O Ateneu e a nostalgia na forma

The actual study proposes Raul d‟��vila Pomp��ia‟s O Ateneu (1888) among the most significant works in Brazilian Literature panorama, according to the perspective of verbal materiality of the Romanesque genre under a form nostalgia sign that, in its turn, ascends to the archaic origin poetry of fable. Along with large rereading of pertinent bibliography, it is gone here toward narrator Sergio‟s cr��nica de saudades on pursuit of showing it, firstly, as poetic language allegory updated in the novel technique; secondly, as radical metalanguage that still renders problematic several aspects of modern fictional prose

O tr��gico em lavoura arcaica

El escritor de S��o 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, Andr��, que intenta destruir la plantaci��n de su padre, Ioh��na. A trav��s de sus sermones, el patriarca predicaba la moderaci��n, la disciplina y la obediencia a las leyes impuestas por ��l, construyendo as��, un mundo de ilusiones, donde el amor era una m��scara para la hipocres��a. En esta tensa relaci��n, padre e hijo, representaciones m��sticas de Apolo y Dionisio, emprenden una contienda discursiva sobre la negaci��n y la afirmaci��n de la existencia. De ese modo, considerando la relaci��n de lucha e integridad entre el impulso apol��neo y dionisiaco existentes en el romanticismo nassariano, la propuesta de este trabajo es presentar una lectura de lo tr��gico en Lavoura arcaica a partir de la perspectiva nietzscheana sobre el g��nero tr��gico. Para eso, recorrimos al concepto desarrollado por Nietzsche en su obra, desde su primer libro O nascimento da trag��dia (2007a), A vis��o dionis��aca do mundo (2005 a) y Ecce homo (2008 b).

Os Brutos: tradi����o liter��ria e a mem��ria cultural do Serid��

Partindo do princ��pio de que a for��a centralizadora do discurso do narrador sob o universo romanesco encontra-se regido por nuan��as s��cio-ideol��gicas que fazem parte do mundo psicol��gico do autor, procede-se uma leitura crítica de Os Brutos (1938), romance de estr��ia do escritor Jos�� Bezerra Gomes. O trabalho mencionado visa a tecer algumas considera����es em torno do ponto de vista do narrador, enfocando a encena����o do EU no cen��rio art��stico-liter��rio e sua interfer��ncia no modo de narra����o da citada obra. O procedimento metodol��gico adotado foi a pesquisa bibliogr��fica, e como aporte te��rico recorreu-se �� crítica especializada que trata da tem��tica em quest��o. Ao final percebeu-se que o discurso do narrador possui um car��ter ambivalente, o qual permite que o interlocutor presente n��o assuma uma perspectiva fixa diante do que narra

Das rela����es entre imagin��rio e poesia na obra de Orides Fontela: o regime diurno da imagem

The present work seeks essentially to demonstrate how some anthropological structures of the imaginary, theorized by the French thinker Gilbert DURAND, projected themselves in a noticeable manner in the poetic work of the Brazilian poet Orides FONTELA. Chiefly we will demonstrate with great care in what way this projection and vivification occur through an imagination that not only materializes some fundamental archetypes of the human imagination, but also seeks to organize them through original poems in its form of presenting the poetic discourse, giving here a different contribution of the mythical or religious discourse, privileged places, since always, where the symbolic functions also manifest themselves

Travessia Po��tica: tem��ticas do tempo na poesia de Jo��o Cabral

Este livro realiza uma travessia pela obra de Jo��o Cabral de Melo Neto (1920-1999), buscando apreender o ser do tempo e seus desdobramentos no espa��o do poema. Ao leitor que j�� conhece a obra do poeta, este estudo possivelmente oferecer�� um novo olhar focado no seu processo criativo ao percorrer o trajeto de sua poesia atrav��s da tem��tica do tempo.

Ensinar e aprender Hist��ria na rela����o dial��tica entre interpretação e consci��ncia hist��rica crítica

Teaching and learning History in dialectical relationship between interpretation and critical historical awareness has investigated the triggering of a theoretical-practical training process developed with a history teacher, her mediation in the teaching and learning of the discipline process, related to the appropriation of history text interpretation and the development of critical historical consciousness by public school 8 th-grade students of elementary level. It aims to analyze the relationship between mediation of teaching activity and ownership by the student on this level, the interpretation of history texts and development of this consciousness. It has been opted for collaborative research, as training and strategy, and was employed as procedures for the formation of knowledge: Meeting, Cycles of Reflexive Studies, Planning (with teachers), Observation performed in real life and portfolio (involving students). The teacher appropriated of contributions of the theory by P. Ya . Galperin and critical historical consciousness and developed a teaching process using a methodology grounded in theoretical constructs this author. The students appropriated the interpretation of history texts and demonstrated to be in a process of developing a critical historical consciousness. Performance of the students occurred more consistently in the interpretations implemented in groups, with teacher guidance and support of the activity map. Training processes, performed in and about teaching and student activities, revealed an improvement in teacher's professional development and the knowledge and expertise of the students. It has contributed to this, the critical reflection experienced in the investigative process. Given these findings, as needs of new thinking, research recommends the development of teaching and learning processes in other years of elementary school, involving the interpretation of history texts and the development of critical historical consciousness of students.

