O falar paranaense

This book didactically addresses relevant issues for researchers in the linguistic field as well as professors, journalists and whoever else is interested in understating the so called “paranaense dialect”. It is relevant to clarify, however, that there is not one single dialect from Parana as the state has three distinctive dialectal areas. That means the traditional speech from the state corresponds to its historical settlement. The first area dates back to the XVIII century in the center-south-coast direction; the second area dates from the 1920´s and 1930´s matching the arrival of immigrants from Rio Grande do Sul and Santa Catarina in the search for new territories, clearing forestry regions from the Southwest and Western regions in Parana, turning them into harvesting areas. The third linguistic area corresponds to the North and Northwest of Parana, which were colonized in the 1940´s and 1950´s by immigrants from Minas Gerais and São Paulo who came to grow coffee plants in its rich red land. Such dialectal diversity constitutes only a small fraction of what is understood as the Brazilian Portuguese. So, having it described means to collaborate to map the great linguistic mosaic that characterizes the whole Brazilian territory. We then seek to offer readers a small sample of the analyses carried out by researchers concerning the different performances of the Portuguese spoken in Parana (Banco VARSUL, ALERS, Atlas Linguístico do Paraná, Banco VARLINFE). We expect these findings encourage new approaches and Linguistic studies from other regions of the state.

A narrativa histórica de Alexandre Wollner sobre o design brasileiro em sua relação com arte, indústria e tecnologia

This work aims to investigate the historical narratives in which the graphic designer Alexandre Wollner assembled about the development of its own profession in Brazil, focusing the ways in which his discourse points relations among design (with greater emphasis in graphic design) and visual arts, the industrial development and notions about technology. Firstly, the theoretical setup searched for dialogues with design historians, with Mikhail Bakhtin, specially his concepts about “ideology” and “discourse’, and the theory of Field Autonomy by Pierre Bourdieu applied in the artistic practice. Following, the relation between Wollner’s own journey and the Brazilian industrial development is shown, and, at last, three of his historical texts are studied, which are written in different moments (1964; 1983; 1998), being those in which the analyzed author wished to point out the origens, events and names that are more remarkable. Throughout the work, it is pointed the importance of Wollner’s contact with the modernist european ideologies that share an abstract and rationalist matrix found at Hochschule für Gestaltung Ulm (HfG Ulm), the german design school from the city of Ulm, in the 1950s. Such modernist discourse understood the practice of design as a method with scientific character, being then different of some other more recurring artistic professional practices in some productive sectors. Wollner aimed to apply such ideals in his professional practice, being the foundation of the paulista office forminform, in 1958, one of his first expressions of such posture, and in his academic practice, helping the foundation of the Escola Superior de Desenho Industrial (ESDI), in Rio de Janeiro, in 1963. Such modernist ideals went along with moments of the Brazilian industrial development during the government of Juscelino Kubitschek (1956–1961) and the “Economical Miracle” from the military government (1968–1973). Wollner argued about the need for the development of national design as a technological and productive differential that would help the growth of national industry, based on Ulm’s project model concept. It is defended that Wollner’s professional and intelectual path, in his efforts of thinking a history of Brazilian design through the choice of pioneers in the area, was founded on an “ideal model” of design, leaving aside the modernist experiences from the 1950s. Such posture would indicate a search for validation of his own profession that was beginning to become more evident in Brazilian productive means, aiming the creation of a differential space in comparison with pre-established practices, usually link to graphic artists from the time.