Pub Date : 2020-10-06DOI: 10.5007/2175-7917.2020v25n2p161
Ellen Berezoschi
This article intends to analyze three songs from the album TransmutAcao, by rapper Bnegao, together with the group Seletores de Frequencia. The analysis focuses on a specific performance of the artists, made at the Centro Cultural Vila Verde, in Sao Paulo, in 2015, in which ancestry and rhythm mark the teachings of time and mark the gift of the present moment. The analysis is based mainly on the ideas of Paul Zumthor, as it highlights issues related to performance and how it is constituted. The text also covers the notion of performance due to its ritualistic character that involves spirituality (in this case, the content of Bnegao's message) and its poetic-musical character that makes an invocation of the present moment, which prioritizes the here and now of the members of the poetic act. The article explores performance as a whole, analyzing music, poetry, gesture and the constitution of the event. In some moments, the album is also mentioned as a whole, as a work, for carrying a message that crosses all the songs.
本文拟分析说唱歌手Bnegao与乐队Seletores de Frequencia合作的专辑《TransmutAcao》中的三首歌曲。分析的重点是2015年在圣保罗Verde文化中心进行的艺术家的具体表演，其中祖先和节奏标志着时间的教导，标志着当下的礼物。分析主要基于Paul Zumthor的观点，因为它突出了与性能相关的问题以及它是如何构成的。文本还涵盖了表演的概念，因为它的仪式性特征涉及灵性(在这种情况下，Bnegao的信息的内容)和它的诗意-音乐特征，使当下时刻的召唤，优先考虑诗歌行为成员的此时此地。本文将表演作为一个整体来探讨，分析音乐、诗歌、姿态和事件的构成。在某些时刻，这张专辑也被作为一个整体，作为一个作品，因为它传递了一个贯穿所有歌曲的信息。
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Pub Date : 2020-10-06DOI: 10.5007/2175-7917.2020v25n2p28
Marianna Ilgenfritz Daudt, Fernanda Vivacqua
The present study aims to present a view on Stela do Patrocinio's oeuvre Reino dos bichos e dos animais e o meu nome [Kingdom of beasts and animals is my name] (DO PATROCINIO, 2001), a work that was poetically produced orally by Stela do Patrocinio and transcribed by Viviane Mose. In our research, we consider that there is a living poetic voice in poems, and our first interest was to discuss how it moves from orality to the writing form. For this purpose, we analyzed Stela do Patrocinio's poetics from two approaches. On the one hand, our interest was centered on the way in which how the question of authorship is refracted, when transposing poetics to written poetry. On the other hand, we turn to the reader's relationship with this poetic voice, understanding the two in their bodily dimensions, taking in account their places in space. For that, we used the theoretical propositions mainly by Foucault (2002, 2009), Gumbrecht (2010) and Zumthor (2014). Amid the debate, the poetic voice is evident in the verses, since, when making a critical reading of these, it is also necessary that they be vocalized. Finally, through the theoretical and critical path, we believe that, transposed to writing, the poetic voice of Stela do Patrocinio (2001) continues to pulse in the reader, in a dynamic where the tension changes, but the production of presence remains.
