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Nesta aula de Teoria da Literatura, discutimos o conceito de literatura a partir das reflexões de Terry Eagleton e Antoine Compagnon, problematizando suas definições e limites. Em diálogo com Paul H. Fry, abordamos também o caráter cético da teoria literária e sua constante revisão de conceitos.
Links úteis:
https://oyc.yale.edu/english/engl-300/lecture-1
https://grad.letras.ufmg.br/arquivos/monitoria/Capitulo%203%20-%20O%20que%20e%20literatura%20EAGLETON%20T.pdf
https://share.google/K3eFpfiF3NWgYPbQD
https://www.academia.org.br/noticias/poeta-ou-poetisa
Links úteis:
https://oyc.yale.edu/english/engl-300/lecture-1
https://grad.letras.ufmg.br/arquivos/monitoria/Capitulo%203%20-%20O%20que%20e%20literatura%20EAGLETON%20T.pdf
https://share.google/K3eFpfiF3NWgYPbQD
https://www.academia.org.br/noticias/poeta-ou-poetisa
Categoria
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AprendizadoTranscrição
00:01And now let's move on to Emily Dickinson's poem. I chose this poem, this was the second or
00:11This is the third Dickinson poem I've read; the first was another one. I chose it for two reasons. First.
00:17Because I think it's a shorter poem, which already allows us to identify some of the elements.
00:23construction aspects that are interesting to us, since we are discussing what it is.
00:27of literature. I learned about it because of my teacher, Professor Eugenie, who was my
00:34My advisor, who was also my professor, brought one; she really likes Dickinson.
00:40Another poem, but for us I brought this one, which I think is very beautiful, I think.
00:47Of Dickinson's works, I think this is my favorite. And the poem is...
01:08You see, when you go to read a text, in fact, we are just beginning to learn literary theory, I
01:15I'll give you some tips, but they're very simple tips, right?
01:21But they will help us navigate this subject. First thing, think about what text you are going to read. Here
01:28We know it's a poem, so it's a lyric genre, the first thing you'll think is that it has...
01:33Something of subjective expression, from the lyrical self, right?
01:37It's not like reading a short story or reading a novel, so the expectations are different, right? The reading pact
01:42It's another one.
01:44So let's look at this poem. Notice that it's not a poem that's very neat and tidy in terms of...
01:51It's about the meter, right? Notice that each verse has a different syllable count, but there are some things that stand out.
01:59Do you notice that the punctuation is quite curious? Do you notice the use of capital letters, right? In some
02:08Words you wouldn't expect, for example, crater or lava, right?
02:14I'm not going to mention the capital letters at the beginning because she capitalizes the beginnings of verses, so it seems to me that
02:21In this case, she is no longer intentionally trying to use it.
02:25She, let's say, the lyrical self, is actually the lyrical self, right? It's not exactly Emily de Quintana, the
02:30People aren't here to judge the poet's decisions, are they? Not at the time she wrote them.
02:37So, capital letters, ah, do you also realize that there are words that belong to the same semantic group?
02:43Look, think about it, we have place names, right? So, we have Sicily, we have South America, but we also have...
02:52Also, ah, we have the crater here, and we also have words related to places, right?
03:02Or places that were once geological assistants and now also geological assistants, right? I don't know if that's the right word, but then...
03:09We have craters, we have lava, we have volcanoes, and there's a famous volcano that is...
03:14Vesuvius.
03:15Remember that Vesuvius is that volcano of tragedy, right? The tragedy that buried Pompeii, right? So, you see that...
03:27It was catastrophic.
03:28So, here there is an element that is extra, there are several, right? Elements that are extraliterary, but Vesuvius brings a
03:39The idea of a very large catastrophe.
03:41I tried to put a translation here to help us out, you know? But it's nothing professional.
03:48But look, so we have these geographical elements here, right? What's very interesting is that she puts
03:58like this, oh,
03:59Volcanoes are in Sicily and South America. As far as I know, there aren't any very famous volcanoes here, right?
04:07South America.
04:09But in Sicily, yes, right? But notice that she's going to put it like this: I judge by my geography.
04:15So, this geography here brings them closer together, doesn't it? Both Italy and South America.
04:22And notice that it also doesn't make much sense how she uses "Sicily" instead of "South America."
04:28If you look closely, you can see an indication of a continent and a city.
04:34So, it's her geography, okay? So, understand that it's a geography that maybe isn't geography at all, right?
04:43It's discipline. Perhaps it's an internal geography, perhaps it's an internal relief of this lyrical self.
