Revista Estudos Anglo-Americanos (E-Journal - Universidade Federal de Santa Catarina, UFSC)
Not a member yet
175 research outputs found
Sort by
JEANETTE WINTERSON’S THE POWERBOOK:THE NARRATOR AS A CYBORG WRITER WHO ENGAGES IN QUANTUM THEORY
Get PDFIn this paper, I strive to demonstrate how Jeanette Winterson, in The Powerbook, challenges the binary functioning of the Western Tradition and enacts the blurring of boundaries between male and female gender, between material and virtual ontologies, and between author and text, thus exposing the fluidity of these apparently opposing categories. Winterson‟s text is explored in ways that show how she, by writing in a way that can be related to Donna Haraway‟s cyborg manifesto and to Karen Barad‟s agential realist ontology, both confronts the idea of a self-evident author and makes evident how both sides of the binary “intra-act,” a term suggested by Barad, and contaminate each other
RESISTÊNCIA NO CIRCUITO INTEGRADO: HACKERS, CIBORGUES E MEMÓRIA EM WILLIAM GIBSON
Get PDFA partir do "Manifesto ciborgue" de Donna Haraway, concernente ao caráter fragmentado e híbrido do ser humano na modernidade tardia, buscarei, em contos de William Gibson, elementos que ilustram o conceito de ciborgue desenvolvido por Haraway. Segundo a bióloga, é essencial romper com conceitos binários hierárquicos – como natural-artificial, homem-animal, homem-máquina – para pensarmos o mundo a partir de um novo paradigma. Somos todos ciborgues, segundo Haraway, pois, assim como nossa memória é (a cada dia mais) fragmentada, nossos corpos também sofrem mudanças drásticas desde pelo menos a Revolução Industrial, quando o caráter mecanizado do ser humano foi salientado nas linhas de produção. Nos anos 1980, com a popularização da informática, novos horizontes nos foram expostos, e o limite entre o real e o virtual assume os contornos de uma linha tênue. Não por acaso, nessa década ocorre a publicação tanto do manifesto de Haraway como também do romance Neuromancer, de Gibson, que introduz o termo cyberspace no imaginário literário. O ciborgue atravessa o limiar entre a ficção científica e a realidade, à medida que intervenções cirúrgicas de modificação corporal se tornam lugar-comum na medicina. A proposta de Haraway, no entanto, é tirar esse ser híbrido do lugar da mera tecnologia e assimilá-lo como um discurso contra os dualismos perversos que mantêm as desigualdades do status quo
DAVID FOSTER WALLACE E ROBERTO BOLANO: DOIS DISCURSOS EM BUSCA DO OUTRO
Get PDFEm seu famoso discurso em Kenyon College, David Foster Wallace faz uma defesa do estudo das Artes Liberais. Para ele, precisamos aprender que há uma escolha entre pensar o mundo de maneira automática, em que o eu é o centro de todas as narrativas da experiência, e imaginar a experiência do Outro, como alternativa. A capacidade de imaginar o mundo a partir do ponto de vista do Outro, segundo Foster Wallace, constitui a verdadeira liberdade. Em outro discurso célebre, Roberto Bolaño afirma que sua obra é uma canção de amor ou despedida à sua geração, especialmente aos jovens latino-americanos que morreram em favor dos seus ideais, durante as ditaduras militares dos seus respectivos países. O canto desses jovens é o amuleto dos autores de sua geração. Ambos discursos demonstram uma tentativa de, por meio da literatura, se chegar à experiência do Outro – entretanto, será que esses esforços podem ser considerados bem sucedidos
A MALDIÇÃO PRIMEIRA E OUTROS INTERTEXTOS BÍBLICOS EM HAMLET, DE SHAKESPEARE
Get PDFEste artigo tem como objetivo investigar o trabalho de assimilação e transformação de referências bíblicas presentes em Hamlet (1601), de William Shakespeare. Sob à luz da Literatura Comparada, seus conceitos fundamentais, e textos de teóricos como Bakhtin, Compagnon e Maingueneau, entre outros, busca-se identificar e analisar os cruzamentos das superfícies textuais que aproximam Shakespeare de narrativas bíblicas, dos quais houve apropriações, seja consciente ou inconscientemente. O conceito de intertextualidade, sua definição e os tipos, como a citação, a alusão e a referência, servirão para estabelecer as relações de contato existentes no diálogo desses dois discursos
AN AUTUMN WIND: THE ANCIENT AND THE CONTEMPORARY IN DEREK MAHON\u27S POETRY V
Get PDFThe aim of this article is to understand how and why the book An Autumn Wind (2010), by the well-acclaimed northern Irish poet Derek Mahon, depicts the contemporary landscape of Northern Irish poetry as a ruined intercultural dialogue between ancient and contemporary forms of writing. In order to fulfil this objective, it is going to examine the dynamics of the three parts of the book through a close reading of three poems: “Under the Volcanoes”, “Autumn Fields” (a translation of the Chinese poet To Fu) and “Up at the Palace” (another translation of the supposedly Indian poet Gopal Shinagh. Through this analysis, it seeks to represent how poetry interacts with the contemporary dilemmas, such as cultural translation and instrumental reason
