Os caminhos movediços de Bandeira

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Um pássaro invocou mudamente o abismo: tensão entre as categorias positivas e negativas na poética de Orides Fontela

Pós-graduação em Letras - IBILCE

Inesgotável fonte de magia: o poder encantatório da palavra em um conjuro anglo-saxônico

This work aims to analyze the Wið Færstice, a charm from the anglo-saxon literature, translated as Charm for a sudden Stich. Inside of the imaginarium in this context, the refered pain is assigned to a dart shooted by an elf, witch or pagan god. This charm is included in the anglo-saxon medicine manuscripts andwas wrtitten in form of poetry, presenting characteristics of the poetic work, presenting aspects of the poetic do that once considered historical, cultural and artistic issues concerning the people and the Anglo-Saxon culture, indicate a close relationship between poetry as a form of thought and knowledge and magic as a way of interpreting the world. At this respect we call here, for methodological purposes, incantatory power of the word. From the analysis of this referred enchantment, as well as of the elements in the text, is intended to demonstrate how articulates this incantatory power of words and how to give, within the Anglo-Saxon conception of the Sacred, the transformation of reality through the pronouncement of words

Ou isto ou aquilo: a poesia (não tão) infantil de Cecília Meireles

In this paper, we propose a brief analysis of Ou Isto ou Aquilo, a 1964 children's poetry book by Cecilia Meireles. Based on the perception that the poems in this book possess a distinctive character, both aesthetically and thematically, the analysis focuses precisely on the work's unique aspects, regarding the approach to certain issues which are not customarily associated with the child's universe - such as solitude, death, longing, sorrow, angst and nostalgia. Our work aims to shun a common - and sometimes reductionist - vision of children's poetry, by seeing the ludic primarily as a tool that allows the poet to address denser themes in a way that is accessible to children, but without underestimating them. Likewise, based on the assumptions presented, we intend to demonstrate how the author allows not only children, but also to the adult readers, to get in contact with poetic profundity that is not restricted to the target audience. Thus, we expect that the presentation and the analysis of children's poems might, in a way, redeem the importance of Cecilia Meireles's children's poetic production

A aprendizagem do desenho e da escrita: uma experiência com ideogramas japoneses no ensino fundamental

The aim of this paper is to gather research information and studies posted about the importance of social environment in the development of symbolic systems on children. Languages verbal, visual and written are interrelated representation systems, although each one has its own characteristics and elements. The objective of this paper is to elucidate the importance of linking the various existing types of language and therefore the importance of a coordinate approach also in the teaching-learning situations of these systems. The work also intends to disclose how thin is the line that separates writing of drawing, both of them as representative systems. As well as to show how visual information and language are intrinsically linked as thought happens by the connections between them. The work includes the report of an activity with Japanese ideograms done in the author's teacher's training at formal education. It also approaches pictographic, creative and poetic aspects of ideograms that brings up new ways of thinking and representing symbolically just like the methods of artistic language

EMERSON AS A ROMANTICIST

It was the romanticists who tended to write poetry of “autobiography,” who inquired of themselves concerning themselves, and assumed that the world was interested in what they found. Nor was the habit of self-consciousness regarding the poetic office let drop by their successors. That the words poet and poetry were so often on Emerson’s lips would be evidence enough to students of literature, in its changing temper and shifting modes, of his probable localization in time. It is also evidence of his relation to certain European movements of thought to which he gave—comparatively late in their currency and much tempered —American expression. In his doctrine of the superiority and the aloofness of the poet, of the latter’s severance from others to whom he yet bears messages of light, in his self-sufficiency and his sovereignty, his belief in the intrinsic goodness of nature and of man, and his concern with poetic thought rather than poetic form, Emerson may be termed the American representative of ideas which already had had wide circulation in Europe. In great part they emanated from Rousseau, and some of them, especially the gospel of the rights and the supremacy of the individual, had metamorphosed the politics and the map of Europe as well as its literature.

