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2010
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Hermeson Alves de Menezes
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Neverton Correia da Silva
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B574e (VWLOtVWLFD$QW{QLR 3RQFLDQR %H]HUUD 6mR &ULVWyYmR
Universidade Federal de Sergipe, CESAD, 2010.
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(VWXGRGDOLQJXDJHP,7tWXOR
CDU 81' 38
3UHVLGHQWHGD5HS~EOLFD Chefe de Gabinete
/XL],QiFLR/XODGD6LOYD Ednalva Freire Caetano
0LQLVWURGD(GXFDomR Coordenador Geral da UAB/UFS

Fernando Haddad Diretor do CESAD
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Carlos Eduardo Bielschowsky Vice-coordenador da UAB/UFS
Vice-diretor do CESAD
Reitor )iELR$OYHVGRV6DQWRV
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Vice-Reitor
Angelo Roberto Antoniolli
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Clotildes Farias (Diretora) Guilhermina Ramos (Coordenadora)
+pULFDGRV6DQWRV0RWD Carlos Alberto Vasconcelos
Iara Macedo Reis Elizabete Santos
Daniela Souza Santos Marialves Silva de Souza
Janaina de Oliveira Freitas
1~FOHRGH6HUYLoRV*Ui¿FRVH$XGLRYLVXDLV
Diretoria Administrativa e Financeira Giselda Barros
(GpO]LR$OYHV&RVWD-~QLRU (Diretor)
Sylvia Helena de Almeida Soares 1~FOHRGH7HFQRORJLDGD,QIRUPDomR
Valter Siqueira Alves -RmR(GXDUGR%DWLVWDGH'HXV$QVHOPR
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Djalma Andrade (Coordenadora) $VVHVVRULDGH&RPXQLFDomR
Guilherme Borba Gouy
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Rosemeire Marcedo Costa (Coordenadora)
Coordenadores de Curso Coordenadores de Tutoria

Denis Menezes (/HWUDV3RUWXJXrV (GYDQGRV6DQWRV6RXVD)tVLFD
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Hermeson Menezes (Coordenador) Isabela Pinheiro Ewerton

Arthur Pinto R. S. Almeida Lucas Barros Oliveira
Carolina Faccioli dos Santos Neverton Correia da Silva
Cassio Pitter Silva Vasconcelos Nycolas Menezes Melo
Edvar Freire Caetano
UNIVERSIDADE FEDERAL DE SERGIPE
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Av. Marechal Rondon, s/n - Jardim Rosa Elze
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Fone(79) 2105 - 6600 - Fax(79) 2105- 6474
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AULA 1
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AULA 2
(VFRODVHDERUGDJHQVHVWLOtVWLFDVGDDWXDOLGDGH ............................... 15
AULA 3
$OtQJXDOLWHUiULDFDPSRGHHVWXGRGD(VWLOtVWLFD .............................. 23
AULA 4
$VIXQo}HVGDOLQJXDJHPQRFDPSRGDDQiOLVH
HVWLOtVWLFD ............................................................................................ 31
AULA 5
&RQFHLWRVGHEDVHHP(VWLOtVWLFD....................................................... 41
AULA 6
O conceito de Estilo: abordagens...................................................... 49
AULA 7
0RGDOLGDGHVGH¿JXUDVGHHVWLORH[HPSORVHDSOLFDo}HV................. 57
AULA 8
(VWLOtVWLFDH[HUFtFLRVSUiWLFRV±DSOLFDo}HV,
AULA 9
(VWLOtVWLFDH[HUFtFLRVSUiWLFRV±DSOLFDo}HV,,.................................... 83
AULA 10
(VWLOtVWLFDH[HUFtFLRVSUiWLFRV±$SOLFDo}HV,,, .................................. 89
Aula
$(67,/Ë67,&$&21&(,78$d2(
MODALIDADES
META
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OBJETIVOS
$R¿QDOGHVWDDXODRDOXQRGHYHUi
'HPRQVWUDUFRPSUHHQVmRVREUHRFDPSRGHLQWHUHVVHGD(VWLOtVWLFDHVXDV
SURSRVWDVGHDQiOLVHGDOLQJXDJHPFRGL¿FDGDHPWH[WRVOLWHUiULRV
(Fonte: http://images04.olx.com.br)
(VWLOtVWLFD
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FLDUXPDGLVFLSOLQDHPVXDSULPHLUDDXODHVIRUoDQGRVHSRUHVFODUHFHUD
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FRPTXHYDLWUDEDOKDUDRORQJRGRGHVHQYROYLPHQWRGDPDWpULD9LYHPRV
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QDPHQWHGHQRVVRVDSUHQGL]HV2WHUUHQRGD(VWLOtVWLFDpSDUWLFXODUPHQWH
IDYRUiYHODLVWR2SUySULRWHUPR(VWLOtVWLFDFRQKHFHPDLVGHXPDDFHSomR
indicando desde os estudos de qualquer modalidade sobre um estilo, ou
GHVGHDDSUHFLDomRGDVSRVVLELOLGDGHVH[SUHVVLYDVGHXPDGDGDOtQJXDGHVXDV
FDWHJRULDVRXFODVVHVJUDPDWLFDLVDWpHVWDRXDTXHODWHRULDFRQWHPSRUkQHD
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OtQJXDXPWRGRWDOFRPRDGHÀQLXRSDLGD/LQJtVWLFD0RGHUQD)HUGLQDQG
de Saussure, ao apresenta o conceito de linguagem que se bifurca (dicoto-
PL]DHPOtQJXDHIDOD$HQWLGDGHOtQJXDSRUVXDYH]VHGLYLGHHPIDFH
LQWHOHFWLYDHIDFHDIHWLYD$IDFHLQWHOHFWLYDpGHSUHRFXSDomRGD/LQJtVWLFD
HDIDFHDIHWLYDpGHLQWHUHVVHGD(VWLOtVWLFD
(Fonte: http://www.ufrnet.br)
8
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Aula
$(67,/Ì67,&$ 1
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GHHVWXGRTXDQWRDRVHXPpWRGRGHWUDEDOKRRXGHLQYHVWLJDomR/RJRGH
LQtFLRYDPRVDIDVWDUD(VWLOtVWLFDGHXPFHUWRVHQWLGRTXHHODWRPDHPDOJXQV
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GDYHOKDUHWyULFDJUHJRODWLQDRXGDTXLORTXHVHFKDPDYDDQWLJDPHQWHGH
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WRUQHLRVFDUDFWHUtVWLFRVGHXPDGDGDOtQJXD1HVVHTXDGURWUDGLFLRQDOGXDV
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IDODQWHEDHVWLOtVWLFDOLWHUiULDTXHHVWXGDDPDQHLUDVLQJXODUFRPRRHVFULWRU
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´$HVWLOtVWLFDHVWXGDRVIDWRVGHH[SUHVVmRGDOLQJXDJHPGRSRQWR
GHYLVWDDIHWLYRLVWRpDH[SUHVVmRGRVIDWRVGDVHQVLELOLGDGHSHOD
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de seu aparecimento, como mais adiante vamos demonstrar.
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LQGLYLGXDOGLIHUHQFLDOSUySULRGHFDGDXPGHOHV(VVDWHQWDWLYDGHEXVFD
GDVLGLRVVLQFUDVLDVOLQJtVWLFDVGRIDODQWHRXGRHVFULWRUpTXHFRQVWLWXLD
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9
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HVWXGDURV´RVHOHPHQWRVDIHWLYRVGDOLQJXDJHPµ7DLVHOHPHQWRVDIHWLYRV
DJHPIXQGDPHQWDOPHQWHDRQtYHOGDVLQWD[HHGRYRFDEXOiULROp[LFR
1DTXHOHPRPHQWRKLVWyULFRHPWRUQRGDGpFDGDGHHVVDGLVFLS
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HQVmRSDUDXPDOtQJXDHVWUDQJHLUD2IUDQFrVpXPDOtQJXDODWLQDHRDOHPmR
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(VVDVGLÀFXOGDGHVGRVDOXQRVDOHPmHVVHUHJLVWUDYDPVREUHWXGRTXDQWR
DRVGLYHUVRVQtYHLVGHOLQJXDJHPDULVWRFUiWLFRSXURSDGUmRIDPLOLDUFDOmR
GLULDSRLVWUD]LDPHPEDUDoRVSDUDRVHVWXGDQWHVQmRQDWLYRVGRIUDQFrV
QmRHVTXHoDPTXHD6XtoDpXPSDtVPXOWLOtQJH
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TXHD(VWLOtVWLFDQmRVHFRQIXQGHFRPD5HWyULFDQHPFRPRD/LWHUDWXUD
QHPFRPD+LVWyULDGDV/tQJXDVQHPFRPD$UWHGH(VFUHYHUFRQVLGHUDQGR
DTXLDWUDGLomRGHREUDVVREUHHVWLORTXHEURWDPGXUDQWHRVpFXOR;9,,,
1D EXVFD GD ´SHUVRQDOLGDGHµ GD (VWLOtVWLFD %DOO\ HVWDEHOHFH FLQFR
WLSRVGHLQYHVWLJDomRHVWLOtVWLFDTXHVHID]HPDFRPSDQKDUGHFLQFRQtYHLV
GLIHUHQWHVGHHVWXGRVVREUHRTXHHOHGHQRPLQDGH´RVIDWRVGHH[SUHVVmR
GDOLQJXDJHPRUJDQL]DGDVRERSRQWRGHYLVWDGRVHXFRQWH~GRDIHWLYRµ
1HVVDGLUHomRWHPRV
DHVWLOtVWLFDJHUDOVREUHPHFDQLVPRVGDOLQJXDJHPHPJUDO²FRPXPD

WRGDVDVOtQJXDVDOLiVXPSURMHWRGH´HVWLOtVWLFDXQLYHUVDOµRXGH´XQLYHUVDLV
HVWLOtVWLFRVµTXHVHUHYHORX´TXLPpULFRµLOXVyULRVREUHWXGRSDUDDpSRFD
por conta da amplitude de suas tarefas;
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GDGDOtQJXDFRPRGDOtQJXDSRUWXJXHVDSRUH[HPSOR
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SUHÀJXUDDQRomRGHLGLROHWRPDLVDGLDQWHHVFODUHFLGD
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GHYHFRQIXQGLUFRPD´HVWLOtVWLFDLQGLYLGXDOµGRLQGLYtGXRSRUH[HPSOR
0DFKDGRGH$VVLVRXGRLQGLYtGXR5XL%DUERVD(QWUHRHVFULWRU0DFKDGR
GH$VVLVHRLQGLYtGXR0DFKDGRGH$VVLVKiXPÍRVVRLQWUDQVSRQtYHOµ
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10
Aula
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1
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HGHPRGRHVSHFLDODOtQJXDOLWHUiULD
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XPDGLVFLSOLQDH[SHULPHQWDO²FRPEDVHVHPGDGRVYLYRVUHDLVGDH[SUHVVmR
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obedece a modelos previamente estabelecidos.
$VQRo}HVGH´HVSRQWDQHLGDGHµHGH´LPSUHVVLRQLVPRµVmRIXQGDPHQ
WDLVQRSURMHWRGH%DOO\HVHUHYHODFRQWUiULRDRVFkQRQHVHVWpWLFRQRUPDWLYRV
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pXPÀPQmRXPPHLRµ
$UHDomRD%DOO\IRLLPHQVDSRUVXDUHMHLomRjOtQJXDHVFULWDOLWHUiULDRX
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entre o falado e o escrito, uma vez que, na fala cotidiana se pode constatar
RHPSUHJRGH´ÀJXUDVµHPSUHJRHVSRQWkQHRHVSHFtÀFRGDOtQJXDOLWHUiULD
(VWiHPMRJRQDSURSRVWDGH%DOO\DQRomRGHÝDULHGDGHHVWLOtVWLFDµ
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VLJQLÀFDomRGHEDVH´FKRYHDFkQWDURVµHTXLYDOHDRVHQWLGRGHEDVH´FKRYH
PXLWRµ6HQGRLVVRYHUGDGHD(VWLOtVWLFDVHDSUR[LPDGD/LWHUDWXUDSRLVR
escritor, ou o orador, se vale (ou se valem) de escolhas, de modo consciente
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11
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capacidade de emocionar e sugestionar o leitor. Apesar de num primeiro mo-
PHQWRD(VWLOtVWLFDGHL[DUGHODGRDOLQJXDJHPOLWHUiULDFRQIRUPHDSURSRVWD
de seu criador maior Charles Bally, na atualidade, ela se volta para os textos
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GHSURFHVVRVH[SUHVVLYRVGDOLQJXDJHPOLWHUiULDSURFXUDQGRSHORVUHFXUVRV
OLQJtVWLFRVXWLOL]DGRVSHORVHVFULWRUHVGHSUHHQGHUDOLQJXDJHPSHVVRDORX
estilo, de um escritor, a sua personalidade e a sua maneira de compreender
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(VWLOtVWLFD0RGHUQDHVXDVSURSRVWDVGHDQiOLVHGDOLQJXDJHPOLWHUiULD
RESUMO
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HQFRQWUDPHPXPFHUWRWLSRGHDERUGDJHPLQWHUSUHWDomRWH[WXDOTXHIR
FDOL]DYDHOHPHQWRVGRVWH[WRVOLWHUiULRVGHXPPRGRGLYHUVRGDVDQiOLVHVGH
WH[WRVFRQKHFLGDVWUDGLFLRQDOPHQWHFRPRFUtWLFDHRXDERUGDJHPOLWHUiULD
1RIXQGRHUDXPDHVSpFLHGHFUtWLFDOLWHUiULDDFUtWLFDHVWLOtVWLFD+RMHD
(VWLOtVWLFDVHGHÀQHFRPRXPDFLrQFLDTXHWHPSRUREMHWRDLGHQWLÀFDomR
GRVHIHLWRVGHHVWLORH[LVWHQWHVQRFRQWH[WRRXVLWXDomROLQJtVWLFDHVSHFtÀFD
DVXDGHVFULomRHH[SOLFDomRHPIXQomRGDPHQVDJHPHHYHQWXDOPHQWHGR
FyGLJRGDOtQJXDGRDXWRUHGRJrQHUROLWHUiULR$WDUHIDPDLVLPSRUWDQWH
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PpWRGRVFRPHoDQGRSHODQRomRGHHVWLOR
ATIVIDADE
/HLDDWHQWDPHQWHHVWDDXODGHQDWXUH]DWHyULFDHSURFXUHFRPSUHHQGHU
HP SULPHLUR PRPHQWR R TXH p D (VWLOtVWLFD $JRUD IDoD XP SDUiJUDIR
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12
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1
9HMD FRP FXLGDGR TXH DV LQIRUPDo}HV GDGDV QHVWD DXOD VREUH D
GLVFLSOLQD (VWLOtVWLFD UHIHUHPVH PDLV DR PRPHQWR GH VXD RULJHP
1HVVHPRPHQWRROLQJLVWD&KDUOHV%DOO\HVWDYDFULDQGRD(VWLOtVWLFD
SRUWDQWR Ki DOJXPDV RVFLODo}HV TXH SDUHFHP FRQWUDGLomR PDV QD
YHUGDGHID]HPSDUWHGHVVHPRPHQWRLQLFLDOXPDFHUWD´LQVHJXUDQoDµ
TXDQWRDRFDPSRGHDWXDomRHDRREMHWRGHVVDQRYDGLVFLSOLQD+RMH
QmRKiPDLVG~YLGDD(VWLOtVWLFDpXPDGLVFLSOLQDGHQDWXUH]DOLQJtVWLFD
PDVYROWDGDSDUDRGLVFXUVROLWHUiULR
35Ð;,0$$8/$
(VFRODVHDERUGDJHQVHVWLOtVWLFDVGDDWXDOLGDGH
$872$9$/,$d®2
&RPHVVDDXODREWLYHLQIRUPDo}HV~WHLVVREUHDGLVFLSOLQD(VWLOtVWLFD
&RPRSRVVRGHPRQVWUDUHVVDDÀUPDomR"5HGLMDXPSHTXHQRWH[WRFRP
SURYDQGRHVVDDÀUPDomR
5()(5È1&,$6
AGUIAR E 6,/9$9LFWRU0DQXHOGH$(VWLOtVWLFDLQ Teoria da Litera-
tura. Coimbra: Almedina. 1969.
GUIRAUD. Pierre. $(VWLOtVWLFD6mR3DXOR(G0HVWUH-RX
JAKOBSON. Roman. /LQJtVWLFDHFRPXQLFDomR6mR3DXOR(G&XO
trix. 1970.
LAPA. M. Rodrigues. (VWLOtVWLFDGDOtQJXDSRUWXJXHVD. Lisboa: Ed. Seara
Nova. s/d.
LEVIN. Samuel. (VWUXWXUDVOLQJtVWLFDVGDSRHVLD6mR3DXOR&XOWUL[
0$57,161LOFH6DQW·$QQD,QWURGXomRj(VWLOtVWLFD6mR3DXOR(GXVS
1989.
0$77262&Ç0$5$-U-RDTXLP&RQWULEXLomRj(VWLOtVWLFDSRUWX
guesa5LRGH-DQHLUR$R/LYUR7pFQLFR
13
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ESCOLAS E ABORDAGENS
(67,/Ë67,&$6'$$78$/,'$'(
META
/HYDUDRDOXQRDVWHQGrQFLDVWHyULFRPHWRGROyJLFDVGD(VWLOtVWLFDPRGHUQDH
suas propostas e abordagem textual.
OBJETIVOS
&RPSUHHQGHVREUHDQDWXUH]DGDVSURSRVWDVUHFHQWHVGHDQiOLVHHVWLOtVWLFDGH
WH[WRVOLWHUiULRV
/LYURVREUHHVWLOtVWLFDGH3LHUUH*XLUDXGHVWXGLRVRIUDQFrVTXHVXEGLYLGLXDKLVWyULD
GDHVWLOtVWLFDGRVpFXOR;;HPYiULRVWLSRV(VWLOtVWLFDHVWUXWXUDORXGDH[SUHVVmR
(VWLOtVWLFDJHQpWLFDRXGRLQGLYtGXR(VWLOtVWLFDIXQFLRQDO(VWLOtVWLFDWH[WXDO
(Fonte: http://www.puertolibros.com)
(VWLOtVWLFD
,1752'8d®2
9LPRVQDDXODDQWHULRUTXHRSDLGD(VWLOtVWLFD0RGHUQDLQVLVWHQDLGpLD
GHTXHQmRVHGHYHFRQIXQGLODFRPDDUWHGHHVFUHYHUQHPFRPDUHWyULFD
QHPFRPDOLWHUDWXUDQHPFRPDKLVWyULDGDOtQJXD$SyVHVVDREVHUYDomR
LPSRUWDQWHHOHDSUHVHQWDFLQFRQtYHLVGHHVWXGRVSRVVtYHLVGDOLQJXDJHP
RUJDQL]DGDVRERSRQWRGHYLVWDGRVHXFRQWH~GRDIHWLYR1mRGHYHPRV
GHL[DUGHWHUHPPHQWHTXHRSULPHLURWUDWDGRHVWLOtVWLFRSURSULDPHQWHGLWR
XPDREUDGHIHLomRPHUDPHQWHGHVFULWLYDGHYHVHD&KDUOHV%DOO\1HVVD
REUDDHVWLOtVWLFDpXPDGLVFLSOLQDGDOtQJXDPDLVGRTXHGDREUDOLWHUiULD
SRUWDQWRUHSHWLPRVD(VWLOtVWLFDpRHVWXGRGRVPHLRVGHH[SUHVVmRGH
WRQDOLGDGHDIHWLYDGDOtQJXD&DEHDLQGDDÀUPDTXHD(VWLOtVWLFDQmRGHYH
VHUFRQIXQGLGDQHPFRP*UDPiWLFDQHPFRP5HWyULFD$*UDPiWLFDVH
GHEUXoDVREUHRFDPSRLQWHOHFWLYRGDOtQJXDHD5HWyULFDTXHSRUWUDGLomR
VHDSUHVHQWDFRPRXPDFRPSLODomRGHPRGHORVGHH[SUHVVmROLWHUiULDTXH
VHGHVWLQDYDPDVHULPLWDGRVRXDVHUYLUGHQRUPDSDUDDSUHFLDomRFUtWLFD
GHTXDOTXHUREUDOLWHUiULD,VVRQRVOHYDWDPEpPDQmRFRQIXQGLUDDQiOLVH
HVWLOtVWLFDFRPDDQiOLVHOLWHUiULDGHWH[WRV
Nikolay Sergeyevich Trubetzkoy foi um

