Academic Literacy: history of literacy and expectations about the writing practices of the Languages Course

In this article, I analyze the history of literacy of a student taking up the Languages Course from a private university in the city of São Paulo. Backed up by reflections from the theoretical field of the New Literacy Studies, I investigate how the student’s previous literacy history and her contact with speeches about writing had an impact on the development of expectations about the writing practices in the Languages course. To this end, I refer to stretches in a transcription from a semi-structured interview held in 2009, when the participant in the research was in the first semester of the course. The analysis undertaken herein aims to show that the understanding of the previous literacy history of the public entering university can collaborate so that the academic writing conventions and, in turn, those of the academic genres are not presented to the students as something part of the common sense, rather, as something which can be taught.    

THE ARTIFICIAL PARADISES OF DES ESSEINTES, A DECADENT ESTHETE

In the late nineteenth century, the discoveries of the unconscious universe and the fondness for mysterious dimensions of existence have influenced a group of young artists to probe world mysteries through the incantatory power of words. From the opposition to scientific Realism and Naturalism, and also inspired by the revolutionary poetry of Charles Baudelaire, thus arose Decadentism. The novel À Rebours, by the French novelist and art critic Joris-Karl Huysmans (1848-1907), is an important expression of that spirit. In that work, there is a fruitful dialogue between painting and literature, which inaugurates a new style opposing the already exhausted realistic model. Duke Des Esseintes, the eccentric protagonist of the novel, struggles to modernity and emerging bourgeoisie’s unrefined taste of emerging bourgeoisie. In his searching for a new literary model, Huysmans bet on environment descriptions and art transpositions. The painting served as an aesthetic paradigm for the novel construction, not limited only to the frequent descriptions of Moreau or Redon’s paintings, but also encompassing the way Huysmans described the furniture, tapestries, artificial flowers and fishes, book covers etc... Being outstanding was his idea, things beyond the reach for the common man, devoted to trivialities of everyday life. The transposition of art, or the creation of an artistic work by language, acquires immeasurable value to the critical Huysmans engrossing him in À Rebours. There, the critical superimpose the writer. The decadent style of Huysmans opposes the analytical reason. In his work, the art aims to retake the passion, the dream, the mystery, fear, death, totally disengaged of the desire to represent the reality.