Pub Date : 2020-10-06DOI: 10.5007/2175-7917.2020v25n2p47
Mêrivania Rocha Barreto
This article aims to launch a discussion focused on the process of creating facts and fictions in the narratives that present Makunaima as a character. To this end, written reports from a German naturologist and oral reports from a documentary will be analyzed. In this way, the corpus for research is the work Vom Roroima zum Orinoco (From Roraima to Orinoco), specifically the book Myths and legends of the Taulipangue and Arecuna Indians, which presents the collection of narratives that were collected during the years of 1911 to 1913 on the triple border-Brazil, Venezuela and English Guiana- by the German traveler Theodor Koch-Grunberg; as well as the documentary “On the trails of Makunaima”, produced in 2007 by TV Cultura, in partnership with the Federal University of Roraima. This research was bibliographic and covered the branch of literary theory, more specifically the theory of reception, which contributes to the study of the concepts of facts and fictions; travelers' literature, in which are the accounts collected by Koch-Grunberg about the figure of Makunaima; and oral reports about the indigenous character present in the documentary. Some of the theoretical references used were the reception theory books by Wolfgang Iser and those by Karlheinz Stierle. These will provide the necessary support for theoretical discussions involving facticity and fictionality.
本文旨在展开一场讨论，重点是在将真奈玛作为一个人物呈现的叙事中创造事实和虚构的过程。为此，将分析德国裸体学家的书面报告和纪录片的口头报告。通过这种方式，研究的语料库是Vom Roroima zum Orinoco（从Roraima到Orinoco）的作品，特别是《陶利潘格和阿雷库纳印第安人的神话和传说》一书，该书展示了德国旅行者西奥多·科赫·格伦伯格于1911年至1913年在巴西、委内瑞拉和英属圭亚那三重边界收集的叙事集；以及2007年由TV Cultura与罗赖马联邦大学合作制作的纪录片《Makunaima的小径》。这项研究是文献研究，涵盖了文学理论的分支，更具体地说是接受理论，它有助于研究事实和小说的概念；旅行家文献，其中有科赫-格伦伯格收集的关于牧奈玛形象的记述；以及关于纪录片中土著特性的口头报告。使用的一些理论参考文献是Wolfgang Iser和Karlheinz Stierle的接受理论书籍。这将为涉及真实性和虚构性的理论讨论提供必要的支持。
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Pub Date : 2020-10-06DOI: 10.5007/2175-7917.2020v25n2p187
Cláudia dos Santos Gomes
The purpose of this article is to think about working with the textual genre Afro-Brazilian short story through the work Cadernos Negros (CN), in Portuguese language classes. The absence of a reading work with Afro-Brazilian Literature, contradicts Law 11.645 / 08, which obliges School Institutions to include Afro-Brazilian and Indigenous History and Culture in their curricula. The insertion of the CN collection in the classrooms, mainly in elementary school, final grades, will enable students to learn about some Afro-Brazilian intellectuals and their productions, stimulate the reading of short stories in the NC and discuss the themes present in Afro Literature -brazilian. These tales address questions about housing, childhood, abandonment, prejudice, cultural manifestations, teenage pregnancy among other very common topics today. It is hoped with the reading of the work to provide more effective discussions on racism and on ethnic-racial relations in classrooms, as there is an urgent need to adjust our school curricula to the different spheres of society.