OLQJXLVWDUXVVRTXHDPSOLRXDLGpLDGH)RQR
HVWLOtVWLFDVXJHULGDSRU&KDUOHV%DOO\FRPR
QRPHGH)RQpWLFD([SUHVVLYD
(Fonte: http://pt.wikipedia.org)
16
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(6&2/$6($%25'$*(16(67,/Ì67,&$6
Um dos pontos de vista mais antigos de abordagem textual que merece,
2
QHVWD DXOD FRPHQWiULR p R SRQWR GH YLVWD QRUPDWLYR GD YHOKD UHWyULFD
JUHFRODWLQDTXHVHSUHRFXSDYDHPGL]HUFRPRpTXHVHGHYHHVFUHYHU(VVD
PHVPDGLVFLSOLQDDYHOKDUHWyULFDIRUQHFLDOLo}HVTXHDX[LOLDYDPWDPEpP
DFRPSUHHQVmRGRFRPRHPHVPRGRSRUTXrGDOLWHUDWXUD(VREUHWXGR
GHVFUHYLDPFXLGDGRVDPHQWHHDLQGDKRMHHVVDGHVFULomRpXWLOL]DGDDVIRU
PDVHVWLOtVWLFDVVREUHDVTXDLVFRQWLQXDPRVDUHÁHWLU7UDWDVHGDVÀJXUDV
PHWiIRUDPHWRQtPLDOLWRWHVHXIHPLVPRDQWtWHVHUHSHWLomRHPXLWDVRXWUDV
1RIXQGRDLQYHVWLJDomRHVWLOtVWLFDGHXPWH[WRpWULEXWiULDGRVFRQKHFL
PHQWRVGHUHWyULFD1RHQWDQWRDQRVVDFRQFHQWUDomRYDLUHFDLUVREUHWUrV
JUDQGHVFRUUHQWHVHVFRODVGDHVWLOtVWLFDGRVpFXOR;;
$HVWLOtVWLFDGDH[SUHVVmRRXGHVFULWLYDTXHHVWXGDDVUHODo}HVGDH[SUHVVmR
FRPRSHQVDPHQWR(VVDDERUGDJHPS}HHPTXHVWmRDVHJXLQWHSHUJXQWD
FRPRpTXHRHVFULWRUHVFUHYH"3DUDRVOLQJLVWDVPRGHUQRVHVVDSHUJXQWD
DVVXPHXPVHQWLGRGLYHUVRSRLVRSRQWRGHSDUWLGDHPTXHVHFRORFDPp
ROHLWRUHQmRRDXWRU(VVDSRVLomRFRQVWLWXLXPDUHYROXomRTXHPXLWDV
YH]HVSDVVDGHVDSHUFHELGDQRkPELWRGRVHVWXGLRVRV7UDGLFLRQDOPHQWH
FRQVLGHUDYDVHDREUDGHDUWHVHMDHODURPDQFHSRHPDSHoDGHWHDWURH
WRPDYDVHHVVDREUDXPDYH]DFDEDGDFRPRSRQWRGHSDUWLGD+RMHQmRVH
SURFXUDPDLVRSRUTXrpTXHRHVFULWRUDHVFUHYHXHQHPFRPRHODDHVFUHYHX
LVWRLQGLFDXPDSRVLomRWUDGLFLRQDO3URFXUDVHLVWRVLPIXQFLRQDOPHQWH
FRPRpTXHHODDREUDGHDUWHDWXDDJHVREUHROHLWRU(VVDLQYHUVmRpD
marca da originalidade dessa perspectiva. Pierre Guiraud, denomina esse
HQIRTXHHVWLOtVWLFRGHD(VWLOtVWLFDGRV(IHLWRVHVHDFKDGHSHQGHQWHGRV
HVWXGRVGHVHPkQWLFD
$HVWLOtVWLFDJHQpWLFDRXGRLQGLYtGXR²DVREUDVOLWHUiULDVSRGHPWDPEpP
H[DPLQDGDVVHJXQGRXPRXWURSRQWRGHYLVWDRSRQWRGHYLVWDJHQpWLFRe
HVVHSRQWRGHYLVWDTXHSRGHUHVSRQGHUjSHUJXQWDSRUTXHUD]mRHVFUHYHR
HVFULWRU"eRSRQWRGHYLVWDTXHPDLVSUHGRPLQRXQRVGRLV~OWLPRVVpFXORV
(VVDSHUJXQWDMiREWHYHDVPDLVLQXVLWDGDVUHVSRVWDVUHVSRVWDVÀORVyÀFDV
RXPHWDItVLFDVRHVFULWRUHVFUHYHSDUDH[SULPLURUHDODEVROXWRUHVSRVWDV
PRUDLVVRFLROyJLFDVSVLFROyJLFDVRHVFULWRUHVFUHYHSDUDDMXGDURVKRPHQV
RXRVSRYRVRXSDUDSLQWDUGHVFUHYHURKRPHPUHVSRVWDVSVLFDQDOtWLFDV
o escritor escreve para se libertar dos seus fantasmas pessoas; respostas
HVWpWLFDV DDUWH SHODDUWHLVWRpDDUWH YDOHSRUHODPHVPD7RGDVHVVDV
UHVSRVWDVVmRDLQGDKRMHPXLWRFRQVLGHUDGDVSRLVVmRQHFHVViULDVDTXHP
TXHLUDUHÁHWLUVREUHRVSRUTXrVGDREUDGHDUWH
&RQWXGRDDERUGDJHPHVWLOtVWLFDGHWH[WRVQmRYLVDDHQVLQDUDRVDOXQRV
DHVFUHYHURXDRULHQWiORVQDIRUPDomRGHXPHVWLOR2REMHWLYRPDLVGD
GLVFLSOLQDHVWLOtVWLFDpGHVSHUWDUPDLRUFRQVFLrQFLDGDVLPHQVDVSRVVLELOL
GDGHVGHH[SUHVVmRGDQRVVDOtQJXDGDOtQJXDSRUWXJXHVDFRPREHPIULVRX
17
(VWLOtVWLFD
D3URIHVVRUD1LOFH6DQW·$QQD0DUWLQV$VVLPRFRQKHFLPHQWRGDOtQJXD
do ponto de vista da expressividade constitui o passo inicial para a com-
SUHHQVmRHYDORUDomRGRVWH[WRVOLWHUiULRV5HIRUoDQGRDLQGDDREVHUYDomR
GDSURIHVVRUDFLWDGDpRHVWXGLRVRIUDQFrV²3LHUUH*XLUDXG²TXHDÀUPD
´VHPVHURREMHWRQHPRÀP~QLFRGDDQiOLVHHVWLOtVWLFDRVHVWXGRVGRV
YDORUHVH[SUHVVLYRVGHXPDGDGDOtQJXDHGHVHXVHIHLWRVVREUHROHLWRU
pDWDUHIDPDLRUGRHVWLOyORJRHRSRQWRGHSDUWLGDLQGLVSHQViYHOGHWRGD
FUtWLFDGRHVWLORµ
eDSDUWLUGHVVDVUHÁH[}HVTXHVXUJHPYHUGDGHLUDV´VXEGLVFLSOLQDVµGH
QDWXUH]DHVWLOtVWLFD
D D )RQRHVWLOtVWLFD RX D HVWLOtVWLFD GR VRP RX VRQRUD ² Mi VXJHULGD SRU
&KDUOHV%DOO\FRPRQRPHGH)RQpWLFD([SUHVVLYDDPSOLDGDSRU1LNR
lai Troubetzkoi (1890-1938) e depois por Karl Buhler (1879-1963), que
GHVFREUHHPFDGDDWRGHIDODWUDoRVTXHLQGLFDPTXHPIDODHPTXH
WRPVHIDODRTXHpRREMHWRGDIDODFRPXQLFDomR2VWUDoRV´DµHÉµ
VHULDPRREMHWRGDIRQRHVWLOtVWLFDTXHVHVXEGLYLGLULDHPHVWLOtVWLFDIRQpWLFD
HHVWLOtVWLFDIRQROyJLFD
Sucessores de Charles Bally, como J. Marouzeau, se dedicaram ao es-
WXGRGD´TXDOLGDGHHGRYDORUGRVVRQVGDOLQJXDJHPµLQGHSHQGHQWHGR
VHQWLGRGDVSDODYUDVQDTXDLVÀJXUDP(VWHHQIRTXHDERUGDWUrVDVSHFWRV
GRSUREOHPDH[SUHVVLYLGDGHDUWLFXODomRHDFHQWXDomR&RPLVVRIRLSRV
VtYHOUHWLUDUDOJXPDVFRQFOXV}HVDRSDSHOGDVHQWRDo}HVERSDSHOGRV
DFHQWRVFRSDSHOGRVWRQVHGDVSDXVDV&ULDVHHQWmRD(VWLOtVWLFDGR
Supra-segmental.
$IRQRHVWLOtVWLFDLQWHJUDVHSHUIHLWDPHQWHQRHVWXGRGDIXQomRH[SUHV
VLYDGDOtQJXDQRVQtYHLVIRQROyJLFROH[LFDOHVLQWiWLFR7RGDVDVGLIHUHQoDV
IRQpWLFDVSHUFHSWtYHLVSDUDR RXYLGRSRGHPWUDQVPLWLU XPHOHPHQWRGH
LQIRUPDomRXPWUDoRGHVHQWLGRRXGHHVWLORPHVPRDVTXHQmRVmRIR
QRORJLFDPHQWHSHUWLQHQWHV$SURQ~QFLDDUWLFXODomRGHXPÚµHPFHUWDV
UHJL}HVGRSDtVRXPHVPRHPFHUWDVSHVVRDVSRGHVHUVHQWLGDFRPRVLQDOGH
XPDFHUWDRULJHPJHRJUiÀFD2XWUDVSDUWLFXODULGDGHVGDSURQ~QFLDSRGHP
indicar a classe social, e outras podem revelar propriedades individuais, um
HVWDGRGHVD~GHRXXPKiELWRSHVVRDOeHVWXGRGHVWDVGLIHUHQoDVIRQpWLFDV
TXH7URXEHW]NRLFKDPDGHIRQRHVWLOtVWLFD
$RODGRGDIRQRHVWLOtVWLFDYiULRVHVWXGLRVRVIDODPGDHVWLOtVWLFDVLQWiWLFD
TXHWUDWDGDVYDULDQWHVGHFRORFDomRGDVSDODYUDVQDIUDVHVXVFHWtYHLVGH
FDXVDUSURYRFDUHPRomRRXVXJHVWLRQDUROHLWRU9HMDPRVDREVHUYDomR
D VHJXLU IHLWD SRU -RDTXLP 0DWWRVR &kPDUD -~QLRU UHIHULQGR DR YHUVR
´%UDPHPOH}HVGHIXOYDMXEDµGH5DLPXQGR&RUUHLDTXHSDUDHOHKi´
DXPDH[SUHVVLYLGDGHI{QLFDGHWHUPLQDGDSHORDF~PXORGHVRQVQDVDLVH
ODELDLVDEDIDGRVTXHVXJHUHPXPDPELHQWHVRWXUQRHDPHDoDGRUEXPD
H[SUHVVLYLGDGHVHPkQWLFDGHFRUUHQWHGDHVFROKDGHSDODYUDVQDEDVHGH
VXDFRQRWDomRHPIDFHGHVLQ{QLPRVFRPRÉUDPHPIXOYDµFXPD
18
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H[SUHVVLYLGDGHVLQWiWLFDSURYRFDGDSHORSRVSRVLomRGRVXMHLWRDRYHUER
$ (VWLOtVWLFD OLWHUiULD HVWXGD HVVHV SURFHVVRV QD OLQJXDJHP OLWHUiULD
SURFXUDQGRSHORVUHFXUVRVHVWLOtVWLFRVXVDGRVGHSUHHQGHUDDOLQJXDJHP
2
pessoal, ou estilo de um escritor; b) a sua personalidade e a sua maneira de
