This research aimed to identify trends in the editorial production of children's books, with regard to literature, illustration, graphic design, aesthetic elements and historical, cultural and political aspects, through children's books with the “Highly Recommended” seal of the Annual Award of the National Children's and Young People's Book Foundation (FNLIJ), in the years 2020, 2021 and 2022. As an investigative strategy, Bibliographic Research was used, associated with Document Analysis. The theoretical basis was based on the concepts of Book, Reading, Literature, Children's Literature, Aesthetics, Reading, Children and Childhood and the analysis procedures took place in documents such as: regulations, lists of results, old reports, interviews, books, statutes and research reports. Data collection from the books analyzed took place using the Records Instrument for Analysis of Books for children (own authorship). From the results obtained, technological investment was identified that provides structural diversity in graphic projects, the presence of both written and visual language, the complexity in reading these books, the use of the word literature as a mere commercial purpose, the influence of the FNLIJ on the book lists of the public purchasing and distribution policies of the Ministry of Education (MEC) and on the Brazilian children's book publishing industry, the geographic composition of readers - FNLIJ voters with little representation of experts from the Amazon, the little presence Children's Literature as a field of study in Literature degree courses. In this way, the research suggests the fight to guarantee the right to access and read books with the “Highly Recommended” seal, in addition to those awarded, to all public schools of Early Childhood Education and Elementary Education, the creation of disciplines in the field of study Children's Literature and greater representation of voting readers from other regions of the country.

This research is mainly interested in the current scenario of teaching the Deaf in elementary schools in the urban area of Santarém - Pará, involving the Brazilian Sign Language - Libras and the Portuguese Language, in written form. We will verify, through reports of Deaf people, how their educational trajectories were. Through these reports we can find answers to our main question: Do the methodologies used in teaching Deaf people in Santarém-PA include the use of Libras in promoting a bilingual and inclusive space? We seek to identify whether these environments have resources that may favor bilingual teaching (Libras/Portuguese). The research data will be generated through semi-structured interviews with Deaf graduates from basic education, so that they can express, through their language, the experiences they had in their training trajectories. The experience reports are related to 06 deaf graduates, Libras users, aged between 19 and 40 years. The deaf graduates will report their opinions about the teaching they received, and so we will collect and analyze these reports that will unfold in the results of this research. As we are going to talk about a language, we feel motivated to investigate its aspects in real situations of use by its speakers. To theoretically dialogue with this work, we cite important works by authors such as Quadros & Karnopp (2004), Gesser (2009), Ferreira (2010), Quadros (2019), among others. The outcome of this research could bring contributions to the knowledge of the intrinsic aspects of the use of Libras in the teaching of the Deaf and broaden the reflection and debates about the need to expand and offer bilingual education in the city of Santarém.

This work proposes a reflection on the oeuvre of American writer Shirley Jackson (1916 – 1965), focusing on the study and analysis of the novel "The Haunting of Hill House" (1959). We aim to comprehend how Jackson's literature configures gender issues prevalent in the American society of the 1950s, the decade of the book's publication. To achieve this, we seek to identify and examine themes related to the feminine portrayed in the novel, based on a combined analysis of the narrative structures of the text and its production conditions.

This work aims to dissertate on how gender and class relations (specifically the ones present
in the context of rural England) of the 19th century manifest themselves in the plot and
construction of the characters in Thomas Hardy's novel Tess of the d’Urbervilles (1891),
directly influencing its form. To do so, we briefly present the socio-historical context of this
segment of society throughout the Victorian Era and take it as one of the main conditions of
the author's production in creating the fictional universe of Wessex. In the first chapter,
focusing on a class analysis, we conclude, through the established social relations and the
working conditions to which the protagonist Tess is subjected, that work, according to the
characteristics it presents, can be a tool for either dignifying or degrading the main character
Tess, directly influencing the environment she occupies. These working conditions often align
with her state of mind, also serving as an external materialization of her personal feelings and
anxieties. In the second chapter, we turn to the influence of the interpersonal relationships
established between Tess and the two antagonists, Angel Clare and Alec d’Urberville. If, a
priori, she finds herself limited by her alternatives as a rural worker, it is in her relationships
that gender oppression becomes evident. Together, religious morality and the rigid social
conventions of patriarchal society, personified in the novel by her male counterparts,
condemn her to suffering and a life of judgment, resulting in her social ruin and leading her to
take extreme actions in search of liberation. In summary, the verisimilitude of the work in
relation to its production context highlights the interference of the socio-historical element of
the time in its composition.

