Pub Date : 2020-01-01DOI: 10.5007/2176-8552.2020.E73260
L. Santos
This article discusses the short story “Memento Mori”, by Jonathan Nolan, and its subsequent cinematographic adaptation, directed by Christopher Nolan, in the year 2000. The objective of this work is to identify the peculiarities inherent to each support, investigating the plot construction strategies and the effects of meaning they generate in the aesthetic experience from literary reading and their subsequent translation into filmic language, reflecting on the idiosyncrasies of each narrative construction and the difficult process of adaptation between languages. For this, a comparative analysis based on the Theories of the Aesthetic Effect and Literary Anthropology is used, which discuss the phenomenon of aesthetic experience, individual and immanent; and the process of attributing meanings.
{"title":"Adaptação sob perspectiva: memento mori e as construções narrativas no conto e no longa-metragem","authors":"L. Santos","doi":"10.5007/2176-8552.2020.E73260","DOIUrl":"https://doi.org/10.5007/2176-8552.2020.E73260","url":null,"abstract":"This article discusses the short story “Memento Mori”, by Jonathan Nolan, and its subsequent cinematographic adaptation, directed by Christopher Nolan, in the year 2000. The objective of this work is to identify the peculiarities inherent to each support, investigating the plot construction strategies and the effects of meaning they generate in the aesthetic experience from literary reading and their subsequent translation into filmic language, reflecting on the idiosyncrasies of each narrative construction and the difficult process of adaptation between languages. For this, a comparative analysis based on the Theories of the Aesthetic Effect and Literary Anthropology is used, which discuss the phenomenon of aesthetic experience, individual and immanent; and the process of attributing meanings.","PeriodicalId":31415,"journal":{"name":"Outra Travessia","volume":"29 1","pages":"89-104"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70545748","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 : 2020-01-01DOI: 10.5007/2176-8552.2020.E83223
Nancy Fernández
In this work I try to work on the theoretical notions of tradition and use based on two poets of the Argentine neo-avant-garde: Nestor Perlongher and Osvaldo Lamborghini. Here I try to develop in some of his texts, the sense of politics and violence inscribed in his poetics, analyzing the procedures that particularize them. Keywords:
{"title":"Vestigios neobarrosos: Nestor Perlongher y Osvaldo Lamborghini","authors":"Nancy Fernández","doi":"10.5007/2176-8552.2020.E83223","DOIUrl":"https://doi.org/10.5007/2176-8552.2020.E83223","url":null,"abstract":"In this work I try to work on the theoretical notions of tradition and use based on two poets of the Argentine neo-avant-garde: Nestor Perlongher and Osvaldo Lamborghini. Here I try to develop in some of his texts, the sense of politics and violence inscribed in his poetics, analyzing the procedures that particularize them. Keywords:","PeriodicalId":31415,"journal":{"name":"Outra Travessia","volume":"2 1","pages":"105-115"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70546081","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 : 2020-01-01DOI: 10.5007/2176-8552.2020.E73757
Roberto da França Neves
Nestor Victor is considered one of the introductors of Symbolism in Brazil, having contributed to its diffusion through criticism, poetry and fiction. However, having taken the liberation of pre-conceived models as the main characteristic of this movement, the author assumes himself to be romantic, in the sense of spreading the defense of freedom of creation. In this work, we will cover how different currents of thought, coming from different authors of literature and philosophy, were part of his literary conception, by amalgamating trends circulating in the intellectual milieu. He is a thinker and artist who disagrees with his commitment to position himself on a platform, preferring to give maximum vigor to subjectivism. Signs, a short story, published in 1897, is his main contribution to the spread of the syncretism.
{"title":"A Formação Intelectual de Nestor Victor: Caminhos para o Sincretismo","authors":"Roberto da França Neves","doi":"10.5007/2176-8552.2020.E73757","DOIUrl":"https://doi.org/10.5007/2176-8552.2020.E73757","url":null,"abstract":"Nestor Victor is considered one of the introductors of Symbolism in Brazil, having contributed to its diffusion through criticism, poetry and fiction. However, having taken the liberation of pre-conceived models as the main characteristic of this movement, the author assumes himself to be romantic, in the sense of spreading the defense of freedom of creation. In this work, we will cover how different currents of thought, coming from different authors of literature and philosophy, were part of his literary conception, by amalgamating trends circulating in the intellectual milieu. He is a thinker and artist who disagrees with his commitment to position himself on a platform, preferring to give maximum vigor to subjectivism. Signs, a short story, published in 1897, is his main contribution to the spread of the syncretism.","PeriodicalId":31415,"journal":{"name":"Outra Travessia","volume":"2 1","pages":"154-170"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70545956","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 : 2020-01-01DOI: 10.5007/2176-8552.2020.E77258
Júlio Aied Passos
I propose to analyze the music from the group Fall of Efrafa as a power of political reformulation, not just from the literary composition, but also at the harmonic composition. The band’s work consists of three albums, which form a trilogy, where the anti-fascist and revolutionary thinking, including the human’s life style, are central. To reflect of the music’s action at the politics, I use Agamben’s thinking in La musica suprema, while reading Plato’s Republic, that music is political and the politics are musical. It’s impossible to escape from a reading, at that same political direction, of the Richard Adams’ Watership Down, in which the band not only takes its name, but also base in the romance’s mythology and narrative to concept their compositions.