compreender e sentir a vida.
E$(VWLOtVWLFD&RPSDUDGD²pRUHVXOWDGRGRFRQIURQWRGHGRLVVLVWHPDV
OLQJtVWLFRV RX GH YiULRV 7RUQRXVH FRQKHFLGD FRPR R ´PpWRGRµ GH
tradutores, pelos contrastes que estabelece, pelos confrontos que realiza
QRDWRGDWUDGXomRHQDEXVFDGHFRUUHVSRQGrQFLDGHH[SUHVVLYLGDGHGDV
OtQJXDVHPMRJR
F$(VWLOtVWLFD(VWUXWXUDO²pWULEXWiULDGDVUHÁH[}HVQHRKXPEROGWLDQDV
+XPEROGWSHQVDGRUGDIDVHURPDQWLVPRDOHPmR²GHIHQGLDDLGpLDGHTXH
FDGDVLVWHPDOLQJtVWLFRFDGDOtQJXDSRVVXtDXPDYLVmRSUySULDGRPXQGR
FRPSHVTXLVDVVyOLGDVQDiUHDGDHWQROLQJXtVWLFD
2SRVWXODGREiVLFRGHVVD(VWLOtVWLFDVHDVVHQWDQRVHJXLQWHMXt]R´VXE
RUGLQDGRjHVWUXWXUDGHFDGDOtQJXDRHVWLORUHYHODDVVXDV¶YLUWXDOLGDGHV·
QmRpXPDFRLVDDEVROXWDLPSRVWDjOLQJXDJHPFRQIRUPHPRGHORVJUHJRV
RXODWLQRVPDVSUySULDOLQJXDJHPVHJXLQGRDVVXDVYLDVQDWXUDLV'HWHUPL
nadas qualidades de uma dada linguagem assumem o aspecto de defeitos
RGLRVRVQXPDRXWUDOtQJXD
$VVLPDVWDUHIDVGHXPD(VWLOtVWLFD(VWUXWXUDOVHULDPGHPRQVWUDUTXH
RVIDWRVGHHVWLORSURYrPGLUHWDPHQWHGRVLVWHPDOLQJXtVWLFRHYDULDPFRQ
VHTXHQWHPHQWHGHXPDOtQJXDSDUDRXWUD
G D (VWLOtVWLFD'LDFU{QLFD² WHPSRUREMHWRH[DPLQDUDV FRQVHTrQFLDV
LPSOLFDGDVQXPDOtQJXDSHODSHUGDGHGHWHUPLQDGRVPHLRVGHH[SUHVVLYL
GDGHFRPRRGHVDSDUHFLPHQWRGHSDODYUDVFRPEDVHHPRQRPDWRSpLDVQD
VHTXrQFLDGHPXGDQoDVIRQpWLFDVHRVYDORUHVHVWLOtVWLFRVGRVHOHPHQWRVGH
XPGDGRHVWDGRGHOtQJXDFRPRSRUH[HPSORRSRUWXJXrVGRVpFXOR;,,,
DRVpFXOR;9,RXGHRXWUDVpSRFDV
19
(VWLOtVWLFD
&21&/86®2
'XUDQWHDH[SRVLomRGHVWDDXODYLPRVTXHROLQJLVWD&KDUOHV%DOO\
DPSOLRXDVOLo}HVGHVHXPHVWUH)HUGLQDQGGH6DXVVXUHSDUDFULDUXPDQRYD
GLVFLSOLQDD(VWLOtVWLFDGD/tQJXDRXGDH[SUHVVmRFRPRWDPEpPpFRQKHFLGD
8PDRXWUDSHUVSHFWLYDGRVHVWXGRVHVWLOtVWLFRVVHGHQRPLQDGH(VWLOtVWLFD
*HQpWLFDRXGRLQGLYtGXRPDLVFHQWUDGDQRVWH[WRVOLWHUiULRVVHPIDODU
HPXPDFRUUHQWHGDHVWLOtVWLFDFRQKHFLGDFRPRD(VWLOtVWLFD)XQFLRQDOTXH
IRFDOL]DFHUWRVDVSHFWRVGDYDULDomROLQJtVWLFDFRPRtQGLFHGHVLJQLÀFDomR
GR´VWDWXVµGRHPLVVRU(VVHVSLODUHVGRHQIRTXHHVWLOtVWLFRGHXPDGDGD
OtQJXD HP VXDV DERUGDJHQV FRQVLGHUDP HOHPHQWRV IRQpWLFRV PyUÀFRV
VLQWiWLFRVHVHPkQWLFRVGDOtQJXDHPHVWXGRFRPRSRUWDGRUHVGHWUDoRV
HVWLOtVWLFRVTXHFDUDFWHUL]DPDHVFULWDRXPHVPRDIDODGHXPGHWHUPLQDGR
HVFULWRU2XWURVHQIRTXHGD(VWLOtVWLFDSULYLOHJLDPHOHPHQWRVHVWUXWXUDLV
SURFHVVRVHYROXWLYRVRXGDGRVOLQJtVWLFRVHPFRPSDUDomRFRPRDFRQWH
FHPQRVWUDEDOKRVGHWUDGXomR
RESUMO
(VWDDXODVHFHQWUDQDVSRVVLELOLGDGHVGHFODVVLÀFDomRGDVDERUGDJHQV
HVWLOtVWLFDVGHXPDGDGDOtQJXD$VVLPIRFDOL]DPRVHVVDGLVFLSOLQDQDSHU
VSHFWLYDDGDH[SUHVVmRRXGHVFULWLYDEJHQpWLFDRXLQGLYLGXDOFIXQ
FLRQDORXVRFLROLQJtVWLFDGI{QLFDVLQWiWLFDHVHPkQWLFD(PWRGDVHVVDV
SHUVSHFWLYDVSHUPDQHFHDLGpLDQXFOHDUGRHQIRTXHHVWLOtVWLFDGHXPDOtQJXD
QDWXUDOFRPRDOtQJXDSRUWXJXHVDTXHpRHVWXGRGRYDORUDIHWLYRGRVIDWRV
H[SUHVVLYRVTXHFRQFRUUHPSDUDDIRUPDomRGRVLVWHPDGRVPHLRVGHH[
SUHVVmRGHXPDOtQJXD9LPRVWDPEpPTXHRXWUDVGLYHUVDVFRQFHSo}HVGH
HVWLOtVWLFDSUROLIHUDPDRORQJRGRVpFXOR;;$VVLPXPFHUWRQ~PHURGH
GLVFLSOLQDVPDLVRXPHQRVDSDUHQWDGDVVXUJHPHJDQKDPHVSDoRDFDGrPLFR
6mRHODVDIRQRHVWLOtVWLFDDHVWLOtVWLFDFRPSDUDGDDHVWLOtVWLFDGLDFU{QLFD
ATIVIDADES
Leia, atentamente, toda esta aula e procure responder a seguinte
TXHVWmR4XDORPRWLYRGHYHUVRVFRPR´(PLQKDDOPDVDOYDÀFDUiPDLV
DOYDGRTXHDHVWUHODG·DOYDµGH&DVVLDQR5LFDUGR"3HVTXLVHTXHPIRL&DV
VLDQR5LFDUGRHVXDLPSRUWkQFLDSDUDDOLWHUDWXUDEUDVLOHLUD(QFRQWUHRXWURV
H[HPSORVVHPHOKDQWHVDRDSUHVHQWDGRDTXLFRPRPHXHIHLWRHVWLOtVWLFR
de Cassiano Ricardo ou de outro poeta.
20
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2
1mRHVTXHoDGHFRQVXOWDUDELEOLRJUDÀDDSRQWDGDSDUDHVWDDXOD6yR
WH[WRGDDXODQmRIRUQHFHDVFRQGLo}HVSDUDFRPSUHHQGHUDHVWLOtVWLFD
em sua amplitude.
35Ð;,0$$8/$
$OtQJXDOLWHUiULDFDPSRGHHVWXGRGD(VWLOtVWLFD
$872$9$/,$d®2
Para mim, como aluno, esta aula foi esclarecedora de aspectos
OLQJtVWLFRHVWLOtVWLFRGDOtQJXDSRUWXJXHVDWDQWRTXHWHQKRFRQGLo}HVGH
IRUPXODUWUrVTXHVW}HVEiVLFDVVREUHRDVVXQWRHIRUQHFHUOKHVDVUHVSRVWDV
FRUUHVSRQGHQWHV0mRVDRWUDEDOKRHPRVWUHDRVHXWXWRU
5()(5È1&,$6
'·212)5,2. Salvadore. Teoria do texto: WHRULDGDOtULFDHGRGUDPD²
YRO6mR3DXOR(GÉWLFD
trix. 1970.
Nova. s/d.
1989.
MONTEIRO-RVp/HPRV$HVWLOtVWLFD6mR3DXOR(GÉWLFD
MOUNIN. Georges. ,QWURGXomRj/LQJtVWLFD. Lisboa: Iniciativas Edi-
toriais. 1970.
21
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(678'2'$(67,/Ë67,&$
META
$SUHVHQWDUDRVDOXQRVDVGLYHUVDVPRGDOLGDGHVGHHVWXGRVTXHD(VWLOtVWLFD
moderna oferece como possibilidades de abordagem textual.
OBJETIVOS
&RPSUHHQGHHGRPLQDURFRQWH~GRDSUHVHQWDGRUHDOL]DQGRDVDWLYLGDGHV
SURSRVWDVSDUDRWHPDHPTXHVWmR
(Fontes: http://www.olhodeodinn.blogger.com.br)
(VWLOtVWLFD
,1752'8d®2
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GLVWLQomRTXHHVWDEHOHFHPHQWUHOtQJXDHVFULWDRXOLQJXDJHPHVFULWDPDLV
YHUQiFXODPDLVFXLGDGDHOtQJXDIDODGDRXOLQJXDJHPIDODGDPDLVFRUUHQWH
HPDLVHVSRQWkQHD$FKDPRVSUHIHUtYHODGPLWLUTXHDOtQJXDHVFULWDSHUWHQFH
jRUGHPHVFULWXUDOHDOtQJXDIDODGDjRUGHPRUDO1RLQWHULRUGHFDGDXPD
GHVWDVRUGHQVSRGHPGLIHUHQFLDUVHRXWURVQtYHLVGHOtQJXD
)DFLOPHQWHVHSRGHUiREVHUYDUTXHXPVXMHLWRTXDQWRPDLRUFXOWXUD
OLWHUiULDSRVVXLUWDQWRPDLVVHDIDVWDUiGDOtQJXDIDODGDTXDQGRVHH[SULPH
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expressam aspectos mais particulares da vida, da atividade e do pensamento,
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entes ou contextos que o receptor domina. Nesse caso, os referentes ou
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passagem de um romance:
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heiro dos cofres, num montante de R$ 50.000,00, segundo declarou um
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na realidade. Agora,
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Esses fatos narrados nunca aconteceram e as personagens aqui referidas

