Gramática Discursivo-Funcional e os estudos tipológicos: um exercício de análise das línguas indígenas do Brasil

Conselho Nacional de Desenvolvimento em Pesquisa (CNPq)

O ensino de línguas próximas (português e espanhol) em diferentes contextos (sala de aula e teletandem): contribuições para a formação inicial do professor de línguas

Neste artigo, temos por objetivo apresentar resultados parciais de um projeto de pesquisa institucional em Linguística Aplicada, no qual se busca compreender como ocorre a prática inicial docente em contextos diversamente configurados de ensino/aprendizagem de língua estrangeira (presencial e virtual), bem como de que maneira esses contextos podem se favorecer mutuamente e favorecer a formação reflexiva e crítica do professor de línguas, em/para um mundo contemporâneo. É possível perceber a atitude reflexiva de uma professora de língua estrangeira em formação inicial, especialmente quanto a ensinar e aprender línguas tipologicamente próximas como o português e o espanhol. Os resultados indicam que a experiência de vivenciar a dinâmica de um contexto didático convencional de ensino de línguas (sala de aula), ao lado da experiência de ensinar sua língua materna em um contexto de configurações didáticas inovadoras (teletandem), foi especialmente importante para a formação crítica da futura professora de línguas e para a conscientização sobre a prática de ensinar línguas irmãs em tempos de inovação tecnológica.

O estilo de João Ubaldo Ribeiro em Viva o Povo Brasileiros e An Invincible Memory

This paper aims at observing a particular case of an author’s and self-translator’s style in the pair of works Viva o Povo Brasileiro and An Invincible Memory. Our investigation has its theoretical starting point based on Corpus-Based Translation Studies (Baker, 1993, 1995, 1996, 2000; Camargo, 2005, 2007), and works on cultural domains (Nida, 1945; Aubert, 1981, 2006). The results showed that great part of cultural marks may be classified as the material, social, and ideological cultural domains, which reflects the context of the source text. It was also possible to observe that normalization features tends to reveal conscious or unconscious use of fluency strategies by the self-translator, making the translated text easier to read.

A trajetória das alterações semânticas nas línguas e os seus reflexos no campo do ensino de língua estrangeira e da tradução

The purpose of this study is to reflect on some formally similar lexical units belonging to different foreign languages that although having had the same origin, their meanings today are considerably different from their original meanings. This complex process is understood, however, when a diachronic path of these lexical units is established in order to find justification or probable occurrences for the causes that triggered the semantic changes observed. These reflections aim to foster discussion about the consequences of such changes in the emergence of the so-called “false cognates”.

Análise de Expressões Idiomáticas Italianas com as lexias 'capo' e 'testa' e seu correspondente 'cabeça', em língua portuguesa. (QUALIS A2)

This study aims to investigate the Idioms (IEs) or combinations related to the Italian lexical units testa and capo, in comparison to the Portuguese lexical unit cabeça. Since they have come from two completely different etyma, they are not perfect synonyms; on the contrary, they gave rise to several expressions that are common to just one lexical units. Corpus selection was made in monolingual Italian general dictionaries and then the data was classified according to each typology: idioms that are common only with the unit capo; idioms just with head; idioms that are synonyms with both; IEs whose translations refer to other parts of the body. As a result, we found that most of the IEs with capo or testa have common semes, but most of them also are specific to one or other lexical unit exclusively, confirming the difference in semantic features between them as well as non-univocity between languages.

A recusa do fácil como experiência estética na poesia de Frederico Barbosa

This essay aims to drive the paths of Frederico Barbosa’s poetry to experience the refusal of the effortless. The dimensions of the emptiness, of the about and the nothing, are here under investigation as a style of expression that builds the structure of the poem. The utopian response to these themes could be in the deviation of the effortless by a refusal gesture of the language that mimetically works the paths of a style that refuses the easy way of making poetry itself.

A Recusa do Fácil na como experiência estética na poesia de Frederico Barbosa

This essay aims to drive the paths of Frederico Barbosa’s poetry to experience the refusal of the effortless. The dimensions of the emptiness, of the about and the nothing, are here under investigation as a style of expression that builds the structure of the poem. The utopian response to these themes could be in the deviation of the effortless by a refusal gesture of the language that mimetically works the paths of a style that refuses the easy way of making poetry itself.

Expressões Idiomáticas, Metáforas e Ensino de Línguas.

In this study we analyze some somatic idioms of Italian and Portuguese languages, in order to investigate the proportion in which their metaphors are the same, similar or different in both languages. This research was based on Lakoff and Johnson’s (2002 [1980]) studies about conceptual metaphor, as well as on studies about phraseologisms and idiomatic expressions developed by some authors as Zuluaga (1980), Tagnin (1989), Tonfoni and Turbinati (1995), Corpas Pastor (1996) and Xatara (1998). Through the analysis, we conclude that much of the studied expressions are structurally, semantically, and metaphorically identical or similar in both languages. These results have allowed us to make some considerations on Italian and Portuguese somatic idioms.

Entre o cinema e a poesia, a memória e a imagem

The aim of this essay is to analyze common aspects between cinema and poetry such as image and memory. Images represent the subject’s perception, whose memory of things and feelings are built artistically (fragmentary sequences, a new idea of time and space, no-narrative style) into the language of cinema and poetry. Homological relations between both languages are put in evidence in this essay in order to bring to discussion those aspects that show the tinny frontiers that separate artistic systems.

A nominalização como estratégia de relativização em línguas nativas da Amazônia brasileira

This work aims to present some results obtained from a typological research project on relative clauses developed in a sample of Amazonian native languages. These results, which specifically address the distribution of the relativization strategies in the sample, intend to show, on one hand, that the use of nominalization is in fact a compensatory strategy and, on the other hand, that some languages, which use nominalization as a primary strategy of relativization, lack a specific class of adjectives.

O estilo do rei: o diálogo entre O Rei Leão, da Disney, e Hamlet, de Shakespeare, sob uma perspectiva semiótica

This work consists of a semiotic analysis of the animation motion picture The Lion King (1994), by the Walt Disney Animation Studios, describing its intertextual relation with Hamlet, by Shakespeare, considering Disney’s individuality, its style. In order to study style in texts, we use discursive semiotics theory, highlighting Discini’s work (2013) and the concept of discursive settings. Hence, a deep discussion about The Lion King’s style, compared to the Shakespeare’s play, is established. The movie, once a syncretic text, requires advanced studies on Expression Plane, its plastic, musical and verbal/phonic aspects. We find these studies in the work of José Luiz Fiorin (2009), Lúcia Teixeira (2009), Ana Claúdia de Oliveira (2009), Jean-Marie Floch (2009) and Antônio Vicente Pietroforte (2008). We note how a syncretic text makes the discursive settings more complex by assembling plastic and sonorous materials in semissimbolic relation. Once defined The Lion King’s style, we analyze the way it justifies the intense popularity of this kind of animation features. Finally, it is important to understand how Disney uses in its style not only discursive settings, but also passional settings, revealing its own way to stir emotions on the spectator