Dançando às avessas: relatos de um processo de criação

The term body without organs is present in a poem by the french writer, actor and director Antonin Artaud, written in 1947 and titled: To Have Done with the Judgement of God. I aim, in this work, from what we call investigative scenic writing, to problematize this term and its possible relations with the theater and also with some aspects of the Hindu myths. I unite the idea of the body without organs with the body in trance present in the stories of an Indian master named Caitanya Mahaprabhu. These ideas, along with the development of practices that come from some principles of Theatre Anthropology, are incentives for a creation process that highlights the work of preparation and creation of corporeal work of the actor. The relationship between the concepts and the practice raise discussions about where I stand as an actor-researcher in process

Antonin artaud: a crueldade pelos desenhos e autorretratos

Antonin Artaud, a name that reminds us of areas ranging from theater to poetry, linguistics to psychoanalysis, is a multipurpose name that transits as poet, painter, writer, actor, screenwriter, playwright and theater director. Artaud s route is raw material for researchers of various hues interested in a life and work that allows panning in different fields of knowledge. It raises the question of language and manipulation of signals in terms of magical forces and the relationship maintained through them with the cosmos and the divine. Artaud searches through a language of signals, gestures and objects that express themselves by objective forms and the use of words as solid objects. For him, the language of words must give way to the language of signals, whose objective aspect is what strikes us most immediately. Our work indicates the possibility of realization and recognition of the aesthetic of cruelty present in the writing drawings of artaudian s work, realizing thus, that art as a record of culture hence as double of life allows us a more critical and transforming look to the society, thinking about the aesthetics of cruelty as Artaud proposes and thinks cruelty: as appetite for life. Our dialogue held during the construction of this journey has the company, besides the one of Antonin Artaud, other authors such as Jacques Derrida, Gilles Deleuze and Felix Guatarri, among others which, during the hike and framing of this route help us to think about the aesthetics of cruelty in an Artaudian perspective

Sociedade, mulher e educação nos romances de Graciliano Ramos

This paper, Society, woman and education in Graciliano Ramos' novels, is a study object from the history of woman's education in the 1930 s, it is shown as a reading of woman's representation and the configuration of the Brazilian society in that period. São Bernardo, Angustia and Vidas Secas written by Graciliano Ramos (1892-1953) from Alagoas, are used here as sources associated with the reading of the Constitutions, of the Civil Code and of some presidential messages of that decade, also with the texts produced by other scholars that present some relationship within the thematic of this approach. The representation concepts and the configuration are essential for the production of this text. I run over to the configuration concept given by Chartier (1988, p.21) a definition to representation that can be understood as a relationship between a present image and an absent object that having the value of this because it is hamonized with it. I fall back upon the configuration concept given by Elias (1969) that understands it as been a social group performed by an interdependent network that occurs within individuals as a whole joined by any reason. The totality of each individual actions with each other, permeated by tension points and balance, is what characterizes each configuration; it can be a teachers and students meeting in a classroom or a friends' encounter in the bar table, for instance. The attempt of understanding woman's representation, being educated or not, the hole attributed to her in society according to her instruction degree and the way that same society saw this woman guided me through categories that were defined throughout the successive readings: gender, civil status, education, language domain, sexuality, marriage, family, ideal woman. I accomplish this reading that was possible to do - with the pretension of not having lost the relationship between history and literature nor forgotten each one peculiarities

A Boneca Emília: por uma pedagogia performática

La investigación parte de una visión histórica de la muñeca Emília creación del escritor Monteiro Lobato , relacionándola con la educación en cuanto pedagogía performática. Utiliza aportes teóricos de Renato Cohen, investigador brasileño del lenguaje performático, como también del pensador y pedagogo alemán Nietzsche, aplicándolos a las obras Emília en el país de la Gramática, Aritmética de Emília y La llave del tamaño. Muestra que lo performático tiene sus orígenes más remotos en el mito de Dioniso y que, a semejanza del arte performática, propuesta como arte de frontera, la pedagogía performática se constituye también como una pedagogía de frontera, en vista de lo híbrido pedagogía-y-arte en que es fundado, colocándose igualmente en el espacio de las pedagogías culturales o no formales. Dentro del concepto de pedagogía performática, llegamos a la construcción de un pequeño sistema pedagógico que subraya tanto lo existencial cuanto lo científico. La pedagogía performática representada por la muñeca Emília contesta a la condición bidimensional del ser humano: razón y sensibilidad. Por hacer mediante una alianza con el arte en este caso, la literatura -, es más sugestiva que prescritiva; está apta a colaborar para el surgimiento de un paradigma pedagógico no-centrado en la hegemonía de lo racional; tiene um carácter atemporal y universal, pudiendo ser aplicada en todos los niveles de enseñanza, no se ha restringido, sin embargo, al espacio escolar