Pissing Glass and the Body Crass: Adaptations of the Scatological in Théophile

Examination of scatological motifs in Théophile de Viau’s (1590-1626) libertine, or ‘cabaret’ poetry is important in terms of how the scatological contributes to the depiction of the Early Modern body in the French lyric.1 This essay does not examine Théophile’s portrait of the body strictly in terms of the ‘Baroque’ or the ‘neo-Classical.’ Rather, it argues that the scatological context in which he situates the body (either his, or those of others), reflects a keen sensibility of the body representative of the transition between these two eras. Théophile reinforces what Bernard Beugnot terms the body’s inherent ‘eloquence’ (17), or what Patrick Dandrey describes as an innate ‘textuality’ in what the body ‘writes’ (31), and how it discloses meaning. The poet’s scatological lyric, much of which was published in the Pamasse Satyrique of 1622, projects a different view of the body’s ‘eloquence’ by depicting a certain realism and honesty about the body as well as the pleasure and suffering it experiences. This Baroque realism, which derives from a sense of the grotesque and the salacious, finds itself in conflict with the Classical body which is frequently characterized as elegant, adorned, and ‘domesticated’ (Beugnot 25). Théophile’s private body is completely exposed, and, unlike the public body of the court, does not rely on masking and pretension to define itself. Mitchell Greenberg contends that the body in late sixteenth-century and early seventeenth-century French literature is often depicted in a chaotic manner because, ‘the French body politic was rent by tumultuous religious and social upheavals’ (62).2 While one could argue that Théophile’s portraits of a syphilis-ridden narrators are more a reflection of his personal agony rather than that of France as a whole, what emerges in Théophile is an emphasis on the movement, if not decomposition of the body.3 Given Théophile’s public persona and the satirical dimension of his work, it is difficult to imagine that the degeneration he portrays is limited only to his individual experience. On a collective level, Théophile reflects what Greenberg calls ‘a continued, if skewed apprehension of the world in both its physical and metaphysical dimensions’(62–3) typical of the era. To a large extent, the body Théophile depicts is a scatological body, one whose deterioration takes the form of waste, disease, and evacuation as represented in both the private and public domain. Of course, one could cast aside any serious reading of Théophile’s libertine verse, and virtually all of scatological literature for that matter, as an immature indulgence in the prurient. Nonetheless, it was for his dissolute behavior and his scatological poetry that Théophile was imprisoned and condemned to death. Consequently, this part of his work merits serious consideration in terms of the personal and poetic (if not occasionally political) statement it represents. With the exception of Claire Gaudiani’s outstanding critical edition of Théophile’s cabaret lyric, there exist no extensive studies of the poet’s libertine œuvre.4 Clearly however, these poems should be taken seriously with respect to their philosophical and aesthetic import. As a consequence, the objective becomes that of enhancing the reader’s understanding of the lyric contexts in which Théophile’s scatological offerings situate themselves. Structurally, the reader sees how the poet’s libertine ceuvre is just that — an integrated work in which the various components correspond to one another to set forth a number of approaches from which the texts are to be read. These points of view are not always consistent, and Théophile cannot be thought of as writing in a sequential manner along the lines of devotional Baroque poets such as Jean de La Ceppède and Jean de Sponde. However, there is a tendency not to read these poems in their vulgar totality, and to overlook the formal and substantive unity in this category of Théophile’s work. The poet’s resistance to poetic and cultural standards takes a profane, if not pornographic form because it seeks to disgust and arouse while denigrating the self, the lyric other, and the reader. Théophile’s pornography makes no distinction between the erotic and scatological. The poet conflates sex and shit because they present a double form of protest to artistic and social decency while titillating and attacking the reader’s sensibilities. Examination of the repugnant gives way to a cathartic experience which yields an understanding of, if not ironic delight in, one’s own filthy nature.

