A melancolia em A Asa Esquerda do Anjo

O termo melancolia, como foi mostrado em todo o decorrer do nosso trabalho, principalmente no histórico da melancolia, é um termo, por excelência, escorregadio. De várias facetas, a melancolia pode vir a designar desde patologia, passando por inspiração filosófica, para desaguar num modo de ver a vida, como bem nos coloca Denílson Lopes em seu livro Nós os mortos: melancolia e neo Barroco (1999). A Asa Esquerda do Anjo (LUFT, 2005) é uma obra que já nos acompanha há algum tempo, pois desde a graduação estudamo-la. Em torno da protagonista, chamada de Gisela pela mãe e Guísela pela avó, circula toda a trama desse romance moderno. Tentamos visualizá-la nos três capítulos da dissertação. No primeiro, focalizamos a obra sob o aspecto de uma possível estética da melancolia, tendo por base teórica Marie Claude Lambotte (2000). Depois, elaboramos algumas linhas sobre as perdas da protagonista que do enredo emergem. Por fim, demonstramos Gisela pelo aspecto de múltiplas faces. Sabendo que uma obra literária é infinita em seus significados, cremos que A Asa Esquerda do Anjo (2005) suscita outras nuances. Isto nos dá a certeza que não é um texto acabado, finalizado. Estas nuances poderão ser estudadas, pesquisadas em uma outra oportunidade por nós ou por outros leitores de Luft. A fim de estudar a melancolia em Gisela, fundamentamos nossa dissertação com os estudos de Freud (1980) a respeito do tema. Este faz uma análise comparando a melancolia ao luto, para poder chegar, assim, a um denominador comum, já que o termo é flexível em seus significados. Freud e alguns outros autores no campo, tais como, Bataille (1980); Benjamin (1984); Erickson (2003); Klein (1971); Kristeva (1989); Lino (2004); Peres (2003); Santos (2005), Scliar (2003), pois, nos auxiliaram em nossas pesquisas e direcionaram melhor o nosso olhar sobre a obra. Acreditamos ter alcançado nosso objetivo estudar a obra A Asa Esquerda do Anjo (LLUFT, 2005) pelo foco da melancolia e suas nuances. Gisela é um personagem inacabado. Em seu discurso ela deixa isto bem nítido. Assim também, não buscamos respostas prontas, com teor de acabamento. O fechar da história está nas mãos do leitor. Mas, à medida que reiniciamos nova leitura, percebemos algo novo, que pode ser extraído da obra, do personagem, da trama. É neste abrir/fechar que a própria Gisela sussurra: Vem, vem, vem.... Ao chamar a todos nós, chama também para um novo caminhar com ela, em suas perturbações subjetivas e sua ausência de respostas. Ao aceitarmos este convite, fica difícil retornarmos pelo mesmo caminho de antes. É necessário, então, junto com este ser de papel, rever nossos passos, para, enfim, redimensionarmos nossa escrita acerca de nós mesmos e (por que não dizer?) do mundo que nos circunda

A doença de criar passarinhos: a lírica humanizadora de João Cabral de Melo Neto

João Cabral de Melo Neto n a jamais aimé les vers sentimentaux et prolixes venus de la tradition romantique. C est pour ça que son uvre a un discours objectif, rigoureusement elaboré e elle comporte certaines influences concretistes ça explique pourquoi l auteur est connu comme l ingénieur de la langage. En verité, le poète même dissait qu il était un homme froid et rationnel. La critique a assidument analysé la matière logique et le rigeuer formel de l uvre de Cabral de Melo. Pourtant, dans ce travail nous analysons les poèmes dont le sentiments humaines sont la mtière principal de l élaboration de l experiènce esthétique. La poèsie de João Cabral n est pas simple verbalisme formel, ni un uvre sens vie, car les objects concrètes et la langage objectif n empêchent pas qui le sujet décrit avec émotion les scènes presents dans les poèmes. Nous travaillons avec la hypothèse de que le poète a une attitude trop humaine quand il parle de l experience culturel et de l experience de la vie dans le Nord-est brésilien. Les unités témathiques de ce travail, pourtant, montrent la représentation du Nord-est dans la poèsie de João Cabral et examinent aussi le sentiment qu il sent par la memoire culturel de sa région. Parmi les aspects qui composent sa lyrique humaine nous citons la personification constant de les paysages du Nord-est le poète ne veux pas faire une décrition tophographique de la région parce que les places ont un valeuer sentimentel pour lui; au moyen d un discours erotique, Cabral represente les desirs et les intints humaines de sa terre; ensuite, il semble que le poète est enchanté et enveloppé avec certains elemets culturels de sa région, come l hamac, la littérature oral et la musique régional; la preoccupation avec la population explorée et la denonciation de la condition miserable dans le Nord-est brésilien confirment aussi la humanité présent dans son uvre; finalment, la récordation de l enfance et la nostalgie du temps passé sont, pour le poète, un possibilité qui peut aider dans la formation humaine de la population

