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“RESOLVI BEBER E BERIMBAR”: a erótica senil e a velha assanhada no conto “Bestera”, de Hilda Hilst
No full textHilda Hilst (1930-2004), after the public exhibition of her “literary goodbye”, she spoke about the abandonment of “serious literature” and also about her incursion into the themes of sex and obscenity. In this new phase, the author created her narrative and pornographic trilogy, which includes the short story “Bestera” (HILST, 2002c), pertaining to the work Letters of a Seducer (HILST, 2002b). The text was chosen as a corpus because it brings, in the character Leocádia, the representation of the concept of senile eroticism (MORAES, 2015), as well as the dissolution of the discursive convention about the “old hussy” (VISNADI, 2015). As research objectives, we seek to understand the phonic constitution of the old lady, who is sexually active, in contrast to the pattern built around female old age (BEAUVOIR, 1967), as well as verifying the approximation of the writing of the story to the pornographic device (MAINGUENEAU, 2010). In the end, it is noted that Leocádia, in her foul-mouthed and mocking dialogues, she faces the censorship that hurts her existence, especially regarding the exercise of her sexuality in old age.
Keywords: short story “Bestera”; Hilda Hilst; “The old hussy”; Senile erotica.Hilda Hilst (1930-2004), depois da exposição pública de seu “adeus literário”, pronunciou-se sobre o abandono da “literatura séria” e também sobre a sua incursão pelos temas do sexo e da obscenidade. Nessa nova fase, a autora criou a sua trilogia narrativa e pornográfica, na qual se encontra o conto “Bestera” (HILST, 2002c), pertencente à obra Cartas de um sedutor (HILST, 2002b). O texto foi escolhido como corpus porque traz, na personagem Leocádia, a representação do conceito de erótica senil (MORAES, 2015), bem como a dissolução da convenção discursiva acerca da “velha assanhada” (VISNADI, 2015). Como objetivos da pesquisa, busca-se compreender a constituição fônica da velhinha, que é sexualmente ativa, em contraste com o padrão construído acerca da velhice feminina (BEAUVOIR, 1967), assim como constatar a aproximação da escrita do conto ao dispositivo pornográfico (MAINGUENEAU, 2010). Ao final, nota-se que Leocádia, em seus diálogos desbocados e debochados, enfrenta a censura que fere a sua existência, sobretudo quanto ao exercício da sua sexualidade na velhice.
Palavras-chave: conto “Bestera”; Hilda Hilst; “Velha assanhada”; Erótica senil
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
E VIVERAM FELIZES PARA SEMPRE: RELAÇÕES DIALÓGICAS EM UMA CAMPANHA PUBLICITÁRIA DA MARCA O BOTICÁRIO
Get PDFAccording to Bakhtin, the discourse is always the result f intercrossing with other texts and from them the collective aspect from the “I”, tagged by voices which join to each other in the discourse. One of the ways of putting different voices into the discourse is the stylization. In it, there’s the imitation of another discursive materiality, that implies a dialogue whose effects of meaning are convergent among them. As an effect, it’s gotten a bivoiced discourse in which echoes are listened from the discourse which stylizes and also from the one which was stylized. Based on this, this paper has as an objective to find out the dialogue, made by the stylization, that the chosen advertising campaign maintain with some of the known fairy tales. The theoretical foundation will be Bakhtin’s studies and reflexions (1997; 1998; 2011) about the language dialogical character and studies from people who studied his studies, such as Brait (2005; 2010), Fiorin (2006a; 2006b), among others. The research methodology was, based in the balkintinian dialogism concept, in the reading and search for the dialogical relationship and texts which have the advertising style in relation to the childish tales. As a result, it was gotten the confirmation that the advertisement is always a memory from other texts by its intertextual and interdiscoursive characteristics. So, when the speaker created the campaign from already known voices, id arouse an expectation in the interlocutor, with whom, a dialogue will be held that, consequently, will result in a response. In this case, the interlocutor interest by the announced product.Para Bakhtin, a unidade textual acontece pelo amplo e complexo quadro de relações de valores humanos que presidem a atividade de produzi-la. Assim, o discurso é sempre resultado de entrecruzamentos com outros textos, daí o aspecto coletivo do “eu”, marcado por outras vozes que se mesclam no discurso. Com base nisto, o objetivo deste trabalho é desvendar o diálogo, concretizado na estilização, que a campanha publicitária escolhida mantém com alguns contos de fadas conhecidos. A fundamentação teórica serão as descobertas e reflexões de Bakhtin (1997; 1998; 2011) sobre o caráter dialógico da linguagem, e os estudos de pesquisadores da sua obra, tais como Brait (2005; 2010), Fiorin (2006a; 2006b), dentre outros. A metodologiade pesquisa consistiu,à luz do conceito bakhtiniano de dialogismo, na leiturae na busca das relações dialógicas entre os textos e dos traços estilísticos da propaganda em relação aos contos infantis. Como resultado, alcançou-se a confirmação de que a propaganda é sempre memória de outros textos pelo seu caráter intertextual e interdiscursivo. Assim, quando o emissor criou a campanha a partir de vozes já conhecidas, despertou expectativa no receptor, com o qual travará um diálogo que, consequentemente, gerará uma réplica. No caso, o interesse do receptor pelo produto anunciado