Inesgotável fonte de magia: o poder encantatório da palavra em um conjuro anglo-saxônico

This work aims to analyze the Wið Færstice, a charm from the anglo-saxon literature, translated as Charm for a sudden Stich. Inside of the imaginarium in this context, the refered pain is assigned to a dart shooted by an elf, witch or pagan god. This charm is included in the anglo-saxon medicine manuscripts andwas wrtitten in form of poetry, presenting characteristics of the poetic work, presenting aspects of the poetic do that once considered historical, cultural and artistic issues concerning the people and the Anglo-Saxon culture, indicate a close relationship between poetry as a form of thought and knowledge and magic as a way of interpreting the world. At this respect we call here, for methodological purposes, incantatory power of the word. From the analysis of this referred enchantment, as well as of the elements in the text, is intended to demonstrate how articulates this incantatory power of words and how to give, within the Anglo-Saxon conception of the Sacred, the transformation of reality through the pronouncement of words

Ou isto ou aquilo: a poesia (não tão) infantil de Cecília Meireles

In this paper, we propose a brief analysis of Ou Isto ou Aquilo, a 1964 children's poetry book by Cecilia Meireles. Based on the perception that the poems in this book possess a distinctive character, both aesthetically and thematically, the analysis focuses precisely on the work's unique aspects, regarding the approach to certain issues which are not customarily associated with the child's universe - such as solitude, death, longing, sorrow, angst and nostalgia. Our work aims to shun a common - and sometimes reductionist - vision of children's poetry, by seeing the ludic primarily as a tool that allows the poet to address denser themes in a way that is accessible to children, but without underestimating them. Likewise, based on the assumptions presented, we intend to demonstrate how the author allows not only children, but also to the adult readers, to get in contact with poetic profundity that is not restricted to the target audience. Thus, we expect that the presentation and the analysis of children's poems might, in a way, redeem the importance of Cecilia Meireles's children's poetic production

A aprendizagem do desenho e da escrita: uma experiência com ideogramas japoneses no ensino fundamental

The aim of this paper is to gather research information and studies posted about the importance of social environment in the development of symbolic systems on children. Languages verbal, visual and written are interrelated representation systems, although each one has its own characteristics and elements. The objective of this paper is to elucidate the importance of linking the various existing types of language and therefore the importance of a coordinate approach also in the teaching-learning situations of these systems. The work also intends to disclose how thin is the line that separates writing of drawing, both of them as representative systems. As well as to show how visual information and language are intrinsically linked as thought happens by the connections between them. The work includes the report of an activity with Japanese ideograms done in the author's teacher's training at formal education. It also approaches pictographic, creative and poetic aspects of ideograms that brings up new ways of thinking and representing symbolically just like the methods of artistic language

Futebol, poesia e drama: o espetáculo

O que seria necessário para que se pudesse dizer que uma partida de futebol semelha de alguma forma a um espetáculo teatral, poético, emocional? O artigo propõe um passeio livre pela história dos diferentes tipos de teatro e pelas mudanças sofridas ao longo dos anos. A autora lembra que existe, da metade do século passado para cá, uma nítida divisão que colocou em campos opostos o teatro dramático e o teatro épico, o drama rigoroso contra o texto quase absolutamente livre, Aristóteles contra Brecht. E volta a apresentar as razões pela qual se pode afirmar que existem certos momentos no futebol que o aproximam ainda mais do espetáculo teatral, da dança, da comédia e do drama

