Pub Date : 2021-04-16DOI: 10.5007/2175-7917.2021.E77697
Pedro Barbosa Rudge Furtado
{"title":"Perspectivas do progresso inalcançável em Totônio Pacheco, de João Alphonsus","authors":"Pedro Barbosa Rudge Furtado","doi":"10.5007/2175-7917.2021.E77697","DOIUrl":"https://doi.org/10.5007/2175-7917.2021.E77697","url":null,"abstract":"","PeriodicalId":30964,"journal":{"name":"Anuario de Literatura","volume":"26 1","pages":"01-05"},"PeriodicalIF":0.0,"publicationDate":"2021-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45717211","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-16DOI: 10.5007/2175-7917.2021.e76668
M. Scheffel
{"title":"Clarice Lispector: aprendizagens e prazeres da crônica","authors":"M. Scheffel","doi":"10.5007/2175-7917.2021.e76668","DOIUrl":"https://doi.org/10.5007/2175-7917.2021.e76668","url":null,"abstract":"","PeriodicalId":30964,"journal":{"name":"Anuario de Literatura","volume":"26 1","pages":"01-06"},"PeriodicalIF":0.0,"publicationDate":"2021-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48804076","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-04-16DOI: 10.5007/2175-7917.2021.E74760
D. Cruz, Marluce Cristina Araújo Silva, Elson Ferreira Costa
Consecrated among the most outstanding brazilian writers of children's literature, Lygia Bojunga's narrative intertwines the social theme with the psychological conflict and the process of maturing of the protagonist characters. In other words, elements of the real serve as a basis for fantasy, enabling various ways of reading the stories created by the writer. In this sense, this article brings a theoretical-analytical approach, in which the objective was to analyze the work A Casa da Madrinha, by Lygia Bojunga (2015), from a jungian reading. Alexandre's journey, the central character, is revealed as a symbol of the individuation process. The Analytical Psychology of Carl Gustav Jung (1875-1961) was used as an instrument to reveal the symbolic, the mythological of the writer's work, that is, for the interpretation of the fantasy space of the narrative and the process of individuation of the protagonist character of the story. In Lygia Bojunga's literature, imagination does not appear as a factor of alienation from the real, but as a fundamental process of transformation and mobilization of life, where the character Alexander, in the experience of his individuation process, was able to resignify his outer and inner living spaces.
{"title":"A Casa da Madrinha: o processo de individuação na obra de Lygia Bojunga","authors":"D. Cruz, Marluce Cristina Araújo Silva, Elson Ferreira Costa","doi":"10.5007/2175-7917.2021.E74760","DOIUrl":"https://doi.org/10.5007/2175-7917.2021.E74760","url":null,"abstract":"Consecrated among the most outstanding brazilian writers of children's literature, Lygia Bojunga's narrative intertwines the social theme with the psychological conflict and the process of maturing of the protagonist characters. In other words, elements of the real serve as a basis for fantasy, enabling various ways of reading the stories created by the writer. In this sense, this article brings a theoretical-analytical approach, in which the objective was to analyze the work A Casa da Madrinha, by Lygia Bojunga (2015), from a jungian reading. Alexandre's journey, the central character, is revealed as a symbol of the individuation process. The Analytical Psychology of Carl Gustav Jung (1875-1961) was used as an instrument to reveal the symbolic, the mythological of the writer's work, that is, for the interpretation of the fantasy space of the narrative and the process of individuation of the protagonist character of the story. In Lygia Bojunga's literature, imagination does not appear as a factor of alienation from the real, but as a fundamental process of transformation and mobilization of life, where the character Alexander, in the experience of his individuation process, was able to resignify his outer and inner living spaces.","PeriodicalId":30964,"journal":{"name":"Anuario de Literatura","volume":"26 1","pages":"01-14"},"PeriodicalIF":0.0,"publicationDate":"2021-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44090507","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-02-25DOI: 10.5007/2175-7917.2021.E72079
Iamni Reche Bezerra
On this paper, I aim at describing and commenting the configurations of unicity's vocalic ontology as defended by Adriana Cavarero on the work Vozes Plurais: filosofia da expressao vocal (2011). As we will see, the concern Cavarero directs to the voice comes from her critique on the metaphysical effort to unvocalize the logos, privileging the not sounding voice over the voice produced by a throat made of flesh. Therefore, the philosopher defends the necessity of a thought based on the singularity of the voice, which entails attention to a sounding and corporeal voice, one that is, above all, essentially relational. Next, I intend to present the antagonist elements of Cavarero's deconstruction and the one proposed by philosopher Jacques Derrida. As we will see, the matter seems to be properly located on what both her and Derrida, distinctively, indicate as the holding element of antimetaphysical validity.