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25
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O escritor almeja descrever ou expressar o seu mundo interior ou o mundo
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de todas as outras, por exemplo, um texto de Machado de Assis com outro
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- descreve ou interpreta o mundo real;

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Texto 1
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Texto 2
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aqui e ali, pela sombra dos guindastes e dos navios. De um vapor, atracado
27
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ainda incomodadas pela travessia do oceano e os mesmos homens de face
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a prancha com passos hesitantes, conduzindo sacos e embrulhos.
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mais garridas e policromas que fossem as vestes das mulheres, o conjunto
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de oiro (ouro) e prontas a todas as vicissitudes, por que o lugarejo nativo
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Ferreira de Castro
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pessoal, afetivo, subjetivo, ao realizar um enunciado, procurando uma maior
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ÀJXUDGD-iDOLQJXDJHPQmROLWHUiULDSULPDSHODFODUH]DSHODSUHFLVmRSHOD
informatividade, pela objetividade. Neste sentido, apresentamos dois textos
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de uso da linguagem humana.
ATIVIDADES
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TXHVHUHIHUHPUHVSHFWLYDPHQWHjOLQJXDJHPQmROLWHUiULDHjOLQJXDJHP
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de texto. Isto facilita bastante a atividade aqui solicitada.
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$872$9$/,$d®2
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mento, vou apresentar ao meu tutor dois textos, produtos de minha pesquisa
pessoal, como exemplo dessas duas modalidades de uso da linguagem.
29
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A este conjunto de meios de que dispomos para comunicar com os outros
chama-se linguagem.
No sentido mais restrito do humano, entendemos por linguagem o meio
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determinadas ao realizar-se.
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VRQVRXFDUDFWHUHVJUiÀFRV ²SDUDVHUUHFHSWtYHO2VVRQVRXFDUDFWHUHV
JUiÀFRVVmRODQoDGRVQRSDSHORXHPRXWURPDWHULDO'HDPERVRVPRGRV
se estabelece o contato entre emissor e receptor.
$PHQVDJHPGiSRLVRULJHPDXPDDVVRFLDomROLQHDUGHVLJQRVDTXH
YXOJDUPHQWHFKDPDPRVGHIUDVHRXWH[WRHTXHHPOLQJtVWLFDGHQRPLQD
contexto.
(QÀPGLUHPRVTXHRSURFHVVROLQJtVWLFRSDUDDOpPGDPHQVDJHP
FRQWpPRVVHJXLQWHVHOHPHQWRV
'HVWLQDGRUHPLVVRUIDODQWHTXHFRGLÀFDHWUDQVPLWHDPHQVDJHPDR
GHVWLQDWiULR
'HVWLQDWiULRUHFHSWRURXYLQWHTXHUHFHEHHGHVFRGLÀFDDPHQVDJHP
&RQWH[WRWRUQDDPHQVDJHPRSHUDQWHHSHUFHSWtYHOSHORGHVWLQDWiULR
9HUEDORXVXVFHWtYHOGHVHUYHUEDOL]DGRFKDPDVHWDPEpPGHUHIHUHQWH
&RQWDWRFDQDOItVLFRRXFRQH[mRSVLFROyJLFDHQWUHRGHVWLQDGRUHR
GHVWLQDWiULRSHUPLWHHVWDEHOHFHUHPDQWHUDFRPXQLFDomR
&yGLJRFRQMXQWRGHUHJUDVTXHSHUPLWHPFRPELQDUVLJQRVHFRQVWUXLU
XQLGDGHVVLJQLÀFDWLYDV²DOtQJXDTXHRVLQGLYtGXRVIDODP
$VVLPVmRVHLVRVHOHPHQWRVHPMRJRQDVLWXDomRGHFRPXQLFDomRD
PHQVDJHPRHPLVVRURUHFHSWRURFRQWH[WRRFDQDORXFRQWDWRHRFyGLJR
O ser humano, o homem, comunica (ou fala) para transmitir informa-
o}HVRUGHQVFRQVHOKRVHVWDGRGHHVStULWRRXSDUDH[SULPLUVHQWLPHQWRV
HQWUHRXWUDVSRVVLELOLGDGHVeQDWXUDOTXHDOLQJXDJHPVHDGDSWHDFDGDXP
GHVVHVSURSyVLWRVFRQIHULQGRXPYDORUHVSHFtÀFRDRDWRGHFRPXQLFDomR
4XHUGL]HUDOLQJXDJHPUHDOL]DGLYHUVDVIXQo}HV
2DVVXQWRGDVIXQo}HVGDOLQJXDJHPPHUHFHXGROLQJLVWD5RPDQ-D
NREVRQDGHVFULomRPDLVVHJXLGDDWXDOPHQWHGHWHUPLQDGDSRUVHLVIDWRUHV
GHFRPXQLFDomR'HVVHPRGRWHPRVVHLVIXQo}HVGDOLQJXDJHPDSDUWLUGD
33
(VWLOtVWLFD
LPSRUWkQFLDFHQWUDOLGDGHTXHFRQFHGHPRV
(PLVVRUGHVWLQDGRU)XQomR(PRWLYDRX([SUHVVLYD
5HFHSWRUGHVWLQDWiULR)XQomR&RQDWLYDRX$SHODWLYD
5HIHUHQWHFRQWH[WR)XQomR5HIHUHQFLDO,QIRUPDWLYD
&DQDO)XQomR)iWLFD
&yGLJROtQJXD)XQomR0HWDOLQJtVWLFD
0HQVDJHP)XQomR3RpWLFD
6HJXQGRRSUySULR5RPDQ-DNREVRQQXQFDSRGHUHPRVGL]HUTXHQXPD
PHQVDJHPH[LVWHH[FOXVLYDPHQWHXPDGHWHUPLQDGDIXQomR6HULDGHVYLU
tuar e empobrecer a capacidade que a linguagem tem de realizar diversas
IXQo}HVVLPXOWDQHDPHQWHQXPDPHVPDPHQVDJHP0DLVFRUUHWRVHUiIDODU
HPSUHGRPtQLRGHXPDGDVVHLVIXQo}HVDSUHVHQWDGDVTXHSDVVDUHPRVD
H[HPSOLÀFDUVHJXLQWHDRUGHPDFLPD
)81d®2(027,9$28(;35(66,9$
´(RVHQKRUGHTXHWHUUDp"µ
´7HUUD"4XDOWHUUD"(XFiVRXGH/LVERDµ
$FRUGHLVREUHVVDOWDGDGDVFRQWDVjYLGDTXHYLQKDID]HQGRGHVGHR
5RVVLRHSXVPHDSHQVDUQDTXHODDOPDJrPHDDOLHPSOHQRPHWURSROL
WDQR$VIUDVHVVDtGDVGRUXtGRDPDVVDGRGDVYR]HVHGRVUDQJLGRVGDTXHOD
PiTXLQDURODQWHDFHQDYDPPHFRPXPOHQoREUDQFR3RUTXHHXWDPEpP
QmRWHQKRWHUUD3RGHFKDPDUVHWHUUDDLVWRGHSHGUDPLXGLQKDFLPHQWR
YLGUDoDVHDOFDWUmRSRGH"
Maria Judite de Carvalho.
´1mRDGLDQWDQHPWHQWDU0HHVTXHFHU'XUDQWHPXLWRWHPSRHPVXD
YLGD(XYRXYLYHU'HWDOKHVWmRSHTXHQRVGHQyVGRLV6mRFRLVDVPXLWR
JUDQGHVSHmHVTXHFHU(DWRGDKRUDYmRHVWDUSUHVHQWHV9RFrYDLYHU
Roberto Carlos
$ IXQomR HPRWLYD WHP VXD FHQWUDOLGDGH QR HPLVVRU PDUFDGD SHOD

SULPHLUDSHVVRDp SHUPHDGDGH LQWHUMHLo}HV DGMHWLYRV H DGYpUELRVSDUD
UHDOoDUDHPRomRGRHXTXHIDOD
)81d®2&21$7,9$28$3(/$7,9$
´$ORWHULDpXPDVDtGDSDUDDOJXPDFRLVD1DGXUDEDWDOKDGDYLGDHP
TXHHVWDPRVHPSHQKDGRVHVWHpXPFDPLQKRTXHVHDEUH(QmRVHHVTXHoD
JDQKDYRFrWRGRVJDQKDPRVµ
(Linguagem de Jornais)
34
Aula
´4XHEUHRJHOR$6WHOOD%DUURVHVWiODQoDQGRXPDQRYLGDGH¶RQLFH·
RVGRLVQRYRVSURJUDPDVSDUDDVPDLVLQFUtYHLVHVWDo}HVGHHVTXLGRV(8$
6mRYiULDVDVRSo}HVSDUDDSUy[LPD7HPSRUDGDGH,QYHUQR$VSHQ9DLO
4
Park City e Lake Tahoe (Squaw Valley).
( HP WRGRVRVSURJUDPDV YRFr HVXD IDPtOLD FRQWDPFRP XPDLQ
IUDHVWUXWXUDFRPSOHWDTXHLQFOXLKRWpLVUHVWDXUDQWHLQVWUXWRUHVHTXLSD
mentos, transporte.
$6WHOOD%DUURVFXLGDGHWXGRHYRFrGHVFREUHXPDQRYDRSomRSDUD
HVIULDUDFDEHoDVHPHVTXHQWDFRPRSUHoR'rXPJHORQDURWLQDOLJXH
DJRUDPHVPRSDUDD6WHOOD%DUURVµ
2EVHUYHTXHDLQWHQomRSULQFLSDOGHVVHVH[HPSORVGHVVDVPHQVDJHQVp
estimular o receptor a fazer algo, consumir alguma coisa. Para obter sucesso
QHVVHDWRGHFRPXQLFDomRRHPLVVRUORFXWRURXDQXQFLDQWHXWLOL]DYiULRV
UHFXUVRV 3RU H[HPSOR ´4XHEUH R JHORµ GH PRGR DPEtJXR SRGHQGR
VLJQLÀFDU´SDUWLURJHORµRXDSUR[LPDUVHGHDOJXpPGXUDQWHDVIpULDVHGH
IUDVHVHVWLPXODQWHVFRPR´'rXPJHORQDURWLQDµÓLJXHDJRUDPHVPRµ
eFRPXPQRVWH[WRVFRQDWLYRVRHPSUHJRGHYHUERVQRPRGRLPSHUDWLYR
´4XHEUHHGrµHGHYHUERVHSURQRPHVQD2XQD3HVVRDV
)81d®25()(5(1&,$/
´$OJXQVKLVWRULDGRUHVDGPLWHPTXHDQWHVGH&DEUDO$ORQVRGH2MHGD
HPMXQKRGHWHULDGHLWDGRkQFRUDQRGHOWDGRULR$VVXQR5LR*UDQGH
GR1RUWHRDQGDOX]9LFHQWH<DxH]3L]yQDWLQJLXGHMDQHLURGH
um desses pontos: cabo de Santo Agostinho, em Pernambuco, cabo de
6mR5RTXHQR5LR*UDQGHGR1RUWHQDSRQWDGR0XFXULSHQR&HDUiRX
no cabo Orange, na atual Guiana. Em fevereiro do mesmo ano, foi a vez
GH'LHJRGH/HSHGHVHPEDUFDUQRFDERGH6DQWR$JRVWLQKR+iWDPEpP
TXHPGHIHQGD*DJR&RXWLQKRSRUH[HPSORDSUHVHQoDGH%DUWRORPHX
'LDVQXPGHVYLRSHODYROWDGRPDUDRFDPLQKRGDÌQGLDHPµ
´$RUHFROKHUHPDVUHGHVDSyVXPDQRLWHGHD]iIDPDGRLVSHVFDGRUHVGH
9LOD&Km9LODGR&RQGHIRUDP¶FRQWHPSODGRV·FRPXPHVSpFLPHDLQGDQmR
FRPHUFLiYHOQRVUHVWDXUDQWHVGRQRVVRSDtV
7UDWDVHHDTXLDVRSLQL}HVGRVHQWHQGLGRVGLYHUJHPGHXPDWDUWDUXJDRX
FiJDGRTXHSHVDFHUFDGHNJHWHPRGLkPHWURGHSHUWRGHOP$VEDU
WDQDVGRELFKRTXHSRUSRXFRVHJXQGRQDUUDUDPRVSHVFDGRUHVjUHSRUWDJHP
GR¶3-·HVWHYHTXDVHDUHEHQWDUDVUHGHVPHGHPHQWUHDFHQWtPHWURVµ
$LQWHQomRSULQFLSDOGHVVHVWH[WRVpLQIRUPDUROHLWRUVREUHHVWXGRVRX
H[SHULrQFLDGHSHVVRDVRXGHSHVTXLVDGRUHV$OLQJXDJHPpFODUDGLUHWDHSUH
FLVDSURFXUDQGRWUDGX]LUDUHDOLGDGHFRPREMHWLYLGDGH2VWH[WRVFLHQWtÀFRV
MRUQDOtVWLFRVHGLGiWLFRVVmRRVPHOKRUHVH[HPSORVGHVVDIXQomRGDOLQJXDJHP
35
(VWLOtVWLFD
)81d®2)É7,&$
´1RLWHGHDXWyJUDIRVGHWRGRVRVHGLWDGRVRVDOmRDVVLPFKHLR
- Mas que calor!
$LQGDEHPTXHHVWiFLUFXODQGRR¶RQWKHURFNVµ
eRPHXDXWRUSUHIHULGR
1RRULJLQDORXHPWUDGXomR"
- Repara no vestido daquela ali.
1mRpYHVWLGReDPHVPDSRUWUDQVSDUrQFLD
2JORULRVRURPDQFLVWDSRGHULDGL]HUGXDVSDODYUDVDRPLFURIRQHGD5iGLR
Universo.
- Desculpe, mas de momento...
'LJDDVVLPPHVPR4XDOpROLYURTXHHVWiDXWRJUDIDQGR"
(VWHTXHRVHQKRUHVWiYHQGR
eDVXD~OWLPDREUD"
&RPOLFHQoD0HXQRPHp&ULVWLQD
- Cristina com h ou sem h?
- Com ipsilon.
- Interessante. No lugar do primeiro ou do segundo?
'RVGRLVµ
Carlos Drumond de Andrade.
´$O{eR%HWLQKR"
eIDODORJRTXHHVWRXQREDQKR
(XVHL²DOLiVSRUTXHYRFrWRPDEDQKRGHPiVFDUDHFDSD"
Porque ... ei! Estava me espiando. Canalha?!
3RGHVHSHUFHEHUTXHDVSULPHLUDVIDODVGHVVDLQWHUDomRYHUEDOQmRWrP
DLQWHQomRGHGDUQHQKXPDLQIRUPDomRQRYDPDVVRPHQWH´WHVWDURFDQDO
GDFRPXQLFDomRµ$RGL]HU´$O{µ%HWLQKRSUHWHQGHDSHQDVLQIRUPDUTXH
HVWiSURQWRSDUDRXYLUHIDODU6HXLQWHUORFXWRUDRSHUJXQWDU´qR%HWLQKRµ"
GHVHMDDSHQDVVDEHUVHHVWiIDODQGRFRPDSHVVRDFHUWD$SDUWLUGDtHVWmR
FULDGDVDVFRQGLo}HVEiVLFDVSDUDDLQWHUDomRYHUEDOFRPVXFHVVR
1RWH[WRGH'UXPRQGRTXHDFRQWHFHpYHULÀFDUVHRFDQDOIXQFLRQD
RXDWUDLUDDWHQomRGRLQWHUORFXWRU6mRDVGXDVSULQFLSDLVÀQDOLGDGHVGHVVD
IXQomRTXHSHQGHQDWXUDOPHQWHSDUDRFRQWDWRHQWUHSHVVRDV
36
Aula
As Palavras
)81d®20(7$/,1*hÌ67,&$ 4
6mRFRPRXPFULVWDO
as palavras.
Algumas, um punhal,
XPLQFrQGLR
Outras,
orvalho apenas.
6HFUHWDVYrPFKHLDVGHPHPyULD
Inseguras navegam:
barcos ou beijos,
DViJXDVHVWUHPHFHP
Desamparadas, inocentes,
leves.
7HFLGDVVmRGHOX]
HVmRDQRLWH
(PHVPRSiOLGDV
YHUGHVSDUDtVRVOHPEUDPDLQGD
Quem as escuta? Quem

as recolhe assim
desfeitas
nas suas conchas puras?
(XJrQLRGH$QGUDGH
3RGHPRVHQFRQWUDUQXPYHUEHWHGHXPGLFLRQiULRGHOtQJXDSRUWXJXrV
o seguinte item:
4XDGULQKRVVPSO1DUUDomRGHXPDKLVWyULDSRUPHLRGHGHVHQKRVH
OHJHQGDVGLVSRVWRVQXPDVpULHGHTXDGURVKLVWyULDHPTXDGULQKRV
Observem que, tanto primeiro texto quanto o segundo, portanto, am-

