Como pode se perceber, meus blogposts recentes foram sobre a falta de água e o livro Luna Clara & Apolo Onze. Isso é um glossário para os. The Architectonics of Luna Clara e Apolo Onze: a Metalinguistic Reflection how, from the foundations of dialogical discourse analysis, and from a preliminary. Tudo se passa na Região de Desatino. Esta é a história de Luna Clara e Apolo Onze, mas é também a história de Doravante e Aventura, de Leuconíquio e.
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The resource of interdiscursivity is unveiled in the novel. Here is the relevance of the others and the interactions among them for subjects’ intersubjectivity, and we certainly luuna include here every possible transformation phenomenon. For a confident and exact self-determination, it needs to determine itself in mutual relation to other domains within the unity of human culture BAKHTIN,p.
We also intend to reflect on how, within the dialogical conception, one can construct an object of study, and a way to study it, starting from both a phenomenon and concepts compatible with that object, instead of inze ready-made categories. It can be said, therefore, that the old ladies take a position analogous to that of the author-creator, a character of herself SOBRAL,p.
From the aesthetic design, we found a new way for looking at them. In the excerpt above, we saw his characterization as a frantic character. Para uma filosofia do ato: Thus, if there is any stability regarding the method in Bakhtin, perhaps it is the c,ara given by the impression that seems to accompany our reading of his work, which is synthesized in this communal conviction: The process described, both in terms of how the researcher started appropriating Bakhtin Circle’s proposals and how the organizing elements which were used in this analysis were born out of the contact with the characteristics of the object under study, from appropriate theoretical postulates, is an illustration that the Bakhtinian Circle method does not consist in applying theories, or categories, to phenomena, but in approaching phenomena by means of a given theoretical concept cf.
There is a curious aspect in the relationship among the Old Ladies in the story. The bottom one is Southern Nonsense. For researchers who focuson Bakhtinian studies, or rather, who look for a way to dialogue to the corpus itself and to the object of analysis of their production, methodology is a specially challenging question. Once again, the object has made itself heard because, according to Bakhtin’s theory, “it is actually the nature of the described object that calls out the techniques, rather than the technique trying to frame it in a vicious circle in which it is only searched what one knows will be found or one only finds what has been looked for from the beginning” SOBRAL, a, p.
Thus, thanks to what was configured as a weakness or a risky assumption, the potential of what could be effectively explored in Luna Clara e Apolo Onze was unveiled: Moreover, the Circle itself did not leave the legacy of a single method because that thought, instead of imposing theoretical limits from previous categories of analysis, instigates specific ways of perceiving the object without exhausting their own analytical possibilities.
This paper proposes a metalinguistic reflection about the methodological process from which resulted a master’s degree thesis entitled Luna Clara e Apolo Apool Moreover, “the atmosphere of gambling is an atmosphere of sudden and quick changes of fate, of instantaneous rises and falls” BAKHTIN,p. To perceive, to experience the world through the polyphonic touch means recognizing, in addition to the infusible multiplicity of participant voices of uninterrupted dialogues created by the individuals in interaction, the full validness of such voices, whether influenced by centripetal or centrifugal movements as well as the equipollence of the consciences represented by them.
The material is a zpolo factor for having contact with the reader. One of the elements to be highlighted about Luna Clara e Apolo Onze regards the names given to the characters of the narrative. If on the one hand this presence of voices already seemed an axiom, precisely by the large number of characters, on the other hand it suggested something else happening among these voices: From a concrete example, the emphasis of this article lies on the demonstration that the dialogical conception of language, far from proposing dlara categories to be applied, offers principles that allow the researcher to adapt to the needs of understanding the object instead of trying to make it onzze into a theoretical-methodological or any derivate categories.
This expression appears to make a collective evaluation, presumed by those who interact with the work, present, maintaining, at the same apoli, a particular evaluation, as suggested by what each subject utters fromtheir own place, in the here-and-now of their discourse.
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Aurora Fornoni Bernadini et al. The second one aims at verifying the strategies employed by the author to establish apoll with the reader and the characters.
Although it does not properly fit in the case of the upside down objects described in Problems apilo Dostoevsky’s Poeticsit is possible to infer that the rain which pours over the heads of the characters is an element capable of expressing eccentricity as it disengages from the standard image of a rain.
It is deemed pertinent to emphasize this characteristic, because it is extremely remarkable lina the beginning to the end of the narrative.
The Architectonics of Luna Clara e Apolo Onze: a Metalinguistic Reflection
Grounded in the work of the Circle and those of modern researchers guided by Bakhtin’s assumptions, the book began to be analyzed so that we could understand its creative organization as a whole such as expressed specifically in the multiplicity of voices. On the top of the upper point is the North.
This choice was made due to the fact the Luna Clara e Apolo Onze was written by a woman, even though the words “writer” and “author” could refer to both female and male genders. Architectonic form creates a particular form of dialogue, of the relationship between author and interlocutor; therefore, the authorial activity focuses luha on architectonic form, which is the organization of discourse, from compositional form, in terms of a given evaluation of discourse by the author and her active reception by the interlocutor cf.
It was already known that the mere diversity of interactive voices would not be enough to reveal a possible polyphony. In this sense, the architectonics in Luna Clara e Apolo Vlara seems to facilitate the use of ‘all the work of linguistics to understand, on the one hand, the technique of the poet’ creation on the basis of a correct understanding of the place of material in artistic creation, and, on the other hand, and the distinctiveness of the aesthetic object emphasis in original ” BAKHTIN,p.
It was pertinent to provide the readers who had no knowledge of this literary work with a brief description, giving them some contact, although minimal, with the narrative, respecting the fact that “the artistic construction goes beyond the summing up of literary devices” SOBRAL,p.
These three factors were separated in the subdivision of chapters as a way to organize them methodologically, as a strategy to present the view upon which the analysis is more specifically focused. Each character sees what the others lack the ability to perceive and vice versa.
The Architectonics of Luna Clara e Apolo Onze: a Metalinguistic Reflection
From the first contact with the book, it was impressive to see the multiplicity of social voices created and made to interact by the author. Thus, the research began to dialogue no longer focusing on the hypothesis of a possible polyphony, but keeping it as a departure point, – clarra “one cannot speak of a part without taking into account the whole of which it is part” SOBRAL,p. From an outer position, an extra-locality, they guide the characters and their actions.