Rosangela Rennó’s photographic exhibition Cicatriz (Scar) (1996) introduces a disturbing search into the House of Detention’s photographic collection, in São Paulo. The institutional files looks like a stagnant combination of inertia and both official and group stigma until the moment when Rennó seeks the affection, the poetry, the sign’s revolt and resistance that can denounce a muted Other. The photograph, then, reveal the cultural tissue which previously could not be named: the previously misty image begins to work in an area of repression, open in its distressing condition that erases the boundaries considered rational and homogeneous. A harrowing set of prisoner’s tattoos is presented and demonstrate the painful writings of a subordinate Self. From the deconsecration of the photographic mirror a land is opened for the reading of epithelial texts healed as discourses anointed in marginal flesh.

The impact of Cultural Studies contributes to the expansion of the array of issues addressing literaryproductions seeing as, within this new theoretical perspective, literature is studied as a cultural practice that doeslisten to the multiple voices spoken by other areas of knowledge. Cultural Studies broaden the horizon of the criticaleye without loosing sight of the literary text as one of the meeting and departure points in relation to narratives andidentities in a specific culture, intersected by a multitude of traits of difference.

this essay aims to address the problem of identitary movements of a Latin-American cultural landscape permeated by plural processes of symbolic and affectiveaffiliation. In this sense, the past decade has been especially significant for the dissemination oftexts marked by marginal subjects, obstructed by a migrating and crossing be/being. Among themany works that support these multiple confessions and memorials of the I, we will underscoretexts such as Paulo Lins’s Cidade de Deus, and César Aira’s As Noites de Flores.

The present work is in charge of envisioning the representation of women, especially the characters who perform sex work, in the work of Elvira Vigna, As if we were in a bitch's palimpsest (2016). The narrative exposes the sexist perspective that persecutes women in general and presents a series of stigmas to then bring them down with the questions of a keen narrator. Homi Bhabha establishes that the stereotype is a continuous chain of other stereotypes, this concept will guide the analysis, since we will deal with the aspects that make up the representation of the characters. Still on the tools of oppression, we will address the words Pierre Bourdieu on symbolic violence, as well as elucidating about identity and representation with the support of Regina Dalcastagné and Stuart Hall. Leaning over the fictional text, we will point out the phallocentric view that appears to be problematized or even ridiculed, thus exposing the macho exhibitionism. KEYWORDS: Woman. Stereotype. Subjectivity.

A trilogia de Ana Paula Maia, composta por Entre rinhas de cachorros e porcos abatidos, O trabalho sujo dos outros e Carvão animal, descreve cruelmente um grupo de personagens, situados num espaço caracterizado pela subalternidade, humilhação e exclusão social. Através de uma escritura pulp, Ana Paula Maia apresenta uma série de imagens abjetas que tematizam uma polpa de sangue, bichos, violência e esgoto. Alijados do status quo, esses habitantes dos subterrâneos da nossa sociedade, enquanto seres-refugo, desperdiçam as suas vidas fazendo o trabalho sujo para-os-outros. Brutalizadas e coisificadas, essas identidades marginais divertem-se pendurando porcos em ganchos ou contemplando os cães dilacerando-se. Esses homens-de-rinha esperam, sob um calor sufocante do subúrbio, a parte carnosa do real que está urdida sob a égide do resto mutilado do cotidiano: os pedaços dos corpos, dos porcos, dos cães, das esperanças.********************************************************************Bloodstained hyper contemporaneity in Ana Paula MaiaAbstract: The trilogy of Ana Paula Maia, composed of Entre rinhas de cachorros e porcos abatidos, O trabalho sujo dos outros and Carvão animal describes a group of characters set in a space characterized by subordination, humiliation and social exclusion. Through pulp writing, Ana Paula Maia presents a series of abject images whose theme a pulp of blood, animals, violence and sewage. Priced out of the status quo, these inhabitants of the society underground, living as scrap, waste their lives doing the dirty work for others. Brutalized and objectified, these marginal identities have fun hanging pigs in hooks or contemplating dogs tearing each other up. These men – of – baiting expect, under a sweltering suburb, the fleshy part of real that is woven under the aegis of mangled rest of the everyday: the pieces of bodies, pigs, dogs, hopes.Keywords: Contemporary literature; Hyper contemporaneity; Pulp fiction; Identity

O presente Cadernos do IL, dedicado aos estudos literários, apresenta grande diversidade de temas e de abordagem: literatura brasileira e comparada; questões de teoria da literatura e problemas da história literária; conto, romance, poesia, canção; estudo de clássicos e de contemporâneos... Como o leitor pode ver, o quadro é bastante diverso. O interesse é observar as diversas linhas de produção científica que se apresentam nas universidades brasileiras. Como se trata de uma produção surgida dentro de Programas de Pós-Graduação em Letras, observamos o que mestrandos, doutorandos e docentes estão pesquisando no presente momento. Uma revista acadêmica não serve de parâmetro absoluto, mas ajuda no esboço de um quadro. Interessa pensar uma questão apenas: o que caracteriza a leitura acadêmica de textos literários? Qual o propósito dos estudos literários?