A educação da mulher em Lima Barreto

Lima Barreto has built an educational conception of women in his fictional productions despite nuances inciting scholars to debate his writings and label him as misogynist and philogynist. Thus, the objective of this study is to comprehend, through signs present in his literary works, how women used to be educated in early twentieth century to accomplish the historical differences in gender relations. The main reason for this extract is the periodicity of his publications that started in 1900 by means of chronicles in newspapers and ended in 1922 after his death. For this, we identified codes and rules forged in the social processes to be assimilated by children through diverse institutions, aiming to incite the production of behaviors and social practices represented by the existence men and women in an ever changing society. Gender relations are analyzed within a society for their configuration concept by Nobert Elias (1970) as interdependence bonds among individuals. An investigative method proposed by Ginzburg (1989) was the most adequate to conduct the research on the work of Lima Barreto because it enables us to reconstruct the education concept for women. The dramas and novels analyzed point out the construction of categories such as women education, family, love and seduction revealing the engagement of Lima Barreto with the social problems of the period investigated. It was concluded that gender differentiation has come from family education which kept men and women in opposing sides giving them a marriage perspective that, after consummated, would bring frustration to women causing them to adopt confronting practices against domination strategies through celibacy or adultery. This research constitutes a reflection based on determined representations like justice, respect and duties that were the ideas defended by Lima Barreto in his writings, concerning both broader situations in social life and particular gender relations

DERSU UZALA Hibridação Homem-Natureza

Esta disertación explora de qué forma las hibridaciones entre ser humano y ambientes naturales no urbanos contribuyen a configurar las estrategias de atención, de construcción de conocimiento y de interacción con el mundo del sujeto y cómo, recursivamente, las actitudes perceptivo-cognitivas y las maneras de acercarse a lo real, de imputar sentido a los fenómenos y de interactuar con el ambiente practicadas por el sujeto condicionan y contribuyen a definir las hibridaciones entre humanos y no humanos. Lo que guía esa exploración es el concepto de híbrido que, inspirándome en Bruno Latour (2008), concibo como una asociación entre elementos sin características inherentes, compenetrados, que se redefinen, recrean e reconfiguran recíprocamente. Utilizo como operadores cognitivos una narrativa literaria y una cinematográfica: el libro autobiográfico Dersu Uzala del escritor y explorador ruso Vladimir Klavdievich Arseniev (1872-1930), publicado por primera vez en 1923, y la película homónima del director japonés Akira Kurosawa (1910-1998), lanzada en 1975. Estas obras reconstruyen tres expediciones realizadas por Arseniev a principios del siglo XX en la región siberiana del Ussuri que tuvieron como guía al cazador nómada de etnia gold Dersu Uzala, con quien el escritor construyó una profunda amistad. La elección de hacer dialogar en el mismo plan a dos modos complementares de conocimiento, arte y ciencia, se fundamenta en la concepción de Edgar Morin (2003b) de la literatura y el cine como escuelas de vida y de complejidad humana y en la visión de Claude Lévi- Strauss (2007) del arte como modelo reducido que favorece una mirada más abarcadora sobre los fenómenos. Inicialmente, pongo en relación mi investigación con los trabajos de Silmara Lídia Marton (2008) y Samir Cristino de Souza (2009), que analizaron las estrategias de construcción de conocimiento y de interacción con el mundo de un habitante de la Laguna de Piató (Municipio de Assú, Estado de Rio Grande do Norte, Brasil), Francisco Lucas da Silva, y muestro algunas analogías entre estas y las de Dersu Uzala, ambas productos de determinadas hibridaciones con el ambiente. A continuación, exploro las implicaciones cognitivas de la amistad de Arseniev con el cazador gold, metáfora/encarnación del diálogo posible entre saberes de matrices diferentes. En un tercer momento, dialogando con pensadores que se interrogaron sobre el trinomio hombre-naturaleza-representaciones y con las narrativas de Arseniev (1997) y Kurosawa (1975), reflexiono sobre las ideas de híbrido, de humano y no humano, de vivo y no vivo, de proximidad y distancia del sujeto con respecto a otros sistemas de lectura del mundo, de relación directa y mediada con lo real, de ambientes naturales urbanos y no urbanos. A seguir, incursiono en el libro de Arseniev y en el largometraje de Kurosawa intentando identificar qué factores más contribuyeron para configurar las estrategias de conocimiento y de interacción con el ambiente manifestadas por el explorador y por el cazador gold y, recursivamente, de qué forma esas estrategias contribuyeron a definir sus hibridaciones con el ambiente siberiano. Por último, a partir de las reflexiones tejidas a lo largo del trabajo, me interrogo sobre lo que ellas pueden decirnos sobre nuestra forma de interactuar con la naturaleza no humana y sobre el diálogo entre distintas formas de percibir, conocer y relacionarse con el mundo