在这篇论文中，我旨在描述和评论Adriana Cavarero在作品《Vozes Plurais:filosofia da expressao vocal》（2011）中所捍卫的单一性声乐本体论的配置。正如我们将看到的那样，卡瓦雷罗对声音的关注来自于她对形而上学的努力的批判，即使理性不本地化，使听起来不好听的声音优先于由肉制成的喉咙发出的声音。因此，哲学家捍卫了基于声音奇异性的思想的必要性，这需要关注声音和物质的声音，最重要的是，这种声音本质上是关系的。接下来，我将介绍卡瓦雷罗解构主义的对立元素，以及哲学家德里达提出的解构主义。正如我们将看到的那样，这件事似乎恰当地定位在她和德里达明确指出的反物质有效性的持有要素上。
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Pub Date : 2021-02-25DOI: 10.5007/2175-7917.2021.E72317
Fernanda Moro Cechinel
Taking into consideration the theoretical background that performance is an act of transference (TAYLOR, 2013) and that poetry happens when vocalized (ZUMTHOR, 2007), the project Tutto Dante, by Roberto Benigni, comes to mind. The project, inspired in Dante Alighieri’s Commedia, active in Europe and the American Continent in the beginning of the 21st century, had as a purpose make public the work considered as founder of the modern occidental literature and preceding of the Italian language. Since its publication, in the 14th century, readers of the Dantesc work have wished that it gained voice, as theorized by Paul Zumthor (2007). The first person known to do that was Giovanni Boccaccio, the same who added the adjective Divine to the work. The objective of the present work is to make a brief analysis of the project Tutto Dante, bearing in mind the theoretical background of performance, writing and vocalization, as discussed by Aleida Asmann (2011), Arturo Carrera (2014), Diana Taylor (2013), and Paul Zumthor (2007).
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Pub Date : 2021-02-25DOI: 10.5007/2175-7917.2021.E72747
D. M. Quadros
Caroco de Dende: a sabedoria dos terreiros: como Ialorixas e Babalorixas passam conhecimento a seus filhos (2008), whose first edition dates from 1997, of Mae Beata de Yemonja (1931-2017), is composed of 43 tales that merge the Ithans (legends of the Orixas) and other stories of Terreiro, of these we choose three: tres “O cachimbo de Tia Cilu”; “Iya Mi, a mae Ancestral” and “Conto dedicado a minha mae, Do Carmo”, that rescue the ancestry of the sorcerers ' mothers, the Iya Mi Oxorongas, mythic-religious figures of the afro culture. The theoretical framework is composed of the concept of Leda Martins (1997; 2003; 2007) "Oralitura" as well as the studies by Heloisa Toller Gomes (2004; 2007), Conceicao Evaristo (2011) and Ana Rita Santiago (2012) to the concept of afrofeminine literature, a literature crossed by the condition of woman and black and all that implies. The Iya-mis Oxorongas are the representation and maintenance of african matriarchal and afrodiaspathic culture, unique ancestors in the religions of African matrix.
