Um ser (tão) de vozes: o estilo e o acabamento estético na poesia de Patativa do Assaré

The present study aims at investigating the style of the Cearense 1poet Patativa do Assaré in his poetic discourse Cante lá que eu canto cá (2004). Such choice is due to the fact that Assaré‟s poetry is full of regional identities as well of different voices. In other words, our purpose is to analyze the way the author aesthetically expresses his own voice and the voice of others in his work. This study is based on a social and historical model of language, with language construed as a discourse practice with emphasis on the key concepts of style, voices, subject and dialogic relationships (BAKHTIN, 1992, 2003, 1995). Our documental research is situated within the area of Applied Linguistics and presents an interface with Literature. We start out with the premise that in this type of investigation knowledge is built from language. In this sense, we must consider the social relationships in which language is produced, as well as the world which (in) determines, interferes, represents, interpenetrates or else, reformulates language and the indisciplinary character of the research

Um retrato do marginal brasileiro mediante o trabalho do ator com as personagens de Plínio Marcos em “Navalha na carne"

This thesis presented is to research the actor's work in the construction of physical actions, according to the methodology developed by Constantin Stanislavski in his analysis of dramatic action, called "method of physical action", applied to questions of scenic representation of the Brazilian marginal, according to the look "cruel" and realistic / naturalistic Plinio Marcos playwright. Based on the circumstances given by Pliniano universe, the intention is to contribute to the reflection on the actor's work on the scene with the marginal characters in "Razor in the Flesh", highlighting some important aspects, to assist in the construction of this fictional world. You want to create conditions for the formation of an actor that leverages the scene the contradictions and conflicts of this work. The research aims from the theoretical and practical study as a methodological hypothesis, producing critical reflection from the creative process of the agent with the realization of a scenic experiment focused on psychophysical technique of this Russian pedagogue. Thus, we intend to have a look at the method of physical actions focusing on his last great contribution to the work, especially the procedure of active analysis by doing a reading from "Razor in the Flesh" through this creative scenic exercise, extending the studies concerning the actor's art. This research is a general explanation about the trajectory of Stanislavski to his encounter with the physical action, while, highlights the inconsistencies of understanding of his work around the world. Stanislavski initially developed the "method" having as a backdrop, the realist aesthetic - a dialogue relationship between reality and the scene - through a style which creates a theatrical reality, and consequently, artistic, not literally naturalistic way through an integral mimicry. That is, the representation of work in realistic theater aesthetics should be developed in order to create a theatrical reality. Stanislavski believes that theater is convention, since the actor's work on himself should encourage this second nature, scenic.

Análise textual-interativa das Cartas dos Sertões do Seridó: em busca de efeitos estético-estilísticos

This work takes as its object of study a specific set of texts, designated letters about Sertões do Seridó (interstate region in the Brazilian northeastern), written by Paulo Bezerra, whose main approach is the backcountry universe. For its unique character, mainly because of a strong poetic appeal, we infer that these letters can also contain natural phenomena related to discourse-compositional structure, which may be responsible for creating specific effects, particularly aesthetical. In order to discuss and develop the issue, we set the theoretical assumptions of Textual-Interactive Perspective whose base is the concept of language as interaction, such as verbal activity impregnated with the space-time social and historical context in which the interlocutors are related, we chose the analytical category discursive topic and analyse introduction, sequencing and change of topic mechanisms. The goal is to determine the functionality of these mechanisms, noting how correlate the structural and interactional aspects are, and how this movement can be used to explain some of the aesthetic and stylistic effects of these letters. The result shows that it is used different topic organizational patterns according to the nature of the central topic. These different mechanisms express an aesthetic intention and feature a style. This result gives rise to more general conclusions about the texts: their discursive-compositional structure is related to the creation of aesthetics and stylistics effects.