Do picadeiro ao céu : o riso no teatro de Ariano Suassuna

The analysis of this work seeks to investigate the meaning of the laughter in the paraibano writer Ariano Suassuna s armorial theater. The study departs, firstly, from an argumentation which centers its content in the theory of the many theoreticians of the question: Henri Bergson, Vladimir Propp, Jolles, Freud, Bakhtin. The essence of the laughter in Suassuna and its esthetic relations are commented, because those elements are responsible for the strength of the literary text. On the condition of scholar about Esthetic and Art History, Suassuna always puts the methods of the estheticism in favor of the loud laughter bearing in mind that it is a source of improvisation, i.e., it may have many senses depending on what it is pretended to transmit to the reader/viewer. The laughter is a mask which is changed to each new situation, representing that way own human condition. Because the theater is an art subjected to recreation, the laughter also is. And because it is a great party where other arts (the dance, the music, mamulengo e the bumba-meu-boi) are present, united to compose a confluent and hybrid language, the meaning of hilarity during the popular celebrations is studied mainly those that happened in Medieval Europe. Thus, in the second part, the basis of the research is the Russian Mikhail Bakhtin s theory that helps to link Suassuna s laughter to the popular party, showing the language used in them and the jokes that give life to the joy of the folk. Soon after, the importance of Suassuna s laughter to the Brazilian Culture, is examined making a reflection about its function at the sociocultural context of the country

Um olho torto na literatura de Graciliano Ramos

This dissertation analyses, within a psychoanalytical e literary perspective, the enigma of blindness in Graciliano Ramos s work. The approach takes into account, mainly, the narratives of Histórias de Alexandre (Alexandre s tales) and Infância (Childhood memories) as both books speak of the same theme: the injured eye. The writer s work is scourged so that a broaden symbolism regarding the hurt eye can be found. The subject is discussed from three significant elements: fragmentation, helplessness and melancholy; all these form the creative aesthetic of Graciliano, merging into a single object. Fragmentation representing the internal shattered world of his characters, which is reflected in the environment; helplessness, directly related to feelings of rejection; and melancholy, characterized by a strong feeling of emptiness. The theme of isolation and loss is discussed based on Mourning and melancholy, by Freud, and other theorizers. There is also a brief dialogue with the Romantic and philosophical theories, which tries to explain the melancholic condition in the individual before moments of distress. Such theories are the support for the understanding of the helplessness of the hero in Graciliano Ramos´s literature and for the assumption that the blindness in the mistreated boy of the book Infância could be the language of the traumatic aspect that colors the entire text of the writer. As matter of fact, it constitutes in the lost object represented in the anguish of the author s characters

O evangelho por escrever: uma leitura do desassossego nos fragmentos de Bernardo Soares.