ERVWrPDLQWHQomRIXQGDPHQWDOGHHVFODUHFHUPHVPRTXHHPIRUPDGH
SRHPDDROHLWRUGHOtQJXDSRUWXJXHVDRVHQWLGRRXXPVHQWLGRSRVVtYHOGH
´SDODYUDµHGH´TXDGULQKRVµ(VVHHVFODUHFLPHQWRpGDGRXVDQGRSDODYUDV
SDUDHVFODUHFHUSDODYUDV(VWDPRVSRLVGLDQWHGDIXQomRPHWDOLQJtVWLFDD
OtQJXDIDODQGRGHODPHVPD
37
(VWLOtVWLFD
)81d®232e7,&$
2GHOHJDGRSURLELX¶ERPEDV·¶IRJXHWHV·¶EXVFDSpV·
Chamalotes chechoslavos
HQFKHPRFKmR
de chamas rubras.
Chagas de enxofre chinesas
chiam,
choram,
cheiram,
numa chuva de chispas,
chispas de todos os tons,
listas de todas as cores
HQRÀP
sempre um
7FKL²EXP
Jorge de Lima
´1yVQmRVRPRVGRVpFXORGHLQYHQWDUDVSDODYUDV$VSDODYUDVMiIRUDP
LQYHQWDGDV1yVVRPRVGRVpFXORGHLQYHQWDURXWUDYH]DVSDODYUDVTXHMi
IRUDPLQYHQWDGDVµ
Almada Negreiros
$IXQomRSRpWLFDSHQGHSDUDDPHQVDJHPeRFRQMXQWRGHPHQVDJHQV
TXH S}H HP HYLGrQFLD R FDUiWHU SDOSiYHO GRV VLJQRV OLQJtVWLFRV TXH DV
FRPS}HPTXHUHDOL]DPHVWDIXQomR1mRVHGHYHLGHQWLÀFDUH[FOXVLYDPHQWH
FRPDSRHVLD5HIHUHVHDWRGDDDUWHOLWHUiULD
9HMDQRVHJXQGRH[HPSOR²-RUJHGH/LPD²RSRHWDPDLVTXHLQIRU
PDURUHFHSWRUVREUHRVIRJRVGHDUWLItFLRVSURFXUDFKDPDUDDWHQomRSDUD
o modo como foi organizada a mensagem, o texto. Selecionar palavras,
ID]HUWURFDGLOKRVH[SORUDUVRQVHLPDJHQVVXJHULUVLWXDo}HVMRJDVFRPDV
SDODYUDV7XGRLVVRVmRUHFXUVRVSUHVHQWHVQRVGRLVWH[WRVGHSUHGRPLQkQFLD
GDIXQomRSRpWLFD
$(VWLOtVWLFDTXHVHGHEUXoDVREUHRVWH[WRVOLWHUiULRVFRQVLGHUDFRP
PDLVULJRUDVIXQo}HVHPRWLYDRXH[SUHVVLYDHDIXQomRSRpWLFDVHPQHJ
ligenciar as demais
38
Aula
&21&/86®2
1HVWDDXODYLPRVTXHRDWRGHFRPXQLFDUSUHVVXS}HXPDGHWHUPLQDGD
4
LQWHQomRSRUSDUWHGRHPLVVRURIDODQWHRXTXHPHVFUHYH²FRPXQLFDTXHU
SDUDWUDQVPLWLULQIRUPDo}HVRXRUGHQVTXHUSDUDH[SULPLUVHQWLPHQWRVH
DFDGDXPGHVWHVSURSyVLWRVDOLQJXDJHPVHDGDSWDFRQIHULQGRXPYDORU
HVSHFtÀFRDRDWRGHFRPXQLFDomR3RGHPRVSRLVFRQFOXLUTXHDOLQJXDJHP
UHDOL]DGLYHUVDVIXQo}HV
$FRPXQLFDomRVRFLDOVXS}HDH[LVWrQFLDGHDOJRDFRPXQLFDUPDVR
FRQKHFLPHQWRQmRSRGHUiSUHFHGHUDTXLORDWUDYpVGHTXHVHUHDOL]D3RGH
FRQFHEHUVHRFRQKHFLPHQWRVHPFRPXQLFDomRPDVQmRVHSRGHFRQFHEHU
FRPXQLFDomRVHPFRQKHFLPHQWR2UHOHYRTXHKRMHVHGijVIXQomRGD
OLQJXDJHPLQFOXVLYHHPDQiOLVHVWH[WXDLVGHFXQKRHVWLOtVWLFRpXPDGDV
FRQTXLVWDVGDOLQJtVWLFDPRGHUQD
RESUMO
eLQGLVSHQViYHOQDDWXDOLGDGHRHVWXGRGDVIXQo}HVGDOtQJXDWDOFRPR
IRUDPSHQVDGDVSHOROLQJLVWD5RPDQ-DNREVRQ
6HJXQGRHVVHOLQJLVWDGDXPGRVVHLVIDWRUHVGDFRPXQLFDomRFRQ
WH[WRHPLVVRUUHFHSWRUPHQVDJHPFDQDOHFyGLJR²GHWHUPLQDXPDGLIH
UHQWHIXQomRGDOLQJXDJHPRHPLVVRUHQFRQWUDVHGLUHWDPHQWHLPSOLFDGR
QD PHQVDJHP DWUDYpV GD IXQomR HPRWLYD D RULHQWDomR SDUD R UHFHSWRU
UHDOL]DVHQDIXQomRFRQDWLYDRXDSHODWLYDDIXQomRUHIHUHQFLDOFHQWUDVH
QRUHIHUHQWHRXFRQWH[WRDVIRUPDVGHFRQWDWRTXHVHHVWDEHOHFHPDWUDYpV
GRFDQDOLQGLFDPDIXQomRIiWLFDDIXQomRPHWDOLQJtVWLFDS}HHPUHOHYRR
FyGLJRDOtQJXDFHQWUDGDQDPHQVDJHPVLWXDVHDIXQomRSRpWLFD
ATIVIDADES
)DoD XPD OHLWXUD DWHQWD GR FDStWXOR GD REUD GH 5RPDQ -DNREVRQ
´/LQJtVWLFDH&RPXQLFDomRµLQGLFDGDQDELEOLRJUDÀD$SyVHVVDDWLYLGDGH
pesquise dois exemplos (um em verso e um em prosa) para cada uma das
IXQo}HVDTXLDSUHVHQWDGDV0RVWUHHVVDDWLYLGDGHDRVHXWXWRUHSHoDDHOH
RXHODXPDDYDOLDomR
&20(17É5,262%5($6$7,9,'$'(6
1mRHVTXHoDTXHYRFrPHVPRSRGHFULDUVHXVH[HPSORV7RGRVQyV
WHPRV DV FRQGLo}HV FDEDLV GH SURGX]LU WRGD H TXDOTXHU IXQomR GD
linguagem, independente de dotes especiais. Pense e Produza.
39
(VWLOtVWLFD
35Ð;,0$$8/$
&RQFHLWRVGHEDVHHP(VWLOtVWLFD
$872$9$/,$d®2
$SyVDOHLWXUDHDSUHHQVmRGHVWDDXODSUHFLVRWHQWDUFRQVWUXLUXPH[HU
FtFLRVREUHDVIXQo}HVGDOLQJXDJHPHVXEPHWrORjDSUHFLDomRGHPHXWXWRU
Com isso, devo mostrar para mim mesmo o que apreendi desse assunto.
5()(5È1&,$6
YRO6mR3DXOR(GÉWLFD
trix. 1970.
Nova. s/d.
LIMA. Luiz Costa. Teoria da literatura em suas fontes. Rio. Ed. Fran-
cisco Alves. 1983.
1989.
toriais. 1970.
ÉWLFD
40
Aula
CONCEITOS DE BASE EM
(67,/Ë67,&$
META
$SUHVHQWDUDRVDOXQRVRVFRQFHLWRVEiVLFRVFXMRGRPtQLRVHID]QHFHVViULRSDUD
XPDH¿FLrQFLDDERUGDJHPHVWLOtVWLFDGRVWH[WRVOLWHUiULRV
OBJETIVOS
WHUGRPtQLRGHFRQFHLWRVEiVLFRVLQHUHQWHVjGLVFLSOLQDHPTXHVWmRSDUDUHDOL]DU
DQiOLVHVHVWLOtVWLFDVGHWH[WRVOLWHUiULRV
(Fontes: http://www.construirnoticias.com.br)
(VWLOtVWLFD
,1752'8d®2
(VWD DXOD SUHWHQGH DERUGDU FHUWDV QRo}HVEDVH UHODFLRQDGDV FRP D
OLQJXDJHPFXMRGRPtQLRVHID]QHFHVViULRDRHVWXGRGRWH[WRQXPDSHU
VSHFWLYDHVWLOtVWLFD2VSURFHVVRVIRUPDLVTXHFDGDLQGLYtGXRSRGHXWLOL]DU
FRQVFLHQWHRXLQFRQVFLHQWHPHQWHSDUDUHWLUDUHIHLWRVHVSHFLDLVGDOtQJXDTXH
HOHUHFULDDWUDYpVGHVXDVHQXQFLDo}HVSHVVRDVH[LJHPGRDQDOLVWDGHWH[WRV
FRQKHFLPHQWRVHJXURGHXPFRQMXQWRHOHPHQWRVTXHHVWmRSUHVHQWHVRX
em jogo na arquitetura do texto.
$(VWLOtVWLFDGHXPPRGRJHUDOFRQVLVWHQRHVWXGRGRVIHQ{PHQRVGD
H[SUHVVmRGLUHWDPHQWHUHODFLRQDGRVFRPDVHQVLELOLGDGHGHTXHPHVFUHYH
RXIDODTXHSDUDRSDLGD/LQJtVWLFD0RGHUQD)HUGLQDQGGH6DXVVXUH
VLJQLÀFDYD´HIHLWRVGHHVWLORµ&RPRMiWLYHPRVRSRUWXQLGDGHGHOHPEUDU
DQWHULRUPHQWHDVXEVWkQFLDGDH[SUHVVmRSRGHPDQLIHVWDUVHGLYHUVDPHQWH
FRQFUHWL]DQGR R PHVPR FRQWH~GR 2 LQGLYtGXR R IDODQWH TXH XWLOL]D D
linguagem apropria-se dela, conferindo-lhe subjetividade; escolhe de entre
RVPHFDQLVPRVGDOtQJXDDVXEVWkQFLDGDH[SUHVVmRUHODFLRQDGDFRPXP
GHWHUPLQDGRFRQWH[WRHLQGLYLGXDOL]DD$RLQGLYLGXDOL]iODSRGHPUHVXOWDU
HIHLWRVTXHVHLQWHJUDPQRGRPtQLRGRHVWLOR&RPSHWHj(VWLOtVWLFDLQYHQ
WDULDUHHVWXGDUHVVHVHIHLWRVRXUHVSRQViYHLVSRUHOHV
(Fontes: http://lh4.ggpht.com)
42
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Aula
&21&(,726'(%$6((0(67,/Ì67,&$ 5
'(127$d®2&2127$d®2
$GHQRWDomRUHIHUHVHDRVHQWLGRGHEDVHGRVVLJQRVOLQJtVWLFRVLVWR
pGDVSDODYUDVGHXPDGDGDOtQJXD5HSUHVHQWDRVLVWHPDGHFRQYHQo}HV
VHPkQWLFDVDSDUWLUGRTXDODOtQJXDUHDOL]DRXFXPSUHDVXDIXQomRSULPRU
GLDOUHIHUHQFLDOGHFRPXQLFDomRUHSUHVHQWDWLYD$GHQRWDomRGL]UHVSHLWR
DRVHQWLGRHVWiYHOFRQVHQVXDOUHIHUHQFLDOGRVLWHQVOLQJtVWLFRV3URSLFLD
RLQWHUFkPELRGHLGpLDVQXPDFRPXQLGDGHHVWDEHOHFHDIXQomRGHLQWHUD
omRVRFLDOHQWUHRVLQGLYtGXRV$VVLPVHQGRQmRDSUHVHQWDLQWHUHVVHSDUD
D(VWLOtVWLFD
0HOKRUGL]HQGRTXDQGRXPDSDODYUDpWRPDGDQRVHXVHQWLGRXVXDO
QRVHQWLGRGLWR´SUySULRµLVWRpQmRÀJXUDGRQmRPHWDIyULFRQRVHQWLGR
´SULPHLURµTXHGHODQRVGmRRVGLFLRQiULRVTXDQGRpHPSUHJDGDGHWDO
PRGRTXHVLJQLÀTXHDPHVPDFRLVDSDUDPLPHSDUDYRFrOHLWRUDOXQR
FRPRSDUDWRGRVRVPHPEURVGDFRPXQLGDGHVRFLROLQJtVWLFDGHTXHDP
ERVID]HPRVSDUWHHQWmRVHGL]TXHHVVDSDODYUDWHPVHQWLGRGHQRWDWLYR
ou referencial, porque denota, remete ou se refere a um objeto do mundo
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HQWHQGLGDLQGHSHQGHQWHPHQWHGHLQWHUSUHWDo}HVLQGLYLGXDLVLQWHUSUHWDo}HV
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43
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GLVFXUVRHFRQIHUHDHOHRTXHVHFRQVLGHUDR´HVWLORµ
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p D PHVPD SDUD PLP H SDUD YRFr OHLWRUDOXQR FRPR WDOYH] QmR R VHMD
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GDUVHDSDODYUDQmRUHPHWHDXPREMHWRGRPXQGRH[WUDOLQJtVWLFRPDV
VREUHWXGRVXJHUHRXHYRFDDVVRFLDomRRXWUDVLGpLDVGHRUGHPDEVWUDWR
GHQDWXUH]DDIHWLYDRXHPRFLRQDOHQWmRVHGL]TXHVHXYDORULVWRpVHX
VHQWLGRpFRQRWDWLYRRXHIHWLYR
$SDODYUD´FmRµWHPVHQWLGRGHQRWDWLYRTXDQGRGHQRWDDSRQWDGHVLJQD
RDQLPDOGRPpVWLFRPDPtIHURTXDGU~SHGHFDQLQRPDVpSXUDFRQRWDomR
HQRFDVRWDPEpPPHWDIRUL]DomRTXDQGRH[SUHVVDRGHVSUH]RTXHPH
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YrQHODDSHQDVXPREMHWRGHWUDQVDomRFRPHUFLDOUHQGRVD3DUDRMRYHPTXH
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´XPDURVDpXPDURVDpXPDURVDµGRFRQVDELGRYHUVRGH*HUWUXGHV6WHLQ
NORMA E DESVIO
$QRomRGHQRUPDpGLItFLOGHFRQFHEHUFRPULJRUSDUDTXDOTXHUOtQJXD
HDSUySULDOLQJtVWLFDWHPHPSUHHQGLGRHVIRUoRVQRVHQWLGRGHGHOLPLWDU
XPFDPSRWmRYDVWR*URVVRPRGRSRGHPRVGL]HUTXHRTXHVHHQWHQGH
SRUQRUPDRXOtQJXDSDGUmRpDOtQJXDQmRPDUFDGDLVWRpDOtQJXDTXHR
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)DODUVHi HQWmR GH XPD OtQJXD HVWDQGDUGL]DGD IRUoRVDPHQWH OLPLWDGD H
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44
Aula
$QRomRGHQRUPDFRPRpHYLGHQWHOHYDQWDSUREOHPDVTXDQGRVH
LPS}H XPD GHÀQLomR WD[DWLYD 5HFHQWHPHQWH XPD QRYD SHUVSHFWLYD D
QRomRGH´JUDX]HURµGRGLVFXUVRWURX[HXPFRQWULEXWRLPSRUWDQWHSDUDR
5
DSURIXQGDPHQWRGHSUREOHPDVGHHVWLOR'L]VHTXHXPGLVFXUVRpGH´JUDX
]HURµTXDQGRHOHVHDSUHVHQWDGHQWURGDPDLRUQHXWUDOLGDGH(VWDQHXWUDOL
GDGHLPSOLFDXPQtYHOGHOLQJXDJHPFRPXPXPDHVWUXWXUDJUDPDWLFDOGH
EDVHVXMHLWR²SUHGLFDGR²FRPSOHPHQWRPRQRVVHPLDVHQWLGR~QLFRH
H[SOtFLWRGHQRWDomRDFRQRWDomRpLQH[LVWHQWH8PDHQXQFLDomRGRWLSR
´3DXORFRPSURXXPOLYURµUHDOL]DXPGLVFXUVRGHJUDX]HUR
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ORDH[SHULrQFLDOLQJtVWLFDGRVXMHLWRIDODQWHOHYDRDDSHUFHEHUVHGROHTXH
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PRGRDQRomRGHGHVYLRHPUHODomRDXPDQRUPDFRQWULEXLHPJUDQGHSDUWH
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QRUPD Vy p SHQViYHO D SDUWLU GD H[LVWrQFLD GH YiULDV IRUPDV RX PRGRV
