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.

Dialogic relations in the Brazilian scientific dissemination from the 19th century: a look in the light of the bakhtinian Metalinguistics

The present study aims at presenting a metalinguistic analysis of one of the Brazilian scientific dissemination architectonics aspects of the 19th century, materialized in the concrete utterance of the Conferências Populares da Glória: the issue of dialogic relations. For such, it adopts as a theoretical-methodological support the discourse analysis and dialogic theory proposed by Bakhtin, aiming to show how the scientific dissemination utterance establishes dialogic-semantic relations with utterances from other ideological spheres, as example of scientific, philosophic and religious utterances in circulation in sociodiscursive context of the nineteenth century.

Consolidation of national grammar: an analysis of the pronoun frame in the eighteenth-century in Minas Gerais context

This article intends to revisit the issue of national genesis of grammar, from the analysis of a corpus of five unpublished documents that was writing in the region of Diamantina (MG) in the second half of the eighteenth century. The data analyzed here according to the assumptions sociolinguistic endorse the hypothesis that destabilization of pronominal framework and the consequent weakening of the agreement of the Portuguese system were already established in this region in the late eighteenth century. From this result, we speculate about the socio-historical role of the Minas Gerais region in implementing linguistic changes determinants for the establishment of a national grammar.

THE GALICIAN-PORTUGUESE LYRIC AND THE 17TH-CENTURY LOVE POETRY: ARTS OF LOVE, SONGS AND WRITTEN SONGS

In this paper, we discuss important echoes of Galician-Portuguese lyric that remain in the 17th-century love lyric poetry produced in Portugal. In order to achieve this main objective, we highlight some specificities of the troubadours’ lyric and of the 17th-century poetry, particularly the fundamentally musical character of the troubadours’ songs as opposed to the fundamentally written character of the 17th-century poems. This contrast indicates that they are compositions from different times (predominantly the 13th and the 17th centuries) and produced according to distinct poetic conceptions. However, they are compositions which are also similar in many ways, and whose similarities, especially regarding the lyrical genre, point to similar quests for perfect practice of love, outlining “arts of love” understood as unsystematic precepts of loving which are practiced in poetry. In this article, we intend to show that these poetic loves are technically conceived and, as historical constructs, they differ from each other, since they are characterized by their peculiar moments of achievement. However, they are not isolated in the time. As mentioned above, the troubadours’ songs are essentially musical while the 17th-century poems, as indicated by the prevalent poetic preceptive in their time, are essentially written. Nevertheless, those trobar songs reverberate in these poems (“written songs”) and in both kinds we read and listen to similar precepts of love, as though we were in labyrinths of love echoes with no way out.