{"title":"Cadernos Negros: escrita de combate ao racismo","authors":"Cláudia dos Santos Gomes","doi":"10.5007/2175-7917.2020v25n2p187","DOIUrl":"https://doi.org/10.5007/2175-7917.2020v25n2p187","url":null,"abstract":"The purpose of this article is to think about working with the textual genre Afro-Brazilian short story through the work Cadernos Negros (CN), in Portuguese language classes. The absence of a reading work with Afro-Brazilian Literature, contradicts Law 11.645 / 08, which obliges School Institutions to include Afro-Brazilian and Indigenous History and Culture in their curricula. The insertion of the CN collection in the classrooms, mainly in elementary school, final grades, will enable students to learn about some Afro-Brazilian intellectuals and their productions, stimulate the reading of short stories in the NC and discuss the themes present in Afro Literature -brazilian. These tales address questions about housing, childhood, abandonment, prejudice, cultural manifestations, teenage pregnancy among other very common topics today. It is hoped with the reading of the work to provide more effective discussions on racism and on ethnic-racial relations in classrooms, as there is an urgent need to adjust our school curricula to the different spheres of society.","PeriodicalId":30964,"journal":{"name":"Anuario de Literatura","volume":"25 1","pages":"187-202"},"PeriodicalIF":0.0,"publicationDate":"2020-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.5007/2175-7917.2020v25n2p187","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46282969","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 : 2020-10-06DOI: 10.5007/2175-7917.2020v25n2p78
Daniela Bunn
When considering poetics and the power of the voice in times of pandemic, this article intends to launch a few reflections on the (res)signification of the voice during confinement. Deprived of the body and physical contact, the voice is enhanced, in poetic contexts or not. We are left without image, but we cannot be without the voice, becoming fighters of a huge war machine. Accordingly to Freud in 1915, we fight or stagnate, and in this way, (re)discover our fragments in the mirror and reorganize the image. Based on the book A letra e a voz, by Paul Zumthor (2001), and the text "Cultura e memoria", by Jerusa Pires Ferreira (1995), a Ratoeira is taken as an example, practiced on the coast of Santa Catarina, to reflect on the relationship of voice and memory. This article results from bibliographic research on the relationship of the body and voice, the popular manifestation of an oral tradition called Ratoeira, and it seeks connections with the current moment of the pandemic, in which we are relearning to listen and fight with words. For this combat, voice and literature play an essential role.
在考虑诗学和疫情时期声音的力量时，本文试图对禁闭期间声音的意义进行一些思考。被剥夺了身体和身体接触，无论是否在诗意的语境中，声音都会增强。我们没有形象，但我们不能没有声音，成为一台巨大战争机器的战士。根据1915年弗洛伊德的说法，我们要么战斗，要么停滞不前，通过这种方式，（重新）发现镜子中的碎片，并重新组织图像。根据Paul Zumthor（2001）的《A letra e A voz》一书和Jerusa Pires Ferreira（1995）的《Cultura e memoria》一书，以在圣卡塔琳娜海岸练习的Ratoeira为例，反思声音和记忆的关系。这篇文章是对身体和声音关系的文献研究的结果，这是一种名为Ratoeira的口头传统的流行表现，它寻求与当前疫情的联系，在这一时刻，我们正在重新学习倾听和用语言抗争。在这场战斗中，声音和文学发挥着至关重要的作用。
{"title":"# io resto a casa: vozes (in)ativas e (res)significadas","authors":"Daniela Bunn","doi":"10.5007/2175-7917.2020v25n2p78","DOIUrl":"https://doi.org/10.5007/2175-7917.2020v25n2p78","url":null,"abstract":"When considering poetics and the power of the voice in times of pandemic, this article intends to launch a few reflections on the (res)signification of the voice during confinement. Deprived of the body and physical contact, the voice is enhanced, in poetic contexts or not. We are left without image, but we cannot be without the voice, becoming fighters of a huge war machine. Accordingly to Freud in 1915, we fight or stagnate, and in this way, (re)discover our fragments in the mirror and reorganize the image. Based on the book A letra e a voz, by Paul Zumthor (2001), and the text \"Cultura e memoria\", by Jerusa Pires Ferreira (1995), a Ratoeira is taken as an example, practiced on the coast of Santa Catarina, to reflect on the relationship of voice and memory. This article results from bibliographic research on the relationship of the body and voice, the popular manifestation of an oral tradition called Ratoeira, and it seeks connections with the current moment of the pandemic, in which we are relearning to listen and fight with words. For this combat, voice and literature play an essential role.","PeriodicalId":30964,"journal":{"name":"Anuario de Literatura","volume":"25 1","pages":"78-85"},"PeriodicalIF":0.0,"publicationDate":"2020-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46281171","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 : 2020-10-06DOI: 10.5007/2175-7917.2020v25n2p203
M. Freitas
The current literature curriculum in Brazilian schools needs to contemplate the dual-purpose of forming an integral literary reader as well as an open-minded citizen to social changes and gender differences. In order to spread the idea of deconstructing prejudices towards women in our traditional patriarchal society, the necessity of approaching feminism in basic education arises. Thus, through bibliographic and interventional research, this paper aims to present to the academic and educational communities a didactic material which links literature and women’s empowerment as an approach to teach literature in high school. This paper also discusses women's empowerment, their role and space throughout the history of Brazil as well as in classic and contemporary literature. The result of this research is the didactic proposal presented, which, in turn, becomes an alternative for the formation of the reader, when, from a teacher mediation adequate to the intended objectives and through classic and contemporary female literature, fosters students the desire for literary reading.