O silenciamento no texto jornalístico e a construção social da realidade

This research analyses the silencehood use by the A República journal (Natal/RN), today not being distributed, during the Second World War. Its objective is to unveil the production condition of the news texts, and it was observed that the use of silencehood as a speech strategy with its implications that falls upon the way of behaving and thinking of the society, all that time, influencing the reader in the construction of his image of the reality. During the coverage of the conflict by the local journal it was possible to also observe different speech marks that represented the change in attitude of the Brazilian Government, responsible for the control of what was spread as news. The country lived the dictatorship of the New State and as the war went on the government changed its speech, according to political, social and economical interest s thoughts being played, silencing themes in the name of the national security. We admit as research material journalistic texts that refer to the main facts that occurred during the six years of the world conflict and that is why we used as theoric-metodological support the Speech Analysis

O significado dos símbolos e dos signos de noites do sertão

Les symboles et les signes de Noites do Sertão, de João Guimarães Rosa, contient l étude d une édition de cette ouvrage, publié par Livraria José Olímpio Editora, en 1975. Un éditeur arrêtée. Notre priorité c est montrer au lecteur les dégradations résultants d altérations ou d omissions qu on vérifie dans les publications postérieurs; d une manière spécifique, les éditions mais récents. Dans le primiere chapitre, notre recherche privilégie l analyse et l explication de las inscirtions qui sons enregistré dans la partie exterior, ou dans la couverture de ce livre. Le deuxième chapitre traite des réflexions sur ce qui se réfère au revers de la couverture, dans le côté gauche: les énigmes dont l auteur utilise avec l intention de bien idiquer au lecteur orientations pour envisager les aspects des narratives. Combien, nous méditerons ici sur la signification des épigraphes de cette ouvrage; sur les noms des personnages les plus importants et sur la connexion de ce livre avec autres textes littéraires. Dans le troisième chapitre nous explicitons la rélation de contiguïté avec cette ouvrage et le platonisme. O Chapitre quatre s occupe d étudier toutes cettes symboles vérifier ici sur la pérspective de la vision Junguienne (C.G.Jung); et dans le cinq, analysons les relations possibles de cette ouvrage avec autres livres du même écriteur. Finalement, nous présentons un vocabulaire qui est très importants pour la compréhention des mots mais compliqué dans ce texte écrit pour João Guimarães Rosa

O gênero crônica na sala de aula do ensino médio

In this work we present the results of a research that aims to study the chronicle gender produced in a class of native language. The texts were written by students of a high-school class, under the orientation of the teacher who conducted a didactic sequence in order to explore this gender. In our analysis we observed aspect such as the structure of the general structure of the texts, types of speech and linguistic sequences, some mechanisms of textualization and the characteristics of the gender. In order to attain that, we adopted the theoretical presuppositions of Textual Linguistics and of the Socio-discursive Interactionism, grounding the study of texts and gender in Bronckart (2003; 2006) and Koch (2002; 2004). As a background of the Chronicle Gender we used the studies of Coutinho (1987); Moisés (2003); Sá (2005); Bender; Laurito (1993); Melo (1994); Cândido et al. (1992) among others. The corpus, made up of 15 texts, showed that the narrative is the most used linguistic sequence in the producing of the texts, the discursive world prevailing in the narrative and some instances of the world of exposing. As for the gender characteristics, the daily life was used in order to amuse the reader and make him to reflect upon the daily life. Humor, irony, social criticism and colloquial language were also observed in the texts produced by the students. Although some texts presented the characteristics of the gender, explored in the classroom, some were typically school narratives. That make us believe that a work with textual production under the approach of a text gender is viable, but it is not consolidated yet in many schools as the main object of the central teaching of the Portuguese language. This make us defend a better systematization of the teaching contents having as the main point the reading practice and text production in order to contribute for the growing of the students´ discursive potentialities and, therefore, their effective participation in the language social practices

