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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.

This paper argues for a unifying view of vowel harmony and vowel reduction in Brazilian Portuguese on the basis of Dispersion Theory (FLEMMING, 2004).

This study focuses on mid vowels in non-final posttonic position in the popular speech of Rio de Janeiro State. The analysis, which is performed in two stages, aims to determine the social and linguistic factors that guide the raising of these vowels. The first step is developed according to the assumptions of variationist sociolinguistics and based on a sample of spontaneous speech representative of the North and Northwest regions. The second relies on data selected from phonetic maps of two atlases that cover sixteen communities in different areas of the State. The analysis results show that, in spontaneous speech, the raising of the two mid vowels is almost categorical, while, in monitored speech, decreases the frequency of the back vowel raising and predominates the mid variant of the front vowel.

This article aims to investigate the unstressed [ãw] diphthong reduction in the verbal morphology of Brazilian Portuguese (BP). Three verb tenses from the first conjugation were considered: 1) present tense: cantam (they sing); 2) past perfect tense: cantaram (they sang) and 3) past imperfect tense: cantavam (they used to sing). Results indicate that PB has an ongoing mechanism of change which aims to reorganize the verbal paradigm to a reduced number of verbal endings (Duarte, 1996). Such mechanism is implemented through constraints and allowances in grammatical organization. Thus, the [ãw] diphthong reduction in the verbal morphology operates in BP Phonology through segmental reduction in prosodically weak positions. More frequent verbs are affected at higher levels than less frequent ones due to the phonetic motivation of the phenomenon in unstressed position, and regularizing the verbal paradigm by analogical leveling.

This work presents the nasal vowels in Latundê, a Brazilian indigenous language, family Northen Nambikwara, that is spoken in Rondônia state, by homonymous group. In Latundê there are six nasal vowels, three of which are nasal/creacky voice. The occurrence of these vowels is restricted to the position of the accent. In the un stressed syllable the nasal contrast is neutralized. Another aspect involving the nasal vowels is related to the presence of nasal coda following the nasal vowel. However, the opposition in the same linguistic context and the existence of some cases of nasal vowels without a nasal consonant in the coda position shows the phonological status of nasal vowels in Latundê.

We present a comprehensive bibliography on nasal vowels in Portuguese. Articles, books and book chapters, theses and dissertations were included, as well as abstracts featured in Brazil and in Portugal. Abstracts presented in local or regional meetings were excluded. There are 103 references on the subject, published between 1903 and 2012. To the best of our knowledge, they were never presented in a single publication. Taken together, we can see that the two trends approaching the question are kept much apart, phonetics and phonology. In phonological works, the debate on the mono- or biphonemic nature of nasal vowels, which occupied the structuralist authors, is replaced by a reinterpretation of the proposed system with no nasal vowels in several subsequent theoretical accounts. The phonetic approach is characterized by the use, in addition to acoustic analysis, of increasingly sophisticated techniques for describing the phenomenon: magnetic resonance imaging, speech synthesis, nasometry, and optical fiberscope.

In this work, based on Optimality Theory assumptions (PRINCE and SMOLENSKY, 1993; McCARTHY and PRINCE, 1993), we analyze how the stress assignment in Brazilian Portuguese occurs when words with high vocoids preceded or succeeded by a vowel are involved, in words like azeite and idioma. It is used here the term “vocoid” to describe an underlying segment that can be realized as a vowel or a glide. It was found that, in general, the high vocoid in the sequences under analysis only receives stress if it is stressed in the input. If the accent is not present in the input or if another segment receives stress in the input, there will be a preference for the realization of high vocoid as glide, since this allows achieving simultaneous satisfaction of constraints on the syllabification and stress assignment.

In this paper, we investigate to which extent social variables act on the medial vowel raising phenomenon in the Portuguese variety spoken in São José do Rio Preto, a city in the countryside of São Paulo State. Based on the theoretical-methodological model of Sociolinguistics Variacionist, we analyse speech samples from this city, the Iboruna database. The results show that the vowel raising applies: (i) for both men and women; (ii) in all age groups and, (iii) in all levels of formal education. Taking into consideration the results of analysis of social and linguistic variables selected by the program GoldVarb, we find evidences that vowel raising phenomenon is not sensitive to social pressures in the speech community studied, which allows us to affirm that it is not a phenomenon socially stigmatized and the variation in its implementation is more strongly subject to linguistic variables.