Pub Date : 2020-12-14DOI: 10.5007/2176-8552.2019.e73738
Júlio de Souza Vale Neto
O texto consiste numa resenha da obra de Suzanne S. Choo. Nele, pretende-se abarcar as linhas de força dos diferentes paradigmas de ensino de literatura enfocados: o nacionalista, o mundial, o global e o cosmopolita. Assim, busca-se apresentar os resultados centrais da pesquisa de Choo, ancorada no que chama de "pedagogia crítica".
这篇文章是对Suzanne S. Choo作品的评论。它的目的是包含不同文学教学范式的力量线:民族主义、世界性、全球性和世界性。因此，我们试图呈现Choo研究的中心结果，锚定在他所谓的“批判教育学”。
{"title":"Por uma “imaginação hospitaleira”: sobre Reading the World, the Globe, and the Cosmos, de Suzane S. Choo","authors":"Júlio de Souza Vale Neto","doi":"10.5007/2176-8552.2019.e73738","DOIUrl":"https://doi.org/10.5007/2176-8552.2019.e73738","url":null,"abstract":"O texto consiste numa resenha da obra de Suzanne S. Choo. Nele, pretende-se abarcar as linhas de força dos diferentes paradigmas de ensino de literatura enfocados: o nacionalista, o mundial, o global e o cosmopolita. Assim, busca-se apresentar os resultados centrais da pesquisa de Choo, ancorada no que chama de \"pedagogia crítica\".","PeriodicalId":31415,"journal":{"name":"Outra Travessia","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45232805","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 : 2020-12-07DOI: 10.5007/2176-8552.2018N26P42
Deborah Walter de Moura Castro
Some of the pieces by Belgium poet and artist Marcel Broodthaers (1924-1976) are presented in this article as a way to raise thoughts on the intersection between literary and artistic practices, having as its main pilar readings surrounding silence. Attempting a new relation between poetry, arts and media, Broodhtaers creates pieces highlighting the graphic interests of the poet as he obliterates words. This destabilization of the power of words brought to Broodthaers’s works an emphasis on the image through in a writing space. In Un coup de des and Pense-Bete, for example, Broodthaers works mainly over existing pieces, distorting the idea of originality, and most importantly, exploring the vulnerability of words and meaning. By covering words and plastering books, Broodthaers calls attention to the substract, definied by American poet and critic Craig Dworkin, in No Medium, as what is left to be read. This way, between the said and non-said, word and image, Broodthaers arouses a new look at the role of literature, arts and media. Keywords: Broodthaers; silence; substract
比利时诗人和艺术家Marcel Broodthaers（1924年-1976年）的一些作品在本文中被介绍，以唤起人们对文学和艺术实践之间交叉点的思考，其主要内容是围绕沉默的普拉拉读物。Broodhters试图在诗歌、艺术和媒体之间建立一种新的关系，他创作了一些作品，突出了诗人在抹去文字时的图形兴趣。这种文字力量的不稳定给布罗德塔尔的作品带来了对写作空间中形象的强调。例如，在《Un coup de des and Pense Bete》一书中，布罗德塔尔的作品主要针对现有作品，扭曲了独创性的概念，最重要的是，探索了词语和意义的脆弱性。Broodthaers通过覆盖文字和涂抹书籍，提请人们注意美国诗人和评论家Craig Dworkin在《无媒介》中定义的底层，即有待阅读的内容。这样，在言说与非言说、话语与意象之间，布罗德塔尔唤起了人们对文学、艺术和媒介角色的新认识。关键词：肉鸡；寂静减法
{"title":"Leituras ao redor do silêncio","authors":"Deborah Walter de Moura Castro","doi":"10.5007/2176-8552.2018N26P42","DOIUrl":"https://doi.org/10.5007/2176-8552.2018N26P42","url":null,"abstract":"Some of the pieces by Belgium poet and artist Marcel Broodthaers (1924-1976) are presented in this article as a way to raise thoughts on the intersection between literary and artistic practices, having as its main pilar readings surrounding silence. Attempting a new relation between poetry, arts and media, Broodhtaers creates pieces highlighting the graphic interests of the poet as he obliterates words. This destabilization of the power of words brought to Broodthaers’s works an emphasis on the image through in a writing space. In Un coup de des and Pense-Bete, for example, Broodthaers works mainly over existing pieces, distorting the idea of originality, and most importantly, exploring the vulnerability of words and meaning. By covering words and plastering books, Broodthaers calls attention to the substract, definied by American poet and critic Craig Dworkin, in No Medium, as what is left to be read. This way, between the said and non-said, word and image, Broodthaers arouses a new look at the role of literature, arts and media. Keywords: Broodthaers; silence; substract","PeriodicalId":31415,"journal":{"name":"Outra Travessia","volume":"1 1","pages":"43-57"},"PeriodicalIF":0.0,"publicationDate":"2020-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47586335","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 : 2020-09-25DOI: 10.5007/2176-8552.2018N26P15
