PDF | This paper proposes a metalinguistic reflection about the methodological A arquitetônica de Luna Clara e Apolo Onze: uma reflexão metalinguística. LUNA CLARA E APOLO ONZE PDF - Como pode se perceber, meus blogposts recentes foram sobre a falta de água e o livro Luna Clara & Apolo Onze. luna clara e apolo onze pdf converter. Quote. Postby Just» Tue Aug 28, 20 am. Looking for luna clara e apolo onze pdf converter. Will be grateful for.
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book of Adriana Falcão entitled Luna Clara e Apolo Onze, the author of the research developed a specific way of describing the authorial architectonics of a . the architectonics of luna clara e apolo onze the architectonics pdf. Architecture is both the process and the product of planning, designing, and constructing. LUNA CLARA E APOLO ONZE PDF DOWNLOAD >>> Apollo 11 was the spaceflight that landed the first two people on the Moon. Mission.
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.
The new theme was based on the hypothesis that with this organization the author 7 makes emerge a specific artistic doing, due to the unusual treatment given to the participant voices of the romanesque whole. Letras de HojePorto Alegre, v. It intends still to consider how, in the context of the dialogic conception of language, one can propose an object lunna study, and a specific way of studying it by considering a phenomenon such as a book and examining it by means of concepts compatible with this object, instead of applying ready-made categories.
Mercado das Letras,p. Obviously, everything that was theoretically founded regarding the antagonistic relationships between the characters arevalid in regard to the dissonancehere presented. This makes us remember the idea that subjective duality, i. Claiming that the expression Oh My basically has a vocative or exclamatory purpose appears to reduce the analysis that can be done.
No one else can think what I think. 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. Methodology is an intrinsic part of any given research.
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.
As it is known, the Bakhtin Circle has not left any theories or strict concepts, but foundations, principles, reflections that integratedand interrelated constitute what is called the Bakhtinian thought. 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.
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. Thus, if there is any stability 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 communal conviction: Thus, we intend to present a metalinguistic reflection on the path that led to the thesis entitled Luna Clara e Apolo Onze: 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 applying ready-made categories.
In the aesthetic discourse, the compositional form creates an external object, and the architectonic one forms an aesthetic object. Architectonic form creates a particular form of dialogue, of the relationship between author and interlocutor; therefore, the authorial activity focuses primarily 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.
This latter was the scope of the afore mentioned thesis, as a way to describe the specificity of the authorial work. This article has a meta-analytical character, aiming to reflect on the work of analysis, that is, the effort of the researcher for developing an analytical framework based on the theoretical principles and on the contact with the object.
Thus, we do not intend to present a lengthy discussion about the concept of architectonics nor to present the analysis or its steps, but to evaluatively describe , within the dialogical view of language, how the researcher ended up building a methodological approach to account for its specific object, having, as its foundation, the notion of architectonics. From a concrete example, the emphasis of this article lies on the demonstration that the dialogical conception of language, far from proposing set 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 fit into a theoretical-methodological or any derivate categories.
The specificity of Luna Clara e Apolo Onze was the guide of theresearch before it had even started. 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. 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: This initial perception found a way to exist officially in Problems of Dostoevsky's Poetics , which became the main theoretical ally for our study, prompting the hypothesis of a polyphonic phenomenon in Luna Clara e Apolo Onze.
It was already known that the mere diversity of interactive voices would not be enough to reveal a possible polyphony. The hypothesis was that these voices enlivened fully valid consciences 5.
As the analytical process progressed, the hypothesis of polyphony, just as it was envisioned by Bakhtin, was not solidified.
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.
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 Dostoevsky's heroes are carried away by, striking aspects of the 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.
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: 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.
The new theme was based on the hypothesis that with this organization the author 7 makes emerge a specific artistic doing, due to the unusual treatment given to the participant voices of the romanesque whole. It was noticed that this particular architectonic form of representation produces a given dialogical effect in creating an effect of reciprocity among author-character-reader. Consequently, the focus was, at that moment, on the dialogical constitution of voices which inscribe a model of interactive writing, enabling the reader to be more present at each enunciation, giving the plot uniqueness in the current literary scene.