我建议将Efrafa Fall乐队的音乐作为一种政治重塑的力量来分析，不仅从文学创作，而且从和声创作。乐队的作品由三张专辑组成，组成了三部曲，其中反法西斯和革命思想，包括人类的生活方式，是中心。为了反映音乐在政治中的作用，我在阅读柏拉图的《理想国》时，引用了阿甘本在《La musica suprema》中的思想，即音乐是政治的，政治是音乐的。在同样的政治方向上，我们不可能逃避对理查德·亚当斯(Richard Adams)的《沃特沃斯庄园》(watship Down)的解读。在这首歌中，乐队不仅以自己的名字命名，而且还以这部浪漫小说的神话和叙事为基础，来构思他们的作品。
{"title":"Fall of Efrafa com Watership Down: A queda do fascismo pela música","authors":"Júlio Aied Passos","doi":"10.5007/2176-8552.2020.E77258","DOIUrl":"https://doi.org/10.5007/2176-8552.2020.E77258","url":null,"abstract":"I propose to analyze the music from the group Fall of Efrafa as a power of political reformulation, not just from the literary composition, but also at the harmonic composition. The band’s work consists of three albums, which form a trilogy, where the anti-fascist and revolutionary thinking, including the human’s life style, are central. To reflect of the music’s action at the politics, I use Agamben’s thinking in La musica suprema, while reading Plato’s Republic, that music is political and the politics are musical. It’s impossible to escape from a reading, at that same political direction, of the Richard Adams’ Watership Down, in which the band not only takes its name, but also base in the romance’s mythology and narrative to concept their compositions.","PeriodicalId":31415,"journal":{"name":"Outra Travessia","volume":"2 1","pages":"72-88"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70546033","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 : 2020-01-01DOI: 10.5007/2176-8552.2020.E72333
Rafaela Moreira Rodrigues
This research proposes a critical reading of the poetry of Manoel de Barros - with emphasis on the poems in the book Memorias Inventadas. As Infâncias de Manoel de Barros in view of the preoccupation with the poetic exercise present in his work. In fact, there is a dynamic game characterized by a poetry that wants to be reflexive while evoking the materiality made "toy". The metapoetry, frequent in this work, make it clear that the poet's desire is to achieve something that is prior to the word and therefore intends to place himself on the principle of what can be said, so it is recurrent to use references such as the child , the birds and / or the wanderers. This primitive / primordial situation seems to be the frontier between perceiving the world and things and conceptualizing them. That is, between the sensory perception and the organization of the meaning of these things in language, a "crossing" happens, a displacement from one condition to another. nIn view of this, it was possible to inquire how poetry performs as a toy and art of playing through the "trans-use" of language, that is, to think of the relations between toy and poetry, observing the possibility of being instruments that enable the displacement between signifiers and meanings.
