distinction of the voices of the writer, narrator and character, we may be able to read these novels without making problematic interpretations.

With this dissertation we aim to analyze Nietzsche writings on Descartes, focusing mainly, but not exclusively, on the book Beyond Good and Evil. Our central hypothesis is that such mentions, in a critical perspective, are configured by Nietzsche as controversy, as an argumentative strategy of philosophical opposition to Descartes as a character, forming tensions with the grounds and the edges of the early modernity. In other words, Descartes, as Nietzsche writes about him in Beyond Good and Evil, would be a character that, as a magnifying glass, works as a rhetorical element to display problems barely noticed, aside and remaining elements that, despite their marginality, would tacitly rule modernity. The result of this approach, coupled with our defense of Descartes as a character in Beyond Good and Evil, will be an exposition of some limits of the Cartesian philosophical project, relatively to those aside and remaining elements. In addition, some Nietzsche's new determinations will be underlined, such as an organic sense identified through thought, this as an element of the body; a meaning of conscious thoughts as ruled by instincts; subjectivity as an expression of the gregarious demands of the species and the self as a silent expression of individuality.

In dealing with the reading of the Machadian short stories, some recurring features do not cease to be noticed. Among of a series of contexts that are worth mentioning, we notice, for example, that the author chooses scenarios with the presence of characters usually privileged by the legal environment or that, at least, are graduates. In this sense, the reader of Machado de Assis is naturally exposed to plural themes and knowledge that involve Law. On account of all this, in order to perform a research on the construction of this character in certain literary creations of the writer, three short stories were selected: "Virginius (narrative de um advogado)", "Ex Cathedra" and "Suje-se Gordo!". Some of these narratives even address the way the labors were solved at the time when they were published. Not only that, but they also present legal situations with the involvement of graduates or, frequently, even of lawyers already established. There are several angles in which he appears: sometimes as the main character, acting as the narrator of the plot. By the exposed, as the main goal, this paper proposes an analysis from the point of view of the character privileged by the legal environment on the three short stories chosen from the referred author. The main methodological approach for this study is the theoretical research, based on a bibliographical reference. Under this assumption, we perform an overview on the theoretical framework, in special when regarding the narrative texts selected for analysis. Concerning the main researchers for research and grounding, it is worth to stand out Gustavo Tadeu Alkmim (2008) and Roberto Schwarz (1988) concerning the plurality of the themes found in the Machadian plots; Antonio Candido (1977), Alfredo Bosi (2002), Leonardo Affonso Pereira (1968), Miguel Matos and Cassio Schubsky (2008) on the biography and different activities to which the author was dedicated; Sergio Buarque de Holanda (1936), Alfredo Bosi (2007), °At-is Borges Filho (2007), Marisa Gama-Khalil (2008) and Valdeci Rezende Borges (2000 and 2007) to talk about the city of Rio de Janeiro at the time of Machado and as an observational material for his writings; Nadia Battella Gotlib (1985) and John Gledson (2005) about the chronicler face of the author; Jose Wanderley Kozima (1996), besides Miguel Matos and Cassio Schubsky (2008) once again, to mention the presence of the legal world also in Machado's life; Gustavo Tadeu Alkmim (2008) one more time and Luiz Carlso Cancellier de Olivo (2007) regarding the Mark Law in the literary production of "Bruxo do Cosme Velho"; Roberto Schwarz (1990), Gilberto Freyre (2006), Beth Brait (1985), Oswald Ducrot and Tzvetan Todorov (1972), Massaud Moises (1992) and Aristotle (s/d) with respect to the character and also the construction of the Machadian interpreters; Antonio Candido (2011), Ligia Chiappini Leite (1985) and Therezinha Mucci Xavier (1986) for the analysis of the short story "Virginius (narrativa de urn advogado)"; Antonio Dimas (1985) and Rodrigo de Avelar Breunig (2006) in regard to the understanding of "Ex Cathedra"; Ana Helena Armange (2014) and once more the authors Nadia Battella Gotlib (1985) and Marisa Gama-Khalil (2008) for the work with the narrative "Suje-se Gordo!", among a series of other authors studied, classic and contemporary.

Em Aspectos do romance (1927), E. M. Forster discorre a respeito do que ele considera como as partes essenciais de um romance. No capítulo sobre personagens, o autor aborda uma questão já muito discutida à época: a do ponto de vista narrativo. Enquanto romancista e crítico, no entanto, Forster não considera a questão como central para os estudos narrativos, no lugar dedicando a maior parte do capítulo à distinção entre personagens planas e redondas. Para o autor, discussões sobre ponto de vista seriam um preciosismo mais importante para os críticos do que para os leitores ou para o romancista, cuja preocupação maior seria fazer a obra “tocar” o leitor. Aos longo dos anos, a obra crítica de Forster se destacou justamente pela distinção entre tipos de personagens delineada por ele, mas, de lá para cá, enquanto críticos como Antonio Candido, por exemplo, se apoiaram em sua tipologia, outros se opuseram ao rechaço de Forster ao ponto de vista. Sobre uma de suas obras mais aclamadas, o romance Uma passagem para a Índia (1924), seria possível afirmar que seu sucesso se deve apenas a um bom mix de personagens (planas e redondas) e a uma trama que “toca” o leitor? Por trás da construção das personagens principais não haveria uma perspectiva enunciativa que guiaria o leitor e interferiria na caracterização tanto dos protagonistas quanto das personagens secundárias? Uma voz, um narrador, com sua perspectiva enunciativa, não traria para a descrição das personagens e para a organização do enredo como um todo gostos, opiniões e visões de mundo perceptíveis na própria linguagem? Esta pesquisa buscou responder justamente a essas e outras perguntas, colocando partes da obra ficcional de Forster em diálogo cerrado com sua visão crítica, com o intuito de identificar marcas linguísticas que evidenciam uma voz e seu ponto de vista no romance supracitado. Para tal, foram usadas como aporte teórico-metodológico teorias como a do dialogismo e a noção de heterodiscurso de Mikhail Bakhtin, estudos de Daniel-Henri Pageaux sobre imagologia e imaginário, a abordagem enunciativa do ponto de vista (PDV) de Alain Rabatel e a visão de Dominique Maingueneau sobre posicionamento discursivo e formação de ethos narrativo. Essas obras serviram para mapear o romance de Forster, destacando evidências linguísticas de um ponto de vista que nortearia a construção de suas personagens e enredo e sem o qual a obra não seria reconhecida como é hoje