Narrativas da favela, narrativas da cidade: táticas de comunicação na Candelária, Morro da Mangueira

Narrativas da favela, narrativas da cidade analisa como os relatos circulam na Candelária, uma das localidades do Morro da Mangueira, no Rio de Janeiro. Na favela, os veículos convencionais de comunicação comunitários deixaram de existir. Dessa forma, as narrativas sobre o lugar são transmitidas apenas por meio da tradição oral e, agora, ganham também a internet. As narrativas analisadas aqui foram coletadas durante dois anos de pesquisa, em um trabalho de observação participante que envolveu entrevistas e a elaboração de diários de campo. Esses relatos, formas de contar histórias, seriam o que Michel de Certeau chama de táticas do cotidiano, pois reivindicam novas formas de cidadania, brechas pelas quais podem insinuar um novo texto sobre a cidade. Como narradores, os habitantes da Candelária inventam uma cartografia invisível e sempre provisória, modificando uma ordem supostamente dominante. Seus relatos, no entanto, não se resumem às histórias miúdas do dia-a-dia, mas também às narrativas que são usos, maneiras de representar o corpo, os itinerários, os desvios e atalhos. São, também, formas de consumir os produtos e os recursos do contemporâneo, e maneiras de tornar este consumo uma produção. São usos que reivindicam uma emancipação, mas não uma separação; rascunham uma nova escritura sobre a cidade, perscrutando a polifonia que instaura, sempre, uma cultura em permanente deslize. Neste espaço de hibridismos e diásporas que é a cidade, as injustiças persistem, apesar da emergência de novos atores sociais, com suas astúcias cotidianas. Boaventura de Sousa Santos reflete que é preciso reinventar uma cidadania que seja ao mesmo tempo local e global; este trabalho leva em conta que há uma força que, fazendo uso de diferentes linguagens, subverte a ordem tradicional em direção a esta nova cidadania. No entanto, essa força carece de uma política que leve em conta os diferentes tipos de experiências, o fluxo de deslizes que marca nossa cultura. Por isso, esta dissertação aponta que não existem narrativas que sejam tão-somente da favela, mas sim narrativas que, oriundas da favela, falam da cidade, de sua problemática contemporânea e de subjetividades amparadas em uma poética social essencialmente impura e polifônica.

Escritas à deriva: testemunhos efêmeros sobre os tempos da escola nas comunidades do Orkut

Se na tentativa de evocar o passado escolar, abrirmos com disposição as páginas das redes sociais virtuais, poderemos também nos surpreender com as memórias dos usuários encontradas nas comunidades do Orkut; nas tramas das histórias escolares, os scraps digitais exibem os relatos dos ex-alunos, numa verdadeira exibição do eu. Este estudo traz para a discussão os posts encontrados nas comunidades do Orkut do Colégio Militar do Rio de Janeiro, do Colégio de São Bento do Rio de Janeiro e do Colégio Marista São José do Rio de Janeiro, procurando dar visibilidade a essas escritas autobiográficas virtuais sobre a vida escolar como fontes para a história da Educação. Como esses usuários narram as suas histórias escolares? Quais os relatos mais frequentes? Estas questões me instigam a pensar que o registro das experiências escolares possibilita ao sujeito desnudar-se. No tempo das tecnologias digitais, o usuário move-se sobre teclados, telas, deixando registros de uma vida, que são examinados pelos moderadores. Mas quem são estes sujeitos nas comunidades escolares? Será que eles cumprem os mesmos papéis desempenhados pelos editores? As escritas memorialistas comandam, imperativamente, novas relações com a escrita; essas narrativas não se esgotam numa tipologia textual persuasiva; observam-se laços de ideias e afetos, aproximando os ex-alunos dessas redes sociais virtuais. Quais são os temas mais recorrentes encontrados neste espaço virtual? Estas postagens constituem elos do tecido das lembranças dos sujeitos que não se intimidam em contar as suas histórias nesses novos suportes de escrita. Talvez, a saudade e a solidão busquem acolhimento e companhia nos cliques dos usuários, remetendo-os aos acontecimentos passados; os ex-alunos compartilham experiências, sentimentos e saberes, borrando fronteiras entre o público e o privado; nesse sentido, percebe-se que essas escritas autobiográficas nas comunidades escolares do Orkut também constroem esses sujeitos no suporte digital. Assim, este trabalho procura ampliar a discussão sobre os lugares de memórias da escolarização, buscando contribuir para os estudos da história da Educação.

