Classic and Historical Backlands in Elomar Figueira Mello

The literary-musical production of Elomar Figueira Mello is marked by the ubiquity of the theme of backland. The analysis of the letters of the songs from the album Na quadrada das águas perdidas, disc recorded by Elomar in 1978, allows us to distinguish, in such compositions, three meanings, or three “levels” of backland: a “classic” or “ideal” backland, which is based in Elomar’s conviction of the existence, in a indeterminate past, of an interior territory inhabited by people who guided his actions based on feelings of justice, dignity, honor, nobility and courage; a “historical-geographical hinterland”, that emerges from the references made by the composer to places and characters – singers, drovers, men of the hinterland – of the Sertão da Ressaca, southwest of Bahia region; and, at last, a “deep backland” or “internal backland”, the backland resulting of artistic creation, hinterland that is constructed by the specific aesthetic and poetic work of the composer. This paper seeks to address, in more detailed form, through examination of the letter of song Canto de guerreiro mongoió, the Elomar’s representations of historical and geographical hinterland where the composer is included as an individual and as an artist - the Sertão da Ressaca.

THE INTERTEXTUALITY OF OPERA IN THE FICTION OF NELIDA PIÑON

This article examines how Nélida Piñon builds a feminist reader in the novel A força do destino (1978). This work highlights the role of the contemporary writer to read the classics from the post-modern and feminist places. Post-modern because it decentralizes the structural elements of the text, feminist because it opposes to any kind of women oppression. In this novel, the narrator reconstructs the trajectory of the characters Alvaro and Leonora, homonym protagonists of the opera by Giuseppe Verdi, based on her devotion by them, because of this, it becomes a passionate and original reporting. The narrative of Piñon is built from a parodist and irreverent place that updates the plot of Verdi. This is a metanarrative in which the narrator dialogues with her characters and reader. In this case, the reference to the opera by Verdi is, actually, the exploration of artistic and cultural archives in accordance with the interests of the narrator. Methodologically, this paper is guided by the exploitation of intertextuality present in this work and in gender studies to enhance the speaking place of the writer as a real part of contemporary feminist culture.

Poetry and transcendence in the A Túnica Inconsútil, of Jorge de Lima

We intend to study this text as Jorge de Lima establishes the relationship between two distinct activities, poetry and religion, for the elaboration of the A Túnica Inconsútil. In our perspective, the effective union of these two perspectives will be accomplished through the technique of surrealist collage, which makes use of the combination of disparate elements, together with the exploitation of classic tops of literature, such as the trip and the island. Join this practice the metaphysical poet's ideological project, which aims to establish the "poetry in Christ".

In Scene of History and the History on Scene: The Theatre of Resistance by Millôr Fernandes and Flávio Rangel

Based on the contribuions from Ryngaert (1995); Prado (2009); Magaldi (2008); Faria (1998); Heliodora (2008); Guinsburg, Faria and Lima (2009), refering to the constituion of the theatrical discourse, in studies of Fausto (2012); Cotrim (2005); Gaspari (2002) and Garcia (2008), about the notes Brazilian historical and the theoretical presupposes of Carvalhal (2003, 2006); Nitrini (2000); Nascimento (2006) and Maddaluno (1991) to approach to the study of comparative literature, this work aims to analyze the play Liberdade, liberdade (1965), by Millôr Fernandes and Flávio Rangel whit the Brazilian dictatorship period (1964-1985). This play was written and performed at the beginning of the regime, as it wished to withdraw from the scheme repressor that dominated Brazil. Millôr Fernandes and Flávio Rangel resorted to the use of classical texts and historical preparation for the work, and make use of music to bring up the subject of ceaseless quest for freedom. The play runs from dramatic to comedic, supported by political discourse, which leads, the called Theatre of resistance. For this work, the basic procedure was the literature search. Through the analysis of the dramatic text and the recurrent use of bricolage (collage of historical texts), perceives the practice of intertextuality theme. Thus, one can understand that Liberdade, liberdade is a dramatic text produced in the second half of the twentieth century, which establishes dialogue with texts embodied historical aspect with literary verve.

Elementos Referenciais na Libras: uma Análise Realizada a partir de Anáforas Diretas em Língua Portuguesa

O processo de referenciação nas línguas depende de uma série de fatores cognitivos, linguísticos e discursivos, sendo fundamental para a condução da progressão textual, para a constituição dos sentidos e para os propósitos comunicativos dos interlocutores. Em se tratando dos elementos referenciais em uma língua oroauditiva e em uma visuoespacial, podemos inferir que há complexidades e singularidades que denotam diferenças relevantes quanto à operação linguística em questão. Nesse sentindo, buscamos responder, nesse artigo, a seguinte indagação: (i) Como a anáfora que se realiza na Língua Portuguesa ocorre na Língua Brasileira de Sinais (Libras), considerando-se a diferença de modalidade entre as duas línguas? Assim sendo, o objetivo geral desse trabalho é refletir sobre os processos referenciais realizados por sujeitos surdos na Libras diante das ocorrências de anáforas diretas em recortes textuais da Língua Portuguesa, em um viés tradutório. Para a realização da pesquisa, selecionamos recortes textuais escritos em Língua Portuguesa compostos por anáforas diretas, os quais foram submetidos ao sujeito surdo para a tradução em Libras, possibilitando em seguida realizar a análise dos processos referenciais na Libras. Com a análise do Corpus Paralelo Português-Libras foi possível perceber como a anáfora que sai da Língua Portuguesa pode chegar na Libras, considerando as estratégias de construção de cadeias referenciais específicas da modalidade visuoespacial. É indispensável destacar a simultânea relação entre a anáfora e a dêixis presente nas glosas-Libras analisadas, contribuindo para a construção dos sentidos na Libras, e representando dinamicidade e a fluidez entre os processos referenciais.