Um cora����o que pulsa fora do corpo: imagens passionais nas cartas de Frida Kahlo

Entre los a��os 30 y 40 del siglo pasado, M��xico vio surgir de las cenizas de la revoluci��n mexicana, una figura singular. Frida Kahlo es descrita hasta la fecha de hoy, por el imaginario social ��� en sus pinturas, en sus fotograf��as ��� como una mujer que ha marcado una ��poca y se ha convertido en un s��mbolo de luchas, y esto se extiende hasta la contemporaneidad. Se ha creado en torno a la pintora mexicana, varias im��genes sociales que se describen en el juego dial��gico entre sus obras y sus interlocutores. Teniendo por referencia estas afirmaciones, la investigaci��n aqu�� presentada ha tomado como procedimiento realizar un an��lisis de seis cartas escritas por Frida a sus interlocutores amados/amantes ��� tres hombres con los que estuvo involucrada, emocionalmente, durante diferentes per��odos de su vida ��� y, como objetivo, hacer un mapeo de los eth�� construidos por ella en enunciados en los cuales ella "pinta" verbalmente una imagen de s�� misma que se revela en las opciones l��xicas elegidas para hablar de amor, de traici��n, de amistad, de dolor y de su estar en el mundo. Por lo tanto, hemos refinado una imagen est��tica e ideol��gica de Frida Kahlo que se cubre de pasionalidades distintas y de diversos grados dial��gicos. Hay, en el recorte temporal y axiol��gico que hicimos para esta investigaci��n, una mujer de naturaleza amante y que transform�� ese amor en el tono de sus enfrentamientos con los interlocutores con quienes estuvo involucrada emocionalmente. Nuestro an��lisis est�� anclado en los postulados te��ricos del An��lisis Dial��gico del Discurso (ADD), cuyo te��rico base es el fil��sofo ruso Mikhail Bakhtin (2003, 2009, 2013) ��� sobre todo cuando se trata de estilo ��� y en la teor��a de la enunciaci��n de Maingueneau (2008, 2005) y Charaudeau (2006) ��� en lo que se refiere al ethos discursivo. Esta investigaci��n se inserta en el ��rea de Ling����stica Aplicada y tiene un enfoque cualitativo-interpretativo.

Corpos diferenciados e o processo de cria����o da performance Kahlo em Mim Eu E(m) Kahlo

The dissertation intends to develop an investigation on the artistic existence in human beings with different bodies in society at different historical moments. In this regard and based on this scenario, the study develops a description of the stigmas production and how they are established, spread and interfere with the sociability among human beings regarded as normal and those with different bodies. Regarding the scenic arts, the text describes about the participation of artists with different bodies in the scene, specifically the freak show and postdramatic theater. The text also investigates aspects of the biography and the work of mexican artist Frida Kahlo, which underpin methodological proceedings and produce contribution to the creative process of performance Kahlo em mim Eu e(m) Kahlo , which is to investigate the practice of the scene in this dissertation

Formatividade e interpretação: a filosofia est��tica de Luigi Pareyson

The concept of formativity, coined by Luigi Pareyson, is a key to the development of countless contemporary aesthetic studies. The aim of this dissertation is to present a deep understanding of the notion of Formativity and Interpretation, as evidenciated by the title Formativity and Interpretation: the aesthetical philosophy of Luigi Pareyson. The work Aesthetics - Theory of Formativity, first published in 1954, is considered a mark in the rebirth of aesthetics. In this dissertation, the concept of Formativity is examined as a component applicable to every human action, and not limited to pre-determined practices, nor referred to the application of preexisting. I ve performed an investigation of the triple concept of doing-inventing-interpreting, which simultaneously grounds Formativity. In the first section, Pareyson s Aesthetical Propaedeutic is presented; in the second, the Theory of Formativity: the aesthetical character of the whole human experience is analysed; and in the third chapter, The Aesthetical of Form and the Metaphysics of Figuration is related to the formativity character of the knowledge. Through this analysis, I ve intended to evidence how human operability can be understood as search and trial, figuration and invention, in the search for success. In this sense, this thesis seeks to present an interpretation of the idea of work-form, speculating the inexorability of invention and interpretation in an attempt to establish a new bottom line for the studies Pareyson s Aesthetics in Brazil

Nietzsche e a modernidade: da crítica �� metaf��sica �� crítica �� democracia

This dissertation presents an interpretation concerning the critical considerations of the German philosopher Friedrich Nietzsche on Modernity, especially Nietzsche s criticism of Modernity, of Christian mores and democracy produced by him in Beyond Good and Evil. Nietzsche attentively analyses details of Modernity, produces a diagnosis of modern man and discovers the sign of decay. We consider that Nietzsche s criticism of modernity is directly linked to the criticism of classic metaphysics. We emphasize questions like: what in us aspires to truth? Christian mores: why and what for? What characterizes modernity? Could it be the appeal to the democratic taste? Is it possible to reinvent Modernity? We stress the relation between the notion of truth, democracy and Christian mores, showing that these mores were also inherited from the Socratic culture. We also intend to clarify Nietzsche s proposal of a new way of doing philosophy, that would be able to surpass the decay which rules in European modern culture. The end of this research points out to the ―philosophers of the future‖ who are able, according to Nietzsche, to claim life beyond the metaphysics opposition, beyond the good and the evil

Corpos diferenciados e o processo de cria����o da performance Kahlo em Mim Eu E(m) Kahlo

The dissertation intends to develop an investigation on the artistic existence in human beings with different bodies in society at different historical moments. In this regard and based on this scenario, the study develops a description of the stigmas production and how they are established, spread and interfere with the sociability among human beings regarded as normal and those with different bodies. Regarding the scenic arts, the text describes about the participation of artists with different bodies in the scene, specifically the freak show and postdramatic theater. The text also investigates aspects of the biography and the work of mexican artist Frida Kahlo, which underpin methodological proceedings and produce contribution to the creative process of performance Kahlo em mim Eu e(m) Kahlo , which is to investigate the practice of the scene in this dissertation