A ironia na recriação paródica em novelas de Moacyr Scliar

Pós-graduação em Letras - FCLAS

Semiótica peirceana e produção poética

Entre as diversas semióticas e semiologias atualmente existentes, devem-se distinguir dois projetos gerais: o de origem saussureana e o de origem peirceana. O primeiro recolhe da ciência lingüística seu modo de proceder e as características gerais do signo. O segundo pertence à tradição crítica filosófica. Para a inteligência capaz de aprender com a experiência, a dimensão temporal e histórica é essencial. O signo peirceano implica as relações de um tempo irreversível. À produção presente do signo cabe a função poética, a qual é essencial à vida de toda inteligência. A hipótese cientifica, as revoluções sociais em seu momento originário e a produção artística produzem novos signos, recortam novos objetos e abrem feixes de possibilidades para a conduta futura.

Figuras femininas e fronteiras sociais na poética de Manoel de Barros

We contemplated concerning the borders in the social relationships, verifying that way the speech poetic internalizes the moral conventions and it fastens identities when proposing the alterity as a one other radically different. We studied the woman's representation in the poetry of Manoel de Barros, in the grandmother's figures, of the mother, of the women of the people and of the prostitutes. We verified the way as the women are figured and the function that they carry out in the universe of poetic's Barros.

Oswald de Andrade e a poética da modernidade

In its first part, this essay looks into basic features of Oswald de Andrade's creative thought; in the second part the poem Soidão is analysed to show some of the poetic procedures used by the poet.

Os quatro núcleos/eixos de produção da poética de Caio Fernando Abreu

This article presents a short study about the literary work of Brazilian writer Caio Fernando Abreu (1946-1996). In order to study his formal and thematic choices, we established criteria based on concepts like motif and plot (dramatic situation), as developed by Tomachevski (1976). A specific articulation between motives and dramatic situations establishes four nuclei of Abreu's literary production, which is characterized by a literary experimentation with these elements and it constructs an organic work that makes itself and/or is made in a dialogic way (Bakhtin, 1981). Firstly, the main characteristics of the four nuclei and the books that embody them will be presented. Then, we will describe how the motives and dramatic situations are re-elaborated from one nucleus to another. Not only does each nucleus features some new elements, but also contains remainders of previous ones. As such, each of Abreu's works can be considered as both the same and unique.

The Magic Toyshop: A narrativa imagética como processo de recriação

Because it belongs to a cultural practice, the adaptation of a novel into a feature film will always exist within a context and, for being subject to changes, corresponding modifications in the political sphere and even variations in the meaning of the story may occur. This seems to be precisely the result of the transformation of Angela Carter's second novel, The Magic Toyshop, into the homonymous film, directed by David Whealtey in 1987. Removed from the context of the book's production and publication, a crucial period of questioning about the importance of women in society and culture, the plot created by the English author in the sixties, rewritten two decades later, with the author herself as the script writer, seems to have acquired another meaning during this time. Although the film maintains the same plot of the novel, the political engagement visibly present in the narrative, namely Carter's critical stance about the model of patriarchal society, seems to lose its strength, highlighting now its fantastic character. Briefly discussing issues such as loyalty and betrayal of one gender to another, we seek in this paper to observe the film, based on the re-writers perspective, in other words, the prospects of both writer and director, as a process of rebuilding the story. In this dialogue, the script was also used as an intertext for a better understanding of this process.

O teatro de Tadashi Suzuki e o ator como eixo de sua poética cênica

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A imagem poética que fundamenta a cena do Grupo XPTO de Teatro

Pós-graduação em Artes - IA

A estética da subjetividade rebelde na poética teatral do oprimido

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Poética da cabaça: fruto de tradição, arte e comunicação

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Metamorfoses e hibridismo: em busca de uma singularidade poética

Pós-graduação em Artes - IA

Vídeo-documentação: realidade, técnica, poética

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A modernidade poética em Cesário Verde e Gomes Leal

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

A poética ontológica de uma aprendizagem ou o livro dos prazeres

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

A poética do espetáculo: uma análise dos procedimentos dramáticos nos sonetos de Florbela Espanca

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)