Carolina Montebelo Barcelos
This study aims at examining the way in which Fodidos Privilegiados, a theatre company from Rio de Janeiro placed into the context of the collaborative work of contemporary theatre, transposed the feuilleton Escravas do amor to stage, scenically intensifying the melodramatic elements present in the original text. By means of the theatrical resources unique to the company’s aesthetics – use of choreographed pieces, tableau vivant, narration, economy of scenery and props -, which are used in almost all their plays, the staging of Escravas do amor is an adaptation of the 530 page feuilleton written by Nelson Rodrigues under the pseudonym of Suzana Flag. Thus, this study strives to analyze how Fodidos Privilegiados staged feuilleton characteristics such as abyss construction, deception, ruse, places related to the plot (cottage, forest, lodge and castle) and characters such as the traitor, the avenger, the victim and the fool, through melodramatic elements like use of music, face and body miming, large movements and exaggerated use of voice. The studies carried out by Silvia Oroz, Marlyse Meyer and Jesus Martin-Barbero are used as theoretical underpinning with regard to melodrama and feuilleton. Keywords: contemporary theatre; theatre company from Rio de Janeiro; melodrama, feuilleton; Nelson Rodrigues
本研究旨在考察来自里约热内卢的剧团Fodidos Privilegiados将feuilleton Escravas do amor搬上舞台的方式，在场景上强化了原文中的情节剧元素。凭借该公司美学独特的戏剧资源——使用编排好的作品、生动的画面、叙事、布景和道具的经济性——几乎在他们所有的戏剧中都有使用，《Escravas do amor》的舞台改编自纳尔逊·罗德里格斯（Nelson Rodrigues）以苏珊娜·弗拉格（Suzana Flag）的笔名写的530页的《费伊尔顿》。因此，本研究试图通过音乐的使用、面部和身体的模仿、大动作和夸张的声音使用等情节剧元素，分析福迪多斯特权派是如何上演费伊尔顿的特征的，如深渊的建造、欺骗、诡计、与情节相关的地方（小屋、森林、小屋和城堡）以及叛徒、复仇者、受害者和傻瓜等角色。Silvia Oroz、Marlyse Meyer和Jesus Martin Barbero的研究被用作情节剧和费伊尔顿的理论基础。关键词：当代戏剧；里约热内卢剧团；情节剧，费伊尔顿；纳尔逊·罗德里格斯
{"title":"Nelson Rodrigues e o melodrama no teatro contemporâneo: a transposição para o palco do folhetim Escravas do amor, da companhia teatral carioca Fodidos Privilegiados","authors":"Carolina Montebelo Barcelos","doi":"10.5007/2176-8552.2018N26P15","DOIUrl":"https://doi.org/10.5007/2176-8552.2018N26P15","url":null,"abstract":"This study aims at examining the way in which Fodidos Privilegiados, a theatre company from Rio de Janeiro placed into the context of the collaborative work of contemporary theatre, transposed the feuilleton Escravas do amor to stage, scenically intensifying the melodramatic elements present in the original text. By means of the theatrical resources unique to the company’s aesthetics – use of choreographed pieces, tableau vivant, narration, economy of scenery and props -, which are used in almost all their plays, the staging of Escravas do amor is an adaptation of the 530 page feuilleton written by Nelson Rodrigues under the pseudonym of Suzana Flag. Thus, this study strives to analyze how Fodidos Privilegiados staged feuilleton characteristics such as abyss construction, deception, ruse, places related to the plot (cottage, forest, lodge and castle) and characters such as the traitor, the avenger, the victim and the fool, through melodramatic elements like use of music, face and body miming, large movements and exaggerated use of voice. The studies carried out by Silvia Oroz, Marlyse Meyer and Jesus Martin-Barbero are used as theoretical underpinning with regard to melodrama and feuilleton. Keywords: contemporary theatre; theatre company from Rio de Janeiro; melodrama, feuilleton; Nelson Rodrigues","PeriodicalId":31415,"journal":{"name":"Outra Travessia","volume":"2 1","pages":"15-25"},"PeriodicalIF":0.0,"publicationDate":"2020-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43258294","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 : 2020-09-25DOI: 10.5007/2176-8552.2018N26P135
V. Moraes, Carlos Andrés Molina Posadas
Neste artigo, observa-se o desenvolvimento da obra de Francisco Toledo entre 1953 e 1963, rastreando aprendizagens e influencias entre Oaxaca e Paris. Propoe-se, desse modo, doze apontamentos tematicos para abrir um dialogo sobre o inicio de sua obra grafica.