本研究旨在对斯特拉·多·帕特罗奇尼奥的作品《野兽与动物的王国》（Reino dos bichos e dos animais e o meu nome）（do Patrocinio，2001）发表看法。在我们的研究中，我们认为诗歌中有一种活生生的诗意声音，我们的首要兴趣是讨论它是如何从口头走向写作形式的。为此，我们从两个方面分析了斯特拉·多·帕特罗西尼奥的诗学。一方面，我们的兴趣集中在将诗学转化为书面诗歌时，作者身份问题是如何折射的。另一方面，我们转向读者与这种诗意声音的关系，从身体维度理解两者，并考虑到它们在空间中的位置。为此，我们主要使用了福柯（20022009）、甘布莱希特（2010）和祖姆托尔（2014）的理论命题。在争论中，诗歌的声音在诗歌中显而易见，因为在对这些诗歌进行批判性解读时，也有必要将其发声。最后，通过理论和批评的路径，我们相信，将《帕特罗奇尼奥石碑》（Stela do Patrocinio，2001）的诗意声音转移到写作中，继续在读者中脉动，在一种张力发生变化但存在的产生仍然存在的动态中。
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Pub Date : 2020-10-06DOI: 10.5007/2175-7917.2020v25n2p15
Elisângela Maria Ozório
Paul Zumthor (1997; 2005; 2007) presents theories and criticisms about poetry present in the song. For this, the critic counts with estudies about oral poetry and he starts to recognize that all poetry has, at least, two voices that connect: the voice of the poetical self and the voice of the singer who performs the song. The voice of the singer embodies of the poetical self, which facilitates the reception of the poetic message, as such practice needs the performance contained in the song. Then, the performance has one of the central ideas of the theorist, just as it as differentiates it from the pure reception and also defines what is a song. The article Poetry according to Paul Zumthor at the song Metal contra as nuvens, by Renato Russo sets out to poetic song, using the musician-poetic lyrics Metal contra as nuvens (1991), by the composer and poet Renato Russo. Moreover, before entering Paul Zumthor, the article counts on Octavio Paz (1982) to clarify what the poetry and the poetic word are.
Paul Zumthor（1997；2005；2007）提出了关于歌曲中诗歌的理论和批评。为此，评论家通过对口头诗歌的研究，开始认识到所有诗歌至少有两种声音是相互联系的：诗歌自我的声音和演唱歌曲的歌手的声音。歌手的声音体现了诗意的自我，这有利于诗歌信息的接受，因为这种实践需要歌曲中包含的表演。然后，表演具有理论家的核心思想之一，正如它将其与纯粹的接受区分开来一样，也定义了什么是歌曲。根据Paul Zumthor在Renato Russo的歌曲《Metal contra as nuvens》中的诗歌，使用作曲家兼诗人Renato Russel的音乐家诗意歌词《Metal contra as nuvens》（1991），开始了诗意的歌曲。此外，在进入Paul Zumthor之前，文章依靠Octavio Paz（1982）来澄清诗歌和诗歌词是什么。
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Pub Date : 2020-10-06DOI: 10.5007/2175-7917.2020v25n2p172
Jonh Jefferson do Nascimento Alves
The present study deals with the nation's narrative as a collective representation with the theme of violence and trauma against the Guinean people. The text allows the encounter between colonial discourses, prejudices and traumatic effects on African identity, asking how far the nationalist projects and dreams in Guinea-Bissau were really achieved and how the past contributed to the political instability and the economic failures experienced in contemporary times. In this sense, we take as a corpus of analysis the fictional work The Last Tragedy by Abdulai Sila (2002), voice of a complex and current society, whose texts specifically address the attempt to constitute a reflection on the national identity and the history of guineans in contexts post-colonial. Artistic production – particularly literature here – emerges as part of the process of consolidating identities, through its character of representation. Abdulai Sila's Last Tragedy (2002) seems to seek answers that justify the origin of the country's common adversities today, in a still alive and present past.
本研究以几内亚人民遭受的暴力和创伤为主题，将国家叙事作为一种集体表现。文章允许殖民话语、偏见和对非洲身份的创伤性影响之间的相遇，询问几内亚比绍的民族主义计划和梦想真正实现了多少，以及过去如何导致当代经历的政治不稳定和经济失败。在这个意义上，我们以Abdulai Sila(2002)的虚构作品《最后的悲剧》(the Last Tragedy)作为分析的语库，这是一个复杂和当前社会的声音，其文本特别提出了对后殖民背景下几内亚人的民族认同和历史的反思。艺术生产——尤其是文学——通过其表现的特征，作为巩固身份的过程的一部分而出现。阿卜杜拉·西拉的《最后的悲剧》(2002)似乎在寻找答案，证明这个国家今天共同的逆境的起源，在一个仍然活着的过去。
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Pub Date : 2020-06-15DOI: 10.5007/2175-7917.2020v25n1p145
Alessandra D. S. Boos
This article presents an analysis of Michel Laub's O tribunal da quinta-feira, published in 2016, in order to understand how the narrator (and protagonist) tells his own story, how it is intertwined with the very history of AIDS in Brazil and what his personal relationships tell us about his identity as a cisheterosexual man. The narrator Jose Victor's account evokes a kind of “AIDS genealogy” as a way of giving meaning to his life experiences, especially sexual ones. Despite being critical of the stigmatization of people infected with HIV and homophobia, Jose does not spare women around misogynistic discourses disguised as sense of humor. In addition, issues such as heteronormativity, disciplinary society and pornography are in focus. To think about the questions brought by this narrative, the following authors were mainly used: Perlongher (1987), Bourdieu (1996), Foucault (1999), Sontag (2007) and Rich (2010).