04:49That's just an assumption, okay? Let's continue reading.
04:53So, oh, volcanoes are nearer here, a lava step at any time, am I inclined to climb?
05:01So, there are volcanoes closer to that lyrical self, right?
05:07And she is not inclined to...
05:11She's not willing, is she? To climb those volcanoes.
05:19And then she speaks, he, right? The lyrical self.
05:21A crater I may contemplate.
05:25I'm going to draw your attention to the punctuation and the use of enjambments.
05:34The name is fancy, isn't it? Enjamban.
05:36Notice that the verse, it starts here, right?
05:42But it ends here, look.
05:44Volcanoes be in Sicily and South America.
05:47Notice that it starts here and ends here.
05:50So, I judge by my geography, and then there's this dash.
05:57Let's take this, consider this as a standard, okay?
06:02And then she continues, the lyrical self continues.
06:04Volcanoes nearer here, a lava step at any time am I inclined to climb.
06:10Here, look, right here.
06:12I judge for my geography, am I inclined to climb.
06:15Here it's as if, it's as if the thought, let's say, ends here, right?
06:22The volcanoes in Sicily, in South America, I judge by my geography.
06:27And then there's the dash.
06:28It's as if it were another, another stanza, another thought,
06:34some other image, something else that this lyrical self will say.
06:37Volcanoes nearer here, a lava step at any time am I inclined to climb.
06:43And here, look, so it ends here, right?
06:47Let's say thought.
06:48And here he says, a crater I may contemplate, is serious at home.
06:53Here, when I read it, and perhaps you have this feeling too,
06:59From a crater, I can contemplate Vesuvius from home.
07:02So, it's like the crater of Vesuvius, right?
07:08So, look, I may contemplate.
07:10So here, folks, it's as if this verb had two direct objects.
07:15Broadly speaking, right?
07:16Let's think about our syntax lessons.
07:23So, we have here,
07:26These are very destructive ideas, okay?
07:30Because we have Mount Vesuvius, and not just anyone has it.
07:33We have an internal geography,
07:36but it makes me think that this geography
07:38It is, in fact, a relief feature.
07:41An inner relief of this lyrical self.
07:44So, there is some kind of subjective energy,
07:50Some kind of internal psychic energy, right?
07:53But there is also, which has a representation,
07:56which is externalized through these geological elements.
08:05I don't know if you have this feeling too,
08:09There is potential,
08:11because there isn't one...
08:12This volcano, it didn't erupt, did it?
08:15Power exists, and it's not just any kind of power, right?
08:19The power of a Vesuvius that destroyed Pompeii.
08:21Look at the power of this Vesuvius!
08:27She's gazing through the crater, right?
08:30She doesn't...
08:31This lyrical self does not come close.
08:33So, let's consider that maybe...
08:37And here I'm already extrapolating a little bit,
08:39Because I know Emily Dickinson is a poet, right?
08:43I think about this poem.
08:44like a metalinguistic poem.
08:49The poem, the literary text,
08:53He seems to live there on the border.
08:56between saying and not saying.
08:57Not everything can be said, right?
08:59What not...
09:00You can't say everything, can you?
09:03And that's where we, the readers, would come in, right?
09:06To build this text together with...
09:09I'm not going to say who the author is, am I?
09:10But I'll speak from the lyrical "I" perspective in this case, okay?
09:15Because if she told everything, right?
09:17Imagine if there was a way to say it, right?
09:20If she...
09:22If this lyrical self were to say everything,
09:24Maybe the result would be catastrophic like Pompeii, right?
09:28So, let's do a quick review, shall we?
09:33So, as I told you,
09:35I'm talking here about what a literary text is, right?
09:41Comparing...
09:41Or rather, extracting this from Dickinson's text.
09:45But of course I am doing it...
09:47I am using the theory here.
09:48as a reading tool.
09:50And of course I chose this text.
09:52thinking specifically about the class.
09:56So, to review.
09:57Theory doesn't come before reading, okay?
10:00It looks like it, doesn't it?
10:01That the poem, it...
10:04The theory came before the reading of this poem.
10:06and that is leading to this conclusion.
10:09Even this reading suggestion.
10:11But you think this lesson was prepared in advance, right?
10:14So, I got rid of that poem and brought it here.
10:17So, theory can be a reading tool.
10:20But not necessarily, right?
10:22The resources of a text and our reading.
10:24It's because they recruit these tools.
10:26Theory can function as a reading tool.
