A partir de setembro, só irei a Natal uma vez por mês, preferencialmente no primeiro fim de semana após o pagamento, por questões financeiras.
A exceção ficará para novembro/dezembro, quando será realizado o MPBeco, e, obviamente, estarei pela cidade durante o festival.
Quaisquer programas que não permitam a participação de menores de 2 anos estão automaticamente descartados.
Cancelei o telefone que tinha do RN. Agora, só números da Paraíba. Um fixo, (83) 3578-8656, e um Oi, (83) 8767-8141.
Em dezembro, completo três anos morando em João Pessoa.
Neste período, recebi quatro visitas. Uma de meus pais.
8.26.2012
8.16.2012
8.10.2012
aos imortais
AGNELADAS
por Esmeraldo Siqueira, em Fauna Contemporânea (1968)
Ia nascer dromedário,
Mas a parteira Maroca
Teve um susto extraordinário,
Quando viu que era uma foca.
Das verdades que revelo,
De fácil comprovação,
A mais gozada é Agnelo
Querendo bancar Dom João.
Feio por dentro e por fora
Eis Agnelo... E Eis por que
A própria mãe geme e chora
De desgosto, quando o vê.
Quer ser prefeito, o magano.
E o será, pois tem tineta.
Basta ser irmão germano
Do grande Lulu Capeta.
Há quem atribua à sina,
Chame predestinação
Viver de infâmia e rapina,
Ser político e ladrão.
Um medonho puxa-saco
Gabou-lhe o sorriso fanhoso.
Outro, o porte de macaco
Achou-lhe bonito e airoso.
por Esmeraldo Siqueira, em Fauna Contemporânea (1968)
Ia nascer dromedário,
Mas a parteira Maroca
Teve um susto extraordinário,
Quando viu que era uma foca.
Das verdades que revelo,
De fácil comprovação,
A mais gozada é Agnelo
Querendo bancar Dom João.
Feio por dentro e por fora
Eis Agnelo... E Eis por que
A própria mãe geme e chora
De desgosto, quando o vê.
Quer ser prefeito, o magano.
E o será, pois tem tineta.
Basta ser irmão germano
Do grande Lulu Capeta.
Há quem atribua à sina,
Chame predestinação
Viver de infâmia e rapina,
Ser político e ladrão.
Um medonho puxa-saco
Gabou-lhe o sorriso fanhoso.
Outro, o porte de macaco
Achou-lhe bonito e airoso.
reading dracula
Na verdade, relendo, mas desta vez em inglês. A primeira vez que li, há 20 anos, achei chato pra caramba. Desta, está sendo mais divertido. Acho que a tradução que arrumei não ajudou, ou faltava mais maturidade ao leitor, não sei ao certo.
Aí no capítulo 3, me deparo com esta passagem, que narra o primeiro encontro entre Jonathan Harker e as servas satânicas do Count Dracula, na Transilvânia. Ele escapa por muito pouco de ser mordido.
***
I was afraid to raise my eyelids, but looked out and saw perfectly under the lashes. The girl went on her knees, and bent over me, simply gloating. There was a deliberate voluptuousness which was both thrilling and repulsive, and as she arched her neck she actually licked her lips like an animal, till I could see in the moonlight the moisture shining on the scarlet lips and on the red tongue as it lapped the white sharp teeth. Lower and lower went her head as the lips went below the range of my mouth and chin and seemed to fasten on my throat. Then she paused, and I could hear the churning sound of her tongue as it licked her teeth and lips, and I could feel the hot breath on my neck. Then the skin of my throat began to tingle as one’s flesh does when the hand that is to tickle it approaches nearer, nearer. I could feel the soft, shivering touch of the lips on the super sensitive skin of my throat, and the hard dents of two sharp teeth, just touching and pausing there. I closed my eyes in languorous ecstasy and waited, waited with beating heart.
***
Mas, em vez de um ataque vampírico, não parece mais uma defloração?
Aí no capítulo 3, me deparo com esta passagem, que narra o primeiro encontro entre Jonathan Harker e as servas satânicas do Count Dracula, na Transilvânia. Ele escapa por muito pouco de ser mordido.