{"title":"Empoderamento feminino e literatura: uma proposta didática para o ensino","authors":"M. Freitas","doi":"10.5007/2175-7917.2020v25n2p203","DOIUrl":"https://doi.org/10.5007/2175-7917.2020v25n2p203","url":null,"abstract":"The current literature curriculum in Brazilian schools needs to contemplate the dual-purpose of forming an integral literary reader as well as an open-minded citizen to social changes and gender differences. In order to spread the idea of deconstructing prejudices towards women in our traditional patriarchal society, the necessity of approaching feminism in basic education arises. Thus, through bibliographic and interventional research, this paper aims to present to the academic and educational communities a didactic material which links literature and women’s empowerment as an approach to teach literature in high school. This paper also discusses women's empowerment, their role and space throughout the history of Brazil as well as in classic and contemporary literature. The result of this research is the didactic proposal presented, which, in turn, becomes an alternative for the formation of the reader, when, from a teacher mediation adequate to the intended objectives and through classic and contemporary female literature, fosters students the desire for literary reading.","PeriodicalId":30964,"journal":{"name":"Anuario de Literatura","volume":"25 1","pages":"203-221"},"PeriodicalIF":0.0,"publicationDate":"2020-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45312048","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 : 2020-10-06DOI: 10.5007/2175-7917.2020v25n2p139
Natália Barcelos Natalino
In order to contribute for researches about the poetry supports, this article is dedicated, in particular, to the study of vocoperformance, of the voice in performance, the vocal performance. For this, it is taken as a basis the poem “Parangole”, by Ana Martins Marques (2011), musicalized by Juliana Perdigao (2016) – with the participation of Tulipa Ruiz –, present on the album O. Starting from a Marina Tsvetaeva (2017) excerpt in “O poeta e a critica”, we will take, in a first moment, Jean-Jacques Rousseau (1999) in his Ensaio sobre a origem das linguas, trying to understand what kind of voice is the one who whispered to Tsvestaeva ears, giving her directions, sometimes orders – “when the voice indicates, I discuss; when the voice orders, I obey” (TSVETAEVA, 2017, p. 45). In search of this understanding, in search of this voice who pursues – a voice “of the order of poetic perception and not of deduction” (ZUMTHOR, 2014, p. 15) –, we continue with Friedrich Nietzsche (2001) in A gaia ciencia, more specifically in the aforism “Da origem da poesia”; and with Arnaldo Antunes (2014), in his text “Sobre a origem da poesia”. As theoretical support for a deeper compreension of these issues, especially in the field of song, performance and sung poetry studies, we will use researchers such as Adriana Cavarero (2011), Enzo Minarelli (2010), Lia Tomas (2002), Luiz Tatit (1996;2014;2016), Paul Zumthor (2014) and Renato Cohen (2002).
为了对诗歌支撑的研究做出贡献，本文特别致力于对声腔、表演中的声音、声乐表演的研究。为此，我们以安娜·马丁斯·马奎斯（2011）的诗歌《Parangole》为基础，朱莉安娜·佩尔迪高（2016）在图丽帕·鲁伊斯的参与下进行了音乐化，这首诗出现在专辑《O》中。从玛丽娜·茨维塔耶娃（2017）在《O poeta e a critica》中的节选开始，我们首先将让-雅克·卢梭（1999）在他的《Ensaio sobre a origem das linguas》中，试图理解对茨维塔耶娃耳语、给她指示，有时是命令的人是什么样的声音——“当声音指示时，我讨论；当声音命令时，我服从”（茨维塔埃娃，2017，第45页）。为了寻找这种理解，为了寻找这种追求的声音——一种“诗意感知的秩序而非演绎的秩序”的声音（ZUMTHOR，2014，第15页）——我们继续弗里德里希·尼采（2001）在《科学》一书中，更具体地说，在无焦主义的“诗歌的起源”中；和Arnaldo Antunes（2014），在他的文本“Sobre a origem da poesia”。作为深入理解这些问题的理论支持，特别是在歌曲、表演和诗歌研究领域，我们将使用Adriana Cavarero（2011）、Enzo Minarelli（2010）、Lia Tomas（2002）、Luiz Tatit（1996；2014；2016）、Paul Zumthor（2014）和Renato Cohen（2002）等研究人员。
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Pub Date : 2020-10-06DOI: 10.5007/2175-7917.2020v25n2p101
Thiago Barbosa Soares, Damião Francisco Boucher
This study aims to analyze how a type of vocal aesthetics is produced, from a performativity to sayings about successful voices. We believe that, due to the speeches conveyed about the materialization of the voice that (re) produces subjects and meanings of success, there is also a complex discursivization of the aesthetics of success reception. For the observation of so much, we will employ the theoretical methodological apparatus of the French Discourse Analysis, especially guided by the notion of pre-constructed, of presupposition and implied, of intra and interdiscourse, as well as of metaphorical slips (effects). Thus, we will investigate the media discursive functions that make it possible to affirm that the reception of the voice, to a large extent, engenders a successful vocal aesthetic and, consequently, supports the maintenance of this particular listening. In particular, we will analyze articles from Rolling Stone magazine, “Quando Michael se Tornou Michael” (SHEFFIELD, 2010), “Amy Winehouse 1983-2011” (ELISCU, 2011), and “Voz Imortal” (CAVALCANTI, 2015), published in the years 2010, 2011 and 2015 respectively.