{"title":"Poesia ao grau de brinquedo: Uma leitura de Manoel de Barros","authors":"Rafaela Moreira Rodrigues","doi":"10.5007/2176-8552.2020.E72333","DOIUrl":"https://doi.org/10.5007/2176-8552.2020.E72333","url":null,"abstract":"This research proposes a critical reading of the poetry of Manoel de Barros - with emphasis on the poems in the book Memorias Inventadas. As Infâncias de Manoel de Barros in view of the preoccupation with the poetic exercise present in his work. In fact, there is a dynamic game characterized by a poetry that wants to be reflexive while evoking the materiality made \"toy\". The metapoetry, frequent in this work, make it clear that the poet's desire is to achieve something that is prior to the word and therefore intends to place himself on the principle of what can be said, so it is recurrent to use references such as the child , the birds and / or the wanderers. This primitive / primordial situation seems to be the frontier between perceiving the world and things and conceptualizing them. That is, between the sensory perception and the organization of the meaning of these things in language, a \"crossing\" happens, a displacement from one condition to another. nIn view of this, it was possible to inquire how poetry performs as a toy and art of playing through the \"trans-use\" of language, that is, to think of the relations between toy and poetry, observing the possibility of being instruments that enable the displacement between signifiers and meanings.","PeriodicalId":31415,"journal":{"name":"Outra Travessia","volume":"2 1","pages":"132-153"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70545730","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 : 2020-01-01DOI: 10.5007/2176-8552.2020.E73297
Taynara Leszczynski, M. S. Borba
{"title":"Historia, literatura e criminalidade: um olhar sobre O crime da Galeria de Cristal, de Boris Fausto","authors":"Taynara Leszczynski, M. S. Borba","doi":"10.5007/2176-8552.2020.E73297","DOIUrl":"https://doi.org/10.5007/2176-8552.2020.E73297","url":null,"abstract":"","PeriodicalId":31415,"journal":{"name":"Outra Travessia","volume":"2 1","pages":"192-197"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70545786","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 : 2020-01-01DOI: 10.5007/2176-8552.2020.E73351
Jéssica Frutuoso Mello, Charlene Martins Miotti
In the fourth century CE, Juvencus, a Spaniard priest, was responsible for inaugurating the tradition of the so-called biblical epics with his only surviving work – the Euangeliorum libri quattuor – which is dedicated to narrating Christ’s life in dactylic hexameters. Given this novelty, the poet uses the preface to situate his work in relation to previous poets, justifying his endeavor and summarizing his choices for the text construction. Addressing the information presented and the way it is done, we propose an analysis of this portion of his poem in order to demonstrate how the author pursues this process using common themes of previous poetry at the same time that he rivals with it. It is observed, as an example, that the programmatic invocation to the Muses is replaced by an appeal to the Holy Spirit, and the traditional Greek springs from which inspiration flows, by the Jordan River.
公元4世纪，西班牙牧师尤文库斯(Juvencus)开创了所谓的《圣经》史诗的传统，他唯一留存下来的作品是《四格全书》(Euangeliorum libri quattuor)，这本书致力于用长短格的六步诗叙述基督的一生。鉴于这种新颖性，诗人使用前言来将他的作品与以前的诗人联系起来，证明他的努力并总结他对文本结构的选择。针对所呈现的信息及其完成方式，我们建议对他的诗的这一部分进行分析，以展示作者如何在与之竞争的同时使用以前诗歌的共同主题来追求这一过程。我们观察到，作为一个例子，对缪斯的程序性召唤被对圣灵的呼吁所取代，而传统的希腊泉源是灵感的源泉，来自约旦河。
{"title":"“Venha o autor do canto”: comentários sobre o prefácio do Euangeliorum libri quattuor de Juvenco","authors":"Jéssica Frutuoso Mello, Charlene Martins Miotti","doi":"10.5007/2176-8552.2020.E73351","DOIUrl":"https://doi.org/10.5007/2176-8552.2020.E73351","url":null,"abstract":"In the fourth century CE, Juvencus, a Spaniard priest, was responsible for inaugurating the tradition of the so-called biblical epics with his only surviving work – the Euangeliorum libri quattuor – which is dedicated to narrating Christ’s life in dactylic hexameters. Given this novelty, the poet uses the preface to situate his work in relation to previous poets, justifying his endeavor and summarizing his choices for the text construction. Addressing the information presented and the way it is done, we propose an analysis of this portion of his poem in order to demonstrate how the author pursues this process using common themes of previous poetry at the same time that he rivals with it. It is observed, as an example, that the programmatic invocation to the Muses is replaced by an appeal to the Holy Spirit, and the traditional Greek springs from which inspiration flows, by the Jordan River.","PeriodicalId":31415,"journal":{"name":"Outra Travessia","volume":"16 1","pages":"56-71"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70545804","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 : 2020-01-01DOI: 10.5007/2176-8552.2020.E73656
Daniel Almeida Machado, A. Guida
For its composite character, literature has long been revealed as a fertile ground for experimentation and dialogue with other artistic manifestations, as Roland Barthes reveals in his Lesson (1977) and S/Z (1970). In addition, in view of the incessant return of the body as the core of themes/discussions of contemporary aesthetics, it becomes possible to think, in a great way, in a dialogue between literary art and performance art. In this sense, the present work intends to dialogue poems by the gaucho writer Angelica Freitas, in A uterus is the size of a fist (2017), and performances by the visual artist from Para, Berna Reale, understanding the constitution of the literary text as a “performative writing” (RAVETTI, 2002) and that the dialogue between literature and performance can create a “performatic machine” (AGUILAR;CAMARA, 2017).
