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 Architectonics of Luna Clara e Apolo Onze: a Metalinguistic Reflection
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. These three questions guided the analytic work: After all, they, although “different by definition, are not really opposed to each other, forif this were true there could notbea relationship between them” SOBRAL,p.
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.
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 operation is what is called here the methodological path. Perhaps, in the book, it is possible to make a metaphorical reading of this peculiar way in which the sisters enunciate themselves, because in order to unravel any meaning, the very discourses cannot be taken in isolation. It is in the fragmentation itself, then, that the reiteration as a dialectical-dialogical strategyis implicated, perhaps as an author’s discursive mark, because the impression is that she, throughout the narrative, “moves through repetition” AMORIM,p.
Books by Adriana Falcão (Author of Luna Clara & Apolo Onze)
The names of the characters and their discursive marks, therefore, reveal fundamental aspects from an aesthetic point of view. Throughout the process of perceiving these elements, which have become methodological landmarks, one integrated, zpolo considering their axiological tone, the content to the representation aplo the heroes in the story, the materialdue to its linguistic transcending ability, to dialogue with the reader and the characters lnua the narrative, and the formdue to its peculiar interlocutory mode, to the relationship among these characters in the novel.
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. From an outer position, an extra-locality, they guide the characters and their actions.
Implicitly, therefore, the seven sisters allude to aspects such as inter-relatedness and interdependence in verbal and nonverbal discourse and in the I-other relationship always present in them. Notes and Verb Usage The material is a relevant factor for having contact with the reader.
Each character sees what the others lack the ability to perceive apolk vice versa. In the lina, it seems that the names and characteristics attributed to spatial elements are very suggestive in architectonic terms, because they are exposed in striking contrast.
The architectonics of Luna Clara e Apolo Onze: a metalinguistic reflection
This latter was the scope of the afore mentioned thesis, as a way to describe the specificity of the authorial work. Determined, brave, he didn’t like waiting at all: According to Bakhtin, “Also characteristic is the utilization of things in reverse [ This alludes to the work of Penelope, a character from Greek mythology.
The “technique” called by the object was grounded essentially in the luuna with the following questions: We deduced that the novel could be analyzed from the perspective of its aesthetic design. 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 What disappears is the equipollence and full validity.
In Luna Clara e Apolo Onze we read this overcoming in the author’s discourse, more precisely in her ability to shape the textual material according to the architectonic form. Moreover, “the atmosphere of gambling is an atmosphere of sudden and quick changes of fate, of instantaneous rises and falls” BAKHTIN,p. 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.
There is a curious aspect in the relationship among the Old Ladies in the story. Therefore, when retrieving a fact, for example, not only does the author place the reader in the time of the narrative, but puna also anticipates other information, generating a simultaneity effect, urging the reader to articulate it spatially as well.
Thus, if there is any stability regarding the method in Bakhtin, perhaps it is the clraa given by the impression that seems to accompany our reading of his work, which is synthesized in this communal conviction: The architectonics of Luna Clara e Apolo Onze: Even in this case they are an authorial alter ego.
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.
Books by Adriana Falcão
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 describewithin 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.
A paradigmatic example of this transformation is that of Doravante. It is inferred that in Luna Clara e Apolo Onze the characters, coming from their different social positions and luns around the roulette are “made equal by the rules of the gameand in the face of fortune, chance BAKHTIN,p.
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 cllara the standard image of a rain.