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This work proposes to discuss the representation of the voice of childhood, from a diachronic perspective, considering the signs of a change that has occurred when comparing the colonial and post-independence periods, in the African context. To this end, we begin by reading the work A Cidade e a Infância, by the Angolan author Luandino Vieira, published in 1957, to arrive at the analysis of the novel Quem me dera ser onda, by the also Angolan writer Manuel Rui, published in 1982. Observe-It is clear that, in this period of time between the two works, childhood was elevated to a place of enunciative protagonism, which indicates an update of the concepts of childhood that highlight aspects of both decoloniality, because it gives voice to a systematically silenced group, and decoloniality, because it constitutes a discourse of insurgency and emancipation. [ABSTRACT FROM AUTHOR]

Intonacija, akcentuacija are recurring terms in the texts of Mikhail Bachtin and Valentin N. Vološinov. Each enunciation, each text, has its intonation and its specific accentuation. Understanding is not only understanding the content, the meaning, but also and above all understanding the text, understanding the meaning, and meaning is given precisely by the particular, specific intonation, by the singular accentuation. This is true not only in speaking, but also in writing, therefore in reading and also in interlingual translation. It is the translator's job to know how to re-accentuate the text in the target language as it "resounds" in the source language. [ABSTRACT FROM AUTHOR]

This paper proposes an analysis of the novel The Meursault investigation, by Kamel Daoud as a postcolonial appropriation of Albert Camus's The stranger. The objective is to investigate how Daoud fictionally reconstructs the Arab identity, invisible in The stranger. The Meursault investigation resignifies the literary canon by claiming an identity for the murdered Arab. The voice as a sign of humanization is denied to the deceased man in the Camusian text, while Daoud engages in a postcolonial enunciation to grant him a voice, family, history, and name: Moussa. The theoretical support is based on authors like Homi Bhabha (2014), Edward W. Said (2011), Frantz Fanon (2008), Gayatri Spivak (2010), Daniela Burksdorf (2015), and Ankhi Mukherjee (2014). It is concluded that Daoud's postcolonial appropriation reveals a rupture with the invisibility of the Camusian Arab character, at the same time that it revisits the recent past of French domination and colonial exploration in Algeria. [ABSTRACT FROM AUTHOR]

Liturgy and literature can converge around the importance that the text or, more concretely, the book, assumes, both in the religious and the cultural and aesthetic spheres. A certain rituality is presupposed and activated by literature, in the same way that the liturgy is related to the Bible as its privileged context of believing enunciation. Thus, after a theological entry into the world of literature with the aim of determining the possibilities of a literary theology by highlighting the cultural and religious dynamics and importance of the text mediation, this study focuses on the comparison between the literary and the liturgical ritualization of the act of reading. [ABSTRACT FROM AUTHOR]

O presente estudo tem por objetivo a realização de uma leitura do artigo de Émile Benveniste intitulado "O aparelho formal da enunciação" (1970), normalmente considerado como um trabalho de sistematização metodológica da reflexão enunciativa desenvolvida pelo linguista ao longo de três décadas, buscando, em complementaridade com essa visão, destacar o seu aspecto prospectivo e de abertura teórica em relação ao estudo da enunciação. Para tanto, quatro pontos são destacados, a partir dos quais acredita-se ser possível contemplar a possibilidade deixada por Benveniste de novas perspectivas para a análise enunciativa. São eles: a) o aspecto da realização vocal da língua; b) o aspecto da semantização da língua; c) o aspecto redimensionado do quadro formal de realização da língua; d) o último parágrafo do artigo, no qual Benveniste fala sobre os desdobramentos futuros do estudo da enunciação. [ABSTRACT FROM AUTHOR]

This article focus on the complex process of textual resignification, constituting an enunciative study of text of the discursive genre poem. Its objective, from the observation of enunciative-discursive marks inscribed in textual materiality, is to analyze the constitution of the nostalgic subject that appears from the sonnet Nostalgia, of the Portuguese poet Florbela Espanca, through the intersubjective relationship between the announcer and the interlocutor. The research is characterized as an exploratory-descriptive bibliography, of an applied nature, with a qualitative approach, mainly based on the studies of Jankélévitch (1974) and Starobinski (2016), about the conception of nostalgia, as well as in conferred assumptions by Benveniste (1976a, 1976b; 2006a, 2006b, 2006c), in relation to the concepts of language, enunciation and subjectivity. The analysis shows that the linguistic-enunciative resources manipulated in the discursive materialization not only corroborate for the construction of the subjectivity of the enunciator, but they also interfere in the semantic constitution of the text. [ABSTRACT FROM AUTHOR]

This study is explained by the fact that it places the work of Clarice Lispector in a new reference context, especially if we take into account also how the "female thought" (proposed by Carla Rodrigues in dialogue with the work of Jacques Derrida), here, arises under new conditions of language, going through the thematic plan and the updated discurse of the enunciators. As a central objective, we will strengthen the use of "enunciator", not "narrator", as a device for reading diegese, since it highlights the question of the interpellation and position of the enunciating instance before the discursive textualization, giving it ideological and argumentative dimension. That is, it is proposed to understand this "female thought" as a political practice before reality, the circulation of truths and society; which, from the perspective of the discursive functioning, helps us to think about Lispector fiction committed to the social, although not always by a explicit way, practice so common during most of the time when the author produced and published. [ABSTRACT FROM AUTHOR]

