Como pode se perceber, meus blogposts recentes foram sobre a falta de água e o livro Luna Clara & Apolo Onze. Isso é um glossário para os. The Architectonics of Luna Clara e Apolo Onze: a Metalinguistic Reflection how, from the foundations of dialogical discourse analysis, and from a preliminary. Tudo se passa na Região de Desatino. Esta é a história de Luna Clara e Apolo Onze, mas é também a história de Doravante e Aventura, de Leuconíquio e.

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Therefore, “all the verbal interconnections and interrelations of a linguistic and compositional order are transformed into extraverbal architectonic event-related interconnections” BAKHTIN,p. We would dare to suggest the same is true in the relationship between author and reader – as the latter is taken into account by the former.

The rain is part of the dialogic interacting game, mainly because it varies from head to head. The work was considered as being done in the light of polyphony because polyphony was the root of the study in order to support and reflect on the foundations of Bakhtin’s aesthetic design, “resulting from a process that seeks to represent the world in terms of the exotopic authorial action, which is based on the social and historical context, on the social relationships the author participates in” SOBRAL, b, p.

From the aesthetic design, we found a new way for looking at them. In this dialectical-dialogical discovery process, “from the point of view of polyphony” could not be forgotten. It can be seen that, in the novel, the character is presented in an unquestionably dynamic intersubjective process, since he constitutes himself by means of dialogue and interaction, not in isolation, something which is validated by Zavala, to propose that we should “interpret the person not only as an identity, but as otherness as well [ Furthermore, when the author inserts additional references to her enunciation, she dialogues with both her own work and with other onez and other genres, “as there are no pure apoloo or genres” SOBRAL,p.

The resource of interdiscursivity is unveiled in the novel. It is not claraa to perceive the other’s voice in the author’s speech.

The architectonics of Luna Clara e Apolo Onze: a metalinguistic reflection

Considering all this, it was necessary to develop techniques capable of serving the purpose of revealing the forms of dialogism degrees of dialogicity which seemed to mark the multiplicity of voices that constitute Luna Clara coara Apolo Onze. To perceive, to experience the world through the polyphonic touch means recognizing, in addition to the infusible multiplicity of participant voices of uninterrupted dialogues created by the individuals in interaction, the full validness of such voices, whether influenced by centripetal or centrifugal movements as well as the equipollence of the consciences represented by them.

From the first contact with the book, it was impressive to see the multiplicity of social voices created and made to interact by the author. Thus, we do not intend to present a lengthy discussion about the concept of architectonics nor to present the analysis or its steps, but to evaluatively describewithin the dialogical view of language, how the researcher ended up building a methodological approach to account for its specific object, having, as its foundation, the notion of architectonics.


In fact, Doravante [“From Now On”] was a very lucky guy. The duty of thinking and the impossibility of not thinking are given by my position in a given context of concrete real life. c,ara

The Architectonics of Luna Clara e Apolo Onze: a Metalinguistic Reflection

In the very moment shown here, it is clear, also, through discursive marks,that he went lyna transformation: Thus, we intend to present a metalinguistic reflection on the path that led to xlara thesis entitled Luna Clara e Apolo Onze: The book under analysis is a phenomenon of the kuna, and its study requires first of all that it is turned into an object.

Throughout the process of perceiving these elements, which have become methodological landmarks, one integrated, by considering their axiological tone, the content to the representation of the heroes in the story, the materialdue to its linguistic transcending ability, to dialogue with the reader and the characters of the narrative, and the formdue to its lunx interlocutory mode, to the relationship among these characters in the novel.

In the case of Luna Clara e Apolo Onzethere is a work that never ends. Thus, in a dialogic discourse analysis BRAIT,it is important to see what the object of analysis requires and not to impose a priori tools to them. It is in the fragmentation itself, then, that the reiteration as a dialectical-dialogical strategyis implicated, perhaps as an author’s discursive mark, because the impression is that she, throughout the narrative, “moves through repetition” AMORIM,p.

We present here the gathered data as they were organized in the thesis, according to the route described to account for the architectonics of the examined book. These three questions guided the analytic work: It was pertinent to provide the readers who had no knowledge of this literary work with a brief description, giving them some contact, although minimal, with the narrative, respecting the fact that “the artistic construction goes beyond the summing up of literary devices” SOBRAL,p.

Thus, in the relationships among characters, the discursive marks, the actions that enliven aapolo also accompany this change, becoming indicators of the instability, the subjectivity which is revealed in a continuous centrifuge flow.

It intends still to consider how, in the context of the dialogic conception of apllo, one can propose an object of study, and a specific lnze of studying it by ojze a phenomenon such as a book and examining it by means of concepts compatible with this object, instead of applying ready-made categories.

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Letras em RevistaPorto Alegre, n. This aspect underscores what Bakhtin s about the speaking person in the novel. Realmente, Doravante foi um sujeito muito sortudo. Even in this case they are an authorial alter ego.

Mercado das Letras,apoko. Finally, the third aims to investigate the mode of organization of the relationships between the characters and the narrative space. Under the bottom pointis the South.

The Architectonics of Luna Clara e Apolo Onze: a Metalinguistic Reflection

With her words, the author needs to add “a mixed character, able when necessary to reproduce the style and expressions of the transmitted text” BAKHTIN,p. Therefore, when retrieving a fact, for example, not only does the author place the reader in the time of the narrative, but she also anticipates other information, generating a simultaneity effect, urging the reader to articulate it spatially as well.


Therefore, both in life and in art, the I-other relationships need to be reflected upon, “They must clothe themselves in discourse, become utterances, become the positions of various subjects expressed in discourse, in order that dialogic relationships might arise among them” BAKHTIN,p. From a concrete example, the emphasis of this article lies on the demonstration that the dialogical conception of language, far from proposing set categories to be applied, offers principles that allow the researcher to adapt to the needs of understanding the object instead of trying to make it fit into a theoretical-methodological or any derivate categories.

No one else can think what I think. It is deemed pertinent to emphasize this characteristic, because it is extremely remarkable from the beginning to the end of the narrative.

This article has a meta-analytical character, aiming to reflect on the work of analysis, that is, the effort of the researcher for developing an analytical framework based on the theoretical principles and on the contact with the object.

It is inferred that these utterances may involve the reader precisely because of the specific dialogical component presentin them. Here is the relevance of the others and the interactions among them for subjects’ intersubjectivity, and we certainly may include here every possible transformation phenomenon.

The “technique” called by the object was grounded essentially in the dialogue with the following questions: We considered important to investigate what these elements could say about the enunciative project. The analysis centers now around the so-called convergent relationships ; they are thus called to refer to those interactions in which one can highlight the communion of voices attractive to one another, converging to the reflection of the other not in an oppositional way, but as the one who reaffirms, complements the subjectivity of an “I” and, under this new light of emphases, similarities, complementaritiesalso reveals the intersubjectivity involved there.

In this sense, the architectonics in Luna Clara e Apolo Onze seems to facilitate the use of ‘all the work of linguistics to understand, on the one hand, the technique of the poet’ creation on the basis of a correct understanding of the place of material in artistic creation, and, on the other hand, and the distinctiveness of the aesthetic object emphasis in original ” BAKHTIN,p.

It seems that the old ladies are architects of fate that govern everything and everyone in the story. We are also aware of the Baktinian distinction between “author-person” and “author-creator”.