Cleanliness Is Next To Godliness

Short story

3000 / futuristische Phantasmen und aktuelle Fantasien der Technokultur

Die Kernthese dieser Arbeit ist eine Leerstelle. Ihre Formulierung beruht auf einer Beobachtung, wie sie von William Gibson stammen könnte: kulturell avantgardistische Gruppen der Gesellschaft internalisieren für ihre technologisch gestützten Praktiken futuristische Phantasmen geschichtlicher Vorläufer, die in Literatur und Mediengeschichte detektivisch aufspürbar sind. Werden diese Verinnerlichungen in aktuelle Fantasien umgewandelt, entsteht eine hybride Mischung vielfältigster Beschäftigungen, Reflexionen und Entwürfe von Technokultur. Bringt man diese Kopplungen auf das Jahr 3000, die nächste epochale zukünftige Zäsur, wird die Absurdität des Projekts, Technokultur überhaupt zu thematisieren deutlich. Technokultur ist im dynamischen Wandel sozio-ikonografisch untersuchbar, wird aber durch Unschärferelation zum object trouvé und Triebmoment für eine in es selbst hinein assimilierbare Analyse. Der daraus folgenden Vermessenheit kann durch instrumentelle Serendipity begegnet werden, die hier nicht Effekt wäre, stattdessen als Methode Verwendung findet: Finden statt Suchen. Das verhältnismäßig neue Schreib/Lese-Medium Hypertext bietet sich dafür als geradezu prädestiniert an. Hypertext ist prinzipiell unabgeschlossen, er folgt hier Arbeitsprinzipien wie sie seit den frühen 1990ern in Online-Tagebüchern und seit den frühen 2000er Jahren in Weblogs (World Wide Web Logbooks) auszumachen sind: Notizen, Found Text (analog zu Found Footage), Zitate, Fragmente, die kurze Form, kurz: wissenschaftliche Alltagstextproduktion wird nach Ordnungskriterien a-systematisiert und verwoben - weniger archiviert denn gesammelt. Eine Art Second Hand Theorie entsteht.

Prizes for modernity in the provinces: The Arts Council’s 1950-1951 regional playwriting competition

As part of its contribution to the 1951 Festival of Britain, the Arts Council ran what can be seen in retrospect to be an important playwriting competition. Disregarding the London stage entirely, it invited regional theatres throughout the UK to put forward nominations for new plays within their repertoire for 1950-1951. Each of the five winning plays would receive, what was then, the substantial sum of £100. Originality and innovation featured highly amongst the selection criteria, with 40 per cent of the judges’ marks being awarded for “interest of subject matter and inventiveness of treatment”. This article will assess some of the surprising outcomes of the competition and argue that it served as an important nexus point in British theatrical historiography between two key moments in post-war Britain: the first being the inauguration of the Festival of Britain in 1951, the other being the debut of John Osborne’s Look Back in Anger in May 1956. The article will also argue that the Arts Council’s play competition was significant for two other reasons. By circumventing the London stage, it provides a useful tool by which to reassess the state of new writing in regional theatre at the beginning of the 1950s and to question how far received views of parochialism and conservatism held true. The paper will also put forward a case for the competition significantly anticipating the work of George Devine at the English Stage Company, which during its early years established a reputation for itself by heavily exploiting the repertoire of new plays originally commissioned by regional theatres. This article forms part of a five year funded Arts and Humanities Research Council (AHRC) project, ‘Giving Voice to the Nation: The Arts Council of Great Britain and the Development of Theatre and Performance in Britain 1945-1994’. Details of the Arts Council’s archvie, which is housed at the Victoria & Albert Museum in London can be found at http://www.vam.ac.uk/vastatic/wid/ead/acgb/acgbf.html Keywords: Arts Council of Great Britain, regional theatre, playwriting, Festival of Britain, English Stage Company (Royal Court) , Yvonne Mitchell