GHH[SUHVVmRGHXPDPHVPDLGpLDGHEDVH$ UHDOL]DomR PDLVIUHTHQWH
pFRQVLGHUDGD´QRUPDOµHPUHODomRDRXWUDV0DVDQRUPDQmRSRGHVHU
FRQVLGHUDGDDSHQDVGRSRQWRGHYLVWDTXDQWLWDWLYRRGDIUHTrQFLD(P
termos qualitativos, a norma se expressa ou se evidencia conforme o valor de
EDVHTXHXPDGDGDIRUPDOLQJtVWLFDWHPQRVLVWHPDGDOtQJXD$OLQJXDJHP
SRpWLFDGHVGH$ULVWyWHOHVDWpKRMHIRLFRQVLGHUDGDXPGHVYLR
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IDIOLETO
6LJQLÀFDRFRQMXQWRGHYDULHGDGHVLQGLYLGXDLVGHXPVXMHLWRTXHXWLOL]D
XPDOtQJXDeFRQVWLWXtGRSHORTXHpHVSHFtÀFRGDIDODGHXPGHWHUPLQDGR
ORFXWRUDRQtYHOI{QLFRRXOH[LFDO
(VVDVSDUWLFXODULGDGHVQmRSRGHPVHUWmRQXPHURVDVQHPWmRGLVWDQWHV
GRXVRQRUPDOTXHSUHMXGLTXHPRXSHUWXUEHPDLQWHUFRPXQLFDomR2LGLR
OHWRFRPRXVRSHVVRDOGHXPDOtQJXDVHRS}HDGLDOHWRTXHpXVRFROHWLYR
2LGLROHWRpREMHWRGHSUHRFXSDomRGD(VWLOtVWLFD
45
(VWLOtVWLFD
&21&/86®2
Como acabamos de acompanhar, esta aula focaliza alguns conceitos
GHLPSRUWkQFLDIXQGDPHQWDOSDUDDQiOLVHHSHVTXLVDHVWLOtVWLFDV2GRPtQLR
GHVVHVFRQFHLWRVFRQWULEXLSDUDDHÀFLrQFLDGRDOXQRQRWUDEDOKRGHLQWHU
SUHWDomRHGHDERUGDJHPVHPkQWLFRHVWLOtVWLFDGHWH[WRVOLWHUiULRV
8PGRVFRQFHLWRVTXHPHUHFHPDLRUGHVWDTXHHDFRQRWDomRSRUWUDWDUVH
GHXPDDWLWXGHHPRWLYDRXH[SUHVVLYDGDTXHOHTXHIDODRXHVFUHYHHPUHODomR
DRVVLJQRVSDODYUDVOLQJtVWLFRV$VVLPDRODGRGDVLJQLÀFDomRHVWULWDGH
XPDSDODYUDVHXPVLJQROLQJtVWLFRVHPSUHDEVWUDWDRHPTXDOTXHUJUDX
TXHGHYHHPSULQFtSLRVHUDPHVPDSDUDWRGRVDVXJHVWmRRVYDORUHVVXJ
HVWLYRVWUD]SDUDHQTXDGUiODFRPSOLFiODHQULTXHFrODLGpLDVVHFXQGiULDV
RXVXSOHPHQWDUHVLPDJHQVGHSRUPHQRURXLPSUHVV}HVGLYHUVDV
2FRQFHLWRGHGHVYLRTXHHYRFDRFRQFHLWRGHQRUPDGHSDGUmR
HP(VWLOtVWLFDRFXSDXPSDSHOVLJQLÀFDWLYR0DUFDDGLIHUHQoDOLQJtVWLFD
patente entre: um elemento de texto e o texto em que ele se insere; um
WH[WRHRXWURVWH[WRVXPWH[WRHRXVRXPWH[WRHRFyGLJRGDOtQJXD
(VVDGLIHUHQoDpFRQVLGHUDGDEDVLODUHSHUWLQHQWHSDUDDDQiOLVHGRHVWLOR
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FDUDFWHUL]DomRGRHVWLORGHXPHVFULWRURXIDODQWHXPDTXHpFRQVLGHUDGR
²RLGLROHWR²RFRQMXQWRGDVYDULHGDGHVLQGLYLGXDLVSUySULDVGHXPVXMHLWR
TXHXWLOL]HXPDOtQJXD
RESUMO
$SULQFtSLRVmRWUrVRVFRQFHLWRVGHEDVHHP(VWLOtVWLFDVHPQRPR
PHQWRFRQVLGHUDUDQRomRGHHVWLORDFRQRWDomRRGHVYLRHRLGLROHWR
$FRQRWDomRpDSDUWHGRVHQWLGRGHXPDSDODYUDTXHQmRFRUUHVSRQGH
j VLJQLÀFDomR SURSULDPHQWH GLWD RX VHMD DR YDORU UHSUHVHQWDWLYR FRPR
VtPERORGHXPHOHPHQWRGRPXQGRELRVVRFLDOPDVFRUUHVSRQGHjFDSD
FLGDGHGDSDODYUDGHIXQFLRQDUSDUDXPDPDQLIHVWDomRSVtTXLFDGHYDORUHV
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VHVLWXDQDiUHDGD(VWLOtVWLFD
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YLRODomRjVOHLVTXHUHJHPRIXQFLRQDPHQWRGRFRQWH[WR$VVLPQRWH[WR
RGHVYLRpDTXLORTXHSDUDROHLWRUSDUHFHLQHVSHUDGRRXFRHUHQWHHPUHOD
omRDRFRQWH[WR+iGHVYLRVOLQJtVWLFRVDRQtYHOI{QLFRPyUÀFROH[LFDO
VLQWiWLFRHVHPkQWLFR
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YLGXDOGDOtQJXDSRUXPIDODQWHRXSRUXPHVFULWRU1HVVHXVRLQGLYLGXDO
GD OtQJXD SRGHP DSDUHFHU WUDoRV OLQJtVWLFRV TXH GLYHUJHP GD QRUPD
SDGUmR0XLWDVYH]HVVmRXVRVLQWHQFLRQDLVHPDUFDPRHVWLORLQGLYLGXDO
de um falante/escritor.
46
Aula
ATIVIDADES
3UHVWHPEHPDDWHQomRDRWH[WRDEDL[R
5
´'HL[DUpJUDQGH]DSHGLUpVXMHLomRGHL[DUpGHVSUH]DUSHGLUHID]HUVH
GHVSUH]DGRGHL[DUpDEULUDVPmRVSUySULDVSHGLUpEHLMDUDVDOKHLDVGHL[DU
pFRPSUDUVHSRUTXHTXHPGHL[DOLYUDVHSHGLUpYHQGHUVHSRUTXHTXHP
SHGHFDWLYDVHµ
3H$QW{QLR9LHLUD
(ODERUHPXPDVXFLQWDELRJUDÀDGR3DGUH$QW{QLR9LHLUDGHVWDFDQGRD
VXDLPSRUWkQFLDFRPRHVFULWRUSDUDDOtQJXDSRUWXJXHVD
3URFXUHPH[SORUDUGHVFREULUR Pi[LPRGRVYDORUHVFRQRWDWLYRV GR
WH[WRDFLPDFHQWUDQGRHVSHFLDODWHQomRQRVYHUERV'(,;$5H3(',5
LVWRpTXDLVVHQWLGRVRXYDORUHVFRQRWDWLYRVGHVVHVYHUERVQHVVHWH[WR"
35Ð;,0$$8/$
O conceito de Estilo: abordagens.
$872$9$/,$d®2
(VWDDXODPHHVFODUHFHXEDVWDQWHVREUHRVYDORUHVVHPkQWLFRVTXHXPD
GDGDSDODYUDSRGHDVVXPLUHPVHXVFRQWH[WRVGHUHDOL]DomR8PH[HPSOR
GHVVDPLQKDFRPSUHHQVmRGHYREXVFDUHPDXWRUHVGDOLWHUDWXUDEUDVLOHLUD
a exemplo de Manuel Bandeira. Para demonstrar essa meu entendimento,
RSRHPD´3URIXQGDPHQWHµGH%DQGHLUDFRQWpPXPGRVPDLVH[SUHVVL
YRVH[HPSORVGHFRQRWDomR3URFXUHPHVVHSRHPDHPRVWUHPDRWXWRUR
exemplo referido de linguagem conotativa.
47
Aula
O CONCEITO DE ESTILO:
ABORDAGENS
META
$SUHVHQWDURVHOHPHQWRVTXHFRQVWLWXHPRHVWLORFRPRIHQ{PHQROLQJtVWLFR
individual de dado autor.
OBJETIVOS
FDUDFWHUL]DUDSDUWLUGHWH[WRVLQGLFDGRVWUDoRVOLQJtVWLFRVSRVVtYHLVTXH
GH¿QHPRHVWLORGHGDGRDXWRU
2OLQJXLVWDIUDQFrV*HRJHV0RXQLQUHXQLDVGHÀQLo}HVGHHVWLORHPWUrVJUXSRVMiTXH
YiULRVOLQJLVWDVWDPEpPWrPSURFXUDGRFODVVLÀFiODVGHDFRUGRFRPRVFULWpULRVTXHHODVVH
IXQGDPHQWDP6mRHODVDVTXHFRQVLGHUDPHVWLORFRPR¶GHVYLRGDQRUPD·DVTXHRMXOJDP
FRPR¶HODERUDomR·HDVTXHRHQWHQGHPFRPR¶FRQRWDomR·
)RQWHVKWWSWUDQVODWRUX\ÀOHVZRUGSUHVVFRP
(VWLOtVWLFD
,1752'8d®2
$OtQJXDSRUWXJXHVDWHPXPDH[SUHVVmRSUySULDUHVXOWDQWHGDVFRP
ELQDo}HVIRQpWLFDVPRUIROyJLFDVVLQWiWLFDVHVHPkQWLFDVXWLOL]DGDVSHORV
VXMHLWRVIDODQWHV$(VWLOtVWLFDGDOtQJXDSRUWXJXHVDWHPSRUIXQomRLQYHQ
WDULDUHHVWXGDURVHIHLWRVGHHVWLORSURGX]LGRVHPFDGDWLSRGHFRPELQDomR
(VVHHVWXGRVHUiREMHWLYDGRQRVHQWLGRGHGHPDUFDURVGHVYLRVH[LVWHQWHV
em determinados empregos de categorias ou classes gramaticais (artigo,
SURQRPHV YHUERV DGYpUELRVH RXWUDVGH YHULÀFDU DV UHODo}HVHQWUH RV
FRQVWLWXLQWHVGDIUDVHFRQFRUGkQFLDHVWUXWXUDIUiVWLFDGHDYDOLDUDVSRWHQ
FLDOLGDGHVOH[LFDLVGDOtQJXDYRFDEXOiULRVHVSHFLDLVIRUPDomRGHSDODYUDV
QHRORJLVPRVDUFDtVPRVSROLVVHPLDVHRXWUDV
$SDODYUD´HVWLORµVHUHIHULDDXPREMHWRSRQWLDJXGRXWLOL]DGR
pelos antigos gregos e romanos para escrever em tabuinhas
HQFHUDGDV3RUXPSURFHVVRVHPkQWLFRPXLWRFRPXPRQRPH
que antigamente designava o instrumento com que se escrevia
SDVVRXDGHVLJQDUDSUySULDHVFULWDHPRGRGHHVFUHYHU
(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
GHGHPRQVWUDUTXHDOtQJXDpXPVLVWHPDRUJDQL]DGRGHVLJQRVOLQJtVWL
FRVLPSRQGRXPOp[LFRHGHWHUPLQDGDVQRUPDVJUDPDWLFDLV1RHQWDQWR
RLQGLYtGXRTXHDXWLOL]DVHOHFLRQDRVVLJQRVSDODYUDVGHQWURGDVVpULHV
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
UHJXODUQRUPDOGDOLQJXDJHP´'HÀQLGRFRPRGHVYLRRHVWLORQmRpXPD
categoria que possa ser regida pela lei do tudo ou nada. Linguagem natural
HOLQJXDJHPGHDUWHVmRGRLVSyORVHQWUHRVTXDLVVHHVWDEHOHFHPDGLVWkQFLD
YDULiYHOGHXPRXGHRXWURDVSURGXo}HVHVFULWDVGHFDUiWHUDIHWLYRµ-HDQ
&RKHQ3RUHVWDUD]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
SRUHVWLORRVWUDoRVTXHFRQIHUHPXPFDUiWHUGLVWLQWLYRDXPFRQMXQWRGH
IUDVHVSURQXQFLDGDVRXHVFULWDV$QRomRGHHVWLORDVVHPHOKDVHSRULVVR
jGHLQGLYLGXDOLGDGH
Assim sendo, temos o estilo como escolha: escolha feita pelos falan-
WHVHPWRGRVRVFRPSRUWDPHQWRVGHXVRGDOtQJXDLVWRpFRPRLGLROHWR
FRQFHELGRFRPRRVLVWHPDGHH[SUHVVmRGHXPLQGLYtGXRLVRODGR2HVWLOR
FRPRGHVYLRTXHLPSOLFDXPDUHODomRFRPXPPRGHORFRPXPSDGUmR
FRPXPDQRUPD2HVWLORFRPRHODERUDomRFRPXPDWpFQLFDTXHUHVXOWD
QDIXQomRSRpWLFDWDOFRPRDSUHVHQWDGDSRU5RPDQ-DNREVRQ
3DUDXP PDLRU DSURIXQGDPHQWR GHVVDVTXHVW}HV YDPRV SRVWDUXP
WH[WR HODERUDGR SHOD SURIHVVRUD 1LOFH 6DQW·$QQD VREUH D YDULHGDGH GR
conceito de estilo:
´$SDODYUD¶HVWLOR·TXHKRMHVHDSOLFDDWXGRTXHSRVVDDSUHVHQWDU
FDUDFWHUtVWLFDV SDUWLFXODUHV GDV FRLVDV PDLV EDQDLV H FRQFUHWDV jV
PDLVDOWDVFULDo}HVDUWtVWLFDVWHPXPDRULJHPPRGHVWD'HVLJQDYD
HPODWLP²¶VWLOXV·²XPLQVWUXPHQWRSRQWLDJXGRXVDGRSHORVDQWLJRV
51
(VWLOtVWLFD
SDUDHVFUHYHUVREUHWDEXLQKDVHQFHUDGDVHGDtSDVVRXDGHVLJQDUD
SUySULDHVFULWDHRPRGRGHHVFUHYHU
1RGRPtQLRGDOLQJXDJHPWrPVLGRWmRQXPHURVDVDVGHÀQLo}HVGH
HVWLORTXHYiULRV OLQJLVWDVWrPSURFXUDGRFODVVLÀFiODV GHDFRUGR
FRP RV FULWpULRV HP TXH HODV VH IXQGDPHQWDP $VVLP *HRUJHV
0RXQLQ,QWURGXomRj/LQJtVWLFDUH~QHDVGHÀQLo}HVGHHVWLORHP
WUrVJUXSRVDVTXHFRQVLGHUDPHVWLORFRPR¶GHVYLRGDQRUPD·
DVTXHRMXOJDPFRPR¶HODERUDomR·DVTXHRHQWHQGHPFRPR
¶FRQRWDomR·1LOV(ULN(QNYLVW/LQJtVWLFDHHVWLORDVGLVWULEXLHP
VHLVJUXSRVHVWLORFRPR¶DGLomR·HQYROWyULRGRSHQVDPHQWR
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validez, e muitas delas com pontos comuns, sejam lembradas estas
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que certo poema nos envolve e nos possui e nos toca de determinada
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comum, o nome que antigamente designava o instrumento com que se
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personalidade indelevelmente assinalada no que produz.
RESUMO
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ATIVIDADES
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6
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Ed. Cultrix. 1974.
35Ð;,0$$8/$
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tendo discutir com o meu tutor as formas de expressividade e de criatividade
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55
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GARCIA. Othon M. &RPXQLFDomRHPSURVDPRGHUQD. Rio. FGV. 1974.