Rice oil as a soybean oil replacement in weanling pig diets

The motivation for including oils in the diets of weanling pigs is to increase dietary energy density to meet the pigs' energy requirements. The purpose of this study was to determine the digestible and metabolizable energy values of semi-refined rice oil (RO) and refined soybean oil (SO) for weanling pigs (Experiment 1), as well as to evaluate how replacing SO with RO in weanling pig diets affects performance, intestinal histology, organ morphometry and the occurrence of diarrhea (Experiment 2). In Experiment 1,21 barrows, averaging 19.63 +/- 0.37 kg body weight (BW), were used in a randomized complete block design experiment, with seven replications per treatment and one pig per experimental unit (metabolism cage). The treatments consisted of a reference diet and two test diets. The test diets were obtained by using 90% of the reference diet and 10% of RO or SO. The experimental period consisted of a 7 days adaptation period, followed by a 5 days collection period of feces and urine. The values of the apparent digestible energy, apparent metabolizable energy and N-corrected apparent metabolizable energy of the oils were, respectively, 26.24, 25.78 and 26.01 MJ kg(-1) for RO and 31.74, 31.35 and 31.51 MJ kg(-1) for SO. In Experiment 2, 120 weaned pigs, castrated males and females, averaging 6.74 +/- 0.42 kg BW, were used in a randomized complete block design experiment, with eight replications per treatment and three pigs per experimental unit (pen) to evaluate the effects of five replacement levels of SO with RO in isonutritive weanling pig diets. The treatments were as follows: 4:0 basal diet with 4% of SO; 3:1 basal diet with 3% of SO and 1% of RO; 2:2 basal diet with 2% of SO and 2% of RO; 1:3 basal diet with 1% of SO and 3% of RO; and 0:4 basal diet with 4% of RO. No effects of the replacement levels were observed in the weanling pigs' performance, organ morphometry or in their occurrence of diarrhea. However, a quadratic effect on the villus width and a cubic effect on the villus height:crypt depth ratio were observed in the duodenum. Therefore, if the determined values of energy are used in the feed formulation, refined soybean oil can be replaced with semi-refined rice oil in weanling pig diets without affecting their growth performance. (C) 2011 Elsevier B.V. All rights reserved.

Fiber fermentability effects on energy and macronutrient digestibility, fecal traits, postprandial metabolite responses, and colon histology of overweight cats

Considering the different potential benefits of divergent fiber ingredients, the effect of 3 fiber sources on energy and macronutrient digestibility, fermentation product formation, postprandial metabolite responses, and colon histology of overweight cats (Felis catus) fed kibble diets was compared. Twenty-four healthy adult cats were assigned in a complete randomized block design to 2 groups of 12 animals, and 3 animals from each group were fed 1 of 4 of the following kibble diets: control (CO; 11.5% dietary fiber), beet pulp (BP; 26% dietary fiber), wheat bran (WB; 24% dietary fiber), and sugarcane fiber (SF; 28% dietary fiber). Digestibility was measured by the total collection of feces. After 16 d of diet adaptation and an overnight period without food, blood glucose, cholesterol, and triglyceride postprandial responses were evaluated for 16 h after continued exposure to food. On d 20, colon biopsies of the cats were collected under general anesthesia. Fiber addition reduced food energy and nutrient digestibility. Of all the fiber sources, SF had the least dietary fiber digestibility (P < 0.05), causing the largest reduction of dietary energy digestibility (P < 0.05). The greater fermentability of BP resulted in reduced fecal DM and pH, greater fecal production [g/(cat x d); as-is], and greater fecal concentration of acetate, propionate, and lactate (P < 0.05). For most fecal variables, WB was intermediate between BP and SF, and SF was similar to the control diet except for an increased fecal DM and firmer feces production for the SF diet (P < 0.05). Postprandial evaluations indicated reduced mean glucose concentration and area under the glucose curve in cats fed the SF diet (P < 0.05). Colon mucosa thickness, crypt area, lamina propria area, goblet cell area, crypt mean size, and crypt in bifurcation did not vary among the diets. According to the fiber solubility and fermentation rates, fiber sources can induce different physiological responses in cats, reduce energy digestibility, and favor glucose metabolism (SF), or improve gut health (BP).

Chemopreventive effect of Copaifera langsdorffii leaves hydroalcoholic extract on 1,2-dimethylhydrazine-induced DNA damage and preneoplastic lesions in rat colon