O conceito de mora na teoria contratual moderna

Este trabalho trata do conceito de mora no direito brasileiro. Parte-se da nova concepção da relação jurídica obrigacional, inspirada pelo princípio da boa-fé objetiva e da nova redação dada ao artigo definidor da mora no direito brasileiro, pelo Código Civil de 2002. Analisam-se os elementos essenciais do estado de mora, faz-se uma abordagem acerca das espécies de mora ocorrentes na prática, traçando seus pressupostos, conseqüências e características. Na segunda parte é analisada a conveniência da adoção, no direito brasileiro, do conceito de violação positiva do contrato. Este conceito, por sua proximidade e similitude com o conceito de mora, tem sido defendido como adotável e útil ao sistema jurídico brasileiro de direito privado. Em conclusão, defende-se que o conceito de mora no direito brasileiro abarca todas as hipóteses de violação positiva do contrato e se fixa o que se defende como um conceito atual de mora, no sistema de direito privado brasileiro, à luz da teoria contratual moderna.

Esperando Ulisses: o mito de Penélope à luz da comparação diferencial e discursiva

From the many weavers known, the Queen of Ithaca is certainly among the most famous.Over the years,many writers have dedicated themselves to retell the myth of Penelope in their works by their own way. According to Ute Heidmann, the modern writers recurrence to the Greek myths in order to produce their texts is a renewing discursive practice, which gives new writing and relevance to the myth. (2003, p.47). This work deals with a differential and discursive comparative analysis on the myth of Penelope linking it with two short stories from Brazilian authors: Penélope by João do Rio (1919) and Penélope by Dalton Trevisan (1959). In order to do it, we are supported by: the works of Heidmann (2003, 2006, 2008) and Maingueneau (2006). We also concentrate ourselves on the temporal trace presented in both Penelope s myth and in its modern rewriting so that we can identify how each configuration of the classical myth develops into one of the most celebrated acts of this myth: the waiting. In order to so, we seek support on the studies by Paul Ricoeur (2006), Hans Meyerhoff (1976) and Benedito Nunes (1988)

‘We do not know exactly what we are going to say until we have said it’: interview data on how poems are made