trix. 1970.
Nova. s/d.
cisco Alves. 1983.
1989.
02,6e60$66$8'. 'LFLRQiULRGHWHUPRVOLWHUiULRV6mR3DXOR(G&XOWUL[
1974.
toriais. 1970.
MURRY. J. MIDDLETON. O problema do estilo. Rio de Janeiro. Liv.
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1981.
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(Fontes: http://www.intranet.mp.se.gov.br)
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Poema
Ora, se deu que chegou

8
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uma negra bonitinha
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- Vai forrar a minha cama,

pentear os meus cabelos,
vem ajudar a tirar
a minha roupa, Fulo!
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que estou com sono, Fulo!
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que vivia num castelo
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com os peixinhos do mar.
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que nosso Senhor me mandou?
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........................................................................................................................
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75
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O desenvolvimento se faz em duas etapas: a primeira etapa vai do

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....................................................................................................... A segunda
etapa vai do verso.......... a ........................... e apresenta o seguinte con-
WH~GR
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..................................................................................................................................
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um insinuante fecho do poema.
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ente?........................................................................................................................
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Que quer dizer, com este recurso, traduzir o autor?.............................................

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76
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b) O bloco do desenvolvimento
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...................................................................................................................................
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Observe, cuidadosamente, os componentes da fala do narrador, e nos in-

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No contato com o grupo social dominador, a cultura africana se revela, entre

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do poema podem ser apreendidas.
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social ..................................................................................................................
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sim, em outra, .................................................. que versos comprovam este
fato?.......................... E como comprovam?.......................................................
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77
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tivas sugeridas pelo verso.......................................................................................
O registro de castigo se inicia por uma frase narrativa que informa sobre a
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............... Num segundo momento, ele participa como ...................................
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foricamente assinalada por .................................................................................
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WLÀTXHR
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Encontra-se no poema um especial despojamento formal, realizado por uma

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nos seguintes planos:
/p[LFR
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80
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Ver aula 7.
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1989.
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1981.
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DSUHFLDURVYDORUHVVHPkQWLFRVTXHDOtQJXDSRUWXJXHVDSRGHH[SUHVVDU
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(Fontes: http://linguaportuguesa.uol.com.br)
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ras de linguagem que, tradicionalmente, foram denominadas de tropos.
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58
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metaplasmos podem ser:
325$',d®2325620$325
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c) Haplologia: consiste no desaparecimento de fonemas (ou de grafemas)
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59
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perfactu > perfeito;
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aparentando ser um erro, mas pode ser considerada como verdadeira do
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Olavo Bilac.
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por Castro Alves.

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7
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HPUHGRUGRVELFKRVPRULEXQGRVµ*5DPRVDWHQomRYHMDTXH´QHJURµ
QDYHUGDGHpTXDOLÀFDWLYRGH´XUXEXVµ
S3URVRSRSpLDSHUVRQLÀFDomRFRQVLVWHHPVHGDUYLGDDRVVHUHVLQDQLPD
GRVÀFWtFLRVDXVHQWHVRXPRUWRV([HPSOR´8PDLOXVmRJHPLDHPFDGD
FDQWR&KRUDYDHPFDGDFDQWRXPDVDXGDGHµ/XL]*XLPDUmHV-U
T(QiODJHWUDWDVHGRHPSUHJRGHSDODYUDVFRPFDWHJRULDJUDPDWLFDOGLIH
UHQWHGDTXHODTXHOKHpSUySULD([HPSOR´0DLVYDOHXPWRPDTXHGRLVWH
GDUHLµSURYpUELR
U$OHJRULDFRQVLVWHHPSHUVRQLÀFDUVHUHVFRLVDVRXLGpLDVDEVWUDWDVDSD
UHFHQGRGRWDGDVGHTXDOLGDGHV KXPDQDV([HPSOR´$ MXVWLoDSXQLUiRV
IDOWRVRVµ
Texto:
$R'HXV.XP8QLN$VVmR
Eis-me prostrado a vossos peses

4XHVHQGRWDQWRVWRGRSOXUDOpSRXFR
Deglutindo gratamente vossas fezes
YDLVHWRUQDQGRVmRTXHPHUDORXFR
QHPSUHFLVDFDEHoDSRLVDERFD
QDVFHGLUHWDPHQWHGRSHVFRoR
e em vosso esplendor de auriquilate
faz sol o que era osso.
*HQXFLUFXQÁH[DGRYRVDGRXUR
YRVDPRXURDYyVVRQRXUR
GHXVGDEX]LQD GDPRUÀQD
TXHPHHVYD]LDLVHQFKHQGRGHÁDWR
HÁDXWDHIDQRSHLDHIRQHHIHQR
9RVVDSiODYUDRFKmRGHPLQKDFDUQH
HSODQWDEHWHUUDERVEDORXoDQWHV
de intenso carneiral belibalentes
em que disperso espremo e desexprimo
o que em mim aspirava a ser eumano.
Salve, deus compato

FLQWXUmRGD7HUUD
FDOoDFLUFXODU
unissex, rex
63
(VWLOtVWLFD
do lugarfalar
comum.
6DOYHPHLRÀP
GHÀQULQÀQÀP
plurimelodia
distriburrida no planeta.
1RVVDJRHODVHPSUHVHPSUHVHPSUHHVFmRFDUDGD
engole elefantes
HQJROHFDWiVWURIHV
WmRQDWXUDOPHQWHFRPRVH
E PEDE MAIS.
A carne pisoteada de cavalos reclama

pisaduras mais.
A vontade sem vontade encrespa-se exige
contravontades mais.
E se consome no consumo.
Senhor dos lares

e lupanares
Senhor dos projetos
HGRSUpDOIDEHWR
6HQKRUGRySLR
e do cor-no-copo
Senhor! Senhor!
De nosso poema fazei uma dor
TXHQRVLUPDQH0DQDXVH%LUPkQLD
SDYmRH3DYRQH
pavio e povo
SDJDUpH3DQ
H5p'y0L)i6RO
apante salmoura
Q·DOPDFDomRSRGULGR
7mRQDWXUDOPHQWHFRPRVH
como ni
ou niente.
Se estou doente, devo estar doentes.

Se estou sozinho, devo estar desertos.
Se estou alegre, devo estar ruidosos.
Se estou morrendo, devo estar morrendos?
64
Aula
Cumpro. Sou
geral.
eSRXFR"
7
Multi
versal.
eQDGD
Sou
al.
Dorme na tumba a cultura oral.

Era uma vez a cultura visual.
Quando que vem a cultura anal
na recomposta aldeia tribal?
2PHLRpDPHQVDJHP
2PHLRpDPDVVDJHP
2PHLRpDPL[DJHP
2PHLRpDPLFDJHP
$PHQVDJHPpPHLR
de chegar ao Meio.
2PHLRpRVHU
em lugar dos seres,
isento de lugar
dispensando meios
GHÁXRUHVFHU
Salve, Meio. Salve, Melo.

$PDVVDYRVVD~GD
em forma de passa.
1mRTXHURFDODUMXQWRDRDPLJR
1mRTXHURGRUPLUDEUDoDGR
Ao velho amor.
1mRTXHUROHUDVHXODGR
1mRTXHURIDODU
a minha palavra
a nossa palavra.
1mRTXHURDVVRYLDU
DFDQomRSDUFHULD
de passarinho/aragem.
Quero komunikar
HPFyGLJR
GHVFRGLÀFDU
UHFRGLÀFDU
eletronicamente.
65
(VWLOtVWLFD
Se komuniko
que amorico
me sentimultiplico
scotch no bico
paparico
rio rico
swalpico
de prazer meu penico
HPYRVVRKRQRUy'HXVNRPXQLNmR
Farto de komunikar
na pequenina taba
VXERDRFpXHPIRJXHWH
DWpDSULPDVROLGmR
levando o som
DFRURSDYLOKmR
GDNRPXQLNkQVLD
LQWHUSODQHWiULDLQWHUSDWHWDO
Convoco os astros
Para o coquetel
os mundos esparsos
SDUDDFRQYHQomR
DLQRFrQFLDGDVJDOi[LDV
SDUDDQRLWtFLD
a nivola
o show de bala
o sexpudim
o blablabum.
(TXDQGRQmRUHVWDU
RPtQLPRSRQWR
a ser detectado
a ser invadido
a ser consumido
e todos os seres
se atomizarem na supermensagem
GRVXSHUYiFXR
e todas as coisas
se apagarem no circuito global
e o Meio
GHL[DUGHVHU)LPHFKHJDUDRÀP
Senhor! Senhor!
66
Aula
TXHPYRVVDOYDUi
GHYRVVDSUySULDGHYRVVDWHUUtELO
estremendona
7
LQNRPXQLNKDVVmR"
Carlos Drummond de Andrade.
&21&/86®2
9LPRVDRORQJRGHVWDDXODTXHDOtQJXDSRVVXLUHFXUVRVH[SUHVVLYRVHj
GLVSRVLomRGRHVFULWRUOHLWRU0DVHVVHSRGHUGHH[SUHVVLYLGDGHGHFRUUHGD
PDQHLUDFRPRRXVXiULRGDOtQJXDDXWLOL]DHPIXQomRGHVXDÀQDOLGDGH1R
FRWLGLDQRID]HPRVXVRGDOtQJXDFRPXPDÀQDOLGDGHSUiWLFDLVWRpXWLOLWiULD
YLVDQGRDSHQDVDRDWRGHFRPXQLFDUXPDLGpLDXPIDWR(VVHVHULDHQWmR
RXVRJHUDOGDOtQJXD1RHQWDQWRpSUHFLVRFKDPDUDDWHQomRSDUDRXVR
TXHGDOtQJXDID]HPFHUWRVHVFULWRUHVTXHSURFXUDPPDUFiODGHPDQHLUD
especial, tornando-a mais expressiva. Essa expressividade decorre, quase
VHPSUHGRXVRGDOLQJXDJHPQDSHUVSHFWLYDGDFRQRWDomR$VVLPDOtQJXD
VHDIDVWDGDPDQHLUDFRPXPGHH[SUHVVmRSDUDVHPDQLIHVWDUSRUWDGRUDGH
GHVYLRVRTXHFRQVWLWXLHP(VWLOtVWLFDRHVWLORHHVWHUHFRUUHSDUDWDOj
DPSODSRVVLELOLGDGHGDVÀJXUDVGHOLQJXDJHP
RESUMO
2DVVXQWRGHVWDDXODVHFRQFHQWURXQDVÀJXUDVGHHVWLORPDLVSUHFLVD
PHQWHHPDOJXPDVGHODVDVFRQVLGHUDGDVPDLVIUHTHQWHVHPDLVFRPXQV
'HVVH PRGR DSUHVHQWDPRV XPD FODVVLÀFDomR JHUDO GLVWULEXtGD HP WUrV
GLUHo}HVRV PHWDSODVPRV DV PHWDWD[HV H RV PHWDVVHPHPRV $VVLP QR
SULPHLURFDVR²RVPHWDSODVPRV²WHPRVDVÀJXUDVTXHLQFLGHPVREUHR
DVSHFWRVRQRURRXJUiÀFRGDVSDODYUDVFRPRYLPRVQDFODVVLÀFDomRDSUH
sentada no decorrer desta aula; no segundo caso: as metataxes referem-se
jVÀJXUDVTXHDIHWDPDHVWUXWXUDIUiVLFDGRGLVFXUVR$TXLWDPEpPVHOHFLR
namos algumas como exemplo; e o terceiro caso remete aos metassememas
TXHVmRÀJXUDV TXHDWLQJHPDVFDUDFWHUtVWLFDVVrPLFDVLVWRRVWUDoRVGH
sentido, do discurso oral ou escrito, como mostramos acima.
67
(VWLOtVWLFD
ATIVIDADES
(VWDDSUHVHQWDDOJXPDVDWLYLGDGHVTXHYmRUHTXHUHUSHVTXLVDGRVDOXQRV
HDFRPSDQKDPHQWRGRVWXWRUHVQmRVySHODH[WHQVmRGRTXHVHYDLVROLFLWDU
PDVWDPEpPSRUXPDFHUWDFRPSOH[LGDGHGRWHPD9DPRVOiDSHVTXLVHP
HPJUDPiWLFDVKLVWyULFDVFRPRDGH,VPDHO/LPD&RXWLQKRPDLVXPH[
HPSORSDUDFDGDFDVRGHPHWDSODVPR)DoDPWDPEpPXPOHYDQWDPHQWR
PDLVXPH[HPSORGDVÀJXUDVPHWDWD[HVHPHWDVVHPHPDV2UJDQL]HPXPD
HVSpFLHGHJORVViULRPDLVRXPHQRVFRPSOHWRHGHDFRUGRFRPDUHODomR
GHÀJXUDVH[SRVWDQHVWDDXODEIDoDPXPDOHLWXUDFXLGDGRVDFRQVXOWDQGR
GLFLRQiULRHJUDPiWLFDVGHWRGRRSRHPDGH'UXPPRQGDSUHVHQWDGRDFLPD
$R'HXV.XP8QLN$VVmRGHSRLVIDoDPXPOHYDQWDPHQWRFULWHULRVR
GHÀJXUDVGHPHWDSODVPRVPHWDWD[HVHPHWDVVHPHPDVH[SOLFDQGRLQWHU
SUHWDQGRFDGDFDVRFUHÁLWDPVREUHDPHQVDJHPGRSRHPDTXDORVHX
WHPD"6HXREMHWLYR"6XDLQWHQomR"GFRQVXOWHPSHVTXLVHPVREUHDÀJXUD
´,521,$µHYHMDPFRPRHVVHUHFXUVRGHHVWLORDLURQLDGHDSUHVHQWDQR
SRHPDHPTXHVWmR
35Ð;,0$$8/$
(VWLOtVWLFDH[HUFtFLRVSUiWLFRV²DSOLFDo}HV,
$WHQomRDVWUrV~OWLPDVDXODVGH(VWLOtVWLFDVmRDWLYLGDGHVSUiWLFDVVREUH
WH[WRVOLWHUiULRVSURSRVWDVGHDQiOLVHHVWLOtVWLFRVHPkQWLFDGHWH[WRVGDtD
VXDQDWXUH]DGLIHUHQWHLVWRpQmRVHWUDWDGHDXODFRQYHQFLRQDOHPWHUPRV
GHFRQFOXVmRGHUHVXPRHGHRXWUDVIRUPDOLGDGHVTXHVHSUHVWDPPHOKRU
para aulas expositivas.
5()(5È1&,$6
YRO6mR3DXOR(GÉWLFD
trix. 1970.
68
Aula

Nova. s/d.
7
cisco Alves. 1983.
1989.
1974.
toriais. 1970.
$FDGrPLFD
ÉWLFD
1981.
69
Aula
(67,/Ë67,&$(;(5&Ë&,2635È7,&26
±$3/,&$d®(6,,
META
OBJETIVOS
'HYHUmRGHPRQVWUDUFRPSUHHQVmRVREUHRFDPSRGHLQWHUHVVHGD(VWLOtVWLFDH
VXDVSURSRVWDVGHDQiOLVHGDOLQJXDJHPFRGL¿FDGDHPWH[WRVOLWHUiULRV
(Fontes: http://1.bp.blogspot.com)
(VWLOtVWLFD
,1752'8d®2
&RPRDDQWHULRUHVWDDXODVHFRQVWLWXLGHXPDDQiOLVHHVWLOtVWLFDDPSOLDGD
GHUHFRUUrQFLDVjOLQJtVWLFDHjVHPkQWLFD7RGDDQRVVDUHÁH[mRDJRUDYDL
LQFLGLUVREUHRSRHPD´6RODXGRGHVDPDGRµGH0DQXHO%DQGHLUD
0DQXHO&DUQHLURGH6RXVD%DQGHLUD)LOKR5HFLIHGHDEULOGH³5LRGH
-DQHLURGHRXWXEURGHIRLXPSRHWDFUtWLFROLWHUiULRHGHDUWHSURIHVVRU
de literatura e tradutor brasileiro.
(Fontes: http://www.3ammagazine.com)
84
(VWLOtVWLFDH[HUFtFLRVSUiWLFRV±DSOLFDo}HV,,
Aula
Solau do Desamado
Donzela, deixa tua aia,

9
Tem pena de meu penar.
-iGDVDVVRPDGDVUDLD
2FODUmRGLOXFXODU
E o meu olha se desmaia
Transido de te buscar.
Sai desse ninho de alfaia,
&pXSXURGHWHXVRQKDU
9HVWHRTXLPmRGHFDPEUDLD
Mostra-te ao fulgor lunar.
'iTXHXPDVyYH]GHVFDLD
'RHUPREDOFmRGRVRODU
Como uma ardente azagaia
P teu fuzilante olhar.
Donzela, deixa tua aia,

Sou mancebo de alta laia:

Tem pena de meu penar...
Sou mancebo de alta laia:

1mRWUDEDOKRHVHLMXVWDU
Relincham em minha baia
+DFDQpLDVGHLQYHMDU
Tenho lacaio e lacaia.
Como um boi ao meu jantar!
&DVWHOmGRQRVDHJDLD
Acode ao meu suspirar.
Antes que a luz se me esvaia...