Cette recherche a pour but d approfondir des études qui mettent en lumière des particularités inhérentes au processus de l écriture fragmentaire. Notre intérêt pour ce thème provient de la poétique fragmentaire du Le livre de l intranquillité composé par Bernardo Soares, assistant de notaire et sémi-hétéronime de l écrivain Fernado Pessoa. Notre approche de ce genre textuel commencera par une méthodologie comparative qui nous donnera des notions pour que nous puissions établir quelques rapports de ressemblances et différences entre fragments, maximes, aphorismes et réflexions dont le corpus littéraire sera le journal intime de l intranquilité soarianne, ainsi que la fragmentation du simulacre d auteur au cours des années pendant lesquelles le Livre a été écrit. Le livre de l intranquillité lance des « pulvérisations » réflexives, lesquelles demeurent actuelles, étant donné que le processus de l écriture fragmentaire semble être toujours dans un mouvement constant et, donc, dans l ambiance du à venir. À partir de cela, nous avons passés pour quelques entraves pour essayer d établir une définition pour ce qui serait l écriture fragmentaire. Nous chercherons des points d intersection visant à établir des paradigmes pour obtenir des notions plus précises sur ce genre textuel, concernant les maximes, aphorismes et sentences refléxives.

Citação e modernidade em Álvares de Azevedo: do sublime ao dessublime

El estudio de la citación en Lira de los Veinte Años, de Álvares de Azevedo, desde la óptica de Antoine Compagnon e Gerárd Genette, se muestra relevante a los estudios de la Literatura Comparada, en la perspectiva conteporánea, pués el tema provoca la posibilidad de discutir la elaboración de si del(los) otro(s), sucitando imágenes estéticas y de los pensamientos que se aproximan de una noción de tesitura textual muy presente en la modernidad literaria. Este proceso instaura procedimientos de lectura, traducción, autoria y escritura, aún, por ser utilizados, confirman la potencialidad inegable en que se escribi el trabajo poético del escritor. En la primer parte de la obra, se sugieren experiencias com lo bello y lo sublime, advindos del europeu, pero vuelto para una pesquisa de posibilidad discursivas. En la según parte, esa instancia sublimada es puesta en crise, por el sujeto poético cribado por el deseo de tornarse singular. Se instauran en el campo valorativo de los signos románticos elementos desfavorables de sentido diferentes. Dase, así, la problematización puesta por las citaciones que ora, realizan cambios simbólicos, ora, actuan en las márgenes de los textos primeros, desorganizando el material de autoria, desublimandolo, en la irrupción de nuevos cuerpos discursivos y cuerpúsculos cituacionales. En la tecer parte, ligado a Tánatos, como la dimensión por venir, marcando el presentimiento del poeta de que morirá temprano, como también la despedida de él. En esta tesi, se pretende, así, circunscribir como se figura, elabora esa constituición estética azevediana y su escritura, situando cuestiones recortadas por el actor en su obra, las quales remeten a Hegel, Kant y la otras lecturas filosóficas, ali puestas. Tal procedimiento toma la citación como estrategia poética de inscrición del sujeto y de las alteridades que le atravesan, concebiendo eso proceso autoral en la forma de reconstrución de una ciudadela de libros en este aspecto, considerandose el enfoque de Félix Guatarí, la propósito de los nuevos paradigmas y las espacialidades emergentes de estos -, o la biblioteca subjetiva, que se abre en vias y pasagenes. A través de ellas el discurso captura no solamente los objetos poéticos, pero también trazos autobiográficos rasurados, traduciendo la lucha por la visibilidad del sujeto en la formación de su pensamiento poético y estético

O trágico em lavoura arcaica

El escritor de São Paulo Raduan Nassar, lanza en 1975, su primera novela intitulado Lavoura arcaica. En su narrativa de estreno, el escritor nos trae la historia de un adolescente, André, que intenta destruir la plantación de su padre, Iohána. A través de sus sermones, el patriarca predicaba la moderación, la disciplina y la obediencia a las leyes impuestas por él, construyendo así, un mundo de ilusiones, donde el amor era una máscara para la hipocresía. En esta tensa relación, padre e hijo, representaciones místicas de Apolo y Dionisio, emprenden una contienda discursiva sobre la negación y la afirmación de la existencia. De ese modo, considerando la relación de lucha e integridad entre el impulso apolíneo y dionisiaco existentes en el romanticismo nassariano, la propuesta de este trabajo es presentar una lectura de lo trágico en Lavoura arcaica a partir de la perspectiva nietzscheana sobre el género trágico. Para eso, recorrimos al concepto desarrollado por Nietzsche en su obra, desde su primer libro O nascimento da tragédia (2007a), A visão dionisíaca do mundo (2005 a) y Ecce homo (2008 b).

