Repositório RCAAP

The present investigation is dedicated to the study of the Brazilian Portuguese children’s morphological knowledge and its relation with levels of mental representations as postulated by the Representational Redescription model (KARMILOFF-SMITH, 1992). The data consist of regularized verbal forms, changes of inflectional suffixes as well as lexical novelty (morphological variant forms) taken from spontaneous speech and of three morphological tests, which involve derivation and inflection of nonce words, extraction of nonce base from derived nonce words, and judgment of words as well as a metalinguistic explanation. The survey of the responses reveals morphological knowledge that goes from sensitivity – morphological variant forms – to linguistic awareness – morphology tests. Thus, the data pointed to the plausibility of all the different levels of representation across development. In our view, this work embodies a first step towards an explanation of the mental representations that underlie both the comprehension and production of children’s growing morphological knowledge and goes beyond the simple implicit/explicit dichotomy used in most previous work.

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Guimarães Rosa relates his art with the Brazilian literary tradition and the universal one as the author of an esthetic and social act. This relationship is expressed through a literary form that brings together the representation of sertão, a main reference; and an evaluation of this reference from Rosa’s particular point of view, which is communicated to the addressee and to the reader in his texts. Many critical texts were produced about Rosa and his works, but an important critique, after a lot of content’s interpretation, is the esthetic and political intervention by the literary form of Rosa in the canon.

Study of the Corpo de baile, by Guimarães Rosa which aims to understand how the dispersion of the first characters of the story, their regrouping in the intermediate novels and their final reintegration, form the grooves that bind the whole. In addition, we aim to exam how these compositional elements that sustain the unity of the book also have an ideological background, in other words, how it presents a view of history and a conception of life and of the world.

Guimarães Rosa’s Grande sertão: veredas has a large critical fortune that arises from many different approaches. This study seeks to revisit the different lines which can be used to approach Rosa’s text. Also, it aims to identify the characteristics of each approach related with Guimarães’ books. As well as scholars who follow these lines of discussion in their works.

Read according to the perception of the narrative voice of zero focalization, “A hora e a vez de Augusto Matraga” presents to the reader the itinerary of the protagonist: a linear journey of suffering, temptations and transformations leading to a final destiny that presumably gathers in harmony the ups and downs of the journey. Aware of this perspective proposed by the narrator, major critics of Guimarães Rosa have perceived the story of Nhô Augusto as a Christian narrative of ascesis in three stages that, although defined in different ways, could be understood in terms of sin, penitence and redemption. This essay intends to explore the dimension of detours and disruptions that disturbs this linear trajectory, compromising it with profound marks of ambiguities and uncertainties. Read in this way, the text presents the reader not only with a destiny, but with what Jacques Derrida calls “destinerrances”: a “destiny” that tries, unsuccessfully, to deny the possibility of those alternative side routes which ultimately challenge the significance of the happy ending of the narrative of ascesis.

This study is the intersection of psychoanalytic and literary discourses in reading Rosa’s Grande sertão: veredas. Based on the idea that the subject is revealed only by the language, it is natural to establish the links between literary criticism, psychoanalysis and language. Thus, the text is where we can find the subjectivity so, literary text is seen here as the privileged place of its revelation, through the rhetorical resources. The objective of this paper is to point out a reading of the novel Grande sertão: veredas, by using psychoanalytic instruments.

The work of Brazilian writer João Guimarães Rosa was highly widespread in many countries. His writings became read not only in Brazil but all over the world, breaking boundaries and being taken, by other writers, to countries that were facing a similar social problem, like the one in Brazil, such as Angola and Mozambique. In this paper, we aim to see how the Brazilian writer has influenced the work of the Angolan writer Luandino Vieira and the Mozambican Mia Couto.

Cet article vise à étudier la réception critique de Corpo de baile, de Guimarães Rosa, à partir du concept d’expérience esthétique formulé par Jauss (1979). En tenant compte l’herméneutique littéraire proposée par H. R. Jauss, on peut interpréter Corpo de baile comme une exaltation de la littérature et du corps du langage. Il est possible donc penser l’ensemble narratif en question comme cycle poétique, forme et critique integrées dans un seul object esthétique. Chercher l’herméneutique à fin de comprendre l’oeuvre litteraire nous amène à percevoir différences fondamentaux, comme entre livre et monde, objet interprété et sujet interprétant. Pour une compréhension de Corpo de baile, il faut minimiser les manifestations implicites de Rosa, à fin de surmonter une esthétique centrée sur l’auteur. En pensant l’expérience esthétique dans Corpo de baile – projet littéraire multiple, dont la configuration tématique et formelle on discute encore – à partir de la triade aishesis, poesis et katharsis, on ne vise pas seulement à examiner la réception critique de Rosa, mais surtout à comprendre comment dans l’intérieur même de l’oeuvre on pose la question de la dimension esthétique. *********************************************** Este artigo visa a discutir a recepção crítica de Corpo de baile, de Guimarães Rosa, à luz do conceito de experiência estética formulado por Jauss (1979). Com base na hermenêutica literária proposta pelo pensador alemão, pode-se interpretar Corpo de baile como exaltação à literatura e ao corpo da linguagem. É possível pensar o ciclo narrativo como ciclo poético, elaboração formal e crítica fundidos em único objeto estético, e, ao mesmo tempo, refletir sobre a dimensão estética do homem. Buscar a hermenêutica para compreender a obra literária conduz-nos a perceber distinções fundamentais, tais como entre livro e mundo, objeto interpretado e sujeito interpretante. Assim, para uma compreensão de Corpo de baile, é preciso minimizar as manifestações implícitas de Guimarães Rosa, a fim de superar uma estética centrada no autor. Pensando a experiência estética em Corpo de baile – projeto literário múltiplo, cuja configuração temática e formal ainda se discute – com fundamentação na tríade aishesis, poesis e katharsis, não se visa somente examinar a recepção crítica de Guimarães Rosa, mas, sobretudo, compreender como, no interior mesmo da obra, se coloca a questão da dimensão estética.

