Aula

O CONCEITO DE ESTILO:
ABORDAGENS

META
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OBJETIVOS
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QHRORJLVPRVDUFDtVPRVSROLVVHPLDVHRXWUDV

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pelos antigos gregos e romanos para escrever em tabuinhas
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que antigamente designava o instrumento com que se escrevia
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(Fontes: http://romanhistorybooksandmore.freeservers.com)

50
 O conceito de Estilo: abordagens
Aula

O CONCEITO DE ESTILO
Em outras disciplinas de nosso Curso de Letras, tivemos a oportunidade
6
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SDUDGLJPiWLFDV H FRPELQDRV OLYUHPHQWH QR HL[R VLQWDJPiWLFR e QHVVD
liberdade de recriar a linguagem que se situa o estilo.
2(VWLORpDVVLPHPSULQFtSLRLQGLYLGXDOHGHFRUUHGDVXEMHWLYLGDGH
conferida ao discurso no intuito de o desviar do grau zero, isto e, do uso
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categoria que possa ser regida pela lei do tudo ou nada. Linguagem natural
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YDULiYHOGHXPRXGHRXWURDVSURGXo}HVHVFULWDVGHFDUiWHUDIHWLYRµ-HDQ
&RKHQ3RUHVWDUD]mRDUHWyULFDFOiVVLFDGLVWLQJXLDWUrVHVWLORVHOHPHQWDUHV
RVLPSOHVRPRGHUDGRHRVXEOLPH(PERUDVHPJUDQGHSHUWLQrQFLDDWXDO
PHQWHHVWDGLVWLQomRHYLGHQFLDDYDULHGDGHGRVGHVYLRVHFRQVHTXHQWHPHQWH
DQDWXUH]DGRHVWLORFRPRH[SUHVVmRPDUFDGDHPPHQRURXPDLRUJUDX
relativamente a um discurso neutro.
Por outro lado, o emprego do termo estilo, demasiado rico e demasiado
FRPSOH[RWRUQDVHWmRDPEtJXRTXHDOJXPDVSHVVRDVUHFXVDPDSDODYUDH
FKHJDPDQHJDUDH[LVWrQFLDGDQRomRFRPRPXLWREHPREVHUYRXRHVWX
GLRVRIUDQFrV3LHUUH*XLUDXG1RHQWDQWRYDPRVDSUHVHQWDUXPDGHÀQLomR
JHUDO H WHQWDUHPRV DR ORQJR GHVWD DXOD GLVWLQJXLU DOJXPDV FRQFHSo}HV
TXHPDUFDUDPpSRFDRXXPDYLUDJHPGDVXDKLVWyULD'HPRGRDPSORR
estilo denota uma propriedade comum a todos os enunciados quaisquer
que sejam, embora se capte de forma particular em cada um. Designa-se
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IUDVHVSURQXQFLDGDVRXHVFULWDV$QRomRGHHVWLORDVVHPHOKDVHSRULVVR
jGHLQGLYLGXDOLGDGH
Assim sendo, temos o estilo como escolha: escolha feita pelos falan-
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FRQFHELGRFRPRRVLVWHPDGHH[SUHVVmRGHXPLQGLYtGXRLVRODGR2HVWLOR
FRPRGHVYLRTXHLPSOLFDXPDUHODomRFRPXPPRGHORFRPXPSDGUmR
FRPXPDQRUPD2HVWLORFRPRHODERUDomRFRPXPDWpFQLFDTXHUHVXOWD
QDIXQomRSRpWLFDWDOFRPRDSUHVHQWDGDSRU5RPDQ-DNREVRQ
3DUDXP PDLRU DSURIXQGDPHQWR GHVVDVTXHVW}HV YDPRV SRVWDUXP
WH[WR HODERUDGR SHOD SURIHVVRUD 1LOFH 6DQW·$QQD VREUH D YDULHGDGH GR
conceito de estilo:

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FDUDFWHUtVWLFDV SDUWLFXODUHV GDV FRLVDV PDLV EDQDLV H FRQFUHWDV jV
PDLVDOWDVFULDo}HVDUWtVWLFDVWHPXPDRULJHPPRGHVWD'HVLJQDYD
HPODWLP²¶VWLOXV·²XPLQVWUXPHQWRSRQWLDJXGRXVDGRSHORVDQWLJRV