{"title":"Francisco Toledo, seus inícios","authors":"V. Moraes, Carlos Andrés Molina Posadas","doi":"10.5007/2176-8552.2018N26P135","DOIUrl":"https://doi.org/10.5007/2176-8552.2018N26P135","url":null,"abstract":"Neste artigo, observa-se o desenvolvimento da obra de Francisco Toledo entre 1953 e 1963, rastreando aprendizagens e influencias entre Oaxaca e Paris. Propoe-se, desse modo, doze apontamentos tematicos para abrir um dialogo sobre o inicio de sua obra grafica.","PeriodicalId":31415,"journal":{"name":"Outra Travessia","volume":"2 1","pages":"137-165"},"PeriodicalIF":0.0,"publicationDate":"2020-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45330740","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 : 2020-09-25DOI: 10.5007/2176-8552.2018N26P25
Cláudio Marcos Veloso Júnior
Since the publication of Utopia, by Thomas More’s Utopia, the term utopia has been used to denote the representation of a perfect place, without conflicts and egalitarian. From this, utopia became thematic present in several literary works, mainly in the period of the Renaissance. Centuries after the publication of Thomas More’s work, the thematic dystopia appears in the literature. Dystopia is antagonistic to utopia. While utopia seeks to portray a perfect place, dystopia reproduces a society in chaos, unequal. These two themes appear in the literature due to cultural and sociohistorical influences. In this sense, this article aims to survey cultural and socio-historical aspects that influenced the emergence of these themes in literature. Keywords: Utopia; Dystopia; Mimesis
{"title":"Da utopia à distopia: a influência de aspectos culturais e históricos","authors":"Cláudio Marcos Veloso Júnior","doi":"10.5007/2176-8552.2018N26P25","DOIUrl":"https://doi.org/10.5007/2176-8552.2018N26P25","url":null,"abstract":"Since the publication of Utopia, by Thomas More’s Utopia, the term utopia has been used to denote the representation of a perfect place, without conflicts and egalitarian. From this, utopia became thematic present in several literary works, mainly in the period of the Renaissance. Centuries after the publication of Thomas More’s work, the thematic dystopia appears in the literature. Dystopia is antagonistic to utopia. While utopia seeks to portray a perfect place, dystopia reproduces a society in chaos, unequal. These two themes appear in the literature due to cultural and sociohistorical influences. In this sense, this article aims to survey cultural and socio-historical aspects that influenced the emergence of these themes in literature. Keywords: Utopia; Dystopia; Mimesis","PeriodicalId":31415,"journal":{"name":"Outra Travessia","volume":"2 1","pages":"26-42"},"PeriodicalIF":0.0,"publicationDate":"2020-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47339659","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 : 2020-09-25DOI: 10.5007/2176-8552.2018N26P123
Silvana Maria Pantoja Dos Santos, M. Nascimento
This paper’s aim analyze the relationship between individual and collective memory on the novel “My Home is where I am” (La mia casa e dove sono) by Igiaba Scego. The work portrays, in eight chapters, the first twenty years of the narrator’s life. Six of them, named after a Rome spot, linked to memories which placed a landmark on her relationship with the city, while mixing memories about their parents’ exile in Italy and about Somalia itself, the motherland of their family. Igiaba Scego writes for the media in Italy and is a human rights activist, highlighting his involvement and issues related to the cause of refugees. The purpose of this paper is also to talk about the author and her work, which offers important contributions to think about the memorialistic processes of people who go through experiences marked by rupture and the search for their place in the world. For that, the main references used for this work are: Halbwachs (2006) and Hall (2003).