10:30But it stems from processes that precede reading, okay?
10:33So, theory helps us to read,
10:36but it doesn't appear as a ready-made solution from the reading.
10:40So, next time you read this, okay?
10:43The texts from now on,
10:46consider doing a reading focused
10:48For the resources in that text, right?
10:50So, you realize the possibilities, the resources, right?
10:54And even more so, and this will lead you to a conceptual elaboration.
10:59So, as we said, lyrical genre,
11:01So you're already expecting something that's more subjective.
11:07The topic, here we have a few reasons,
11:10These are the images, okay?
11:11What are these images, what do they contain?
11:14There's a type of volcano there, Vacatera.
11:16They are nouns...
11:18Oh, that's not the word I'm looking for.
11:22Reasons, it's...
11:23These are recurring elements, right?
11:26In the poem, in the text, right?
11:29Then you have the theme of interiority,
11:32Because, look, there's a game going on here, right?
11:34In the text.
11:35She speaks my geography,
11:37She personalizes it, right?
11:38But there are elements that are good,
11:40that are external to that geography.
11:43But this geography, it's personalized, right?
11:45So, it seems like it has this...
11:47This unpredictability,
11:49this tension.
11:51The text is right there, full of that, isn't it?
11:53And the volcano appearing as a symbol.
11:55of energy, of intensity.
11:58But there's also the house, right?
12:01She's talking about home here, right?
12:05That volcano is in her house.
12:07Notice that "casa" (house) is capitalized.
12:09just like geography.
12:10So, this house is not just the building.
12:13And we know that "home" in English
12:14It's not just the house, it's not just the house with its physical construction, right?
12:17But it's home.
12:22And we also have a style, right?
12:24What do we have? We have some jambuãs.
12:26As I said,
12:27What does this verse mean, right?
12:31Broken, right?
12:31It starts on one line and ends on the other.
12:34And we have a score.
12:38that's not exactly connected
12:40The way we usually write, right?
12:46I think, I have this feeling,
12:48I have a feeling that
12:49Even this movement that appears here in the text, right?
12:53The way the words are,
12:54How did she choose to put the words together, right?
12:57It seems to suggest some kind of eruption, right?
13:00But it's a latent eruption, right?
13:02It doesn't actually occur in the text.
13:07So, when you go to do
13:09your next read,
13:11Think about this type of construction, okay?
13:16In observing the text's features
13:18and try to offer a...
13:20I'm not going to give an explanation.
13:21but you observe how these elements
13:23they organize themselves,
13:25They are within the text.
13:27to try to construct a meaning.
13:31So, what are you going to do...?
13:34You all have your homework now, right?
13:36Which has two issues.
13:39And as homework,
13:42You'll find it there at AFA, right?
13:46The activity for unit 1.
13:48And in this first question,
13:50You will read the introductory chapter.
13:52What is literature?
13:54by Terry Eagleton.
13:55That's why I didn't give a presentation.
13:57Even with things, right?
13:58That was in the chapter.
13:59Because you will
14:00To write a critical review, right?
14:03Considering the following points.
14:05Literature as imaginative writing
14:07or fictionality,
14:09that's in his text.
14:11Literature as a special use of language,
14:14which produces a feeling of strangeness.
14:16Literature as non-pragmatic discourse.
14:18without immediate practical use.
14:20Literature as a body of texts
14:23that have intrinsic value.
14:26Literature as a definition
14:28that depends on the reader.
14:29And finally,
14:30literature as a construction
14:32determined by a mesh
14:33of historical and cultural values.
14:36So, I need you to explain.
14:38How each of these concepts works.
14:41What are the examples or arguments?
14:43that Eagleton mobilizes.
14:44And what are the inconsistencies or limitations?
14:47that he identifies
14:48for each of these definitions.
14:51Finally, I suggest that you
14:53Try to give your own definition.
14:55of literature.
14:57Connecting with your reflection
14:59with two examples of works
15:00that you have already read.
15:01Of course, even the suggestion
15:03that we give,
15:05She's limited, isn't she?
15:08All definitions,
15:09They have some kind of limitation.
15:10And the second question,
15:12You will read the poem.
15:14A Word is Dead,
15:15also by Emily Dickinson.
15:16And that's why I left the text.
15:18That researcher, male or female, right?
15:23So, you can do your own reading.
15:27And you can also search for information.
15:29Regarding the poet Emily Dickinson.
15:33Happy studying, everyone!
15:35Until next time!
15:40So, you can do your own reading.