51
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SUySULDHVFULWDHRPRGRGHHVFUHYHU
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HVWLORTXHYiULRV OLQJLVWDVWrPSURFXUDGRFODVVLÀFiODV GHDFRUGR
FRP RV FULWpULRV HP TXH HODV VH IXQGDPHQWDP $VVLP *HRUJHV
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¶FRQRWDomR·1LOV(ULN(QNYLVW/LQJtVWLFDHHVWLORDVGLVWULEXLHP
VHLVJUXSRVHVWLORFRPR¶DGLomR·HQYROWyULRGRSHQVDPHQWR
HVWLORFRPR¶HVFROKD·HQWUHDOWHUQDWLYDVGHH[SUHVVmRHVWLORFRPR
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QRUPD·HVWLORFRPRFRQMXQWRGH¶FDUDFWHUtVWLFDVFROHWLYDV·HVWLORV
GH pSRFD  HVWLOR FRPR ¶UHVXOWDGR GH UHODo}HV HQWUH HQWLGDGHV
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SHUtRGR
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da obra ou do enunciado, outros na totalidade forma-pensamento.
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52
 O conceito de Estilo: abordagens
Aula

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XPWH[WRFRPRUHVXOWDGRGDDGDSWDomRGRLQVWUXPHQWROLQJtVWLFR
jVÀQDOLGDGHVGRDWRHVSHFtÀFRHPTXHIRLSURGX]LGRµ+HUFXODQR
de Carvalho)
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DHPRomRHDYRQWDGHµ0DWWRVR&kPDUD
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validez, e muitas delas com pontos comuns, sejam lembradas estas
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VREUHQyV1HVWDHQFUX]LOKDGDRQGHWDOYH]FRPSUHHQGDPRVSRUTXHp
que certo poema nos envolve e nos possui e nos toca de determinada
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IRUPDLVPDVWDPEpPGHFDXVDVSVLFROyJLFDVSVLFDQDOtWLFDVKLVWyULFDV
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SRGHUiGDUFRQWDGHVVDFRLVDDLQGDPXLWRPLVWHULRVDTXHpDIXQomR
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TXHTXRWLGLDQDPHQWHUHFHEHPRVµ

53
 (VWLOtVWLFD

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pontiagudo de ferro ou de osso utilizado pelos antigos gregos e romanos
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comum, o nome que antigamente designava o instrumento com que se
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UHYHODRJrQLRHDVYLUWXGHVGHVHXFULDGRUHVFULWRUGHL[DQGRSRLVDVXD
personalidade indelevelmente assinalada no que produz.

RESUMO
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WDPEpPFRPRRUHVXOWDGRGDVHOHomRÀQDOUHDOL]DGDSRUXPGDGRHVFULWRU
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LQGLYLGXDOL]DQGRQRVHPIXQomRGDQRVVDOLQJXDJHP1HVVHSURFHVVRWHP
OXJDUXPD´HVFROKDHQWUHDVSRVVLELOLGDGHVGHH[SUHVVmRTXHVHDSUHVHQWDP
QDOtQJXDµ7XGRLVVRGHFRUUHDQWHVGHWXGRGRQRVVRLPSXOVRHPRWLYRH
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3RUWDQWR R HVWXGR GH WRGDV DV YLUWXDOLGDGHV GR HVWLOR p HVVHQFLDOPHQWH
PDWpULDGD(VWLOtVWLFD

54
 O conceito de Estilo: abordagens
Aula

ATIVIDADES
/HLDPFRPPXLWDDWHQomRRWH[WRSRVWDGRGDSURID1LOFH6DQW·$QQDH
6
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pRKRPHPµ2TXHTXHULDGL]HUHVVHDXWRUFRPWDOGHÀQLomR"2TXHVHULD
SDUDHOHR´KRPHPµ"&RPRUHVXOWDGRTXHUHODomRLPDJLQRXWHU´HVWLORµ
H´KRPHPµ"
$JRUDSURFXUHPID]HUXPDVtQWHVHGRWH[WRSURFHGHQGRGDVHJXLQWH
PDQHLUDLQGLTXHGHPRGRVXFLQWRHREMHWLYRDVGLÀFXOGDGHVTXHDQRomRGH
HVWLORDSUHVHQWDGHVGHVXDHODERUDomRLQLFLDO5HGLMDSRLVXPSHTXHQRWH[WR
VREUHHVVDTXHVWmRHDSUHVHQWHDRVHXWXWRUHVROLFLWHGHOHXPDDSUHFLDomR

