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This article aims at criticizing the way the notion of discursive ethos has been generally used by discourse analysts for about fifteen years. This criticism is at the same time self-criticism, because from the 1980’s on I contributed to develop this field of research. Firstly, I try to analyze the content of the notion of ethos, which I divide into three dimensions: “categorial”, “experiential”, “ideological”. Such a division allows us to take into account the full diversity of activity. Secondly, I reflect on the very process through which addressees construct ethos; this reflection draws on data from matchmaking websites, not from the kind of corpora (political discourse, advertising, literature...) that are usually analyzed by the researchers who work on ethos. Thirdly, this article deals with the problems that one encounters when one studies texts in which iconic and verbal dimensions are tightly connected. Two kinds of data are taken into consideration: websites, which imply both digital and verbal ethos, and commercials.

This paper aims at discussing the concept of ethos from a singular perspective, considering it as a device built in solidarity with scenography. Based on global semantics, understood as a theoretical horizon outlined by Dominique Maingueneau (1984; 2008), we focus this debate on Carmen – les racines d’un mythe, a work not yet translated into Portuguese, written at the same time of Genèses du discours. What we intend, by bringing both works together, is to explain the theoretical framework created in Genèses, especially scenography and ethos, as articulating elements for the author’s reading of Carmen.

Contributing to the debate on online intimidating discourses, this article analyzed the discursive ethos and scenography of the web A voice for Men Brazil – AVfM. The analyzed data, where several verbal and non-verbal elements were taken into account, allows us to identify a simulacrum of subjugated counter-public ethos that perpetuates stereotypes, accentuates gender differences, and could incites hatred against the female sex, more specifically against the feminist women.

Os debates que envolvem o status de autora atualmente cristalizam as tensões, o que testemunha em particular a polêmica viva em torno do substantivo feminino autora. Essas questões sobre o status das mulheres criadoras parecem ainda mais fortes e mais ativas quando se trata de mulheres pertencentes às literaturas em língua francesa. As conexões entre a situação das mulheres e as dos autores francófonos são numerosas e concentram-se particularmente no que diz respeito à questão da legitimidade. Numa cena literária predominantemente dominada por escritores, homens, sobretudo brancos e ocidentais, escrever em francês como mulheres estrangeiras constitui um duplo desafio e implica uma necessidade de justificação. Para a presente reflexão, nos concentraremos no trabalho de Assia Djebar, primeira escritora de língua francesa a ingressar na Academia Francesa em 2005. Polimorfa, sua obra, tanto literária quanto fílmica, tende a retornar incessantemente, como um leitmotiv, por sua autoria, construindo assim sua própria representação e imagem de si (AMOSSY, 2010). É nisto que o ethos de escritora participa de uma encenação muito particular, que é ao mesmo tempo da literatura feminina e da literatura pós-colonial.

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La notion d’ethos discursif a été l’objet de différentes recherches portant sur l’image de l’énonciateur produite par le discours. Cette image, selon Maingueneau (2005, 2006, 2008, 2014), se construit dans les discours à travers ses multiples relations avec l’autre (sujets et discours) et se dégage de l’articulation entre divers éléments (éthiques, esthétiques, psychiques), qui ont besoin de l'incorporation de l'interlocuteur pour l'appréhender dans un ensemble complexe de représentations sociales et culturelles[1].[1] Une partie des idées sur l’ethos ont été développées dans l’article Identidade, alteridade e cultura regional: a construção do ethos milongueiro gaúcho (DI FANTI, 2009).

The notion of discursive ethos has been the subject of various researches on the image of the enunciator produced by the discourse. This image, according to Maingueneau (2005, 2006, 2008, 2014), is built in the discourses through its multiple relations with the other (subjects and speeches) and it emerges from the articulation between various elements (ethical, aesthetic, psychic), which need the interlocutor's incorporation to be apprehended in a complex set of social and cultural representations[1].[1] Some of the ideas about ethos were developed in the article Identidade, alteridade e cultura regional: a construção do ethos milongueiro gaúcho (DI FANTI, 2009).

In recent decades, the world has witnessed the greatest migratory movements in its history since World War II. Not a day passes without the national or international press reporting the disappearance of migrants on the oceans of the planet, the dismantling of ‘wild’ camps of foreigners, or the implementation of new legal devices for the management of emigrants. From the invisibility of the 1990’s to the current escalation in the number of texts, migrants and refugees have become major players in the media and literary field. This article reflects upon the form of representation of this new social category in Brazilian modern literature.

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This paper aims to present an analysis on Milton Hatoum’s recent work, A Noite da Espera, published in 2017, and part of O Lugar mais Sombrio trilogy. The analysis of this fictional diary novel is engaged in the identification of the potentiality of self-representation as a means to selfknowledge, self-reflection and resistance against the double crisis experienced by the narrator, that is, a familiar one, and a historical-political one due to brazilian civil-military dictatorship. In addition, the trace elements and ruins are considered consequences of this critical process, what stands for the understanding of the diary as a more appropriate genre for this chaotic context.

