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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It was manifest that there was a strong evaluative component established in the characters’ names and discursive marks, something which indicated they were representative of worldviews, ideologies.
Therefore, to the extent that they refer to other senses, the punctuation and the words in the note provide the encounters and separations among characters.
Books by Adriana Falcão (Author of Luna Clara & Apolo Onze)
Letras em RevistaPorto Alegre, n. Luna Clara e Apolo Onze. Conveniently, Faraco highlights, as a curiosity, that “the aesthetic category ‘polyphony’ completely disappears from Bakhtin’s discourse [ In the theory of the novel, it seems that Bakhtin lowers some tones of his polyphonic overflow and holds his utopian impulses a bit. 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.
Mercado das Letras,p.
SOBRAL, aand, respecting the terms of these phenomena, turning them into objects to be analyzed, the objects of study. Moreover, “the atmosphere of gambling is an atmosphere of sudden and quick changes of fate, of instantaneous rises and falls” BAKHTIN,p. The dialogical conception of language calls together heterogeneous multitudes of views, voices, consciousnesses, as determinants of and constituents for the reading process, which includes, hence, the whole ethical and aesthetical deeds of human experience.
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. The characters materialize their signatures through this difference, which implies not “to refrain, not to subtract from what its unique place allows you to see and think. In the dialogue between the characters, it is possible to see, besides the marks of distinct voices, the mark of discourses in constant tension: From this place that I myself occupy, what I see and what I think are my own responsibility.
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. To the researcher, this seemed to be the work’s unique element, somehow bringing a different tone to contemporary literature regarding the author’s way of saying: The “technique” called by the object was grounded essentially in the dialogue with the following questions: The book under analysis is a phenomenon of the world, and its study requires first of all that it is turned into an object.
This aspect underscores what Bakhtin announces about the speaking person in the novel. The material is a relevant factor for having contact with the reader. In this research, we somewhat followed the same movement. In this sense, the architectonics in Luna Clara e Apolo Onze 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.
Giancarlo’s Old Blog: Glossário Luna Clara & Apolo Onze
The second one aims at verifying the strategies employed by the author to establish dialogues with the reader and the characters. We considered important to investigate what these elements could say about the enunciative project. lunx
Letras de HojePorto Alegre, v. We thought that with the data collected from these three questions, it would be possible to characterize the authorial architectonics, as they cover the intrigue, the description per sethe composition of the characters, the representation of their voices, the way the author addresses the presumed reader, that is, her own way of actualizing her aesthetic enunciative project.
Although it does not properly fit in the case of the upside down objects described in Problems of 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.
The Architectonics of Luna Clara e Apolo Onze: a Metalinguistic Reflection
Among the several research possibilities that the novel allows, it seemed pertinent to highlight the uniqueness of the embodiment of the author’s enunciative project, in which she is able to realize architectonically a multiplicity of voices with a potential for dialogical interaction in the peculiar world of Brazilian juvenileliterature.
The names of the characters and their discursive marks, therefore, luan fundamental aspects from an aesthetic point of view.
Determined, brave, he didn’t like waiting at all: Thus, there is a visible degree of Dostoevsky’s simultaneity principle in the composition of the book, specifically in the division of chapters. Furthermore, the author also uses a cinematographic language. Architectonics; Methodology; Dialogism; Multiplicity of Voices.
It seems that the old ladies are architects of fate that govern everything and everyone in the story.