&20(17É5,262%5($6$7,9,'$'(6
1mRHVTXHoDPTXHYRFrVSRGHPFRQVXOWDURXWUDVREUDVLQGLFDGDVQD
ELEOLRJUDÀDVREUH´HVWLORµLQFOXVLYHGLFLRQiULRVHVSHFLDOL]DGRVFRPR
RGH0DVVDXG0RLVpV²´'LFLRQiULRGHWHUPRVOLWHUiULRVµ6mR3DXOR
Ed. Cultrix. 1974.

35Ð;,0$$8/$
0RGDOLGDGHVGHÀJXUDVGHHVWLORH[HPSORVHDSOLFDo}HV

$872$9$/,$d®2
$SDUWLUGHVWDDXODVLQWRPHFDSDFLWDGRSDUDFRPSUHHQGHURIHQ{PHQR
´HVWLORµ1DVXDGLPHQVmRHYDULHGDGH3DUDVHODUHVVDFRPSUHHQVmRSUH
tendo discutir com o meu tutor as formas de expressividade e de criatividade
TXHXPHVFULWRUFRPR*XLPDUmHV5RVDLPSULPLXHPVXDREUDOLWHUiULD

5()(5È1&,$6
AGUIAR E 6,/9$9LFWRU0DQXHOGH$(VWLOtVWLFDLQ Teoria da Litera-
tura. Coimbra: Almedina. 1969.
&Ç0$5$-5. Joaquim Mattoso. &RQWULEXLomRjHVWLOtVWLFDSRUWXJXHVD.
5LRGH-DQHLUR$R/LYUR7pFQLFR(GLWRUD
CHALHUB, Samira. )XQo}HVGDOLQJXDJHP6mR3DXOR(GÉWLFD
______________. A metalinguagem6mR3DXOR(GÉWLFD
'·212)5,2. Salvadore. Teoria do texto: WHRULDGDOtULFDHGRGUDPD²
YRO6mR3DXOR(GÉWLFD

55
 (VWLOtVWLFD

GARCIA. Othon M. &RPXQLFDomRHPSURVDPRGHUQD. Rio. FGV. 1974.

GUIRAUD. Pierre. $(VWLOtVWLFD6mR3DXOR(G0HVWUH-RX
JAKOBSON. Roman. /LQJtVWLFDHFRPXQLFDomR6mR3DXOR(G&XO
trix. 1970.
LAPA. M. Rodrigues. (VWLOtVWLFDGDOtQJXDSRUWXJXHVD. Lisboa: Ed. Seara
Nova. s/d.
LEVIN. Samuel. (VWUXWXUDVOLQJtVWLFDVGDSRHVLD6mR3DXOR&XOWUL[
LIMA. Luiz Costa. Teoria da literatura em suas fontes. Rio. Ed. Fran-
cisco Alves. 1983.
0$57,161LOFH6DQW·$QQD,QWURGXomRj(VWLOtVWLFD6mR3DXOR(GXVS
1989.
0$77262&Ç0$5$-U-RDTXLP&RQWULEXLomRj(VWLOtVWLFDSRUWX
guesa5LRGH-DQHLUR$R/LYUR7pFQLFR
02,6e60$66$8'. 'LFLRQiULRGHWHUPRVOLWHUiULRV6mR3DXOR(G&XOWUL[
1974.
MONTEIRO-RVp/HPRV$HVWLOtVWLFD6mR3DXOR(GÉWLFD
MOUNIN. Georges. ,QWURGXomRj/LQJtVWLFD. Lisboa: Iniciativas Edi-
toriais. 1970.
MURRY. J. MIDDLETON. O problema do estilo. Rio de Janeiro. Liv.
$FDGrPLFD
352(1d$ ),/+2 'RPtFLR $ OLQJXDJHP OLWHUiULD 6mR 3DXOR (G
ÉWLFD
VANOYE. Francis. Usos da Linguagem6mR3DXOR/LY0DUWLQV)RQWHV
1981.

56