However, it must be prevented to jump directly of the image to the text, is necessary to cross the course of the words, its speech. The image is influenced by optic and psychic forces. To a load of tension on of the word ' ' imagem' ' of what it represents, assumes clearly that a character motivated in the semantic processes is admitted, in game. This is really a valid criterion, according to Bosi, to accent the mimticas or expressive virtues of the onomatopia and the metaphor, but always it is arguable when this process seems to confuse the linguistic nature of the figures with the same, visual or onrica substance, of the image. The motivated character is present also in the words. Therefore, Bosi says in them that it has words that they are said motivated, has in the truth, a subjective agreement between the global, sensorial and emotivas reactions, and the way of one joint determined sound. Bosi goes to the point to say that the threshold of the expression, assumes internal movements to the body. That is, […]

Light on the Poem In the Corporal Fight, the impasses and reinvenes the one that the poet would be subject in its poetical passage already are apparent. Gullar appears as a vanguardista in this workmanship, what we can confer with the affirmation of the poet on the poem ' ' Rozeiral' ' , years later, in an interview where it says: ' ' I had blown up the language in the end of my book the Corporal Fight. Why I blew up the language? I did not think to be making no innovation. One was about a existencial problem, of knowledge, to answer to the life (…) I I had destroyed the language, it was not a trick, it was not an attitude ' ' (p.10, 2000) Gullar wrote the poem from a vision of the disappearance of the flowers of a before flowery garden and that now they vicejavam only in its memory. From there the joy appears of its poetry: of the fenecimento of the flowers and the explosion of the language. Therefore, its poetical joy emerges of […]

Let us start then with the problem of the signature. The proper name of an author, writes Foucault in known text, it does not function accurately as the others, and this for the reasons, in synthesis, detached: an author name exerts with regard to the too much speeches a certain paper; it serves to characterize a certain way of being of discurso' ' (it indicates that the speech ' ' … must be received from certain way and that it must, in one determined culture, to receive a certain statute … ' '); finally ' ' … the author name does not transit, as the proper name, of the interior of a speech for the real and exterior individual produced that it. (FOUCAULT, 1992, p.45). Analyzing the function author, Foucault recognizes four aspects that allow to characterize it, of which standes out third, thus described: It not form spontaneously as the attribution of a speech to an individual. It is before the result of a complex operation that constructs to a certain rational being the one that we call author. […]