Marcas da escritura oralizada em Sagarana

This work presents a surveyabout the short stories of Sagarana. first book by Guimarães Rosa, publishedin 1946, and that marked the Brazilian litterature definitely, since we are in front of a new construction of the language, linked to the establishment of a new Portuguese, trough the association between the cult speech and the speech from the sertão, always with a pretence sensitivity that rouses when joins archaisms, neologisms, regional expressions and literary language. Among the nine short stories that made up the work, we will select the following ones, to be analysed: "O Burrinho Pedrês", Traços Biográficos de Lalino Salãthiel ou A volta do marido pródigo , "São Marcos" and A hora e vez de Augusto Matraga". Among the hypothesis that organize and surround this work, we will approach the narrative aesthetics, the creative process and the orallity, i.e., how Rosa trans1ate the oral world, rescuing the archaizing speech in the written narrative construction.We will choose for the establishment of developed questions in this ressearch the theories of Paul Zumthor, Câmara Cascudo, Sílvio Romero, Antonio Candido and Alfredo Bosi, among others. Therefore, we will see, through the narrative reading, how the popular parlances are used, which they are linked. The citations that show the popular tradition presence will be pointed out, through anecdotes, folk songs, legends, myths, folktales and proverbs. Therefore, we, readers, will see the popular tradition presence, that will show itself, and the Rosa's thinking will be known through language art, what is the result of the writer's deliberate choice. We will see the popular experience turned to art

O discurso de outrem em retextualizações

This work investigates features that speakers use to introduce different voices during retextualization of a literary work. It presents events revealing different resources used, characterizing the discursive heterogeneity, recognized through various brands such as quotation marks, italics, etc. The material analyzed, ie, the corpus of this research, consists of 65 essays from the reading of a literary work - Jealous of Card, Moacyr Scliar - produced by students of the 8th year of high school while in the classroom. The data revealed that the resource most used by students was the indirect discourse, although there also occurred the use of other resources such as free indirect discourse and modalizations in fewer redactions. Notably, the autonym connotation was noted through the use of quotation marks, and the use of parentheses. The recurrence of the parentheses seem to be justified by the need to make clearer sentences that could raise questions to the reader, since the protocol request retextualization established a thirty lines of text, which would certainly limit the possibilities of expansion of the text

Os Brutos: tradição literária e a memória cultural do Seridó

Partindo do princípio de que a força centralizadora do discurso do narrador sob o universo romanesco encontra-se regido por nuanças sócio-ideológicas que fazem parte do mundo psicológico do autor, procede-se uma leitura crítica de Os Brutos (1938), romance de estréia do escritor José Bezerra Gomes. O trabalho mencionado visa a tecer algumas considerações em torno do ponto de vista do narrador, enfocando a encenação do EU no cenário artístico-literário e sua interferência no modo de narração da citada obra. O procedimento metodológico adotado foi a pesquisa bibliográfica, e como aporte teórico recorreu-se à crítica especializada que trata da temática em questão. Ao final percebeu-se que o discurso do narrador possui um caráter ambivalente, o qual permite que o interlocutor presente não assuma uma perspectiva fixa diante do que narra

A construção de modelos situacionais no padrão discursivo narrativa em quadrinhos

