THE BORDER CHARACTER OF URBANITE SUBJECT IN PABLO NERUDA

ABSTRACT: The imagetic process in Pablo Neruda's work is built through the creation of images resulting from life experiences kept in memories. It is also an existential questioning of the poet based upon the critical look on the historical and personal moment. In this creative process, Neruda's imagetic world strongly references Temuco's natural aspects, the everyday setting of his childhood and adolescence, part of the scenery that remained in his memory and crystalized in his works. The ascertainment that Neruda, in the transition from province to metropolis, does not reach his emotional final destination, remaining in a long transitory state (threshold), allowing us to highlight the emergence of a "border subject", situated between the provincial universe and the urban universe. In Neruda, the concept of border does not only references a territorial boundary between two regions that are politically and culturally different, but also temporal boundaries, since in his stay in the city the poet turns into a body that experiences the location and establishes a critical relationship towards it: he describes it poetically and develops a temporal mobility from the city to the province. This border state shows an intermediary position in individuals that by moving within his/her own country feel in the margins of his/her own culture. In neruda, the notion of border is a recurring issue in the subject of cities, in which the border is related to the geographical space (country, city and harbor) with the time space (present and past), and with cultural space in which concerns the regional identity differences of a certain country. Thus, it is important to approach the analysis of border overcoming regarding the geographical and cultural issues, but above all to the subjective formulations as a result of interpersonal processes. KEYWORDS: Border; Identity; Pablo Neruda.

Graciliano Ramos' prisons of memory

This study intends to show how the spiritual activity, when treating the memory as an instrument of complaint, in Graciliano Ramos’ Memórias do cárcere, faces the challenge of interacting with elements that can make it a prisoner of itself in the selection and application of images in the literary creation process; elements such as the carceral automatism, the egotism and the blind accession to the external reality.  

The denouncement in the social textualization by interweavement of significant materialities

In this paper I analyse the discursive mechanics on a scene of the Brazilian film Ó paí, ó! , directed by Monique Gardenberg and based on Marcio Meirelles's play. As a start I reckon that the film textualises the social aspects parting from the relation between humour and denunciation. This relation mirrors at another one: the one between art and resistence, which is broadcast on the common  sense as well as on the theoretical-political and artistical field. I reckon humour as the expression of both exaggeration and irony that is formulated by the interweavement of images, gestures, sounds and text. The denunciation, however, is viewed as the textualisation of the conflict, once there is an element of denouncement in the play (as well as in the film), since it intends to portrait the situation of the inhabitants of Pelourinho (a historical neighbourhood in Salvador) during the 90's. This was the period when the neighbourhood was under refurbishment, motivated by touristic interests. The analysis is done under the analytical and theoretical premises of the Discourse Analysis, on a materialist perspective. I also use the notions of interdiscourse, resistence and denunciation against the analytical notions of intradiscourse and discursive memory. I believe to be able to show how the visual formulations textualise social aspects, considering the intersection between humour and denunciation as an axis of sustainability of these formulations.

The Role of the Image in the Press Media – The Subject in Agony of a Party

This article deals with the functioning of images in the press media discourse. For so, we take the French Discourse Analysis proposed by Pêcheux as theoretical support and make use of the notions of subject, meaning, intericonicity and policromy. Problems of the analysis at this level in the French Discourse Analysis are pointed out, especially because of the need for new theoretical devices which are able to analyze the image objects adequately. After this contextualization, a brief analysis of the article The Agony of a Political Party, published by Veja Magazine in 2005, will be done and which deals with the supposed kickback crisis and the Brazilian Labor Party. It is impossible, in our understanding, to make any analysis of the verbal text adequately and pertinently separating it from the non-verbal text; thus, both the linguistic  and non-linguistic plans will be analyzed together in this proposition.