LUNA CLARA E APOLO ONZE PDF

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More specifically, it intends to show how, from the foundations of dialogical discourse analysis, and from a preliminary examination of the corpus, the book of Adriana Falco entitled Luna Clara e Apolo Onze, the author of the research developed a specific way of describing the authorial architectonics of a verbal work which integrates visual resources.

It intends still to consider how, in the context of the dialogic conception of language, one can propose an object of study, and a specific way of studying it by considering a phenomenon such as a book and examining it by means of concepts compatible with this object, instead of applying ready-made categories. Mais especificamente, pretende-se mostrar como, a partir dos princpios da anlise dialgica do discurso, e de um exame preliminar do corpus - o livro de Adriana Falco, Luna Clara e Apolo Onze, a pesquisadora desenvolveu uma maneira especfica de descrever a arquitetnica deste que um texto verbal que integra recursos visuais.

Pretende ainda refletir acerca de como, no mbito da concepo dialgica, se pode construir um objeto de estudo, e uma maneira de estud-lo, partindo da observao de um fenmeno como um livro e de seu exame mediante conceitos compatveis com esse objeto, em vez de aplicar categorias prontas.

From this place that I myself occupy, what I see and what I think are my own responsibility. No one else can think what I think. No one else can be in charge of my position and fulfill it, and that is why there is no alibi for me not to think and not to be in charge for what I think.

For researchers who focuson Bakhtinian studies, or rather, who look for a way to dialogue to the corpus itself and to the object of analysis of their production, methodology is a specially challenging question. As it is known, the Bakhtin Circle has not left any theories or strict concepts, but foundations, principles, reflections that integratedand interrelated constitute what is called the Bakhtinian thought.

Moreover, the Circle itself did not leave the legacy of a single method because that thought, instead of imposing theoretical limits from previous categories of analysis, instigates specific ways of perceiving the object without exhausting their own analytical possibilities.

The dialogical conception of language calls together heterogeneous multitudes of views, voices, consciousnesses, as determinants of and constituents for the reading process, which includes, hence, the whole ethical and aesthetical deeds of human experience. Accordingly, this utterance reports both the continuity of the views of the Circle - originally formed and the ability to expand, always starting from dialogue, regardless of the settings of time and space, the network of interlocution among subjects the Circle that is re constructed by the voices of others, such as researchers, who are in tune with Bakhtinian guidelines.

Thus, if there is any stability regarding the method in Bakhtin, perhaps it is the instability given by the impression that seems to accompany our reading of his work, which is synthesized in this communal conviction: it is the 1 Text in original: O dever de pensar e a impossibilidade de no pensar so dados pela posio que ocupo em um dado contexto da vida real e concreta.

Desse lugar, que somente eu ocupo, o que vejo e o que penso so da minha responsabilidade. Ningum mais pode pensar aquilo que penso. Ningum mais pode prestar contas da minha posio e realiz-la, por isso no existe nenhum libi para que eu no pense e no assuma o que penso.

Thus, we intend to present a metalinguistic reflection on the path that led to the thesis entitled Luna Clara e Apolo Onze: a creative organization of voices 4. More specifically, it attempts to show how, from the principles of dialogical discourse analysis and from a preliminary examination of the corpus Adriana Falcos novel, Luna Clara e ApoloOnze - , the researcher developed a specific way to describe the architectonic of this book. We also intend to reflect on how, within the dialogical conception, one can construct an object of study, and a way to study it, starting from both a phenomenon and concepts compatible with that object, instead of applying ready-made categories.

It is important to clarify that Bakhtin postulatesa form linked to the materiality of the text - compositional form - and another one concerning the discursive surface, the organization of content, expressed through verbal material, in terms of the relationship among the author, the topic and the interlocutorarchitectonic form.

In the aesthetic discourse, the compositional form creates an external object, and the architectonic one forms an aesthetic object. Architectonic form creates a particular form of dialogue, of the relationship between author and interlocutor; therefore, the authorial activity focuses primarily on architectonic form, which is the organization of discourse, from compositional form, in terms of a given evaluation of discourse by the author and her active reception by the interlocutor cf. This latter was the scope of the afore mentioned thesis, as a way to describe the specificity of the authorial work.

This article has a meta-analytical character, aiming to reflect on the work of analysis, that is, the effort of the researcher for developing an analytical framework based on the theoretical principles and on the contact with the object.

Thus, we do not intend to present a lengthy discussion about the concept of architectonics nor to present 3 Text in original: No se trata naturalmente de propor uma tcnica para cada objeto, mas de reconhecer que a especificidade de cada objeto requer a nfase em uma ou em outra tcnica. Bakhtiniana, So Paulo, 8 2 : , Jul. From a concrete example, the emphasis of this article lies on the demonstration that the dialogical conception of language, far from proposing set categories to be applied, offers principles that allow the researcher to adapt to the needs of understanding the object instead of trying to make it fit into a theoretical- methodological or any derivate categories.

The pictures included are not a scope of analysis here; they illustrate their use in Adriana Falcos book as well as their relationship with its narrative. From the first contact with the book, it was impressive to see the multiplicity of social voices created and made to interact by the author.