Caroco de Dende:a sabedoria dos tereiros:como Ialorixas e Babaloixas passam conhecimento a seus filhos（2008），其第一版始于1997年，Mae Beata de Yemonja（1931-2017），由43个故事组成，这些故事融合了Ithans（Orixas的传说）和Terreiro的其他故事，其中我们选择了三个：“O cachimbo de Tia Cilu”；“Iya Mi，一个mae祖先”和“Conto dedicado a minha mae，Do Carmo”，拯救了巫师母亲Iya MiOxorongas的祖先，他们是非洲文化的神话宗教人物。该理论框架由Leda Martins（1997；2003；2007）“Oralitura”的概念以及Heloisa Toller Gomes（2004；2007）、Conceicao Evaristo（2011）和Ana Rita Santiago（2012）对非女性文学概念的研究组成，非女性文学是一种由女性和黑人条件及其含义交叉的文学。Iya mis Oxorongas代表和维护了非洲母系和阿法文化，是非洲矩阵宗教中独特的祖先。
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Pub Date : 2021-02-25DOI: 10.5007/2175-7917.2021.E70516
N. Araújo
Through the imaginary waters of Velho Chico, a series of stories navigate, many of which are composed of fantastic characters like Mae d'Agua, o Nego d`Agua, o Minhocao and others. The film Espelho d`'gua: a trip in San Francisco River (2004), directed by Marcus Vinicius Cezar, will be used as corpus of analysis, in which the character Sido, an old canoe, stands out as narrator along with other fantastic character, through their poetic voices, weave the enveloping plot of the film narrative.Such characters directly influence the lives of most riverine people, who take the teachings and examples of narratives as models of conduct and experience. Like this, it is intended to reflect on the moralizing nature, the importance and the place of ideological representation that these characters and narratives occupy in these riverside communities, once, being of collective authorship, also present in a collective memory, directly contribute to the maintenance of traditions and the construction of cultural identities. Such characters are part of a diverse cultural plot, which is situated, as says Jerusa Pires, at the edges, but which, by its strength, has been steadily moving towards a recognition center. As methodological procedures, it was supported by the reading of theorists who discuss memory, identities, culture, fantastic narratives and other relevant contributions. Then, the film was analyzed, when it was intended to read more detailedly these fantastic characters associating them with their role and importance in the riverside culture. In addition, it is also worthy the experience of the author of this paper, who is a researcher of oral narratives, similar to those brought in this film, having developed qualitative and ethnographic research in the region of Xique-Xique, Bahia. Lastly, one can conclude that these fantastic characters, present in the movie or even in the oral narratives analyzed, make part of the the daily life of the riverine in Velho Chico, and become members of these communities, in which their vast majority, as can be seen from the film and also from testimonials collected in Xique-Xique, bring a testimony of stories they have lived or heard about such characters.
{"title":"Velho Chico e suas bordas culturais: as vozes poéticas da Canoa Sidó e outras personagens fantásticas do Rio São Francisco no filme Espelho d’água","authors":"N. Araújo","doi":"10.5007/2175-7917.2021.E70516","DOIUrl":"https://doi.org/10.5007/2175-7917.2021.E70516","url":null,"abstract":"Through the imaginary waters of Velho Chico, a series of stories navigate, many of which are composed of fantastic characters like Mae d'Agua, o Nego d`Agua, o Minhocao and others. The film Espelho d`'gua: a trip in San Francisco River (2004), directed by Marcus Vinicius Cezar, will be used as corpus of analysis, in which the character Sido, an old canoe, stands out as narrator along with other fantastic character, through their poetic voices, weave the enveloping plot of the film narrative.Such characters directly influence the lives of most riverine people, who take the teachings and examples of narratives as models of conduct and experience. Like this, it is intended to reflect on the moralizing nature, the importance and the place of ideological representation that these characters and narratives occupy in these riverside communities, once, being of collective authorship, also present in a collective memory, directly contribute to the maintenance of traditions and the construction of cultural identities. Such characters are part of a diverse cultural plot, which is situated, as says Jerusa Pires, at the edges, but which, by its strength, has been steadily moving towards a recognition center. As methodological procedures, it was supported by the reading of theorists who discuss memory, identities, culture, fantastic narratives and other relevant contributions. Then, the film was analyzed, when it was intended to read more detailedly these fantastic characters associating them with their role and importance in the riverside culture. In addition, it is also worthy the experience of the author of this paper, who is a researcher of oral narratives, similar to those brought in this film, having developed qualitative and ethnographic research in the region of Xique-Xique, Bahia. Lastly, one can conclude that these fantastic characters, present in the movie or even in the oral narratives analyzed, make part of the the daily life of the riverine in Velho Chico, and become members of these communities, in which their vast majority, as can be seen from the film and also from testimonials collected in Xique-Xique, bring a testimony of stories they have lived or heard about such characters.","PeriodicalId":30964,"journal":{"name":"Anuario de Literatura","volume":"26 1","pages":"01-13"},"PeriodicalIF":0.0,"publicationDate":"2021-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45442289","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-02-25DOI: 10.5007/2175-7917.2021.E72095
María Gabriela Milone
In this work we present contemporary ideas about the voice and its relationship with the language. We study the voice as a matter of language. We analyze the scene of Babel in contemporary thought: Giorgio Agamben, Roland Barthes, Jacques Derrida, Michel de Certeau, Daniel Heller-Roazen, Jean-Luc Nancy. From these theories, we will analyze the voice on the threshold of sound, of meaning, of letter, of speech, of language. This work is located in a limit zone of contemporary thought, where the classifications of the disciplines are questioned by the singular matter of the voice.