ATIVIDADES DE PRODUÇÃO ORAL EM LIVROS DIDÁTICOS DE INGLÊS/LE UTILIZADOS EM ESCOLAS PÚBLICAS
Get PDFO presente artigo tem por objetivo analisar as Atividades de Produções Oral (APO) que compõem duas coleções de Livro Didático (LD) de inglês como Língua Estrangeira (LE), intitulados English for All e Globetrekker, inseridas nos últimos anos na escola pública nacional, através do PNLD (2012), tendo como meta principal verificar que tipos de atividades orais compõem as duas coleções, a fim de se perceber se as coleções poderiam contribuir para um melhor desenvolvimento da habilidade oral no ensino de língua inglesa (LI). Para tanto, este estudo embasou-se no diagrama de Littlewood (2004), o qual apresenta um continuum com diferentes estilos de aprendizagem a partir do Foco nas Formas até o Foco no significado, no qual foi possível classificar os tipos de APO presentes nas duas coleções. Para um melhor embasamento do estudo, tomaram-se como referenciais teóricos autores que discutem o LD (LAJOLO, 1996; CORACINE, 1999; PNLD, 2012), a habilidade oral (BERGSLEITHNER, 2009. PENNY, 1991) e a Abordagem Baseada em Tarefas (PRAHBU, 1987; ELLIS, 2003; WILLIS, 1996), dentre outros. Os resultados mostram que uma das coleções apresenta atividades orais com o foco de instrução na forma, que se caracterizaram como tarefas comunicativas, que conduzem os aprendizes a usar a língua explorando mais o significado, sem desprezar os aspectos formais da mesma. Portanto, essa coleção proporciona oportunidades para os aprendizes obterem um melhor desenvolvimento da habilidade oral em LE
DOM CASMURRO AND THE UFOS: A CANONICAL TEXT AS PULP FICTION
Get PDFThe trend of rewriting canonical works of fiction as “mash-ups” – a term used to describe the remixing of music, video-clips and films in the internet –of mass literature genres has reached Brazil. In 2010, four novels were published which added the supernatural and the grotesque to works by Machado de Assis, José de Alencar and Bernardo Guimarães. Zombies, vampires, witches and extraterrestrial beings become part of the action, or in the case of Dom Casmurro e os discos voadores, the main focus of this discussion, characters in the plot. The overpowering influence of cinema and television over the younger generations has taken its toll. Authorial decisions must be made whether or not to adhere to the resources of audiovisual media, in order to attract readers who have been nurtured in them from infancy. We argue that such decisions would have been the cause of the proliferation of hybrids of high and low culture, of canonical texts coupled to science-fiction, Gothic terror or other genres, which have a stronger impact on the grand public. Sales rates have been significant, though not at best-selling levels, similar to those in the U.S. It is indisputable, however, that the atmosphere of suspense and wonder created by the insertion of genres of popular culture, plus the inevitable seriocomical effects created by the juxtaposition of high and low art have been a sure step toward the popularization of the classics. The fact that the four books were written in answer to publishers´ demands lends support to our argument that social and economic factors are involved
“WHEN WILL THIS FEARFUL SLUMBER HAVE AN END?” REPRESENTATIONAL CHOICES IN SHAKESPEARE\u27S TITUS ANDRONICUS ON TELEVISION AND FILM
Get PDFThe article aims to discern the interpretative conceptions that underlie two filmic versions of Shakespeare\u27s Titus Andronicus. Jane Howell\u27s 1985 production for the BBC Shakespeare television series is compared with Julie Taymor\u27s 1999 feature film entitled Titus. Drawing on the concept of a “performance text” as postulated by Marco De Marinis, and also the term “scenography” employed by Dennis Kennedy to define the visual field of representation in theatrical performance, the two films are analysed as texts in their own right in an effort to eschew notions of “inherent” meaning in Shakespeare\u27s writing. The chequered performance history of Titus Andronicus points to the representational challenges that its violent and visually disturbing content poses to directors, and the productions analysed here remain the two most prominent filmic versions of an arguably undervalued play. Comparisons are drawn between popular Elizabethan entertainments and the role of violence in twentieth-century