If on the one hand this presence of voices already seemed an axiom, precisely by the large number of characters, on the other hand it suggested something else happening among these voices: a diversified and concurrent interaction, through which all the characters seemed to be essential to both the development and the outcome of the narrative.

This initial perception found a way to exist officially in Problems of Dostoevsky's Poetics, which became the main theoretical ally for our study, prompting the hypothesis of a polyphonic phenomenon in Luna Clara e Apolo Onze. It was already known that the mere diversity of interactive voices would not be enough to reveal a possible polyphony.

The hypothesis was that these voices enlivened fully valid consciences 5. As the analytical process progressed, the hypothesis of polyphony, just as it was envisioned by Bakhtin, was not solidified. To perceive, to experience the world through the polyphonic touch means recognizing, in addition to the infusible multiplicity of 5 That is, full of value, maintaining with the other voices in discourse a relationship of absolute equality as participants of the great dialogue. Translators note.

Text in original: Isto , plenas de valor, que mantm com as outras vozes do discurso uma relao de absoluta igualdade como participantes do grande dilogo. In order to make the study feasible in this sense, we would need to pay particular attention to the micro dialogue, the internal conflict that Dostoevskys heroes are carried away by, striking aspects of the concept which, therefore, represented a weakness, given that to carry the proposal to identify a possible polyphony would require, we were aware, a longer time than the one offered by the research period, and there was no guarantee that this was the most productive approach.

Once again, the object has made itself heard because, according to Bakhtins theory, "it is actually the nature of the described object that calls out the techniques, rather than the technique trying to frame it in a vicious circle in which it is only searched what one knows will be found or one only finds what has been looked for from the beginning" SOBRAL, a, p.

Thus, thanks to what was configured as a weakness or a risky assumption, the potential of what could be effectively explored in Luna Clara e Apolo Onze was unveiled: the degrees or levels of dialogicity. Grounded in the work of the Circle and those of modern researchers guided by Bakhtins assumptions, the book began to be analyzed so that we could understand its creative organization as a whole such as expressed specifically in the multiplicity of voices.

The new theme was based on the hypothesis that with this organization the author 7 makes emerge a specific artistic doing, due to the unusual treatment given to the participant voices of the romanesque whole. It was noticed that this particular architectonic form of representation produces a given dialogical effect in creating an effect of reciprocity among author-character-reader. Consequently, the focus was, at that moment, on the dialogical constitution of voices which inscribe a model of interactive writing, enabling the reader to be more present at each enunciation, giving the plot uniqueness in the current literary scene.

This choice was made due to the fact the Luna Clara e Apolo Onze was written by a woman, even though the words writer and author could refer to both female and male genders. We are also aware of the Baktinian distinction between author-person and author-creator. The work was considered as being done in the light of polyphony because polyphony was the root of the study in order to support and reflect on the foundations of Bakhtins aesthetic design, "resulting from a process that seeks to represent the world in terms of the exotopic authorial action, which is based on the social and historical context, on the social relationships the author participates in" SOBRAL, b, p.

As Luna Clara e Apolo Onze was published in , a summary of its plot was annexed to the afore mentioned thesis in order to allow the reader to understand what it was about. It was pertinent to provide the readers who had no knowledge of this literary work with a brief description, giving them some contact, although minimal, with the narrative, respecting the fact that "the artistic construction goes beyond the summing up of literary devices" SOBRAL, , p.

It was vital to portray the contextual elements that resounded on Adriana Falcos novel, clarifying its dialogical specificity, element which makes Luna Clara e Apolo Onze gain prominence among other current literary productions, transcending these peculiarities mainly due to its style, linked to the enunciative project, which, as Sobral stated , p. The following account should be considered: The concept of aesthetics cannot be derived in an intuitive or empirical manner from a work of art: the concept would be nave, subjective, and unstable.

For a confident and exact self-determination, it needs to determine itself in mutual relation to other domains within the unity of human culture BAKHTIN, , p. We deduced that the novel could be analyzed 8 Text in original: no se pode falar de uma parte sem levar em conta o todo de que ela parte. In this sense, it was as if aesthetics constituted the research method itself, although it was known that it offers a guide line more than a methodology.

Luna Clara e Apolo Onze, as the research showed, is an aesthetic object that reveals what might be called an "architectonic signature" arising from the peculiar position of the author: "The author assumes an answerable position in the event of being, deals with the constituents of this event, and, hence, the work he produces is also a constituent of that event" BAKHTIN, , p.

Among the several research possibilities that the novel allows, it seemed pertinent to highlight the uniqueness of the embodiment of the authors enunciative project, in which she is able to realize architectonically a multiplicity of voices with a potential for dialogical interaction in the peculiar world of Brazilian juvenileliterature. To the researcher, this seemed to be the works unique element, somehow bringing a different tone to contemporary literature regarding the authors way of saying: the latter, by means of a specific exotopic position, is able to establish an innovative contact with the interlocutor, one of greater proximity and attraction, from the way she works content, material and form, and the same goes for the way she relates, qua objectified author, author-creator, with the other inter-agents of the work.