This research aims to identify and analyze the forms of subalternity produced in colonized society and how they appear as aesthetic elements that constitute and structure the short story "The Calligraphy of God" by the Amazonian writer Márcio Souza. The study is based on the assumption that subalternity can manifest itself in various configurations, from physical aspects to discourses, and that such situations are present throughout the narrative, composing the plot and characters. Departing from this premise, we present the analysis from the post-colonial concept of subalternity, as proposed by Gayatri Spivak (2010), expanding the idea of subalternization and understanding it as all forms of consolidating domination over colonized groups and their cultures. Therefore, we discuss the colonial process as a cause for subalternization, as well as explore the hierarchy that configures within subalternized groups, primarily based on gender inequality. As the framework for this research, we draw upon the studies of Antonio Candido (2006) on the dialectic between literature and society, which elucidates how external factors become internal to the work. In the theoretical argument, to address subalternity, we turn to Gayatri Spivak (2010) and Antonio Gramsci (2007); sociologist Aníbal Quijano (2005) grounds the studies on coloniality, complemented by Frantz Fanon (2008; 2022) and Aimé Césaire (2020) who address the violence of colonization; Homi K. Bhabha (2013) and Stuart Hall (2013; 2022) guide the treatment of identity and culture in post colonialism. Regarding the feminine, we base our analysis on bell hooks (2022), Gerda Lerner (2019), and Silvia Federici (2023), discussing the women's voice in patriarcal society, along with Eliane Potiguara (2018), who gives voice to the conditions of indigenous women. In conclusion, we find that Márcio Souza's short story is structured throughout its narrative with characteristics of racial imposition and gender inequality, featuring reified characters and discourses naturalized by colonialism.

The main objective of this research is to analyze the set of oral tradition narratives from the Peafú Quilombo Remnant Community, located in the city of Monte Alegre/PA, focusing on their sociocultural, aesthetic, poetic, political, religious, and discursive specificities. Thus, considering the analytical and methodological positioning of Cândido (2006), in which the external factor (the history and culture of the quilombo territory) takes part in the organization and structuring of the narratives within the aesthetic dimensions of these texts, as well as their dialogues with social history, the formation of the territory, and quilombola identity and resistance. The work is organized into four chapters: the first chapter presents the processes of constructing the research object and its implications regarding pedagogical practice in Basic Education, the main reason that motivated the investigation of other possibilities of literature at the core of the collective memory of the Peafú Quilombo in Monte Alegre. The second chapter, based on Hampâté-Bá (2010), Moura (2010), Bispo (2015), Funes (2022), Carvalho and Pires (2021), Maia (2012), Carvalho and Vaz Filho (2023), systematizes the importance of the “Living Tradition” represented in the figure of the elders — storytellers of the quilombo, emphasizing the social function of the narrators, the general characteristics of oral narrative, and the categories and typologies that critics have used to address the quilombola narrative. In the third chapter, I provide an overview of the profiles of the storytellers interviewed during the fieldwork: who they are, what they do, their relationship with the territory, and also with the collected oral narratives. Finally, the fourth chapter is dedicated to the analysis of the oral narratives, where I present a literary repertoire of thirty-five stories heard, recorded, and transcribed, told by seven quilombola narrators (four women and three men). In these stories, I analyze the structural elements: narrator, fable organization, character, spatiality, temporality, and also demonstrate how the social element—quilombo territory (with its symbols, ethics, languages, themes, cultures, identities) is an integral part of the aesthetic meaning. For this work of aesthetic analysis, I grouped the studied texts by theme and structural organization and distributed them into the following quilombo narrative typologies: Traditional Knowledge Stories; Stories of Mysteries, Enchanted Beings, and Apparitions; Stories of Stubbornness; Religious Stories. In summary, the analyzed narratives belonging to each typology materialize historicity, religious and spiritual values, territoriality, and the cultural identities of collective memory, while simultaneously assuming a determining function between the social factor and the aesthetic composition of the texts. The social context, that is, the quilombola reality and all the elements that compose social life in the territory, are integral and functional parts of the aesthetic meaning of the narratives.

This dissertation proposes an analysis of Olga Savary's poetry in her work "Magma", focusing on the use of eroticism as a form of resistance to patriarchal structures within feminist literary criticism. The research's main objective is to analyze eroticism in the poetic work "Magma" as a mechanism for subverting patriarchal norms, promoting a poetic language that challenges social conventions and affirms female autonomy and empowerment.  To achieve this objective, the work examines the poetic construction of the body and erotic desire in the work, identifying them as instruments of female empowerment. Through detailed analysis of the poems, we seek to understand how Savary uses subversive language to deconstruct patriarchal narratives and promote a more emancipatory vision of the female body and desire.  Furthermore, this study contextualizes "Magma" within the feminist movement, placing the work in the historical and social panorama in which it was produced. From this contextualization, it will be possible to better understand the influences and impacts of Olga Savary's poetry on the Brazilian literary scene and on discussions about gender and sexuality.  The question that guides this research is: "How does Olga Savary's work 'Magma' use eroticism as a mechanism for subverting patriarchal norms, promoting a poetic language that challenges social conventions and affirms female autonomy and empowerment?" The answer to this question will be sought through critical analysis of the selected poems, contributing to the understanding of the work's relevance in the fight for gender equality.