O IDEÁRIO DA PORNOGRAFIA LIBERTINA NO CONTO “CONFLITOS DE UMA VIRGEM”, DE ANA ELISA RIBEIRO
Get PDFO conto “Conflitos de uma virgem”, de Ana Elisa Ribeiro (2006), é o objeto de análise desta pesquisa. O objetivo é verificar a construção do discurso pornográfico libertino com vistas a atingir a crítica social. Como apoio teórico, serão utilizadas as reflexões Dominique Maingueneau (2010), em O discurso pornográfico, com referência à tradição erótica na arte romanesca. A metodologia aplicada, quanto à abordagem, é exploratória, qualitativa e de cunho bibliográfico. Como resultado, espera-se observar de que forma a pornografia e a exposição de uma linguagem chula são meios de resistência ao discurso patriarcal que teima em ser reproduzido na cultura que gerou o conto em questão
A “socio-historical-literary-porn testimony": dialogical relations, carnivalization and the grotesque body in A casa dos budas ditosos, by João Ubaldo Ribeiro
No full textÀ luz das reflexões bakhtinianas, o tema deste trabalho é o estudo dos conceitos de dialogismo, gêneros discursivos, grande tempo, ato responsivo, carnavalização e estética do corpo grotesco no romance A casa dos budas ditosos (1999), de João Ubaldo Ribeiro (1941-2014), pertencente à coleção “Plenos pecados”, da Editora Objetiva, da qual figura como o volume dedicado à luxúria. O romance brasileiro A casa dos budas ditosos tem como núcleo o relato, em forma de monólogo autobiográfico, das aventuras sexuais de uma mulher que sempre viveu intensamente as infinitas possibilidades do sexo, por meio da experimentação de todas as formas de prazer, sem indícios de culpa e sem censura. CLB, personagem-protagonista do romance ubaldiano, nega tudo: é a encarnação “ao avesso” do mundo das possibilidades humanas limitadas e do exercício das funções e das interdições socialmente sacramentadas. O objetivo geral da pesquisa é verificar a axiologia que preside o romance estudado quanto à presença do cânone libertino francês na sua composição. Têm-se, como objetivos específicos, 1) compreender como se dão as relações dialógicas na obra ubaldiana, com ênfase na dialogia que estabelece com outras obras literárias, tais como As ligações perigosas, de Laclos (1980 [1782]), e A filosofia na alcova, do Marquês de Sade (1988 [1795]), ambas pertencentes ao cânone libertino francês; 2) refletir sobre o jogo autoral proposto por Ubaldo Ribeiro (1999) por meio de uma “nota” prefacial; 3) observar os conceitos de pornografia e obscenidade na obra; 4) estudar o viés carnavalizado, com base na estética do corpo grotesco, presente no romance brasileiro, sobretudo com referência à superexposição do corpo e do ato sexual. A metodologia do trabalho quanto à abordagem é exploratória, qualitativa e de cunho bibliográfico. Espera-se, como resultado, ter analisado profundamente o romance, especialmente a protagonista, CLB, sob o arcabouço teórico proposto para que seja demonstrada a sua tendência singular de anarquizar o discurso e ver, com olhar crítico, os usos e os costumes da sociedade: subversão e carnavalização são elementos constitutivos da personagem, que vive e propõe a vida saturada por uma liberdade sexual plena.Based on Bakhtin’s reflections, the theme of this work is the study of the concepts of dialogism, discursive genres, great time, responsive act, carnivalization and aesthetics of the grotesque body in the novel A casa dos budas ditosos (1999), de João Ubaldo Ribeiro (1941- 2014), part of the collection “Plenos pecados”, published by Editora Objetiva, in which it figures as the brochure dedicated to lust. The Brazilian novel A casa dos budas ditosos is centered in the autobiographical monologue of the sexual adventures of a woman who has always lived intensely the infinite possibilities of sex, through the experimentation of all forms of pleasure, without evidence of guilt and uncensored. CLB, the protagonist of the Ubaldo’s novel, denies everything: it is the "inside out" incarnation of limited human possibilities and the exercise of socially sacramental functions and prohibitions. The general objective of the research is to verify the axiology that presides over the studied novel about the presence of the French libertine canon in its composition. The specific objectives are: 1) to understand how the dialogical relations in the Ubaldo’s work take place, with emphasis on the dialogue that establishes with other literary works, such as As ligações perigosas, of Laclos (1980 [1782]), and A filosofia na alcova, of Marquês de Sade (1988 [1795]), both part of French libertine canon; 2) reflect on the authorial game proposed by Ubaldo Ribeiro (1999) through a preface “note”; 3) to observe the concepts of pornography and obscenity in the work; 4) to study the carnivalized bias, based on the aesthetics of the grotesque body, present in the Brazilian novel, especially with reference to the overexposure of the body and the sexual act. The methodology of the work regarding the approach is exploratory, qualitative and bibliographical. As a result, it is hoped that the novel, especially the protagonist, CLB, under the proposed theoretical framework, has been deeply analyzed in order to demonstrate its singular tendency to anarchize the discourse and to see, with a critical eye, the manners and habits of society: subversion and carnivalization are constitutive elements of the character, who lives and proposes a life saturated by a full sexual freedom.Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES
QUANDO O LOBO VIRA CORDEIRO E A AVÓ, CAFETINA: UMA LEITURA PORNOGERIÁTRICA SOBRE “A CHAPÉU”, DE HILDA HILST
No full textHilda Hilst (1930-2004), starting in 1990 when she published her “literary farewell”, began to give genesis to her erotic language, which, in the form of an obscene and pornographic tetralogy, was gathered in the anthology PornôChic (2018a). This collection includes the poem that is the object of analysis of this research, “A Chapéu” (2018d), which belongs to the poetic work Bufólicas (2018c), in which children's tales and fables are carnivalized. Regarding the corpus, the text was chosen because it presents, through the presence of canonical figures such as Grandma and the Big Bad Wolf, a parody of Little Red Riding Hood (Perrault, 1987). In order to analyze the disintegration of a morality imposed by religiosity and patriarchy in the selected poem, the reflections of Beauvoir (1967), Bakhtin (1997; 2010), Bettelheim (2002), and Blumberg (2015) were used as a framework. Regarding methodology, the approach is exploratory, qualitative, and bibliographic. Finally, it was found that “A Chapéu” (2018d), by parodying Little Red Riding Hood (Perrault, 1987), projects itself as an inverted incarnation of fairy tales, aiming to mock the sexual roles disseminated by phallocentrism in culture.Hilda Hilst (1930-2004), a partir de 1990, quando publicou seu “adeus literário”, começou a dar gênese a sua erótica verba, a qual, em formato de tetralogia obscena e pornográfica, foi reunida na antologia PornôChic (2018a). Nessa coletânea, está o poema que é objeto de análise desta pesquisa, “A Chapéu” (2018d), que é pertencente à obra poética Bufólicas (2018c), na qual são carnavalizados contos e fábulas infantis. Em relação ao corpus, o texto foi escolhido porque traz, através da presença de figuras canônicas, tais como a Vovozinha e o Lobo Mau, uma paródia de A Chapeuzinho Vermelho (Perrault, 1987). A fim de analisar o esfacelamento de uma moralidade imposta pela religiosidade e pelo patriarcado no poema selecionado, como arcabouço, foram utilizadas as reflexões de Beauvoir (1967), Bakhtin (1997; 2010), Bettelheim (2002) e Blumberg (2015). Sobre a metodologia, a abordagem é exploratória, qualitativa e de cunho bibliográfico. Por fim, verificou-se que “A Chapéu” (2018d), ao parodiar A Chapeuzinho Vermelho (Perrault, 1987), projeta-se como uma encarnação ao avesso dos contos de fadas, com o fito de zombar dos papéis sexuais difundidos pelo falocentrismo na cultura
Velhas assanhadas by Hilda Hilst: an analysis of three pornographic texts
No full textFrom the 1990s, Hilda Hilst (1930-2004) began to conceive her erotica verba when she published her literary goodbye. Marked by the baseness of human experiences, the productions of this phase constitute the writer's obscene and pornographic tetralogy, which is gathered in the anthology Porno Chic (2018a), as well as the drama Berta & lIsabo: um fragmento pornogeriatrico rural (2018b) that, despite not being a fictional part of the tetralogy, brings the typical burlesque tone of Hilstian writings. In addition to this inherent obscenity, the presence of velhas assanhadas features in some of the works in the anthology. They appear in the short story Bestera, part of Cartas de um sedutor (2018c); in the poem A Chapeu, from Bufolicas (2018d); and in the cited piece (2018b). These texts were chosen for representing the concept of senile erotic through the figures of the elderly women, (MORAES, 2015), as well as a dissolution of the discursive convention about the velha assanhada (VISNADI, 2015), which has been constructed for centuries in the literature. We seek to understand the phonic constitution of old women in contrast to the pattern constructed about female old age (BEAUVOIR, 1967), as well as bringing the works closer to the pornographic device (MAINGUENEAU, 2010). Our methodology is exploratory, qualitative and bibliographical. In the end, it is expected to confirm that the four elderly women, in their mocking dialogues, face the censorship that hurts their existence, especially regarding the exercise of sexuality in old age and the historical silencing of women.Unesp FCLAr, Estudos Literanos, Sao Paulo, SP, BrazilUnesp FCLAr, Estudos Literanos, Sao Paulo, SP, Brazi
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