Vou-me ao golfo de Biscaia

Como um bastardo afogar.
Minhalma blasfema e guaia,
Minhalma que vais danar,
Dona Olaia, dona Olaia!
85
(VWLOtVWLFD
0HXDOD~GHGHIDLD
6ROXoDPDLVGHYDJDU
Manuel Bandeira.
$WHQomRSDUDRVVHJXLQWHVFRPHQWiULRV
2 XQLYHUVRYRFDEXODU GH XP DXWRU VXD DPSOLWXGHH VXD DGHTXDomR

DRWHPDVHUiHPEDVDGRQDVXDH[SHULrQFLDGHYLGDQRVHXFRQKHFLPHQWR
OLQJtVWLFRH QD VHQVLELOLGDGH SDUD RV LQ~PHURV VHQWLGRV H XVRV GH XPD
palavra.
0DQXHO%DQGHLUDHPVXDSRHVLDGHPRQVWUDHVWHGRPtQLRGROp[LFRQD
IRUPDGHHPSUHJDUDVSDODYUDVDPSOLDQGROKHVRVVHQWLGRVPRGLÀFDQGR
VHXFRQWH[WRKDELWXDOWUDQVIRUPDQGRHPSRpWLFRVWHUPRVFRUULTXHLURVH
HPIDPLOLDUHVWHUPRVHUXGLWRVHSRXFRIUHTHQWHV
4XHVW}HVVREUHRSRHPD
,GHQWLÀTXH RWHPDGRSRHPDDLGHQWLÀFDomR SUHFLVDGRWHPDp

IXQGDPHQWDOSDUDDDQiOLVHTXHVHTXHURSHUDU2EVHUYHFRPPXLWDDWHQ
omRRMRJRSDVVDGRSUHVHQWHQRSRHPD(VVHDVSHFWRpGHFLVLYRSDUDVH
FKHJDUDRWHPD1mRVHSUHQGDjLGpLDGH´DPRUQmRFRUUHVSRQGLGRµLVWR
QmRpRWHPDpDSHQDVXPSUHWH[WRSDUDH[SORUDURXWURWHPD
'HVWDTXHDVPDUFDVOLQJtVWLFDVTXHGHQRWDPRWHPDGRSRHPD+i
YiULRVYRFiEXORVTXHQRVOHYDPDRFRQWH[WRGRWHPD
03 - O poema oscila em prospectiva e retrospectiva. Apreenda as palavras

que apelam para o passado e as que remetem para o futuro. Discorra sobre
a naturezadessas palavras.
$WHQomRHPUHODomRDRSDVVDGRRDSHORYHUEDOpPDLVIRUWHHVHDJOXWLQDHP
GRLVSyORVVHXSDVVDGRGRSRHWDYLYLGRSHVVRDOHVHXSDVVDGRKLVWyULFR
cultural e coletivo.
$JRUDH[HPSOLÀTXHHMXVWLÀTXHHVVDVGXDVVLWXDo}HVUHFRUUHQGRjVHOHomR
vocabular que o autor, Manuel Bandeira, opera.
(VWHSRHPHWRpDUFDL]DQWHGHIRUPDHFRQWH~GR-XVWLÀTXHHVWDDV
VHUWLYD9HMDTXHRSRHPDWHPHVWURIHVLUUHJXODUHVKiDSUHVHQoDGHUHIUmR
HXVRGHXPYRFDEXOiULRDQWLJR
)DoDXPOHYDQWDPHQWRGROp[LFRSDODYUDVTXHWHPVDERUGHDUFDtV

PRVHVWDEHOHFHQGRRVHXVLJQLÀFDGRHFODVVLÀFDQGRRFRQIRUPHGHVLJQHP
objetos,
86
(VWLOtVWLFDH[HUFtFLRVSUiWLFRV±DSOLFDo}HV,,
Aula
FRQFHLWRVHDo}HVGHXPGDGRHVWiJLRGDVRFLHGDGHOXVREUDVLOHLUD
$OJXPDVGHVVDVIRUPDVOH[LFDLVHPLJUDUDPSDUDFDPSRVVHPkQWLFRV
9
GLYHUVRV,GHQWLÀTXHDVHHVWDEHOHoDDVGLIHUHQoDVGHVHQWLGRFRQVWDWDGDV
RQWHPHKRMHSDVVDGRHSUHVHQWH3RUH[HPSORTXDORVHQWLGRGHÓDFDLRµ
no passado e hoje, e assim por diante.
$WHQomR3DUD&KDUOHV%DOO\SDLVGD(VWLOtVWLFDPRGHUQDDVSDODYUDVVHGLYL
GHPHP´WUDQVPLWLGDVµH´DGTXLULGDVµ$VWUDQVPLWLGDVVmRDTXHODVTXHFR
PHoDPRVDRXYLUGHIRUPDLQFRQVFLHQWHGHVGHDLQIkQFLDQRDPELHQWHGR
PHVWLFRHDVDGTXLULGDVGHQRWDPDLQWHJUDomRGRLQGLYtGXRQRJUXSRVRFLDOD
TXHSHUWHQFHLVWRpVmRDSUHQGLGDVQDYLGDQDHVFRODHPFRQWDWRFRPR
mundo.
'RSRQWRGHYLVWDHVWLOtVWLFRDVSDODYUDVWUDQVPLWLGDVPDUFDVGHQRVVDVXE
MHWLYLGDGHWHULDPTXHIXQomRQRSRHPD"
.........................................................................................................................
(DVDGTXLULGDVPDUFDVGHQRVVDH[SHULrQFLDFROHWLYDUHPHWHULDP

........................................................................................................................
3URFXUHQRSRHPDH[HPSORVGHVVDVVXDVVLWXDo}HV
..................................................................................................................................
..................................................................................................................................
...................................................................................................
ATIVIDADES
$QWHVGHFRPHoDUDHODERUDUDVUHVSRVWDVIDoDXPDSHVTXLVDVREUHDÀJXUDGH
Manuel Bandeira, como homem e como poeta. Esse tipo de conhecimento
GRSRHPDpFUXFLDOSDUDDQiOLVHHVWLOtVWLFD1mRHVTXHoDTXHRLQGLYLGXDO
SHVVRDOTXHPDLVLQWHUHVVDj(VWLOtVWLFD
35Ð;,0$$8/$
(VWLOtVWLFDH[HUFtFLRVSUiWLFRVDSOLFDo}HV,,,
Ver aula 7.
87
(VWLOtVWLFD
$872$9$/,$d®2
&RPPDLVHVWDDXODSUiWLFDSRVVRJDUDQWLUTXHPHHQFRQWURVDWLVIDWRULD
PHQWHEHPHPDQiOLVHHVWLOtVWLFRVHPkQWLFDGRWH[WRFRPRSXGHGHPRQVWUDU
QRVH[HUFtFLRVMiUHDOL]DGRV"
5()(5È1&,$6
YRO6mR3DXOR(GÉWLFD
trix. 1970.
Nova. s/d.
cisco Alves. 1983.
0$66$8'0RLVpV$OLWHUDWXUDEUDVLOHLUDDWUDYpVGRVWH[WRV6mR3DXOR
Cultrix. 1979.
MICHELETTI. Guaraciaba (coord.). (VWLOtVWLFD XP PRGR GH OHU
poesia6mR3DXOR$QGURVV
1974.
toriais. 1970.
$FDGrPLFD
ÉWLFD
88
Aula
(67,/Ë67,&$(;(5&Ë&,26
35È7,&26±$3/,&$d®(6,,,
META
OBJETIVOS
'HPRQVWUDUFRPSUHHQVmRVREUHRFDPSRGHLQWHUHVVHGD(VWLOtVWLFDHVXDV
SURSRVWDVGHDQiOLVHGDOLQJXDJHPFRGL¿FDGDHPWH[WRVOLWHUiULRV
(Fontes: http://seodebrigadeiro.com)
(VWLOtVWLFD
,1752'8d®2
(VWDDXODFRQVLGHUDGRLVWH[WRVSRpWLFRVHPYHUVRTXHYHUVDPVREUH
XPDUHDOLGDGHKXPDQDTXHWHPPRYLGRDRORQJRGHPLOrQLRVDVHQVLELOL
GDGHDUWtVWLFDGRVSRHWDV7UDWDVHGRSRHPD$XWRSVLFRJUDÀD, de Fernando
Pessoa, e do poema de Jorge de Lima Nadador.
)HUQDQGR$QWyQLR1RJXHLUD3HVVRD/LVERDGH-XQKRGH³/LV
boa, 30 de Novembro de 1935), mais conhecido como Fernando Pessoa,
IRLXPSRHWDHHVFULWRUSRUWXJXrV
(Fontes: http://static.open.salon.com)
90
(VWLOtVWLFDH[HUFtFLRVSUiWLFRV±$SOLFDo}HV,,,
Aula
$XWRSVLFRJUDÀD
2SRHWDpXPÀQJLGRU
10
)LQJHWmRFRPSOHWDPHQWH
4XHFKHJDDÀQJLUTXHpGRU
A dor que deveras sente.
(RVTXHOrHPRTXHHVFUHYH
Na dor lida sentem bem,
1mRDVGXDVTXHHOHWHYH
0DVVyDTXHHOHVQmRWrP
E assim nas calhas de roda

*LUDDHQWUHWHUDUD]mR
Este comboio de corda
4XHVHFKDPDRFRUDomR
Fernando Pessoa
7UDWDVHGHXPSRHPD´FRQFHLWXDOµ1HVWHSRHPD)HUQDQGR3HVVRD
SURFXUDGHÀQLURTXHpSRHWDU3DUDHOHDFRQVWUXomRGRSRHPDGHSHQGH
GDHPRomRHQmRGDUD]mRKXPDQDeXPREMHWRFRQVWUXtGRGH´SDODYUDVµ
HQWUHHODVSRGHULDHVWDUDSDODYUDFRPRVHHQFRQWUDDSDODYUD´GRUµPDV
QmRXPGRUItVLFDPDVXPDGRUSVLFROyJLFD2SRHWD´LPLWDµDGRUVHQWLGD
VRIULGDSRUDOJXpPSHODKXPDQLGDGH(OHRSRHWDpXPLQWpUSUHWHGD´GRUµ
XQLYHUVDO2VHQWLPHQWRLQWHUSUHWDomRGD´GRUµID]GHOHGRSRHWDXPVHU
HPRWLYRHQmRXPVHUUDFLRQDO9DPRVDJRUDjVTXHVW}HV
2TXHVHHQWHQGHQRSRHPDSRU3VLFRJUDÀDHSRU$XWRSVLFRJUDÀD"
4XDORVHQWLGRGH´ÀQJLUµQRSRHPD"
3HVTXLVHVREUHDQRomRGH´FDWDUVHµHUHÁLWDVHHVVDQRomRSRGHDSOLFDU
VHDRSRHPD"-XVWLÀTXHVXDUHVSRVWD
04. Qual a dicotomia em jogo no poema?
+iSHORVPHQRVTXDWURVHQWLGRVFRQRWDo}HVSDUDDSDODYUD´GRUµ
no poema. Apresente esses quatro sentidos.
Poema do Nadador
$iJXDpIDOVDDiJXDpERD
Nada, nadador!
$iJXDpPDQVDDiJXDpGRLGD
DTXLpIULDDOLpPRUQD
91
(VWLOtVWLFD
DiJXDpIrPHD
Nada, nadador!
$iJXDVREHDiJXDGHVFH
DiJXDpPDQVDDiJXDpGRLGD
Nada, nadador!
$iJXDWHODPEHDiJXDWHDEUDoD
DiJXDWHOHYDDiJXDWHPDWD
Nada, nadador!
6HQmRTXHUHVWDUiGHWLQDGDGRU"
Nada, nadador.
Jorge de Lima
5LJRURVDPHQWHQmRKiQDGDQHVWHSRHPDGHGHVFRQKHFLGRGRSRQWR
GHYLVWDOLQJtVWLFR1RHQWDQWRWXGRDtpQRYR2SRHPDGL]RTXHDQWHV
GHOHVGRSRHPDMDPDLVDOJXpPKDYLDGLWRHTXHVHPHOHVHPRSRHPD
QXQFDVHULDGLWRRTXHHOHGL]RPRGRGHGL]HUpLUUHSHWtYHO
2´QDGDµp´QDGDUµ²YHUERPDVWDPEpPR´QDGDµTXHpVXEVWDQWLYR
H SURQRPHLQGHÀQLGR QHJDWLYR 2 MRJR ~QLFR H LQHVSHUDGRGHVVHV GRLV
VHQWLGRVFULDXPWHUFHLURR´QDGDGRUµTXH´QDGDµQR´QDGDµ QDGDGRU
RX´QDGDGRUµ
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dois poemas.
92
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Aula
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10
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trix. 1970.
Nova. s/d.
cisco Alves. 1983.
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Cultrix. 1979.
MICHELETTI. Guaraciaba (coord.). (VWLOtVWLFD XP PRGR GH OHU
poesia6mR3DXOR$QGURVV
1974.
toriais. 1970.
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(VWLOtVWLFD

0LQLVWURGD(GXFDomR Coordenador Geral da UAB/UFS

Coordenadores de Curso Coordenadores de Tutoria

Hermeson Menezes (Coordenador) Isabela Pinheiro Ewerton

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Nikolay Sergeyevich Trubetzkoy foi um

Esses fatos narrados nunca aconteceram e as personagens aqui referidas

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- descreve ou interpreta o mundo real;

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Porque ... ei! Estava me espiando. Canalha?!

Quem as escuta? Quem

Observem que, tanto primeiro texto quanto o segundo, portanto, am-

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

Ora, se deu que chegou

Essa negra Fulo!

- Vai forrar a minha cama,

Essa negrinha Fulo

Essa negra Fulo!

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O desenvolvimento se faz em duas etapas: a primeira etapa vai do

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Que quer dizer, com este recurso, traduzir o autor?.............................................

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Observe, cuidadosamente, os componentes da fala do narrador, e nos in-

No contato com o grupo social dominador, a cultura africana se revela, entre

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Encontra-se no poema um especial despojamento formal, realizado por uma

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por Castro Alves.

Eis-me prostrado a vossos peses

Salve, deus compato

A carne pisoteada de cavalos reclama

Senhor dos lares

Se estou doente, devo estar doentes.

Dorme na tumba a cultura oral.

Salve, Meio. Salve, Melo.

Carlos Drummond de Andrade.

LAPA. M. Rodrigues. (VWLOtVWLFDGDOtQJXDSRUWXJXHVD. Lisboa: Ed. Seara

Donzela, deixa tua aia,

Donzela, deixa tua aia,

Sou mancebo de alta laia:

Sou mancebo de alta laia:

Antes que a luz se me esvaia...

Vou-me ao golfo de Biscaia

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03 - O poema oscila em prospectiva e retrospectiva. Apreenda as palavras

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E assim nas calhas de roda

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