The object of this study is the construction of situation models in the discourse pattern comic book narrative, and sits in the field of Cognitive Linguistics. Its main foundations are the notions of embodied mind (LAKOFF; JOHNSON, 1999), mental simulation (BARSALOU, 1999), discourse pattern (DUQUE; COSTA, 2012) and situation models (ZWAAN, 1999). I stem from the hypothesis that the process of meaning construction in narratives is attached to the simulation of space, of time and of the characters goals and actions within the story world, dimensions which make up the situation models elaborated by the reader. The simulation of these experiences during discourse processing originates from the fact of it having an embodied and cultural basis, i.e., upon being confronted with the clues found in the narrative, the cognitive structures that make up the reader s personal and social memories are triggered and make it possible to activate information which in turn refer to his/her physical and social experiences, built up in the environment in which he/she lives. As regards comic book narratives, the construction of situation models is closely related to the recurring activation of certain cognitive structures originating from graphic resources that are typical of that discourse pattern. These conclusions were drawn from the data analysis taken from the work Palestina (SACCO, 2003; 2004; 2011)

Infância - memórias: cenários - personas

Infância is undoubtedly memory, high qual ity l iterature, reputable, as the story moves between f ict ion and reality. Personal and social history, wi th such a sense of reality, causing the reader to prof it f rom the honesty and the sinceri ty producing, in this work, remarkable results in a constancy of cl ippings, f rame -by-f rame. Memory and obl ivion are this work guidance. We aim to denounce the relat ionship between the chi ld and violence, and as it is a memorialist ic text , we see the importance of f ict ion for this type of narrat ive to be sustained. I aim thereby show the tone of this report humanizing memories, its deep and decisive meaning, through the memories concepts by Le Gof f , by Seligmann-Silva and by Ecléa Bosi. I t is also through the theories of Jeanne Marie Ganegbin that I just ify the concept of remembering and forget t ing, and also it is also according the concepts of Eliane Zagury that I give support to the importance of autobiography as a a mean of expressing the reported memor ies. Final ly, in Infância, there is no room for fantasy. The lyricism that overwhelms, throughout each chapter, commands the author's imaginat ion. The need to invent gives way to the need to test ify, to denounce. And this t ransit ion occurs gradually, slow as Gra c il ia n o s c h i ld li f e , d u e to such humiliat ion and submission

O hipertexto eletrônico de meio ambiente : estratégias de leitura e navegação

The incorporation of computing in class instigate the use of the Internet and websites as a content support in the teaching/leaning process. This kind of practice had challenged the students to read through eletronic hypertextual means. In that way, we re trying to undestand which strategies of reading and navigation the students of the second and third grade of highschool levels are using when reading electronic hypertexts from the www.ambientebrasil.com.br website. The research took place in the Escola Estadual Jerônimo Rosado in Mossoró RN. Our theoretical base was estructured on the digital Technology (electronic hypertext estructure and it s navigation modes), in applied linguistics (act of reading) and in cognition (interaction of the reader with the text and the use of reading strategies in the virtual computing enviroment). The applied methodology was the case analysis which was developed with the reunion of collected data through qualitative reseach questionaries, direct observations and video recording sessions. The research demonstrates that reader s ability in the act of navigating on virtual sites activates his/her reading strategies. Also shows how the semantic architecture of the hyperlinks can interfere directly over the strategies of reading and navigation in specific websites. Our research also intend to demonstrate that the student use his strategies of linear text reading when are not accustomed to use the reading through websites in a regular basis. The investigation concludes observing that the amount of hypertexts per pages and the inappropriate use of the multimedia elements were harmful to the reading fluency

Cinge a musa o oráculo da tradição: revelações perenes da narrativa em contos de Perrault