society, indicating the theme of cyclical violence that is foregrounded by both directors. Some of the specific exigencies of televised Shakespeare are considered in opposition to those of the cinematic medium. Possible complications involved in translating Shakespeare from stage to screen are also discussed alongside an evaluation of the efforts made by the two directors to compensate for resultant performative losses. The now famous interpolation by Howell of positioning the boy character Young Lucius as a mediator between film and audience– appropriated and developed by Taymor–is assessed in terms of both its thematic implications and its potential to counteract the limitations of filmed Shakespeare.The article aims to discern the interpretative conceptions that underlie two filmic versions of Shakespeare\u27s Titus Andronicus. Jane Howell\u27s 1985 production for the BBC Shakespeare television series is compared with Julie Taymor\u27s 1999 feature film entitled Titus. Drawing on the concept of a “performance text” as postulated by Marco De Marinis, and also the term “scenography” employed by Dennis Kennedy to define the visual field of representation in theatrical performance, the two films are analysed as texts in their own right in an effort to eschew notions of “inherent” meaning in Shakespeare\u27s writing. The chequered performance history of Titus Andronicus points to the representational challenges that its violent and visually disturbing content poses to directors, and the productions analysed here remain the two most prominent filmic versions of an arguably undervalued play. Comparisons are drawn between popular Elizabethan entertainments and the role of violence in twentieth-century society, indicating the theme of cyclical violence that is foregrounded by both directors. Some of the specific exigencies of televised Shakespeare are considered in opposition to those of the cinematic medium. Possible complications involved in translating Shakespeare from stage to screen are also discussed alongside an evaluation of the efforts made by the two directors to compensate for resultant performative losses. The now famous interpolation by Howell of positioning the boy character Young Lucius as a mediator between film and audience– appropriated and developed by Taymor–is assessed in terms of both its thematic implications and its potential to counteract the limitations of filmed Shakespeare
IRONY AND THE STATUS OF THE AUSTRALIAN HERO IN TRUE HISTORY OF THE KELLY GANG, BY PETER CAREY
Get PDFTrue History of the Kelly Gang, by Peter Carey, winner of the Booker Prize in 2001, is a novel based on the trajectory of one of Australia’s most cherished historical figures, the bushranger Ned Kelly (1854-1880). Departing from Northrop Frye’s theories on the gradual incursion of irony in Western literature, we examine the manifestation of that literary device in Carey’s novel, paying special attention to the crucial role irony plays in the construction of the novel’s hero. Irony, according to Linda Hutcheon, is a social practice that necessarily involves text, context and interpreter and the formation of what she calls “discursive communities”. Within those communities irony can present itself in different guises. “Verbal irony” is defined by Pierre Schoentjes as the type of irony that occurs within the scope of rhetorical discourse and is a distinctive characteristic of Kelly’s style as a narrator. “Situational irony”, on the other hand, is not materialized in the narrator’s words themselves, but in the manner by which facts are arranged. Our analysis concludes that irony is an expedient that permeates the whole novel, from the title to the main themes and events narrated, influencing even the organization of the narrative focus
THE ROLE OF STORYBOARDS IN STANLEY KUBRICK’S EYES WIDE SHUT
Get PDFA film storyboard is a large section of the film produced beforehand. Although they are like comics, they are essentially different, serving as tools in the making of the film. They allow producers to visualize the scenes and find potential problems before they occur. Many filmmakers have storyboarded only certain scenes or haven’t used them at all, but some have used it extensively in place of doing a script. This paper will examine the efficacy of the interaction between the production of Kubrick’s Eyes Wide Shut and storyboards by Christopher Baker, mainly the ones concerning the fantastic and dreamlike atmosphere of Arthur Schnitzler’s Dream Story in scenes such as Alice’s dream, the mask ball and the costume shop. I will try to compare parts of the storyboard with the abovementioned scenes in order to investigate their efficacy in conveying Schnitzler’s story