It is on opposition to the notion of representation that the enunciation is usually defined. Our utterances would simultaneously represent the world and would communicate the speaker's attitude to such representation: the latter could evaluate in terms of truth and falseness (Frege), declare it desirable, threatening (Bally), making use of it to demand, promise, presuppose (Austin) or even conceive it as the thought of other than you (Bally). Ducrot's theory, as it is known, has opposed to this division and specifically to the hypothesis that it would be possible to isolate, within the meaning of an utterance, a representation of the world totally apart from the speaker's intuitions (Ducrot, 1993). The Theory of Argumentation within Language, followed by the Theory of Semantic Blocks (TSB) came up in order to appraise a positive meaning to Ducrot's refusal. Thus, as it is said by TSB, the contents of our utterances might be intertwines as argumentative threads. [ABSTRACT FROM AUTHOR]

It is on opposition to the notion of representation that the enunciation is usually defined. Our utterances would simultaneously represent the world and would communicate the speaker's attitude to such representation: the latter could evaluate in terms of truth and falseness (Frege), declare it desirable, threatening (Bally), making use of it to demand, promise, presuppose (Austin) or even conceive it as the thought of other than you (Bally). Ducrot's theory, as it is known, has opposed to this division and specifically to the hypothesis that it would be possible to isolate, within the meaning of an utterance, a representation of the world totally apart from the speaker's intuitions (Ducrot, 1993). The Theory of Argumentation within Language, followed by the Theory of Semantic Blocks (TSB) came up in order to appraise a positive meaning to Ducrot's refusal. Thus, as it is said by TSB, the contents of our utterances might be intertwines as argumentative threads. [ABSTRACT FROM AUTHOR]

This study does a semantic analysis of the term equality. It was based on the French enunciation theory developed in Brazil by Guimarães (1995; 2002). The object of the analysis was the legal texts produced by the ministers of the Supreme Court, in which uses of the word equality appear. The results of the analysis show that the meaning of this word is not based on the relationship "A is equal to B". This new meaning is based on the relationship "A should be equal to B". Thus, the ministers justify the decision to adopt racial quotas, in the selection processes for universities, in order to transform this new concept into reality [ABSTRACT FROM AUTHOR]

In this paper, we analyze how the interactions established by textual subjects from/ in the novel João Véncio: os seus amores, by Luandino Vieira, allow us to perceive emergences of narrator's subjectivities, that is understood as a performative figure that through its masking, transforms itself into other "selves" by its relationships with its multiple loves. Therefore we have done a brief theoretical reflection about narrator's figure (BOOTH, 1980; MOREIRA, 2005) in dialogue with some points of the theory of enunciation, focusing on the subjectivity that emerges from verbal interaction process presupposed by enunciation (BENVENISTE, 2006; BAKHTIN, 1988). Thus, this paper seeks an association between narrative movements and the enunciation process of the novel in focus in order to evidence how enunciation presupposes, in its achievement the construction of the narrator, that is understood as a textual subject that is unfoldden in the enunciation chain of the novel. [ABSTRACT FROM AUTHOR]

This article aims to conduct the interdisciplinary crossing of the theories of enunciation and the hypertext. The study, of a theoretical nature, is characterized by being an analysis which links the contributions of Émile Benveniste's theory of enunciation with theories about hypertext, from the perspective of authors such as Lúcia Santaella, Pierre Lévy, Alex Primo and George Landow. We observed that the categories of person, time and space - which Benveniste debits the subjectivity in language - are enhanced in the hypertext. This enhancement, which is one of the characteristics of cyberspace by the countless multiconected links, leads to a particular way of reading these hypertexts. Thus, we propose the term hypersubjectivity in language to treat speech in the virtual environment, which has a distinctive and immersive reader in the complex scenario of the virtual environment. [ABSTRACT FROM AUTHOR]

This article examines the mechanisms of the enunciation of the drama, once that in dramaturgy there is also a discourse-regulating voice, which leads the meaning of such a work. The one who enunciates the dramatic text appears fragmented, spread into several 'I - individuals', hidden among the characters' dialogue. Thus, the situation of enunciation, in a theater text, differenciates itself from other types of narrative, because, for this literary manifestation, we usually don't have as, as in a short story or novel, the role of a narrator who is in charge of managing the discourse. That enunciating process defines the theatricalism of a work, setting apart 'what drama means' from 'what literature with dialogues means'. The history told in the written text of the theater, which stands for dramatic literature, it also lets itself foresee a point of view, once there is a productive request of meaning. [ABSTRACT FROM AUTHOR]

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In this article I start from the idea that Michael Haneke in The white ribbon (Das Wiesse band, 2009) performs performative distortions through cynical modes of enunciation substantially anchored by a historicist perspective, to make his usual sadistic distribution of knowledge. Approaching the issue of a generation that would probably become part of the Hitler youth, the film presents characters and situations whose forms of life require a germanic naturalization of evil, while, at the same time, from a set of suggestions, doesn't compromise itself with this same thesis, which contributes to the enigmatic quality of the film and the confusion of the viewer. [ABSTRACT FROM AUTHOR]