Le présent ouvrage comprend des versions comparatives de neuf contes de Perrault, parmi les plus célèbres, publiés dans des éditions intégrales, au Brésil, entre 1934 et 2005. L analyse comparative donne la priorité à l identification des éléments relatifs à l oralité, comme ceux qui appartiennent, selon Ong (1998) et Havelock (1996), à des contextes de cultures antérieures à l épanouissement de l écriture et qui donc élaboraient ses propres structures de pensée et d expression pour interagir dans la vie pratique comme dans la création, dans la transmission et la manutention des coutumes et traditions. Issus des premiers récits, les contes de Perrault, traduits ou adaptés au Brésil, gardent en eux l esprit du langage narratif auquel l auteur français a consagré une attention spéciale, pour transposer dans l écrit quelques récits de la grande expérience humaine née dans le milieu populaire et qui désormais intègrent l espace de l écriture à chaque nouvelle version produite. Les bagages formulaires, comme les épithètes, les interventions du narrateur et la propre relation des signifations de l intrigue avec les structures de l imaginaire toujours présentes dans l humanité, démontrent le rapprochement entre l oralité et écriture. En suivant les discussions théoriques de Zumthor (1993, 1997, 2000) et par l interation du lecteur avec le texte, on constate que ces éléments relatifs à l oralité rendent possibl existence d une performance dans l écrit a partir des impressions cinesthésiques qui chaque lecture provoque chez le lecteur et récepteur d un texte narratif qui revendique, automatiquement, la construction d une ouvrage seulement possible à chaque instant de l interation, par le processus esthétique de la réception. Même au niveau d écrit, ou l intensité de sa présence est diminuée en raison de l absence d un corps physique qui transmet, qui développe, qui opere littéralement le texte par la voix et qui réunit l écoute et la vision de l auditeur, la performance produite s interpose entre le corps du lecteur qui agit sur le texte et en même temps reçoit les sensations lui permettant l expérience esthétique. Ainsi, dans l expérience de la lecture de Contes de Perrault est possible percevoir les éléments qui renvoient à la forme du conte de tradition populaire. Même déjà influencée par l écrit, le lecteur peut identifier, dans cette oeuvre, les possibilités determinantes de la dynamique perpétuel dans la transmission de ses textes: le plaisir de la pratique de l écoute des histoires contées oralement et le plaisir de la pratique de lectures silencieuses et solitaires. Dans ce chemin le lecteur devoit chercher les sens perdus, ici, rencontrés avec l aide des discours littéraires, linguistique, folklorique, anthropologique et psycanalytique sur la surface du texte narratif merveilleux. Outre cela, ces discours collaborent avec le lecteur qui retrouvent les voix emprisonnées par l écrit dans la virtualité et dans émergence d une performance

Vaga-lume na treva: a poesia de João Lins Caldas

This thesis analyses the poetry of João Lins Caldas (1888-1967), in Brazilian literature context, aiming at describing and understanding the main features of his poetry. Thus, this research presents a corpus to be worked on: the poems in Poeira do céu e outros poemas (2009). Our study is characterized by a biographical, historiographical and critical tendency, by trying to organize the manuscripts of the author and biographical aspects while analyzing his poems. It is showed the relation between Brazilian poetry written by some authors, since the parnasianism and symbolism period until the twentieth century. On the one hand, our analysis is based on the ideas and criticism by Antonio Candido (2006; 2002; 1985), discussing the process of formation of Brazilian literature and the procedure to analyse poetry. It is also based on the concept of poetry and resistance, developed by Alfredo Bosi (2000; 2002), and the notion of Brazilian matter, identified by Roberto Schwarz (1987, 1997, 1999). On the other hand, this work focuses on melancholy under the theoretical ideas of authors such as Aristotle (1998), Walter Benjamin (1984), Jaime Ginzburg (1997) and Moacyr Scliar (2003). This focus on melancholy contributes to a better understanding of one of the main themes found in the poems analysed. By studying the poetry of João Lins Caldas, it was perceived the relevance of melancholy and resistance in his verses. This can be seen in his dissonant language, characterized by the broken syntax in his verses, as well as contradictory images and complex meanings in his poetry. This causes the effect of unfamiliarity on the reader. His poetry is the result of a style that finds its place in the best moment of modern Brazilian poetry and reveals its singularity through the inverted syntax with powerful themes such as love, death, pain, delusion, loss, memory, nature and God. All of them are aspects of Brazilian historicity. Finally, the work of João Lins Caldas is part of a multifaceted poetry