Guimarães Rosa classifies his novel Grande sertão: veredas as an “irrational autobiography” – while this explicit reading protocol falls on deaf ears as far as scholars and critics are concerned. Riobard, its main character, is a poet that makes a Faustian deal in order to prevail over Hermogene (the Saussurian arbitrary sign) and, consequently, to “receive” Otacilia as an award (a literary one: “prêmio esse”, says the hero): the loss of Diadorim (the soul: “deo-doron” means “a gift of god”) is the price to pay for his achievements. Meanwhile, Guimarães Rosa declares that he usually writes under a “possession trance state”, postpones four years along his entrance into the Brazilian Academy of Letters, and finally dies mysteriously three days after the ceremony. An enigma or just another poetic puzzle? Why the critics avoid these reading clues? By the means of factual indexes and through a freshly invented way in the world history of literature, the novelist lays the details of his own non-printable autobiography – a text to be actualized under the exclusive shape of oraliture – attempting to transform into a living legend his own life and evade himself from the finite condition of human beings (as well as from the limited nature of printed texts).

In the short-story “Desenredo”, from Tatuméia by João Guimarães Rosa, the archetypes of the feminine dualism portrait the attributes of the women’s position in the world. Adulteress, the main character is the Witch, the Great prostitute, Lilith, personifying the bacchante soul, the prototype Dionysian, but, at the end of the story, by a magic way, her lover reestablish to the other’s eyes the image of the woman, which was feared and hated by the locals. Being part of the Mother figure, the character starts to be typified as the Virgin, Eva’s archetypes, representing perfection and pureness: goals of the masculinity aspiration recognized by the Eros’ tradition. Following those ideas we will do a reading of the short-story trying to recognize symbols and archetypes of the duality express on the fictional architecture.

Study of the autodiegetic narrator of the short story “Minha gente” by Guimarães Rosa, text that is part of the volume entitled Sagarana. The narrator, who is not identified, takes an outside perspective to his surroundings, describing the sights and events with some perspective and admiration. As a result, we have the gap between their perception and Joseph, cowboy accompanying the station to the house of his uncle.

Report of the cultural landscape of Rio Grande do Sul in the 1930s, its writers, musicians and other artists and, also, publishers who gave birth to the cultural production of the South. In the first editions of books Reynaldo Moura, for example, appear printed with stamps provisional and unknown, expressionless and now forgotten in the panorama of existing publishers in Rio Grande do Sul.

This essay records the work done in Reynaldo Moura’s Collection, which is linked to DELFOS – Espaço de Documentação e Memória Cultural, at PUCRS, in celebration, in 2010, the 110th anniversary of birth and 45 years of death of the writer who was born in Santa Maria. Reynaldo Moura was a novelist and poet, from 1926 to 1965, and journalist identified with texts involving politics, history and culture of the state, from 1923.

Reynaldo Moura, whose starting point of his poetry was the dissonance with the world around him, and the desire to rise to life (physical and spiritual) and happiness, presents a poetic symbolism that is associated with modernism, emphasizing the musicality of words, the evocation and subjectivism, the movement of urban society. His journey in fiction was not very different from that of poetry, the constant search for his self is the main characteristic hisprose.

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In this paper I deal with vowel reduction in Brazilian Portuguese and other languages, illustrating the principles (1) that segmental complexity and positional strength are closely aligned in phonological structure, and (2) that syntagmatic distinctness (e.g. between strong and weak positions, and between halves of a diphthong) can induce segmental lenition and fortition. The empirical phenomena covered include asymmetries in pre-tonic vs. post-tonic vowel reduction, differences in the realization of unstressed mid vowels in Northeastern vs. Southeastern Brazilian Portuguese, and preferred diphthongs in the language.

This paper aims at showing that a description of the vowel system of Modern European Portuguese based on Element Phonology and assuming {I A U} as the elementary particles of vowels offers a plausible, elegant explanation for several aspects of the phonological organization of the vowel system of this language. Namely, it explains the distinction that opposes four openness degrees in stressed position, as well as the special behaviour of central vowels. These are described as vowels without tonality (i.e., {I}- and {U}-less vowels), distinguished on the basis of gradual differences of {A}-weight in each vowel. It is also proposed that two non-low central vowels, // and //, exist underlyingly in Modern European Portuguese. Demonstrating that // is the empty (particleless) vowel in this language, it should be seen as its unmarked vowel.

In this article, as we focus on the coocurrence of distinctive features in order to account for the simetry/assimetry of vowel inventories in different language systems, we present a proposal of conjunction of stringent elements in the formalization of markedness and faithfulness constraints in Optimality Theory.

Radical CV Phonology (HULST, 2005) is a development of Dependency Phonology (ANDERSON and EWEN, 1987). It pursues the idea that the internal and external syntax of phonological segments can be represented in terms of just two primitives, features C and V. The grouping of these elements in the syllable, into the three segmental constituents – the gestures Laryngeal, Place, Manner –, enables one to represent cross-linguistic phonological contrasts. The approach of the Radical CV Phonology to the Portuguese vowels provides a representation of the phonological distinctions and expresses, with the resultant combinations and their relative markedness, the motivation of some aspects of the Portuguese vowel system: vowel neutralization and the asymmetry in the number of phonemes in the different stress positions; vowel neutralization; the front high vowel as the trigger of the palatalization of coronal stops.