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Abstract(s)
As relações intertextuais heteromediais de natureza literária, fundadas muitas vezes na colisão de elementos antitéticos, geram um complexo universo semântico cuja força provém do contínuo jogo de similitudes e contrastes que, por sua vez, surgem no seu interior: rede dialógica em que as constantes operações semiósicas dão origem a citações e paródias, cujo intento é o de subverter todos os nexos lógicos convencionais, os princípios e as normas da cultura dominante que a nossa sociedade aceita, na rigorosa univocidade daqueles. A combinação de elementos aparentemente incompatíveis, como sagrado e profano, popular e erudito, sublime e trivial, tudo reproposto ou alterado por práticas intertextuais, e a constante oscilação entre a transcendência e a imanência, levam à destruição da hierarquia estabelecida dos valores. O ato subversivo monteiriano consiste, portanto, em separar o que é tradicionalmente unido e aproximar o que é geralmente longínquo, de forma a arrombar as restrições do monolinguismo cultural para se abrir à polissemia do mundo.
The heteromedial intertextual relations of literary nature, often based on the collision of antithetical elements, create a complex semantic universe. The power of this universe rises from a permanent game of similarities and contrasts which, in turn, emerge from within it: a dialogical net in which constant semiosic operations give birth to quotations and parodies. The aim of their operations is to subvert the strict univocality of every conventional logical chains, principles, and rules of the dominant culture that our society passively accepts. The combination of apparently incompatible elements–sacred and profane, popular and erudite, sublime and trivial–, their re-proposition or modification through complex intertextual practices, and the permanent oscillation between transcendence and immanence, lead to the destruction of the established hierarchy of values. Thus, Monteiro’s subversive act consists of dividing what is traditionally unite and bringing closer what is usually apart, so as to break down the restrictions of the cultural monolingualism and embrace the world’s polysemy.
The heteromedial intertextual relations of literary nature, often based on the collision of antithetical elements, create a complex semantic universe. The power of this universe rises from a permanent game of similarities and contrasts which, in turn, emerge from within it: a dialogical net in which constant semiosic operations give birth to quotations and parodies. The aim of their operations is to subvert the strict univocality of every conventional logical chains, principles, and rules of the dominant culture that our society passively accepts. The combination of apparently incompatible elements–sacred and profane, popular and erudite, sublime and trivial–, their re-proposition or modification through complex intertextual practices, and the permanent oscillation between transcendence and immanence, lead to the destruction of the established hierarchy of values. Thus, Monteiro’s subversive act consists of dividing what is traditionally unite and bringing closer what is usually apart, so as to break down the restrictions of the cultural monolingualism and embrace the world’s polysemy.
Description
Keywords
Intertextualidade literária Cinema João César Monteiro Transcendência/imanência Sincretismo linguístico Literary intertextuality Transcendence/immanence Linguistic syncretism
Pedagogical Context
Citation
GIARUSSO, Francesco – Transcendência e imanência na palavra intertextual de João de Deus. Máthesis. Viseu. ISSN 0872-0215. Nº 22 (2013), p. 85-96.
Publisher
Universidade Católica Portuguesa