本文分析了米歇尔·劳布（Michel Laub）于2016年出版的《O tribunal da quinta feira》，以了解讲述者（和主人公）是如何告诉自己的故事的，它是如何与巴西艾滋病的历史交织在一起的，以及他的私人关系告诉我们他作为顺异性恋者的身份。叙述者Jose Victor的叙述唤起了一种“艾滋病谱系”，以此来赋予他的生活经历意义，尤其是性经历。尽管Jose对艾滋病毒感染者的污名化和恐同症持批评态度，但她并没有放过伪装成幽默感的厌女言论。此外，诸如非规范性、纪律社会和色情等问题也成为焦点。为了思考这种叙事所带来的问题，主要使用了以下作者：Perlongher（1987）、Bourdieu（1996）、Foucault（1999）、Sontag（2007）和Rich（2010）。
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Pub Date : 2020-06-15DOI: 10.5007/2175-7917.2020v25n1p101
Ruan Nunes Silva
This paper aims to offer a theoretical investigation of the interactions between queer theory and the discussions on identity by analysing the Brazilian novel Todos nos adoravamos caubois by Carol Bensimon, published originally in 2013. Departing from a discussion on heteronormativity (MISKOLCI, 2006), critical commentary on queer theory and its post-identity politics is provided with an eye to highlighting not only the metaphor of the voyage in the chosen narrative, but also the fragmentation and the shifting of Cora and Julia’s identities, the protagonists, while on their road trip throughout the countryside of the Brazilian state of Rio Grande do Sul. Analysing bridges and gaps between/in queer theory and gay and lesbian studies, it is highlighted that Bensimon’s novel is representative of the indefinability of queer theory as a way to investigate the contemporary literary scene. Some theoretical contributions considered in this paper were developed by Carla Rodrigues (2009), Linda Hutcheon (2003), Steve Seidman (2004), Diane Richardson (2006) and Guacira Lopes Louro (2016).
本文旨在通过分析卡罗尔·本西蒙于2013年出版的巴西小说《Todos nos adoravamos caubois》，对酷儿理论与身份讨论之间的互动进行理论研究。与对非规范性的讨论（MISKOLCI，2006）不同，对酷儿理论及其后身份政治的批判性评论不仅着眼于突出所选叙事中航行的隐喻，还着眼于突出主角科拉和朱莉娅身份的碎片化和转移，他们在巴西南里奥格兰德州的乡村进行公路旅行。通过分析酷儿理论与同性恋研究之间的桥梁和差距，强调本西蒙的小说代表了酷儿理论作为研究当代文学场景的一种方式的不确定性。本文中考虑的一些理论贡献是由Carla Rodrigues（2009）、Linda Hutcheon（2003）、Steve Seidman（2004）、Diane Richardson（2006）和Guacira Lopes Louro（2016）提出的。
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Pub Date : 2020-06-15DOI: 10.5007/2175-7917.2020v25n1p130
R. Felippe, João Alcides Haetinger Esmerio
This article intends to review part of the brazilian literary production of the 1980's, from the contradictions of a decade marked, simultaneously, by rapturing and terror. The decennium, period characterized by euphoria around the redemocratization, is also impacted by the emergence of AIDS, an event responsible for the redisciplination of the bodies — caused by the emphasis on the practice of safe sex — and the stigmatization of homosexuality. In Aids e suas metaforas, Susan Sontag (1989) analyzes the imaginary around the disease, from which the consequences would be both the recrudescence of prejudice against homosexuals and the blaming of the virus’ victims. When resumed and associated to the brazilian context, Sontag’s arguments assume distinct connotations that enable a revisitation of the brazilian literature from a scope directed to the pandemic by the artistic expression (which is a perspective practically ignored by the historiography and the literary studies). From this slant, it is also possible to consider the “utility” that the insistent metaphorical explorations linked to AIDS may have supported. The development of such proposals will employ the short stories “Linda, uma historia horrivel” and “Depois de agosto”, both by the brazilian writer Caio Fernando Abreu (1988; 1995), as text corpus.