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Pub Date : 2021-02-25DOI: 10.5007/2175-7917.2021.E72416
Daniel Soares Duarte, Patrícia dos Santos Silveira
Our goal is to reflect on the vocal performance, usually called recitation or declamation, based on the materialities of communication and as an intersemiotic translation of a written text. First, we use the concepts of Paul Zumthor and Walter Ong on the relation between orality and literacy, then going towards a generalization around materialities, as regarded by Hans Ulrich Gumbrecht. While Gumbrecht focuses on the notions of “rhythm”, our point is to add the notions of “timbre”, as a necessary feature of performance, and one which is totally dependent on the materialities that determine it, and that the rational description that intends to be separated from material instances gets to only subjugate it, working far from the experience the materialities provide. As an example, we use the performance of “The laughing heart”, a poem by Charles Bukowski recited by Tom Waits. Waits’ performance transforms Bukowski’s poems, and at the same time translate (recodify) it for vocal materiality. Although this is a study that does not renounce the poetic scholarly tradition, our goal is to celebrate he invasion and the feeling of “going back home” that the voice does for poetry, encompassing and surpassing the barriers and the calm of writing.
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Pub Date : 2020-10-06DOI: 10.5007/2175-7917.2020v25n2p119
O. Tavares
Anne Carson é atualmente uma das mais aclamadas poetas, ensaístas, dramaturgas e tradutoras de língua inglesa, entretanto, a precisão destes termos se torna nebulosa diante da autora que tem como traço fundamental a mescla e desarticulação dos limites literários. Este procedimento marca Carson como alguém que pensa o literário a partir do ato tradutório, entendido por ela como a possibilidade de deixar duas realidades distintas visíveis, criando um ambíguo local que não pode existir, porém que é apresentado e performado a nossa frente. Dentro deste escopo, proponho olhar sua tradução da Antígona de Sófocles, titulada Antigonick, como um artefato de linguagem, uma partitura para realização de um ato de linguagem, para a realização do grito que chamamos de Antígona. Esta será pensada junto à tese de multiplicidade tradutória linguística presente em Borges, Cassin e Ricoeur, em que a tradução pode ser compreendida como um elogio ao múltiplo, como um saber se movimentar entre fronteiras e limites, um mover rumo a diferenças; fato que está presente na tentativa de Carson de traduzir algo distinto – o silêncio – de uma forma distinta – catástrofe –, de pensar outra possibilidade para aquela linguagem que fuja ao discursivo comum, dando voz a uma fúria contra o clichê e tendo como base a ololyga, grito ritual feminino da Grécia antiga, e as concepções da mulher como aquela que rompe limites por excelência, aquela que polui, que desloca e que toca com a voz. Por fim, a partir das concepções de Carson, argumento que a tradução e a performance são modos privilegiados para pensar o mundo, a multiplicidade e as diferenças.
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