***
I was afraid to raise my eyelids, but looked out and saw perfectly under the lashes. The girl went on her knees, and bent over me, simply gloating. There was a deliberate voluptuousness which was both thrilling and repulsive, and as she arched her neck she actually licked her lips like an animal, till I could see in the moonlight the moisture shining on the scarlet lips and on the red tongue as it lapped the white sharp teeth. Lower and lower went her head as the lips went below the range of my mouth and chin and seemed to fasten on my throat. Then she paused, and I could hear the churning sound of her tongue as it licked her teeth and lips, and I could feel the hot breath on my neck. Then the skin of my throat began to tingle as one’s flesh does when the hand that is to tickle it approaches nearer, nearer. I could feel the soft, shivering touch of the lips on the super sensitive skin of my throat, and the hard dents of two sharp teeth, just touching and pausing there. I closed my eyes in languorous ecstasy and waited, waited with beating heart.
***
Mas, em vez de um ataque vampírico, não parece mais uma defloração?
8.09.2012
Alice in Wonderland
A unidade 2 do curso sobre fantasia e ficção científica teve Alice in Wonderland como objeto de estudo. Eis o ensaio que enviei.
Está, gramaticalmente, bem pior que o primeiro, pois tive menos tempo para me dedicar a ele. Relevem, mas não deixem de apontar o que acharem muito absurdo.
***
Since he can convince readers to keep accompanying him, a writer can do with words what he wants. Lewis Carroll was a mathematician in love with logic - and he soon realized that language had its own logic, quite different from usual.
The consensual and arbitrary nature of language is always at stake in Alice in Wonderland. Cleverly, Carroll chooses a child as the protagonist of his story, because to them this consensus is not natural as it would be for an adult. Maybe so, they seem to live in a wonderful world - and perhaps therefore Wonderland does not wonder Alice too much.
Falling through a rabbit-hole, Alice reacts naturally to the absurdity of the situation: "Down, down, down. There was nothing else to do, so Alice soon began talking again. 'Dinah'll miss me very much to-night, I should think! '(Dinah was the cat.)" (chapter 1). This passive reaction is repeated several times.
Later, we see how the consensual nature of language is explored through sound. In at least two occasions, Alice tries to recite popular stories, but words begin to change and the story gains new meanings - although original musicality be maintained. A similar situation occurs in Chapter 3, in confusion between tail and tale.
This reversal of logic, that words do not always mean what they say, appears in the Mad Hatter episode:
"'Then you should say what you mean,' the March Hare went on.
'I do,' Alice hastily replied; 'at least - at least I mean what I say - that's the same thing, you know.'
'Not the same thing a bit!' Said the Hatter. 'You might just as well say that "I see what I eat" is the same thing as "I eat what I see"!'"
Sounds and symbols, this is what words are. In right hands, they can become anything.
***
Próxima semana, Bram Stoker's Dracula.
Está, gramaticalmente, bem pior que o primeiro, pois tive menos tempo para me dedicar a ele. Relevem, mas não deixem de apontar o que acharem muito absurdo.
***
Since he can convince readers to keep accompanying him, a writer can do with words what he wants. Lewis Carroll was a mathematician in love with logic - and he soon realized that language had its own logic, quite different from usual.
The consensual and arbitrary nature of language is always at stake in Alice in Wonderland. Cleverly, Carroll chooses a child as the protagonist of his story, because to them this consensus is not natural as it would be for an adult. Maybe so, they seem to live in a wonderful world - and perhaps therefore Wonderland does not wonder Alice too much.
Falling through a rabbit-hole, Alice reacts naturally to the absurdity of the situation: "Down, down, down. There was nothing else to do, so Alice soon began talking again. 'Dinah'll miss me very much to-night, I should think! '(Dinah was the cat.)" (chapter 1). This passive reaction is repeated several times.
Later, we see how the consensual nature of language is explored through sound. In at least two occasions, Alice tries to recite popular stories, but words begin to change and the story gains new meanings - although original musicality be maintained. A similar situation occurs in Chapter 3, in confusion between tail and tale.
This reversal of logic, that words do not always mean what they say, appears in the Mad Hatter episode:
"'Then you should say what you mean,' the March Hare went on.
'I do,' Alice hastily replied; 'at least - at least I mean what I say - that's the same thing, you know.'
'Not the same thing a bit!' Said the Hatter. 'You might just as well say that "I see what I eat" is the same thing as "I eat what I see"!'"
Sounds and symbols, this is what words are. In right hands, they can become anything.
***
Próxima semana, Bram Stoker's Dracula.
8.07.2012
patti smith
***
há algumas semanas, ouvindo sem parar esse disco novo, Banga.
this is the girl foi escrita em memória de amy winehouse. dedicado a todas as doidinhas soltas por aí nesse mundão sem deus.
