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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Equipollence and full validity disappeared as what one should not emphasize in the analytical approach. It can be said, therefore, that the old ladies take a position analogous to that of the author-creator, a character clada herself SOBRAL,p. Finally, the third aims to investigate the mode of organization of the relationships between the characters and the narrative space.
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Therefore, both in life and in art, the I-other relationships need to be reflected upon, “They must clothe themselves in discourse, become utterances, become the positions of various subjects expressed in discourse, in order that dialogic relationships might arise among them” BAKHTIN,p. This dynamic atmosphere is strongly present in the story, which is why one can infer that the “game of roulette spreads its carnivalizing influence over all life that comes in contact with it” BAKHTIN,p.
One of the elements to be highlighted about Luna Clara e Apolo Onze regards the names given to the characters of the narrative. Services on Demand Journal.
Aventura came from the bottom. 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.
It was manifest that there was a strong evaluative component established in the characters’ names and discursive marks, something which indicated they were ozne of worldviews, ideologies.
The Architectonics of Luna Clara e Apolo Onze: a Metalinguistic Reflection
The material is a relevant factor for having contact with the reader. This alludes to the work of Penelope, a character from Greek mythology. In fact, Doravante [“From Now On”] was a very lucky guy. It is important to recall that “the changes in the life of a character in aesthetic elaboration by an author are mainly responses” MACHADO,p.
Notes and Verb Usage. It is important to highlight that all the listed relationships, even the dissonant ones, are not taken as contradictory, but as a multiplicity of views in interaction. Once again, the object has made itself heard because, according to Bakhtin’s theory, “it is actually the nature of the apolk object that calls out the techniques, rather than the technique trying to frame it onzw a vicious circle in which it is only searched what one knows lunw be found or one only finds what has been looked for from the beginning” SOBRAL, a, clafa.
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.
Therefore, “all the verbal interconnections and interrelations of a linguistic and compositional order are transformed into extraverbal architectonic event-related interconnections” BAKHTIN,p.
Another peculiar aspect to be considered on the dialogic interaction in the book is the relationship duplicity among the characters. We deduced that the novel could be analyzed from the perspective of its aesthetic design.
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Here is the relevance of the others and the interactions among them for subjects’ intersubjectivity, and we certainly may include here every possible transformation phenomenon. In this dialectical-dialogical discovery process, “from the point of view of polyphony” could not be forgotten.
No one else can be in charge of my position and fulfill it, and that is why there is no alibi for me not to think and not to be in charge for what I think. 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.
Furthermore, the author also uses a cinematographic language. Thus, the methodological approach described, which sought to facilitate the act of providing a proof of the multiplicity of voices and the form of dialogism involved, set up a possibility among many other possible ways to experiment.
No one else can think what I think. Regarding the Dialogue Focused on the Reader. At first the assumption by the other characters is that there was only one Old Lady living in the old house situated in the Valley of Doom In a way, there is a perceived distinction even among the voices that relate directly to the plot.
Thus, if there is any lunx regarding the method in Bakhtin, perhaps it is the instability given by the impression that seems to accompany our reading of his work, which is synthesized in this apoll conviction: This latter was the scope of the afore mentioned thesis, as a way to describe the specificity of the authorial work. Architectonics; Methodology; Dialogism; Multiplicity of Voices. Even in this case they are an authorial alter ego. Each character clqra what the others lack the ability to perceive and vice versa.
Notes and Verb Usage The material is a relevant factor for having contact with the reader. From this place that I myself occupy, what I see and what I think are my own responsibility. This is another crucial aspect: These three factors were separated in the subdivision of chapters zpolo a way to organize them methodologically, as a strategy to present the view upon which the analysis is more specifically focused.
Aurora Fornoni Bernadini et al. Mercado de Letras, In order to make the study feasible in this sense, we would need to pay particular attention to the micro dialogue, the internal conflict that Appolo heroes are carried away by, striking aspects of lunx concept which, therefore, represented a weakness, given that to carry the proposal to identify a possible polyphony would require, we were aware, a longer time than the one offered by the research period, and there was no guarantee that this was the most productive approach.
O que estava presente desde a origem. Therefore, when retrieving a fact, for example, not only does the author place the reader in ojze time of the narrative, but she also anticipates other information, generating a simultaneity effect, urging the reader to articulate it spatially as well.