Thus, the research began to dialogue no longer focusing on the hypothesis of a possible polyphony, but keeping it as a departure point, - since "one cannot speak of a part without taking into account the whole of which it is part" SOBRAL, , p.
The work was considered as being done in the light of polyphony because polyphony was the root of the study in order to support and reflect on the foundations of Bakhtin's aesthetic design, "resulting from a process that seeks to represent the world in terms of the exotopic authorial action, which is based on the social and historical context, on the social relationships the author participates in" SOBRAL, b, p.
As Luna Clara e Apolo Onze was published in , a summary of its plot was annexed to the afore mentioned thesis in order to allow the reader to understand what it was about.
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.
The following account should be considered: The concept of aesthetics cannot be derived in an intuitive or empirical manner from a work of art: 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 deduced that the novel could be analyzed from the perspective of its aesthetic design. In this sense, it was as if aesthetics constituted the research method itself, although it was known that it offers a guide line more than a methodology.
Luna Clara e Apolo Onze , as the research showed, is an aesthetic object that reveals what might be called an "architectonic signature" arising from the peculiar position of the author: 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.
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: Considering all this, it was necessary to develop techniques capable of serving the purpose of revealing the forms of dialogism degrees of dialogicity which seemed to mark the multiplicity of voices that constitute Luna Clara e Apolo Onze.
The "technique" called by the object was grounded essentially in the dialogue with the following questions: These three questions guided the analytic work: The second one aims at verifying the strategies employed by the author to establish dialogues with the reader and the characters.
Finally, the third aims to investigate the mode of organization of the relationships between the characters and the narrative space. 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 se , the 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.
We present here the gathered data as they were organized in the thesis, according to the route described to account for the architectonics of the examined book.
One of the elements to be highlighted about Luna Clara e Apolo Onze regards the names given to the characters of the narrative. We considered important to investigate what these elements could say about the enunciative project. From the aesthetic design, we found a new way for looking at them. 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.
After all, "Here, too, someone else's verbal manner is utilized by the author as a point of view, as a position indispensable to him for carrying on the story" BAKHTIN, , p. To give an example: Determined, brave, he didn't like waiting at all: In fact, Doravante ["From Now On"] was a very lucky guy. That happened a long time ago. This aspect underscores what Bakhtin announces about the speaking person in the novel.
In this sense, it is confirmed that "The fundamental condition, that which makes a novel a novel, that which is responsible for its stylistic uniqueness, is the speaking person and his discourse emphasis in original " BAKHTIN, , p.
The names of the characters and their discursive marks, therefore, reveal fundamental aspects from an aesthetic point of view. This is another crucial aspect: This does not contradict the fact that "the ethical dimension of life, by nature unfinished, can achieve finishing when aesthetically elaborated" MACHADO, , p. 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.
A paradigmatic example of this transformation is that of Doravante. In the excerpt above, we saw his characterization as a frantic character.
In the very moment shown here, it is clear, also, through discursive marks,that he went through transformation: The hypothesis was that these voices enlivened fully valid consciences 5. Thus, in the relationships among characters, the discursive marks, the actions that enliven them also accompany this change, becoming indicators of the instability, the subjectivity which is revealed in a continuous centrifuge flow.
In this sense, it was as if aesthetics constituted the research method itself, although it was known that it offers a guide line more than a methodology.
It is important to highlight that all the listed aplo, even the dissonant ones, are not taken as contradictory, but as a multiplicity of views in interaction. Claiming that the expression Oh My basically has a vocative or exclamatory purpose appears to reduce aolo analysis that can be done. It clraa already known that the mere diversity of interactive voices would not be enough to reveal a possible polyphony.
It seems that the old ladies are architects of fate that govern everything and everyone in the story. Obviously, everything that was theoretically founded regarding the antagonistic relationships between the characters arevalid in regard to the dissonancehere presented. Equipollence and full validity disappeared as what one should not emphasize in the analytical approach. As it is known, the Bakhtin Circle has not left any theories or strict concepts, but foundations, principles, reflections that integratedand interrelated constitute what is called the Bakhtinian thought.