8.06.2012
Grimm's tales
Há um tempão, recebi do amigo Oswaldo Ribeiro o link para o Coursera, um site de cursos de extensão on-line promovidos por umas universidades norte-americanas bem invocadas. Passeando por lá, descobri um curso sobre Fantasy and Science Fiction: The Human Mind, Our Modern World e, bem, não resisti.
A bronca é que o bicho é meio puxado, já que estou na reta final da qualificação do mestrado. São 10 semanas e o plano de aula é ler um livro por semana e escrever um curto ensaio sobre o danado. O primeiro da lista foi o Grimm's Tales, na tradução dos irmãos Crane (na verdade, a Lucy traduziu e o Thomas ilustrou).
Segue pra vocês o primeiro ensaio. O limite são 320 palavras, fechei em 313.
***
Grimm's Tales ensure its universal character as they approached the oral literature in at least a very relevant aspect: the repetition. First, we have repetition as a discursive resource in stories. Throughout their journey, the characters are always performing the same task several times before achieving some success (usually three times), as in Rabbit's Bride, Clever Grethel, The Goose Girl and other stories.
Or, there is a recurring pattern in the actions of the characters. An Example is the mercenary in Six Soldiers of Fortune, who finds his adventure fellows always the same way: they show a different behavior that draws attention to the protagonist, reveal an extraordinary capacity and then join him. Despite its nature absolutely fantastic, this use of repetition in Grimm Tales reminds us of the monotony of everyday life, full of routines, and how things do not always succeed the first time.
There is also a kind of repetition in the story that is told, according to the nature of protagonists. These can be divided into three groups: nobles, commoners and animals or things that behave like humans.
The noble stories always involve an extraordinary mission that culminates in a marriage or a conquer, as in The Raven, Sleeping Beauty, Rapunzel and Snow White. The stories of commoners tend to have an uplifting message, exalting virtues, or recovery of cunning, like Hansel and Grethel, or Clever Grethel and Hans in Luck. The stories with anthropomorphized animals or objects highlight aspects of human nature, usually turn negative, as in The Death Of The Hen, Cat And Mouse In Partnership or The Straw The Coal, And The Bean.
Finally, we have a more subtle repetition, which is the repetition of symbols, or functions performed by these symbols in the stories. It doesn't matter what kind of object is used, they always have similar functions in different stories, reassuring their universal simbology.
A bronca é que o bicho é meio puxado, já que estou na reta final da qualificação do mestrado. São 10 semanas e o plano de aula é ler um livro por semana e escrever um curto ensaio sobre o danado. O primeiro da lista foi o Grimm's Tales, na tradução dos irmãos Crane (na verdade, a Lucy traduziu e o Thomas ilustrou).
Segue pra vocês o primeiro ensaio. O limite são 320 palavras, fechei em 313.
***
Grimm's Tales ensure its universal character as they approached the oral literature in at least a very relevant aspect: the repetition. First, we have repetition as a discursive resource in stories. Throughout their journey, the characters are always performing the same task several times before achieving some success (usually three times), as in Rabbit's Bride, Clever Grethel, The Goose Girl and other stories.
Or, there is a recurring pattern in the actions of the characters. An Example is the mercenary in Six Soldiers of Fortune, who finds his adventure fellows always the same way: they show a different behavior that draws attention to the protagonist, reveal an extraordinary capacity and then join him. Despite its nature absolutely fantastic, this use of repetition in Grimm Tales reminds us of the monotony of everyday life, full of routines, and how things do not always succeed the first time.
There is also a kind of repetition in the story that is told, according to the nature of protagonists. These can be divided into three groups: nobles, commoners and animals or things that behave like humans.
The noble stories always involve an extraordinary mission that culminates in a marriage or a conquer, as in The Raven, Sleeping Beauty, Rapunzel and Snow White. The stories of commoners tend to have an uplifting message, exalting virtues, or recovery of cunning, like Hansel and Grethel, or Clever Grethel and Hans in Luck. The stories with anthropomorphized animals or objects highlight aspects of human nature, usually turn negative, as in The Death Of The Hen, Cat And Mouse In Partnership or The Straw The Coal, And The Bean.
Finally, we have a more subtle repetition, which is the repetition of symbols, or functions performed by these symbols in the stories. It doesn't matter what kind of object is used, they always have similar functions in different stories, reassuring their universal simbology.
***
Perdoem aí a pobreza do meu inglês. Podem corrigir-me à vontade.
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