Feiras livres : cidades de um só dia, aprendizados para a vida inteira

La tesis problematiza constelaciones creativas de saberes marcados por múltiples subjetividades en un espacio singular de las ciudades: la feria libre. Lugar de cambios financieros, pero también afectivos, simbólicos y míticos, ese espacio se mantiene al lado de los lugares comerciales asépticos y climatizados como son los supermercados e hipermercados de los espacios urbanos y de las metrópolis. Las ferias, por su carácter itinerante y sus personajes nómades modernos, son capaces de suscitar múltiples observaciones, divagaciones, afecciones y construcción de conocimientos. En la feria libre del barrio de Alecrim en la ciudad de Natal-RN/Brasil, principal contexto de referencia de esta investigación, en medio de tantos estímulos movilizadores de los órganos de los sentidos, salta a los ojos el elevado contingente de niños y adolescentes ejerciendo las múltiples actividades laborales. En Brasil el trabajo infantil es encajado en prohibiciones prescritas por leyes que recubren singularidades. Sin la pretensión de negar la importancia de tales convenciones y reglas, las reflexiones aquí puestas ultrapasan las amarras homogeneizantes del discurso oficial instituido de prohibición, problematizando a partir de la feria la idea de una caótica y pulsante aula al aire libre en la cual se construyen saberes más próximos de una lógica del sensible (Claude Lévi-Strauss). La feria es un laboratorio de construcción de conocimientos pertinentes (Edgar Morin), aquellos que religan fenómeno y contexto sin oponer manipulación y tiempo real de aplicabilidad de los saberes construidos. En esa escuela sin paredes, puertas, ventanas, cuadros negros o programas, los saberes de la tradición (Conceição Almeida) son probados y compartidos por niños y adolescentes que viven constantemente con un tipo de cambio de bienes y palabras en permanente construcción. En los puestos de la feria y para más allá de ellos encontramos sujetos híbridos (Bruno Latour) que se estructuran por medio de mecanismos creativos capaces de hacerlos navegar en las incertidumbres caóticas de sus vidas. Los aprendizajes de la feria fueron o son la pulsión de reinvención de esos sujetos aparentemente encarcelados en el conformismo como fatalidad última, portadores de historias embarazadas de simbologías tristes y felices que exponen la cara de un humano en permanente combustión, construcción e incertidumbre

Ser-tão de Buriti: o corpo de noturno rumor (a poética de Guimarães Rosa e o pensamento literário contemporâneo)

This thesis is to analyze the fictional texture of Buriti, novella by Guimarães Rosa, which makes part of Corpo do Baile. Gilles Deleuze‘s philosophical background as well as similar theorists such as Mircea Eliade, Derrida, Bataille, Foucault, Blanchot and Nie-tzsche constitute the main reference, as example of Guimarães Rosa‘s problematizing writing, since they present as basic element of thought the desterritorialization of con-cepts, standards and institutionalized knowledge by the dominant literary language. Along with the theoretical perspective of current alterity on these authors, Buriti is crossed by one aesthetics substantiated with a multiplicity of narrative points of view, opening gaps to other non-sacralized, nomadic voices, using polyphony as a way of breaking and destabilizing crystallized truths related to the canons of mother tongue. Interwoven by a poetic side of transgression, the narrative of Buriti finds especially marked by the signs of the backlands and of the night, which rhizomatically point to a sense of infinity, eternity, loneliness, vertigo before the abyssal, evoking the singularity of a ser-tão before the night, "the body of nocturnal rumor." The nights in the backlands in Buriti give rise to the emergence of a state of subjectivity, the ser-tão, whose nature is shown as a space of communion of the various beings that humans put on the same level of other living beings, setting up a sharing cosmic territory, enjoyment between pain and pleasure, between death and life. It is the night in the darkness, the shadows, the ser-tão is exposed, the being in his depth, facing himself with his internal rumors, which project themselves through the noise, the sound amplified by the vastness of the night at the desert backlands. "The backlands is the night." (ROSA, 1988, p.92).

Ser-tão de Buriti: o corpo de noturno rumor (a poética de Guimarães Rosa e o pensamento literário contemporâneo)

This thesis is to analyze the fictional texture of Buriti, novella by Guimarães Rosa, which makes part of Corpo do Baile. Gilles Deleuze‘s philosophical background as well as similar theorists such as Mircea Eliade, Derrida, Bataille, Foucault, Blanchot and Nie-tzsche constitute the main reference, as example of Guimarães Rosa‘s problematizing writing, since they present as basic element of thought the desterritorialization of con-cepts, standards and institutionalized knowledge by the dominant literary language. Along with the theoretical perspective of current alterity on these authors, Buriti is crossed by one aesthetics substantiated with a multiplicity of narrative points of view, opening gaps to other non-sacralized, nomadic voices, using polyphony as a way of breaking and destabilizing crystallized truths related to the canons of mother tongue. Interwoven by a poetic side of transgression, the narrative of Buriti finds especially marked by the signs of the backlands and of the night, which rhizomatically point to a sense of infinity, eternity, loneliness, vertigo before the abyssal, evoking the singularity of a ser-tão before the night, "the body of nocturnal rumor." The nights in the backlands in Buriti give rise to the emergence of a state of subjectivity, the ser-tão, whose nature is shown as a space of communion of the various beings that humans put on the same level of other living beings, setting up a sharing cosmic territory, enjoyment between pain and pleasure, between death and life. It is the night in the darkness, the shadows, the ser-tão is exposed, the being in his depth, facing himself with his internal rumors, which project themselves through the noise, the sound amplified by the vastness of the night at the desert backlands. "The backlands is the night." (ROSA, 1988, p.92).