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The phenomenon of marginal peripheral literature emerges in the contemporary Brazilian literary system as a movement that confronts the canonical tradition of literature, however appropriated as an element of legitimation. In this paper, we seek to highlight that the acts of institutionalization of the marginal peripheral literature maintains articulations with the modernist experience, operating literary and cultural displacements associated to the concept of anthropophagy, formulated by Oswald de Andrade as a proposal of interpretation of the Brazilian culture.

Inserted in the context of globalization, the contemporary Brazilian fiction receives and processes the culture inflows of the most recent stages of capitalism, in which standardized images, connected to dynamics of consumption, are disseminated. Besides, particularistic statements, related to space, ethnicity and gender, among different identity marks of otherness, could emerge in this condition. Carolina Maria de Jesus stands out in the beginning of this scenario as an (ex)centric author, producing a writing which escapes from any essentialism and presents the hybridity mark. This article pretends to analyze her particular decentering as the resulting phenomenon of a creation process, conceptualized by Raffaella Fernandez (2015) asa “poetic of residues”, which consists is a mixture of de-territorialized literary styles, often in conflict, becoming impossible to extract stable synthesis of Beyond all pity.

Through an analysis based on imagology, we will explore the different representations of women in Ana Paula Tavares’s book, its relationship with Angolan society and the way in which the book integrates the postcolonial paradigm.

This work discusses some aspects related to the uncanny on the movie adaptation of Stardust, a novel of Neil Gaiman. The work of Linda Hutcheon on the theory of adaptation is used in an attempt to ascertain the features of approximation and deviation between both products. Concerning the uncanny, this work begins with Tzvetan Todorov’s reflection on the fantastic, its unfolding on Remo Ceserani’s and David Roas’s work, arriving, at last, on Flávio Garcia’s developed work on the uncanny. Regarding method, the present paper weaves a short comparison to reach its goal of showing similarities and differences between the adapted works to different art languages.

Relying on the concepts of intermediality, ekphrasis and intermedial reference, the essay discusses Gilberto Freyre´s vast œuvre as that of a multiple artist, working in different áreas_ poetry, painting, literary prose_ as well as the author of groundbreaking contributions to the social sciences. The article especially underscores the close relationships between his output in the verbal and in the visual arts, remarkable for their constant reference to events, characters and landscapes analyzed in his sociological texts. In this context, the whole of Freyre´s production may be taken as a multiple, kaleidoscopic text, which, in different media, explores close- knit themes.  

More than a poetry that re-root the most diverse memories of the sertanejo people, the activity of the singing viola became also a responsible of the political longings of this people. This qualitative and quantitative research, based on a cut of a Festival of Singers occurred in the city of Buenos Aires (PE), in August 2018, investigates - according of the sociology of Antonio Cândido – the relationship established between the triad author-poetry-public, henceforth A-P-P, during the improvisation performances, in a pre election period for the 2018 elections. For the performance and voice models follows that of Zumthor (1993). On the other hand, the ethnographic bases are in Geertz (2008). The data reveal that in the dynamic established in the triad A-P-P, in the improvisations, complex and subjective relations to happen between singers and the public, with this being able to interfere in all moments of improvisation.

The Brazilian folk music (MPB) was shaped during the first three decades of the 20th century and it has been developed from the confluence of theatre, record industry and broadcasting. This time emerged a new generation of composers whose contribution was decisive for consolidating the samba. This context linked the music with strategies for addressing its strengthening of Getúlio Vargas’s political program. Paulo Lins’s book Desde que o samba é samba (2011) represents fiction people figures and situations related to musical emergence and assertion which has become one of the most important Brazilian culture expressions.

The works Dom Casmurro, the novel, and Capitu, the micro series have a mode of transit between them, recently operationalized (2008) by Luís Fernando Carvalho, which reveals the adaptation of the verbal discourse to the visual verb, without disregarding the fact that the whole supply of narrative information comes from a single source: Dom Casmurro, the narrator character. This adaptation instigates us to enter the intricacies of this process in order to understand the different points of view, the illusion of truth, the narrative authors proposed initially by the narrator of the first work and then by the focal-adapter of the second. The axis thesis we propose is that the ostensible speech of the narrator of the novel was not interrupted in the narrative flow of the images, to the point of fragmenting or compromising their meanings, on the contrary, it preserves them and violates them at the same time, constructing a new work and emphasizing the identity of the “other” in which it is protected, without being the same. For the verification and perception of the mode of this transition, we are based on the narrative categories related to narrators and focusers, from theoretical, conceptual and literary supports of vast bibliography

Lília Moritz Schwarcz (São Paulo, 1957) is perhaps the most outstanding female figure in Brazilian intellectual production, inside and outside her country. Brazil. Uma biografia, published in 2015 and translated into Spanish the following year, is a specific example of her Latin American diffusion. The concern for the biography returns in Lima Barreto. Triste visionário (2017). The reconstruction of the life of the Carioca writer registers several particularities that imply a renewal of the genre for literary criticism. Schwarcz’s proposal aims to approach biography as a literarian life of the subject of a biography and self-examination of one’s own work. The development of biography as a critical method, as well as a roadmap for one’s career, requires an evaluation of the critical subject that founds a tendency while fulfilling a task of personal and professional introspection.