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Pub Date : 2020-09-25DOI: 10.5007/2176-8552.2018N26P7
Alberto Pucheu
In Oedipus the King, there is a scene that has already been said to be the caesura, the antirhythmic in the rhythm, the incalculable in the calculation: that of the tyrant with Tiresias. As the seer is said to be the one in whom “[...] only/ the unveiling is infused: Aletheia”, I read this scene as a scene from aletheia, as a scene in which aletheia is enacted. Certainly, it is a scene analogous to what is told of the relationship between Oedipus and the Sphinx, in which the Sphinx protects the enigmatic, while the other one believes in deciphering the enigmatic. If Oedipus is, as he says, the investigator of all speeches, how does he behave in relation to that which, in language, as aletheia, is what matters most? Likewise, how does Tiresias behave? While, in his position in front of the truth, Oedipus assumes a position of tyranny, in Tiresias, aletheia and aporia overlap, making us think, if we still need to use the name, in an aporetic “truth” like the one that poetically matters. Thus, there would be a double paradigm in the respective tragedy regarding the way of thinking the truth: one to be avoided, that of Oedipus; another one, to be followed, that of Tiresias. Keywords: Oedipus; tyranny; truth; Tiresias; aporia
{"title":"Édipo, Tirania e Verdade","authors":"Alberto Pucheu","doi":"10.5007/2176-8552.2018N26P7","DOIUrl":"https://doi.org/10.5007/2176-8552.2018N26P7","url":null,"abstract":"In Oedipus the King, there is a scene that has already been said to be the caesura, the antirhythmic in the rhythm, the incalculable in the calculation: that of the tyrant with Tiresias. As the seer is said to be the one in whom “[...] only/ the unveiling is infused: Aletheia”, I read this scene as a scene from aletheia, as a scene in which aletheia is enacted. Certainly, it is a scene analogous to what is told of the relationship between Oedipus and the Sphinx, in which the Sphinx protects the enigmatic, while the other one believes in deciphering the enigmatic. If Oedipus is, as he says, the investigator of all speeches, how does he behave in relation to that which, in language, as aletheia, is what matters most? Likewise, how does Tiresias behave? While, in his position in front of the truth, Oedipus assumes a position of tyranny, in Tiresias, aletheia and aporia overlap, making us think, if we still need to use the name, in an aporetic “truth” like the one that poetically matters. Thus, there would be a double paradigm in the respective tragedy regarding the way of thinking the truth: one to be avoided, that of Oedipus; another one, to be followed, that of Tiresias. Keywords: Oedipus; tyranny; truth; Tiresias; aporia","PeriodicalId":31415,"journal":{"name":"Outra Travessia","volume":"2 1","pages":"7-14"},"PeriodicalIF":0.0,"publicationDate":"2020-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48163348","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 : 2020-09-25DOI: 10.5007/2176-8552.2018N26P77
Hélder Brinate Castro
This essay aims to analyse the hysterical female character in naturalistic prose influenced by Gothic poetics. For this, we reassess both Gothic and Naturalism. While the first is understood as a poetics that embodies a pessimistic interpretation of the world in a highly aestheticized artistic language, the second has its objective- scientific pretension and its blends with romantic heritages reanalysed. To investigate the figurations of the hysterical character in Brazilian literature, we also studied the short story “Muscles and nerves” (1893) and the novel O homem (1887), both by Aluisio Azevedo. Keywords: Gothic; Naturalism; Brazilian literature
