A ordem de palavras e o caráter nominativo/ergativo do português falado

O português falado do Brasil, contrariamente à afirmação de que é uma língua SVO (sujeito-verbo-objeto), apresenta duas ordens predominantes: SV(O) (sujeito-verbo-(objeto)) e VS (verbo- sujeito). Essas duas ordens, na verdade, representam dois padrões de construção sintática, o nominativo e o ergativo. Do ponto de vista paradigmático-identificacional, a ordem SV(O) corresponde ao padrão nominativo, e a VS, ao ergativo, uma vez que o Si (sujeito de verbo intransitivo) da estrutura VS apresenta a mesma matriz de traços do O (objeto) da estrutura SV(O), em contraposição ao St (sujeito de verbo transitivo). Há assim um alinhamento Si-O, característico das línguas ergativas, em construções existenciais/apresentativas (com verbo de um lugar existencial - V1e), mas um alinhamento St-Si, característico das línguas nominativas, em construções com verbos de dois lugares (V2) e de um lugar não-existencial (V1 ~e). O português apresenta, portanto, com as estruturas intransitivas, uma ergatividade cindida.

A maldição das palavras e o sujeito dilacerado de Marcelo Mirisola (2009)

There is an area in the Brazilian Contemporary Literature which is articulated according to the first person narrator who presents the problematic of the own creational action, the expression of a conflictual subjectivity divided between the vertiginous dive into itself – what would imply in a renounce of the world and the reality, where the authors’ work are their only matter – and the social participation - not as an awareness, but as the recognition of the limits and impasses which the real representation imposes on the creative writing. Therefore, this article proposes a reading on the novel O Azul do Filho Morto (2002) by Marcelo Mirisola, to try to situate him into the recent Brazilian literary production, as well as to reflect on his narrative the complex notion of authorship which is called into question on his novels, since they produce an intrincate imbrication between the fictional subject and the empirical image of the writer himself, breaking and confusing the limits between the fictional discourse and the extralinguistic reality which is evoked, manipulated, distorted and made unstable on his representational process.

Transpondo o abismo: a construção de perfis de cientistas

From the dyagnosis that science has become apart from mainstream culture and everyday life, we discuss in this article the representation of characters and actions which are part of science-making in three profiles published by piauí magazine: “Entre ratos”, by Raquel Freire Zangrandi, “Artur tem um problema”, by João Moreira Salles, and “Com a mão na massa (cerebral)”, by Dorrit Harazim. In constrast, we also analyze the profiles presented in the book Gigantes da ciência, by Philipe Cane, and the series Os cientistas, published by Abril. From this we may consider that the group of texts published by piaui, which are structured according to literary journalism techniques, bring the reader closer to the making of science and the profiled characters, although they still narrate too little of their private lives.