The "technique" called by the object was grounded essentially in the dialogue with the following questions: - How does the author represent the voices in the narrative?

The second one aims at verifying the strategies employed by the author to establish dialogues with the reader and the characters. Finally, the third aims to investigate the mode of organization of the relationships between the characters and the narrative space. We thought that with the data collected from these three questions, it would be possible to characterize the authorial architectonics, as they cover the intrigue, the description per se, the composition of the characters, the representation of their voices, the way the author addresses the presumed reader, that is, her own way of actualizing her aesthetic enunciative project.

We present here the gathered data as they were organized in the thesis, according to the route described to account for the architectonics of the examined book. We considered important to investigate what these elements could say about the enunciative project. From the aesthetic design, we found a new way for looking at them. It was manifest that there was a strong evaluative component established in the characters names and discursive marks, something which indicated they were representative of worldviews, ideologies.

After all, "Here, too, someone else's verbal manner is utilized by the author as a point of view, as a position indispensable to him for carrying on the story" BAKHTIN, , p.

To give an example: Determined, brave, he didnt like waiting at all: In fact, Doravante [From Now On] was a very lucky guy. That happened a long time ago. Isso foi h muito tempo. Doravante tinha pressa. This aspect underscores what Bakhtin announces about the speaking person in the novel. In this sense, it is confirmed that "The fundamental condition, that which makes a novel a novel, that which is responsible for its stylistic uniqueness, is the speaking person and his discourse emphasis in original " BAKHTIN, , p.

The names of the characters and their discursive marks, therefore, reveal fundamental aspects from an aesthetic point of view. In Adriana Falcos novel this instability is suggested by the changes in the characters, which occur throughout the narrative. This does not contradict the fact that "the ethical dimension of life, by nature unfinished, can achieve finishing when aesthetically elaborated" MACHADO, , p.

It is important to recall that "the changes in the life of a character in aesthetic elaboration by an author are mainly responses" MACHADO, , p. A paradigmatic example of this transformation is that of Doravante. In the excerpt above, we saw his characterization as a frantic character.

In the very moment shown here, it is clear, also, through discursive marks,that he went through transformation: - Luna Clara is so beautiful today. He didnt speak the words together anymore, Doravante. It can be seen that, in the novel, the character is presented in an unquestionably dynamic intersubjective process, since he constitutes himself by means of dialogue and interaction, not in isolation, something which is validated by Zavala, to propose that we should "interpret the person not only as an identity, but as otherness as well [ Here is the relevance of the others and the interactions among them for subjects intersubjectivity, and we certainly may include here every possible transformation phenomenon.

Thus, in the relationships among characters, the discursive marks, the actions that enliven them also accompany this change, becoming indicators of the instability, the subjectivity which is revealed in a continuous centrifuge flow. Regarding the Dialogue Focused on the Reader 2. Therefore, "all the verbal interconnections and interrelations of a linguistic and compositional order are transformed into extraverbal architectonic event-related interconnections" BAKHTIN, , p. One realizes that the author often resumes the dialogue from where she had previously stopped after enunciating a break for clarification, provocation, for a question, a comment having systematically explored specific interactive signals.

It is in the fragmentation itself, then, that the reiteration as a dialectical-dialogical strategyis implicated, perhaps as an authors discursive mark, because the impression is that she, throughout the narrative, "moves through repetition" AMORIM, , p. By reiterating an utterance, there is always some unheard element in the enunciation. Therefore, when retrieving a fact, for example, not only does the author place the reader in the time of the narrative, but she also anticipates other information, generating a simultaneity effect, urging the reader to articulate it spatially as well.

Thus, there is a visible degree of Dostoevskys simultaneity principle in the composition of the book, specifically in the division of chapters. In Falcos novel model, not only the aspects of interactivity but also the aspects of coexistence are prioritized. It is deemed pertinent to emphasize this characteristic, because it is extremely remarkable from the beginning to the end of the narrative. Furthermore, the author also uses a cinematographic language.

In Luna Clara e ApoloOnze, these features, in addition to situating the plot for its interlocutor, also present the same event from different perspectives. This demonstrates that the "interrelationship between author and hero never, after all, actually is an intimate relation of two; all the while form makes provision for the third participant - the 17 Text in original:avana por repeties.

In this sense, the architectonics in Luna Clara e Apolo Onze seems to facilitate the use of all the work of linguistics to understand, on the one hand, the technique of the poet creation on the basis of a correct understanding of the place of material in artistic creation, and, on the other hand, and the distinctiveness of the aesthetic object emphasis in original " BAKHTIN, , p.

The authors starting point is language itself, but she goes beyond it when creating another language, from her playing with the language system and her own artistic work, revealed by the use of punctuation by different characters who read Aventuras [Adventure] note addressed to Doravante FALCO, , p. Aesthetically speaking, "the artist conquers language, as it were,with its own verbal weapons he forces the language, in the process of perfecting it linguistically, to surpass itself" BAKHTIN, , p.

In Luna Clara e Apolo Onze we read this overcoming in the author's discourse, more precisely in her ability to shape the textual material according to the architectonic form.

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