本文旨在回顾20世纪80年代巴西文学作品的一部分，从同时以狂喜和恐怖为标志的十年的矛盾中。十年期的特点是围绕着重新民主而欢欣鼓舞，也受到艾滋病的出现的影响，艾滋病是一种导致身体重新融合的事件，是由于强调安全性行为和对同性恋的污名化。苏珊·桑塔格（Susan Sontag，1989）在《艾滋病》（Aids e suas metaforas）一书中分析了围绕这种疾病的想象，其后果将是对同性恋者的偏见复发，并指责病毒的受害者。当重新审视并与巴西背景联系在一起时，桑塔格的论点具有独特的内涵，使人们能够通过艺术表达（这是史学和文学研究实际上忽视的一个视角）从针对疫情的范围内重新审视巴西文学。从这个角度来看，也可以考虑与艾滋病相关的持续隐喻探索可能支持的“效用”。这些建议的制定将采用巴西作家Caio Fernando Abreu（1988；1995）的短篇小说《琳达，乌玛历史》和《德波依·德·阿戈斯托》作为文本语料库。
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Pub Date : 2020-06-15DOI: 10.5007/2175-7917.2020v25n1p172
Cristóvão José dos Santos Júnior
Este trabalho investiga determinados vestígios do experimentalismo poético greco-latino, buscando demonstrar sua longevidade e potência artística. Nesse sentido, são abordadas tipologias de escrita constrangida, como o acróstico, o palíndromo, o centão, o lipograma, o anagrama e o tautograma. Interessante é perceber que tais modalidades compositivas já encontram registro documental em obras da Antiguidade e da Idade Média, muito embora se costume atribuir a difusão de tais elaborações expressivas ao movimento Concretista, situado no século XX. Explicita-se, portanto, o processo de marginalização dessas manifestações artísticas, as quais foram relativamente invisibilizadas. Desse modo, discute-se a permanência resistente do construto poético experimental a partir de um levantamento de ocorrências encontradas, focalizando os cenários antigo e mediévico de sua produção. Destaque-se, então, que este estudo é de natureza indiciária, visando a adentrar na percepção de rastros, pistas e vestigíos que possibitem um olhar crítico-panorâmico desse legado poético, o qual não apenas nos constitui, mas também provoca, ainda nos tempos atuais, significativo fascínio e curiosidade.
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Pub Date : 2020-06-15DOI: 10.5007/2175-7917.2020v25n1p08
B. R. Mattia, D. Stoll, Elton da Silva Rodrigues, Isabele Soares Parente, Jair Zandoná, T. R. O. Ramos
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Pub Date : 2020-06-15DOI: 10.5007/2175-7917.2020v25n1p39
Emerson Silvestre
This article presents a critical analysis of Sylvia Orthof's novel O fantasma travesti (The transvestite ghost) (1988), whose form and the characters construction closely match the discourse of queer theory regarding the deconstruction of binary gender archetypes and performativity as a creation of new ways of understanding body, gender and sexualities As theoretical scope we bring the contributions of Butler (2015) and Louro (2001) and we propose an approximation between queer theory and fiction theory in order to understand Orthof's novel as a process in which the politics of writing, a concept suggested by Ranciere (1995), plays an important role in the representation of the character Ziriguidum. Created under the aegis of gender parody and under the influence of fantastic narrative, Ziriguidum is a ode to queerness. The language with which it is built reverberates the ambiguity and inconstancy that characterize queer theory, besides it illustrates the pronominal confusion that arises when there is a need to refer to trans people.
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