OS SINOS DA AGONIA, FICÇÃO E PÓS-MODERNIDADE

Este estudo propõe uma leitura da obra Os sinos da agonia (1974), de Autran Dourado. A variedade de caminhos e a multiplicidade de soluções formais do romance brasileiro contemporâneo o caracterizam, inclusive com soluções diversas adotadas na mesma obra. Este é o caso de Os sinos da agonia (1974), de Autran Dourado. Neste estudo, procuramos seguir algumas estratégias do autor na elaboração do romance e na condução do relato, particularmente a relação entre a ficção e a história que dá sustentação ao enredo e as relações que o romance mantém com a tragédia clássica.

The Aesthetics of Death: Reflections on the honorable suicide from the texts of Mishima

The objective is to show the aesthetic purpose of the life of Yukio Mishima (1925 - 1970), led the way, and the way led in parallel with his literary career. His whole life was conducted by the maxim that "the way of the samurai is death," maximum accepted as an honorable and patriotic truth. For confirmation of this thesis, whose works were selected characters are samurai like The Hagakure: The Ethics of the Samurai and Modern Japan, and the texts in which the author reflects on the Japanese theme Bushidō (Samurai Code of Ethics), as Confessions a masquerade, something autobiographical work, Sun and Steel, and the Sea of ​​Fertility tetralogy. Special attention will be devoted to the tale Patriotism, 1961, whose plot focuses almost exclusively in the ritual of seppuku (commonly known as Harakiri).

O TRÁGICO EM MACHADO DE ASSIS: ANÁLISE DO CONTO SINGULAR OCORRÊNCIA

Este artigo tem como objetivo analisar a presença do trágico, definido como realidade não-interpretável, no conto Singular Ocorrência, do escritor brasileiro Machado de Assis. Partindo de referências bibliográficas calcadas em Clemént Rosset e Nietzsche, a análise fenomenológica procura descrever o enredo do conto e os nós que tornam a narrativa um exemplo de ocorrência não interpretável, portanto, sua constituição trágica.  

The fantastic in Erico Verissimo: analysis of the short story “Sonata”

Based on the fantastic narrative, this paper aims to present an analysis of the short story “Sonata”, from Erico Verissimo, which is part of his work Fantoches e outros contos, originally published in 1932. This is the first book published by this author, the only one of his own composed just by short stories. For the purpose of this paper, first of all, it is clarified the concept of fantastic narrative, according to the understanding of some authors – as Todorov (1979), Rodrigues (1988) and Calvino (2004) –, and, furthermore, it is briefly discussed the concepts of strange and marvelous, which contributes to the definition of fantastic. It is also mentioned aspects related to the emergence of fantastic and the reasons of its existence. To verify this element in the narrative, it is required a strange or supernatural event and, also, the hesitation of the reader and of a character. Besides, this kind of narrative involves a certain way of interpretation – the way that the reader faces the events presented by the story contributes to support the fantastic. After these considerations, it is presented a thorough analysis of the short story “Sonata”, which has music as a guide and presents the point of view of its main character, who is not named. That is the story of a young piano teacher that, in the context of World War II, moved by the desire of escaping from reality, gets immerse in old newspapers. In his reading, he finds out an ad from 1912, the year he was born, which requests the services of a piano teacher. From that moment on, a journey to the past starts, and, then, it is possible to verify the presence of several elements that point to the fantastic and allow the reader to experience the hesitation, such as the theory here in use indicates.

A construção do ethos do sujeito enunciador em Cartola

RESUMO: Sabemos que, por força do esforço de convencimento, o orador é capaz de projetar, ao produzir seu discurso, uma imagem de si que pode diferir de sua imagem enquanto sujeito empírico. É com base nessa perspectiva que nos propomos a analisar a construção da imagem, ou seja, o ethos, do sujeito enunciador em textos da modalidade do cotidiano, mais especificamente em letras de canções do renomado sambista Cartola. A representação dessa imagem se dá através das escolhas lingüísticas que o enunciador faz no ato de construção de seu discurso, lugar de engendramento do ethos. No caso da canção popular, o compositor, com simplicidade, procura agradar não só o gosto popular indiferenciado, mas, muitas vezes, igualmente ao interlocutor mais letrado e mais culto. As letras de Cartola, músico muito elogiado e admirado pela maioria dos sambistas, falam de amor sem serem vulgares, revelando fugir ao lugar comum. Considerando a preferência temática recorrente em suas composições, pode-se caracterizar seu samba como pertencente à formação discursiva da chamada “dor de cotovelo”. Assim, pretendemos averiguar em quais estereótipos, enunciados que apontem para uma determinada formação discursiva, está ancorado o ethos discursivo desse enunciador.  

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.

THE IMPLICATION OF PLAY AND FANTASY IN THE CONSTRUCTION OF THE MEANING OF CHILDREN’S ENUNCIATION

The aim of this paper is to contribute to the understanding of issues related to the meanings of children's enunciation, considering particularly the role of play and fantasy. To achieve this, we have based ourselves on theoretical and conceptual contributions from the Theory of Enunciative Operations in association with cognitive psychology, through its position towards the construction process of the enunciations and their meaning (CULIOLI, 1990; DE VOGÜÉ, FRANCKEL, PAILLARD, 2011) – and towards interactions characterized as routinized, integrated into the concept of format (BRUNER, 1983), still stressing the relationship between play, fantasy and language in early childhood (WINNICOTT, 1982). Throughout this study we presented the analysis of the speech of a male child, GUS, registered between 24 and 35 months of age, provided by published audiovisual data, recorded and transcribed through the CLAN system, that is part of NALíngua, a databank that is integrated to interdisciplinary research project coordinated by DEL RE (UNESP/FCLAr-CNPq). The analysis focuses on GUS interactions that are observed at the play with different car toys, a themed card game, also about cars, and the animated film's plot “Cars”(PIXAR, DISNEY, 2006), that are presented within a wide range of supports for the child to interact with, stimulating his verbal and nonverbal production. By examining its presence in the process of acquiring structural aspects of the language, we demonstrated how the child is able to adopt representations accessed by the use of words and expressions, due to an intersubjective process of adjustment that integrates fantasies and ludic experiences.  

THE WAKE UP OF THE READER IN TERRA SONÂMBULA NOVEL

Terra Sonâmbula novel (1992) from Mozambican writer Mia Couto was published just in the year that civil war has been finished. The plot talks about a reading of Kindzu’s books by Muldinga boy to the old Tuahir. This reading becomes a vanishing point of a desolate land and a hopeless life to become in a gate of dreams. The narrative allows a study of compositional strategies, but those discussed here promote the reader’s  instance having as theoretical studies of Umberto Eco and Roland Barthes. The aim is to demonstrate how these characters/readers are manifested in the working plan and  seek hybridity in the proclamation of national identity. Thus, the empirical-readers are invited to wake up, bet, decipher puzzles spreaded by Mia couto throughout the ovel in a position of de-automatzation.