{"title":"Narrativas/Máquinas performáticas: um diálogo entre literatura e performance","authors":"Daniel Almeida Machado, A. Guida","doi":"10.5007/2176-8552.2020.E73656","DOIUrl":"https://doi.org/10.5007/2176-8552.2020.E73656","url":null,"abstract":"For its composite character, literature has long been revealed as a fertile ground for experimentation and dialogue with other artistic manifestations, as Roland Barthes reveals in his Lesson (1977) and S/Z (1970). In addition, in view of the incessant return of the body as the core of themes/discussions of contemporary aesthetics, it becomes possible to think, in a great way, in a dialogue between literary art and performance art. In this sense, the present work intends to dialogue poems by the gaucho writer Angelica Freitas, in A uterus is the size of a fist (2017), and performances by the visual artist from Para, Berna Reale, understanding the constitution of the literary text as a “performative writing” (RAVETTI, 2002) and that the dialogue between literature and performance can create a “performatic machine” (AGUILAR;CAMARA, 2017).","PeriodicalId":31415,"journal":{"name":"Outra Travessia","volume":"2 1","pages":"7-26"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70545872","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 : 2020-01-01DOI: 10.5007/2176-8552.2020.E73375
Henrique Júlio Vieira
This text analyzes the expression of an archival potency by Decio Pignatari’s fictions, in his books O rosto da memoria (2014 [1986]) and Panteros (1992), having as a starting point the assumptions of literary theory, psychoanalysis and bibliography of texts. The updating of literary procedures of the Brazilian concretism by these two fiction books is analyzed, considering the context of valuing of the autobiographical and memorialistic discourses from the 1980s onwards, observing how the insertion of archivistic documents into the materiality of these books accentuates the self-fictional nature of the narratives.
{"title":"Memória, Imagem e Arquivo: a potência arquivística da ficção de Décio Pignatari","authors":"Henrique Júlio Vieira","doi":"10.5007/2176-8552.2020.E73375","DOIUrl":"https://doi.org/10.5007/2176-8552.2020.E73375","url":null,"abstract":"This text analyzes the expression of an archival potency by Decio Pignatari’s fictions, in his books O rosto da memoria (2014 [1986]) and Panteros (1992), having as a starting point the assumptions of literary theory, psychoanalysis and bibliography of texts. The updating of literary procedures of the Brazilian concretism by these two fiction books is analyzed, considering the context of valuing of the autobiographical and memorialistic discourses from the 1980s onwards, observing how the insertion of archivistic documents into the materiality of these books accentuates the self-fictional nature of the narratives.","PeriodicalId":31415,"journal":{"name":"Outra Travessia","volume":"2 1","pages":"27-55"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70545852","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 : 2020-01-01DOI: 10.5007/2176-8552.2020.E73754
Pollianna dos Santos Ferreira Silva, Nancy Rita Ferreira
This article is a critical reading of the text “Direitos femininos”, by Alcina Dantas (1892-1974). This reflection is based on the master's research entitled Escritoras feirenses: o caso Alcina Dantas (1895-1974), in which the aforementioned author was studied through research of primary sources. The article reached its objectives through pioneers in Gender and Literature Studies in Brazil such as Zahide Muzart (1995) and Constância Lima Duarte (2003), while conducting a critical reading of the production by Alcina Dantas intermediated by one of her contemporaries, pioneer of Brazilian feminism Nisia Floresta (2010 [1832]).
本文是对阿尔西娜·丹塔斯(1892-1974)的《女性的指示》这篇文章的批判性解读。这一反思是基于硕士研究题为escriitoras ferrenses: o caso Alcina Dantas(1895-1974)，其中通过对原始资料的研究对上述作者进行了研究。本文通过巴西性别与文学研究的先驱，如Zahide Muzart(1995)和constcia Lima Duarte(2003)来达到其目的，同时对Alcina Dantas的作品进行了批判性阅读，并由她同时代的巴西女权主义先驱Nisia Floresta(2010[1832])进行了翻译。
{"title":"Por uma mulher livre: uma análise de Direitos femininos da escritora baiana Alcina Dantas (1895-1974)","authors":"Pollianna dos Santos Ferreira Silva, Nancy Rita Ferreira","doi":"10.5007/2176-8552.2020.E73754","DOIUrl":"https://doi.org/10.5007/2176-8552.2020.E73754","url":null,"abstract":"This article is a critical reading of the text “Direitos femininos”, by Alcina Dantas (1892-1974). This reflection is based on the master's research entitled Escritoras feirenses: o caso Alcina Dantas (1895-1974), in which the aforementioned author was studied through research of primary sources. The article reached its objectives through pioneers in Gender and Literature Studies in Brazil such as Zahide Muzart (1995) and Constância Lima Duarte (2003), while conducting a critical reading of the production by Alcina Dantas intermediated by one of her contemporaries, pioneer of Brazilian feminism Nisia Floresta (2010 [1832]).","PeriodicalId":31415,"journal":{"name":"Outra Travessia","volume":"2 1","pages":"116-131"},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70545915","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}
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