本研究旨在分析一种声乐美学是如何产生的，从表演到关于成功声音的说法。我们认为，由于对成功主体和成功意义的声音物化的话语传达，也存在着一种复杂的成功接受美学话语化。为了观察这么多，我们将使用法国语篇分析的理论方法工具，特别是以预先构建、预设和隐含、语篇内部和语篇间以及隐喻滑倒(效果)的概念为指导。因此，我们将研究媒体话语功能，这些功能使我们有可能确认声音的接收在很大程度上产生了成功的声音美学，从而支持了这种特殊倾听的维持。特别是，我们将分析来自滚石杂志的文章，“Quando Michael se Tornou Michael”(SHEFFIELD, 2010)，“Amy Winehouse 1983-2011”(ELISCU, 2011)和“Voz Imortal”(CAVALCANTI, 2015)，分别发表于2010年，2011年和2015年。
{"title":"A estética do sucesso vocal: discursos engendrados na construção de vozes de sucesso midiático","authors":"Thiago Barbosa Soares, Damião Francisco Boucher","doi":"10.5007/2175-7917.2020v25n2p101","DOIUrl":"https://doi.org/10.5007/2175-7917.2020v25n2p101","url":null,"abstract":"This study aims to analyze how a type of vocal aesthetics is produced, from a performativity to sayings about successful voices. We believe that, due to the speeches conveyed about the materialization of the voice that (re) produces subjects and meanings of success, there is also a complex discursivization of the aesthetics of success reception. For the observation of so much, we will employ the theoretical methodological apparatus of the French Discourse Analysis, especially guided by the notion of pre-constructed, of presupposition and implied, of intra and interdiscourse, as well as of metaphorical slips (effects). Thus, we will investigate the media discursive functions that make it possible to affirm that the reception of the voice, to a large extent, engenders a successful vocal aesthetic and, consequently, supports the maintenance of this particular listening. In particular, we will analyze articles from Rolling Stone magazine, “Quando Michael se Tornou Michael” (SHEFFIELD, 2010), “Amy Winehouse 1983-2011” (ELISCU, 2011), and “Voz Imortal” (CAVALCANTI, 2015), published in the years 2010, 2011 and 2015 respectively.","PeriodicalId":30964,"journal":{"name":"Anuario de Literatura","volume":"25 1","pages":"101-118"},"PeriodicalIF":0.0,"publicationDate":"2020-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47014373","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 : 2020-10-06DOI: 10.5007/2175-7917.2020v25n2p65
A. Oliveira
One of the most radical aspects of Brazilian rap along its trajectory was the increasing regulation of its aesthetic dimension by a set of fundamental ethical parameters built collectively with the peripheral community. In objective terms, this means that the quality or success of the genre within the music market could not be evaluated only aesthetically. In its most radical moments, rap did not intend to be interpreted only as music, but as the sharing of forms of popular and collective wisdom integrated into the experience of peripheral subjects, with the declared objective of saving lives. However, as the hip hop movement strengthens itself professionally, without solving the basic social inequality that gave rise to it, rap comes to be understood more immediately as a pure aesthetic form, endowing the ethical dimension with an unequivocal performance character. Or rather, making politics itself an aesthetic issue, more linked to the hip hop universe than to the original peripheral community, from which it separated.