Background Natural antioxidants present in common foods and beverages have drawn great attention to cancer prevention due to its health benefits, remarkable lack of toxicity and side effects. Copaifera langsdorffii, known as “copaiba”, “capaiva”, or “pau-de-óleo“, belongs to the Leguminosae family and occurs in fields and grasslands in the northern and northeastern parts of Brazil. Biological studies of Copaifera corroborate its widespread use by the population. This paper describes the effects of C. langsdorffii leaves hydroalcoholic extract on the 1,2-dimethylhydrazine (DMH)-induced DNA damage and aberrant crypt foci (ACF) in the colon of male Wistar rats. Methods The hydroalcoholic extract of C. langsdorffii was administered to rats by gavage at daily doses of 20, 40 and 80 mg/kg body weight. To evaluate DNA damage by the comet assay, animals received the C. langsdorffii extract for seven days and a single subcutaneous injection (sc) of 1,2-dimethylhydrazine (DMH) at a dose of 40 mg/kg on day 7. Animals were sacrificed 4 h after injection of DMH, to assess DNA damage. For the ACF assay, animals were acclimatized for one week (week 1) and then treated with the C. langsdorffii extract five times a week for four weeks (weeks 2 to 5). The rats received sc injections of DMH (40 mg/kg) on days 2 and 5 of weeks 2 and 3, to induce ACF. Animals were euthanized at week 5; i.e., four weeks after the first DMH treatment. Results Animals treated with different doses of the C. langsdorffii extract combined with DMH had significantly lower frequency of DNA damage as compared with the positive control (animals treated with DMH only). The percentage of reduction in the frequency of DNA damage ranged from 14.30% to 38.8%. The groups treated with 40 and 80 mg/kg C. langsdorffii extract during and after DMH treatment presented significantly lower numbers of ACF and aberrant crypts compared with the control. Conclusion The C. langsdorffii extract significantly reduced the extent of DNA damage and ACF induced by DMH, suggesting that the extract has a protective effect against colon carcinogenesis.

O edifício da FAUUSP e os materiais do brutalismo

O trabalho analisa a história da produção do edifício da Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo, projetado por João Batista Vilanova Artigas (1915-1985) em 1961 e concluído em 1969. Mais especificamente, o artigo se volta aos materiais do edifício, oferecendo insumos para uma discussão sobre o papel do chamado “brutalismo paulista” na década de 1960. O edifício da FAUUSP, como se sabe, é um marco na arquitetura moderna brasileira. Seu caráter paradigmático consiste na síntese das posições programáticas de Artigas, tanto em relação ao ensino de arquitetura como em relação à poética moderna, que ultrapassa o limite autoral e constitui uma escola. São características dessa escola – por vezes chamada de “paulista”, “brutalista” ou “artiguista” – alguns princípios como a continuidade espacial, o elogio das formas estruturais, a verdade dos materiais e o desenvolvimento das forças produtivas através da superação tecnológica. Esses princípios respondiam a algumas das questões mais urgentes da arquitetura moderna brasileira naquele período, deslocando a nova monumentalidade para uma dimensão construtiva. A nova poética, claramente exposta no projeto da FAUUSP, coincide com o surgimento de uma estética que atribuiu um novo valor político e crítico à produção. Passam a ser frequentes, por exemplo, interpretações do concreto armado brasileiro como síntese do subdesenvolvimento, por suas marcas de feitura artesanal e seus recordes tecnológicos. O objetivo deste artigo é contribuir com esse debate caracterizando em detalhe a produção do edifício em seus materiais: o concreto armado, a esquadria, os materiais de acabamento e os componentes industriais. O exame de aspectos históricos da produção do edifício, recolhidos em documentos originais e depoimentos, permite verificarmos de que modo a poética arquitetônica participa das decisões da obra e qual o seu impacto na economia do edifício e em sua forma de produção. Aprendemos, por exemplo, que o concreto armado apresenta manifestações visuais distintas e independentes de seu modo de produção (que foram pelo menos três: moldado in loco, protendido, e com agregados leves, sem função estrutural); que a empena da fachada exigiu uma fundação própria para seu cimbramento; que a modulação dos caixilhos não correspondia à modulação da estrutura; que a resina epóxi foi usada de modo pioneiro e experimental; que as fôrmas foram produzidas por um hábil carpinteiro português, mas as relações de trabalho eram precárias; que a contratação do projeto básico previa o detalhamento durante a obra pelo Escritório Técnico do Fundo para a Construção da Cidade Universitária. Essa noção ampla de material, entendida como a matéria mais o trabalho social que a define historicamente, nos permite tratar, simultaneamente, de aspectos técnicos, econômicos e artísticos da obra e assim compreender com maior exatidão dos termos do debate acerca da produção na arquitetura “brutalista” e seu papel político.