COMPREENSÃO DE METÁFORAS RELACIONADAS À FIGURA DO CAVALO NA CULTURA GAÚCHA

Este artigo tem por objetivo geral descrever um estudo que investiga a compreensão de metáforas conceituais e expressões linguísticas relacionadas à cultura gaúcha por crianças e adultos do interior e da capital do Rio Grande do Sul. A partir desse objetivo geral, surgem dois objetivos específicos, são eles: verificar a influência da variável “local de moradia” (interior versus capital) na compreensão de metáforas relacionadas à cultura gaúcha e investigar o papel desempenhado pela variável “idade” (crianças versus adultos) na compreensão das metáforas conceituais investigadas. Para tanto, foi elaborado um instrumento de compreensão dessas metáforas, sob a perspectiva da Teoria das Metáforas Conceituais (LAKOFF e JOHNSON, 1980). No que se refere à noção de cultura, foram adotadas para a presente pesquisa as ideias defendidas por Geertz (1989) e Strauss e Quinn (1997). As análises dos dados obtidos mostraram que tanto a “idade” quanto o “local de moradia” dos participantes tiveram uma influência significativa na compreensão das metáforas estudadas. Os resultados encontrados se alinham à proposta de Kövecses (2005) sobre variação em metáfora. Como aponta o autor, as dimensões regional e desenvolvimental apresentam diferenças na compreensão de metáforas envolvendo aspectos culturais.

FEATURES OF THE BRAZILIAN PEOPLE IN GOTA D’ÁGUA

This paper aims to analyze elements of the play Gota d’água, written by Chico Buarque and Paulo Pontes from televised script by Oduvaldo Vianna Filho, based on the tragedy Euripides’ Medea. The work preserves the central plot of the Greek text, but presents aspects of Brazilian reality and strong social content, dealing with themes that remain fairly current, such as right to housing, the situation of dependence of the poor class, the search for survival and maintenance power of action and decision in the hands of those who hold the capital. In the plot, recreated in suburban Rio, the representation of poor Brazilian workers emerges, with poverty being approached from a different profile than that spread by recent works of national literature, in which another facet of the lower social classes is highlighted, linking them to crime and violence, as well as the representation even more common, with an emphasis on black or northeastern origin. To this analysis we have purposed our considerations are guided primarily by studies of Antonio Candido (1970, 1989 and 2006) and Roberto Schwarz (1982 and 2000), joining artistic text and social series via character category, with characterization, a priori, through labor relations. Our approach lays not on Joana, representing Medea, the protagonist of that Greek tragedy, but especially from Egeu, minor character in the Euripides’ play, who, however, plays an important role in that modern version, being imperative in the wake of reflections of Brazilian society. On the other hand, we have observed that the entrepreneur Creonte Vasconcelos, who represents the power of capital, and Jasão de Oliveira, a dubious character, who suffers more transformations during the plot, hesitating between the miserable universe of his origin and the economic power, rising socially, becoming a product of the cultural industry and leading us to think about the use of the most capable people by the capitalist system.