Cartografias mito-poéticas do imaginário nelidiano: das visões do mundo arcaico ao contemporâneo no romance fundador

Esta tesis trata de cómo se desarrolla en la obra de la escritora contemporánea Nélida Piñon una especie de pensamiento cartográfico, presente desde su primer romance Guia-mapa de Gabriel Arcanjo, publicado en 1961. Para que se interprete el universo literario nelidiano, formulamos nuestro trabajo estableciendo un confronto con el texto del mito iluminado por las reflexiones de Eliade (2007; 2007b; 2008) y Meletínski (2002); con el discurso filosófico pos-estructuralista, representado principalmente por las contribuciones de Deleuze y Guattari (1995; 1996; 1997) a respecto de una geografía del nomadismo; y de Foucault (1996; 2006) sobre el orden del discurso, o nacimiento de la literatura y el ser del lenguaje. Examinadas por la lectura crítica y comparativista de esta investigación, las cartografías mito-póeticas de Piñon son presentadas al lector asociándose a una geografía de los sentimientos y al que Maffesoli (2001) denomina deseo de errância y de perdición, particularmente en las obras Tebas do Meu Coração, A República dos Sonhos, O Presumível Coração da América e Fundador. Esa última novela, publicada en 1969, por lo tanto anterior a los otros textos mencionados, servirá como corpus principal de nuestro análisis, que objetiva demostrar como la narrativa de Piñon se conecta a un linaje literario estructurado a partir de las acciones de un determinado tipo de personaje conocido como inaugurador de ciudades o héroe civilizador o cultural. En la reedición de ese arquetipo de personaje, la autora instaura el elemento de la seducción, en un juego que se establece entre los sujetos masculino y femenino y que pone de manifiesto cuestiones relacionadas al erotismo, a la transgresión y al sagrado, abordadas en nuestro discurso por las consideraciones de Baudrillard (2008) y Bataille (1987). Para que se explicite la constitución de esos puntos, realizaremos un viaje de las visiones del mundo arcaico al contemporáneo por las páginas de Fundador, apuntando de qué manera la escritora brasileña retoma las imágenes del mito cosmogónico, del mito del eterno retorno y del paraíso terreal, que se inscriben como fundamento do su texto literario

Narrativas humorísticas: esquemas e frames na compreensão do risível

A Linguística Cognitiva tem como um de seus principais objetivos descrever e analisar os processos de construção de sentido. Para isso, suas pesquisas pressupõem a existência de estruturas cognitivas oriundas das experiências sensório-motoras e socioculturais dos usuários da língua, as quais são acessadas pelo sujeito durante a compreensão textual. Fundamentada teoricamente nesta abordagem cognitiva da linguagem, esta dissertação tem como objetivo nuclear descrever e analisar como os domínios cognitivos - representados pelos esquemas e frames - permitem ao leitor depreender o risível em textos humorísticos. Entende-se por esquemas os domínios das informações construídas e armazenadas na mente do sujeito, oriundas de sua experiência corporal, como ao movimentar-se ou manipular objetos. Os frames, por sua vez, são os constructos que emergem a partir da interação, estabelecida de forma dinâmica e consensual, entre os sujeitos em contextos socioculturais específicos. Percorremos este caminho não somente por acreditarmos que o efeito de humor decorrente de um texto está subordinado à ativação e ao acionamento dos esquemas e frames armazenados na mente no leitor, como ainda por crermos na existência de vários níveis de compreensão, o que explica a recuperação de trechos humorísticos em um texto. Para confirmar a nossa hipótese, utilizamo-nos da aplicação de um experimento (uma atividade, com textos humorísticos, para alunos dos ensinos Fundamental e Médio registrarem sua compreensão). Para a análise dos resultados dessa atividade, apropriamo-nos, metodologicamente, do processo da introspecção (entendida como a intuição do pesquisador e a responsável pela produção de ideias e raciocínios ao manipular os dados). Durante a observação minuciosa do nosso experimento, chegamos à conclusão de que o humor é apreendido intelectualmente quando os esquemas e frames são confrontados