O eterno retorno como paródia e como colagem na filosofia da diferença de Gilles Deleuze

Gilles Deleuze hás commented on many philosophers, but his relationship with Nietzsche plays a singular role in his thought: appropriating the concept of the “eternal return” to think the central axis of his thesis, Difference and repetition (1968). Terms “difference” and “repetition” appeared associated to eternal return in his Nietzsche and philosophy (1962). Our dissertation thesis analyzes the presentations of that concept in bothworks. Chapter one presents the style construction and critical, methodological aspects of Nietzschean philosophy, fundamental elements to understand Deleuze’s interpretation. It subsequently analyzes the first presentation of that concept, expressed in the following terms: the aesthetic existence, either innocent or justified from the figure of game. We will see how the image of game implies another concept of chance, that leads Deleuze to think of an affirmative philosophical “type”, capable of creating new values. Chapter two evaluates the existential, “ethical-selective”, “physicalcosmological” character of the concept of eternal return, as much as the difficulties it imposes upon Nietzsche’s interpreter. We present afterwards Deleuzian comprehension of eternal return as a “parody” or a “simulacrum of doctrine”. Chapter three analyzes that interpretive position as a transvaluation of values from a rearrange of perspectives in order to overcome the negative comprehensions of existence. We want to question the way Deleuze builds another image of thought from the concept of eternal return – an image that, by a sort of “colagem” and selective elimination of the negativity, proposes a historiographic work and unfolds a lineage of thinkers of immanence and difference, a detour from the thought of identity, the same and the similar. We want thus to understand Deleuze’s critique of “dogmatic image of thought”.

O eterno retorno como paródia e como colagem na filosofia da diferença de Gilles Deleuze

Gilles Deleuze hás commented on many philosophers, but his relationship with Nietzsche plays a singular role in his thought: appropriating the concept of the “eternal return” to think the central axis of his thesis, Difference and repetition (1968). Terms “difference” and “repetition” appeared associated to eternal return in his Nietzsche and philosophy (1962). Our dissertation thesis analyzes the presentations of that concept in bothworks. Chapter one presents the style construction and critical, methodological aspects of Nietzschean philosophy, fundamental elements to understand Deleuze’s interpretation. It subsequently analyzes the first presentation of that concept, expressed in the following terms: the aesthetic existence, either innocent or justified from the figure of game. We will see how the image of game implies another concept of chance, that leads Deleuze to think of an affirmative philosophical “type”, capable of creating new values. Chapter two evaluates the existential, “ethical-selective”, “physicalcosmological” character of the concept of eternal return, as much as the difficulties it imposes upon Nietzsche’s interpreter. We present afterwards Deleuzian comprehension of eternal return as a “parody” or a “simulacrum of doctrine”. Chapter three analyzes that interpretive position as a transvaluation of values from a rearrange of perspectives in order to overcome the negative comprehensions of existence. We want to question the way Deleuze builds another image of thought from the concept of eternal return – an image that, by a sort of “colagem” and selective elimination of the negativity, proposes a historiographic work and unfolds a lineage of thinkers of immanence and difference, a detour from the thought of identity, the same and the similar. We want thus to understand Deleuze’s critique of “dogmatic image of thought”.

O sujeito-colagem da estética contemporânea – antimoda jovem na UFRN

Assuming the body as a space of communication and production of subjectivity, we investigate, through the perspective of the contemporary youth at UFRN, the complexity surrounding the act of adorning the body as an act of communication, more precisely a visual communication, filled with symbolism and personality. Using the metaporic method, we seek to follow the communicational act, resulting from the relationship between these unique individuals at UFRN, their adornments and clothing, as an act that produces meaning. Through these narratives and singular expression, observed in these adorned / dressed bodys, we were able to identify seven categories that outlines the collage-individual that we present here: Aesthetic inconsistency and frequent change of style, gender X clothes, spaces regulated by a dominant aesthetic, symbolic connection with garments and / or accessories, the building an authorial image through various aesthetic references, moment of aesthetic rupture with socially established standards, and, parts of the body whose modification or acceptance reflects aesthetic ruptures.