CADERNO DE RESUMOS II Congresso Internacional da ... - Unesp

II Congresso Internacional da ABRAPUIcareer from taking off, and she wants revenge against husbands/fathers. But how “guilty” of murder are these Lady Macbeths?Unhappy Housewives:From Revolutionary Road to Little ChildrenDolores Aronovich Aguero (UFSC)Maria Isabel de Castro Lima (FACINTER - Curitiba)Richard Yates wrote Revolutionary Road, about life in theAmerican suburbs, in 1961, around the same time that BettyFriedan published the feminist classic The Feminine Mystique(1963). In her book, Friedan discusses the enforced domesticitywomen had to endure following World War II, a domesticity thatled to “a nameless, aching dissatisfaction” which she calls “theproblem that has no name.” April Wheleer, one of the twoprotagonists in Revolutionary Road, might be an embodiment ofthis problem. She does not share an idealized image of femininitynor does she feel fulfilled by taking care of the house and children.In our essay, we intend to analyze how far the unhappinessdescribed by Friedan applies to the character of April in the noveland in the 2008 film directed by Sam Mendes (in Portuguesetranslated to Foi Apenas um Sonho; Kate Winslet plays the roleof April). We would also like to compare April’s life to that ofSarah’s in Little Children, a novel by Tom Perrotta (2004), whichbecame a film with Kate Winslet in 2006 (in Portuguese, PecadosÍntimos). In spite of the five decades that separate the twoprotagonists (Revolutionary Road is set in 1955), a similardissatisfaction seems to take place.O teatro intersemiótico de Shakespeare:traduções nordestinasElinês de A V. E Oliveira (UFPB)Ao longo dos últimos quatro séculos, a obra do dramaturgoinglês William Shakespeare(1564-1616) extrapolou os limites daliteratura, enveredando por outras linguagens com as quaisestabeleceu um diálogo profícuo como é o caso da pintura, damúsica, da dança e mais recentemente, do cinema e da televisão.Referindo-se à obra de Shakespeare e em especial à sua notoriedade253