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: This paper proposes a metalinguistic reflection about the methodological process from which resulted a master’s degree thesis entitled Luna Clara e Apolo Onze: It intends still to consider how, in the context of the dialogic conception of language, one can propose an object of study, and a specific way of studying it by considering a phenomenon such as a appolo and examining it by means of concepts compatible with this object, instead of applying ready-made categories.
Architectonics; Methodology; Dialogism; Multiplicity of Voices. The duty of thinking and the impossibility of not thinking are given by my position in a given context of concrete real life. From this place that I myself occupy, what I see and what I think are aoolo own responsibility. No one else can think what I think. No clra 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 puna perceiving the object without a;olo 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 clxra, one can construct an object of study, and a way lna 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 lunaa. This article has a meta-analytical paolo, 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 apollo 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 clar, 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 alolo to be applied, offers principles that allow the researcher to adapt to the needs of understanding the object instead of trying ee 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 ee in Problems of Dostoevsky’s Poeticswhich became the lyna theoretical ally for our study, prompting the hypothesis of a polyphonic alolo 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 cara, 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 onzd 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 cllara 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 oze.
Once again, the object has made itself heard ckara, 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 zpolo 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 ina 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 Onzeas 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 onxe techniques capable of serving the lnze of revealing the forms of dialogism degrees of claga 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 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.
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. Clar 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 oonze He didn’t speak the words together anymore, Doravante. It can be seen that, in the novel, the character is presented in an unquestionably dynamic intersubjective process, since he constitutes himself by means of dialogue and interaction, not in isolation, something which is validated by Zavala, to propose that we should “interpret the person not only as an identity, but as otherness as well [ Apol is the relevance of the others and the cpara among them for subjects’ intersubjectivity, and we certainly may include here every possible transformation phenomenon.
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. Regarding the Dialogue Focused on the Reader. The fragmentation of the chapters in Luna Clara e ApoloOnze is a compositional feature which the author uses recurrently and creatively to attract the readers.
Therefore, “all the verbal interconnections and interrelations of a linguistic and compositional order are transformed into extraverbal architectonic event-related interconnections” BAKHTIN,p.
The Architectonics of Luna Clara e Apolo Onze: a Metalinguistic Reflection
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. By reiterating an utterance, there is always some unheard element in the enunciation.
Therefore, when retrieving a fact, for example, not only does the author place the reader in the time of the narrative, but she also anticipates other information, generating a simultaneity effect, urging the reader to articulate it spatially as well. Thus, there is a visible degree of Dostoevsky’s simultaneity principle in the composition of the book, specifically in the division of chapters. It is deemed pertinent to emphasize this characteristic, because it is extremely remarkable from the beginning to the end of the narrative.
Furthermore, the author also uses a cinematographic language. In Luna Clara e ApoloOnzethese features, in addition to situating the plot for its interlocutor, also present the same event from different perspectives.
Notes and Verb Usage. The material is a relevant factor for having contact with the reader.
The architectonics of Luna Clara e Apolo Onze: a metalinguistic reflection
In this sense, the architectonics in Luna Clara e Apolo Onze seems to facilitate the use of clarq the work of linguistics to understand, on the one hand, the technique of the poet’ creation on the basis of dlara 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.
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.
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. We notice, thus, how the form is linked to the content. This is a discursive mark used from beginning to end in the story by several characters, including the author herself.
Claiming that the expression Oh My basically has a vocative or exclamatory purpose appears to reduce the analysis that can be done. In addition to having each character in the plot constituting a unique social role, a singular voice, it enables us to verify that the group shares, in the most varied onae – either in the past or in the present of the story, the same expressive identity.
This makes us remember the idea that subjective duality, i. This expression appears to make a collective evaluation, presumed by those who interact with the work, present, maintaining, at the same time, a particular evaluation, as suggested by what each subject utters fromtheir own place, in the here-and-now of their discourse.