Hyperlinks in e-books : expanding the functionality of end-notes

With its powerful search engines and billions of published pages, the Worldwide Web has become the ultimate tool to explore the human experience. But, despite the advent of the digital revolution, e-books, at their core, have remained remarkably similar to their printed siblings. This has resulted in a clear dichotomy between two ways of reading: on one side, the multi-dimensional world of the Web; on the other, the linearity of books and e-books. My investigation of the literature indicates that the focus of attempts to merge these two modes of production, and hence of reading, has been the insertion of interactivity into fiction. As I will show in the Literature Review, a clear thrust of research since the early 1990s, and in my opinion the most significant, has concentrated on presenting the reader with choices that affect the plot. This has resulted in interactive stories in which the structure of the narrative can be altered by the reader of experimental fiction. The interest in this area of research is not surprising, as the interaction of readers with the fabric of the narrative provides a fertile ground for exploring, analysing, and discussing issues of plot consistency and continuity. I found in the literature several papers concerned with the effects of hyperlinking on literature, but none about how hyperlinked material and narrative could be integrated without compromising the narrative flow as designed by the author. It led me to think that the researchers had accepted hypertextuality and the linear organisation of fiction as being antithetical, thereby ignoring the possibility of exploiting the first while preserving the second. All the works I consulted were focussed on exploring the possibilities provided to authors (and readers) by hypertext or how hypertext literature affects literary criticism. This was true in earlier works by Landow and Harpold and remained true in later works by Bolter and Grusin. To quote another example, in his book Hypertext 3.0, Landow states: “Most who have speculated on the relation between hypertextuality and fiction concentrate [...] on the effects it will have on linear narrative”, and “hypertext opens major questions about story and plot by apparently doing away with linear organization” (Landow, 2006, pp. 220, 221). In other words, the authors have added narrative elements to Web pages, effectively placing their stories in a subordinate role. By focussing on “opening up” the plots, the researchers have missed the opportunity to maintain the integrity of their stories and use hyperlinked information to provide interactive access to backstory and factual bases. This would represent a missing link between the traditional way of reading, in which the readers have no influence on the path the author has laid out for them, and interactive narrative, in which the readers choose their way across alternatives, thereby, at least to a certain extent, creating their own path. It would be, to continue the metaphor, as if the readers could follow the main path created by the author while being able to get “sidetracked” into exploring hyperlinked material. In Hypertext 3.0, Landow refers to an “Axial structure [of hypertext] characteristic of electronic books and scholarly books with foot-and endnotes” versus a “Network structure of hypertext” (Landow, 2006, p. 70). My research aims at generalising the axial structure and extending it to fiction without losing the linearity at its core. In creative nonfiction, the introduction of places, scenes, and settings, together with characterisation, brings to life the facts without altering them; while much fiction draws on facts to provide a foundation, or narrative elements, for the work. But how can the reader distinguish between facts and representations? For example, to what extent do dialogues and perceptions present what was actually said and thought? Some authors of creative nonfiction use end-notes to provide comments and citations while minimising disruption the flow of the main text, but they are limited in scope and constrained in space. Each reader should be able to enjoy the narrative as if it were a novel but also to explore the facts at the level of detail s/he needs. For this to be possible, end-notes should provide a Web-like way of exploring in more detail what the author has already researched. My research aims to develop ways of integrating narrative prose and hyperlinked documents into a Hyperbook. Its goal is to create a new writing paradigm in which a story incorporates a gateway to detailed information. While creative nonfiction uses the techniques of fictional writing to provide reportage of actual events and fact-based fiction illuminates the affectual dimensions of what happened (e.g., Kate Grenville’s The Secret River and Hilary Mantel’s Wolf Hall), Hyperbooks go one step further and link narrative prose to the details of the events on which the narrative is based or, more in general, to information the reader might find of interest. My dissertation introduces and utilises Hyperbooks to engage in two parallel types of investigation Build knowledge about Italian WWII POWs held in Australia and present it as part of a novella in Hyperbook format. Develop a new piece of technology capable of extending the writing and reading process.

Literary prosumers : young people’s reading and writing in a new media landscape

The production of culture is today a matter of ‘user generated content’ and young people are vital participants as ‘prosumers’, i.e. both producers and consumers, of cultural products. Among other things, they are busy creating fan works (stories, pictures, films) based on already published material. Using the genre fan fiction as a point of departure, this article explores the drivers behind net communities organised around fan culture and argues that fan fiction sites can in many aspects be regarded as informal learning settings. By turning to the rhetoric principle of imitatio, the article shows how in the collective interactive processes between readers and writers such fans develop literacies and construct gendered identities.

Negotiating the creative and the critical : Paul Dawson’s creative writing and the new humanities

In the first Modern Language Association newsletter for 2006, renowned poetry critic and MLA President, Marjorie Perloff, remarked on the growing ascendency of Creative Writing within English Studies in North America. In her column, Perloff notes that "[i]n studying the English Job Information List (JIL) so as to advise my own students and others I know currently on the market, I noticed what struck me as a curious trend: there are, in 2005, almost three times as many positions in creative writing as in the study of twentieth-century literature" (3). The dominance of Creative Writing in the English Studies job list in turn reflects the growing student demand for undergraduate and postgraduate degrees in the field—over the past 20 years, BA and MA degrees in Creative Writing in North American tertiary institutions have quadrupled (3)...