Os Brutos: tradição literária e a memória cultural do Seridó

Partindo do princípio de que a força centralizadora do discurso do narrador sob o universo romanesco encontra-se regido por nuanças sócio-ideológicas que fazem parte do mundo psicológico do autor, procede-se uma leitura crítica de Os Brutos (1938), romance de estréia do escritor José Bezerra Gomes. O trabalho mencionado visa a tecer algumas considerações em torno do ponto de vista do narrador, enfocando a encenação do EU no cenário artístico-literário e sua interferência no modo de narração da citada obra. O procedimento metodológico adotado foi a pesquisa bibliográfica, e como aporte teórico recorreu-se à crítica especializada que trata da temática em questão. Ao final percebeu-se que o discurso do narrador possui um caráter ambivalente, o qual permite que o interlocutor presente não assuma uma perspectiva fixa diante do que narra

ÁFRICA(S), MOÇAMBICANIDADE, MIA COUTO: uma varanda para o Índico

Always seen by others eyes, unknown of the languages and other "realities" that constitute, the Africa, specially Mozambique, now (re)invent itself, palimpsestly, in narratives of your griots, narrators and/or storytellers. Our thesis intend, by the review of novel Under the frangipani, to demonstrate that the mozambican writer Mia Couto intends to participate the (re)construction of a devasted nation by war and conflicts, based on belief that the role writer "is to create requisites of a more african thought, to the assessment of your place and your time won't be done from categories created by others" (COUTO, 2005). At first, we show how the mozambican literary system consists itself; then, the insertion of coutian narrative against the prevalence tradition and, also, by the analysis of the constituent elements of the chosen novel, the way how made piece of resistance to reification, objectification of the individuald in the contemporary world , your writing will be present in this sharing of the sensitive. Besides Mia Couto, in our work we'll counting on the lessons of Candido, Noa, Hernandez, Adorno, Paz, Fonseca, Secco, among others studious of african narrative and, specially, Mozambique narrative

A complexidade do ser fictício: a construção da personagem Marcela no romance A ostra e o vento

It is possible to notice that the modern narrative increasingly seeks to invest its characters with a broad and complex nature, away from the well-defined beings of the traditional narrative. Through this work, we aim to make a study of Marcela, a character of the novel A ostra e o vento, by Moacir Costa Lopes, taking into account the way the complexity of the fictitious being is constituted through an analysis of structural, semantic, and thematic elements. We first will bring up a brief theoretical discussion about the character in a novel, and we also will carefully analyze the diagetic universe, presenting the complex path of the character further. Subsequently, we will focus on the structure of the narrative which creates a complex picture of the character, using the technique of crossed points of view as well as the technique of temporal fragmentation. Finally, we will investigate conflicting social relations that portray Marcela s disturbed inner side, as well as the metaphoric symbolic language, which furnishes a number of different representation of this character, impeding the creation of a well-structured coherent character. Studies of scholars such as Antonio Candido, Anatol Rosenfeld, Vitor Manuel de Aguiar e Silva, Fernando Segolin, Gerard Genette, Michel Zéraffa, among others, will guide our analysis

A letra escarlate como romance histórico: uma história de fragilidade humana e tristeza

The objective of this paper is to analyze the work of the American writer Nathaniel Hawthorne (1804 - 1864), The Scarlet Letter (1850), in the light of the contributions of Literature and History of the American people in the context of New England. Accordingly, we highlight aspects that justify the inclusion of the work as a historical novel, especially based on the reading of The Historical Novel (1936-37) written by Georg Lukács. The diversity of voices and social interrelationships that come out of the main characters of the plot of the novel, as well as their contextual buildings, constituted as important traces to understanding the novel as being of historical value. During our study, we found out that it is in the plots of the novels that the characters reflect, at the same time, the specific conditions of their singularities, the general trends of the historical process and the social conditions from which they arise. We also could see that it is in their singularities that lie special tendencies of human beings. Our references to this study came from scholars as Howard (1964), Bakhtin (1998), Eagleton (2006), Todorov (2009), Zabel (1947), Sellers (1985), Cunlife (1986), Candido (1993) and Schwarz (1981)