DISLOCATIONS IN THE TEACHING OF OBJECTS TO PRACTICES; OF PRACTICES TO OBJECTS

In this text I argue, by means of contrast, about two different and opposite ways of understanding the process of teaching a mother tongue: one that focuses on the product of the objectifying thinking over language, basing the teaching process in the development of the capacity to recognize linguistic structures of different levels, which can range from recognition of the discourse genre to the minimum signifying units in the inner structure (phoneme) or, taking the opposite way, from minimum units to the higher levels; the other one focuses on language practices, taking the role of intuitive thinking over the language expressive resources as one of these practices, and among them we can find the discursive genres, but not having as a goal the product recognition of the objectifying scientific activity

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.

Entre a virgem e a prostituta: uma leitura de Sota e barla

RESUMO: Objetivou-se neste estudo analisar algumas representações femininas em “Sota e Barla”, conto que integra o livro Tutaméia, de João Guimarães Rosa, com vistas a resgatar como o autor se atém – na arcaica e tradicional sociedade patriarcal – à contraposição entre a virgem – para casar – e a prostituta – para o prazer. Esta dicotomia se faz presente no conto “Sota e barla”, cujo título estabelece, a priori, onde se situam socialmente os dois amores de Doriano: a prostitua Aquina, a sota – palavra que, no contexto do conto, significa amante –; e a donzela Bici, a barla – neologismo criado por Guimarães Rosa a partir da palavra barlaque: regionalismo do Timor Leste que significa compra de mulher para fins matrimoniais. Portanto, o título do conto prenuncia que a viagem de Doriano como chefe de uma comitiva é, também, uma travessia durante a qual ele terá que optar entre a prostituta e a virgem. Sua escolha, coerentemente com a moral patriarcal, recairá sobre a segunda.