{"title":"Caminhos e desafios do rap brasileiro contemporâneo","authors":"A. Oliveira","doi":"10.5007/2175-7917.2020v25n2p65","DOIUrl":"https://doi.org/10.5007/2175-7917.2020v25n2p65","url":null,"abstract":"One of the most radical aspects of Brazilian rap along its trajectory was the increasing regulation of its aesthetic dimension by a set of fundamental ethical parameters built collectively with the peripheral community. In objective terms, this means that the quality or success of the genre within the music market could not be evaluated only aesthetically. In its most radical moments, rap did not intend to be interpreted only as music, but as the sharing of forms of popular and collective wisdom integrated into the experience of peripheral subjects, with the declared objective of saving lives. However, as the hip hop movement strengthens itself professionally, without solving the basic social inequality that gave rise to it, rap comes to be understood more immediately as a pure aesthetic form, endowing the ethical dimension with an unequivocal performance character. Or rather, making politics itself an aesthetic issue, more linked to the hip hop universe than to the original peripheral community, from which it separated.","PeriodicalId":30964,"journal":{"name":"Anuario de Literatura","volume":"25 1","pages":"65-77"},"PeriodicalIF":0.0,"publicationDate":"2020-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43503506","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 : 2020-10-06DOI: 10.5007/2175-7917.2020v25n2p222
Júlia Côrtes Rodrigues
{"title":"Gilead entre estátuas e ruínas: uma resenha de \"Os testamentos\", de Margaret Atwood","authors":"Júlia Côrtes Rodrigues","doi":"10.5007/2175-7917.2020v25n2p222","DOIUrl":"https://doi.org/10.5007/2175-7917.2020v25n2p222","url":null,"abstract":"","PeriodicalId":30964,"journal":{"name":"Anuario de Literatura","volume":"25 1","pages":"222-227"},"PeriodicalIF":0.0,"publicationDate":"2020-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41499100","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 : 2020-10-06DOI: 10.5007/2175-7917.2020v25n2p86
B. Barbosa
This work presents a reading of the song “Prezadissimos ouvintes”, by Itamar Assumpcao and Domingos Pellegrini, originally recorded in 1985, on the record Sampa midnight – isso nao vai ficar assim, by Itamar Assumpcao – one of the most representative names of “Vanguarda Paulista” – very irreverent and creative music scene, which initially emerged at the limits of the small theater Lira Paulistana – also an independent music label, on which Itamar Assumpcao recorded his first LP, Beleleu leleu eu, in 1981. The purpose of this study is to show that, among the different strategies used by Itamar throughout his career, there is a compositional model that privileges the multiplicity of voices and genres, thus establishing dialogues with his cultural and / or affective memory, as we will see in the song addressed. The analysis is based, above all, on the notions of voice and orality, by Paul Zumthor (2010); “plural voices”, by Adriana Cavarero (2011); and song and intonation, by Luiz Tatit, (2002).
本作品呈现了一首名为“Prezadissimos ouvintes”的歌曲，由Itamar sumpcao和Domingos Pellegrini创作，最初录制于1985年，由Itamar sumpcao录制的“Sampa midnight - isso nao vai ficar assim”唱片，Itamar sumpcao是“前卫保利斯塔”最具代表性的名字之一-非常不敬和创造性的音乐场景，最初出现在Lira Paulistana小剧场的限制-也是一个独立的音乐标签，Itamar sumpcao录制了他的第一张LP。Beleleu leeleu eu, 1981年。本研究的目的是表明，在Itamar整个职业生涯中使用的不同策略中，有一种作曲模式特权于声音和流派的多样性，从而与他的文化和/或情感记忆建立对话，正如我们将在歌曲中看到的那样。该分析首先是基于Paul Zumthor(2010)的声音和口齿的概念;阿德里亚娜·卡瓦雷罗(Adriana Cavarero)的《复数的声音》(2011);和歌曲和语调，路易斯·塔蒂特，(2002)。
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Pub Date : 2020-10-06DOI: 10.5007/2175-7917.2020v25n2p08
B. R. Mattia, D. Stoll, Elton da Silva Rodrigues, Isabele Soares Parente, Jair Zandoná, T. R. O. Ramos
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