{"title":"As heroínas histéricas e vampíricas de Aluísio Azevedo","authors":"Hélder Brinate Castro","doi":"10.5007/2176-8552.2018N26P77","DOIUrl":"https://doi.org/10.5007/2176-8552.2018N26P77","url":null,"abstract":"This essay aims to analyse the hysterical female character in naturalistic prose influenced by Gothic poetics. For this, we reassess both Gothic and Naturalism. While the first is understood as a poetics that embodies a pessimistic interpretation of the world in a highly aestheticized artistic language, the second has its objective- scientific pretension and its blends with romantic heritages reanalysed. To investigate the figurations of the hysterical character in Brazilian literature, we also studied the short story “Muscles and nerves” (1893) and the novel O homem (1887), both by Aluisio Azevedo. Keywords: Gothic; Naturalism; Brazilian literature","PeriodicalId":31415,"journal":{"name":"Outra Travessia","volume":"2 1","pages":"78-98"},"PeriodicalIF":0.0,"publicationDate":"2020-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47531623","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 : 2020-09-25DOI: 10.5007/2176-8552.2018N26P57
Fabricia Walace Rodrigues
This essay proposes the reading of the painting The memory, by Rene Magritte, as a sort of compilation of the most important theories on memory. Therefore, the discussion will go through each element that makes up the canvas - a marble front, a rattle, a leaf, the red curtain and the sky full of clouds - seeking to understand the problematization of the concept of memory proposed by the author in images. In this sense, adjacent themes will be discussed in the analysis, among them the most recurrent memory metaphors, such as that of the book, especially in Dante Aliguieri; the relationship between memory and death, especially with regard to trauma, which we will discuss from the classic rhetorical treatise Ad Herenium, as well as the relationship between past, present and future, read here from Aristotle to Lewis Carrol. In this sense, starting from a comparative analysis between the canvas and some literary and theoretical texts, the article aims to understand what memory is for Rene Magritte. Keywords: memory; art of memory; writing; time; forgetting
{"title":"Memória, imagens, palavras: uma leitura de Magrite à luz da Literatura","authors":"Fabricia Walace Rodrigues","doi":"10.5007/2176-8552.2018N26P57","DOIUrl":"https://doi.org/10.5007/2176-8552.2018N26P57","url":null,"abstract":"This essay proposes the reading of the painting The memory, by Rene Magritte, as a sort of compilation of the most important theories on memory. Therefore, the discussion will go through each element that makes up the canvas - a marble front, a rattle, a leaf, the red curtain and the sky full of clouds - seeking to understand the problematization of the concept of memory proposed by the author in images. In this sense, adjacent themes will be discussed in the analysis, among them the most recurrent memory metaphors, such as that of the book, especially in Dante Aliguieri; the relationship between memory and death, especially with regard to trauma, which we will discuss from the classic rhetorical treatise Ad Herenium, as well as the relationship between past, present and future, read here from Aristotle to Lewis Carrol. In this sense, starting from a comparative analysis between the canvas and some literary and theoretical texts, the article aims to understand what memory is for Rene Magritte. Keywords: memory; art of memory; writing; time; forgetting","PeriodicalId":31415,"journal":{"name":"Outra Travessia","volume":"2 1","pages":"58-77"},"PeriodicalIF":0.0,"publicationDate":"2020-09-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42764317","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 : 2020-09-25DOI: 10.5007/2176-8552.2018N26P98
Joaquín Correa
A partir de la recuperacion de tres ensayos breves de Ricardo Piglia, publicados en el cambio de siglo, son abordadas las revistas del invencionismo concreto argentino, Arturo y Madi, concentrando el analisis de las configuraciones de la asi denominada “vanguardia periferica” en los modos de ver, en el complot y en las consecuencias de la crisis del liberalismo (leidas, en ese viraje de siglo, a partir de la crisis del neo-liberalismo en la Argentina). En un segundo momento, el texto se detiene en la polemica de esas revistas con el peronismo, especialmente en la confrontacion de la no representacion estetica con la representacion politica (propia del populismo segun Ernesto Laclau) para establecer las rupturas entre los dos caminos. La constelacion Arturo trazaria un mapa que, apagandose aleatoriamente o emergiendo en determinados momentos, redefine las posiciones vanguardistas en el periodo situado entre las vanguardias historicas y las neo-vanguardias.
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