Submitted by NICOLÁS RAMIREZ SALABERRY null (nicorasan@gmail.com) on 2017-09-12T02:57:23Z No. of bitstreams: 1 Nicolás Ramírez Salaberry - Mestrado - Mandú-Çarará - Repositório - 2017.pdf: 4580327 bytes, checksum: 0bfee1c0b87c1e3040b2be624872d264 (MD5) / Approved for entry into archive by Monique Sasaki (sayumi_sasaki@hotmail.com) on 2017-09-12T17:43:45Z (GMT) No. of bitstreams: 1 salaberry_nr_me_ia.pdf: 4580327 bytes, checksum: 0bfee1c0b87c1e3040b2be624872d264 (MD5) / Made available in DSpace on 2017-09-12T17:43:45Z (GMT). No. of bitstreams: 1 salaberry_nr_me_ia.pdf: 4580327 bytes, checksum: 0bfee1c0b87c1e3040b2be624872d264 (MD5) Previous issue date: 2017-07-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta dissertação pretende estudar múltiplos aspectos, presentes no Poema sinfônico Mandú-Çarará de Heitor Villa-Lobos, que possam estar relacionados com determinadas características identificadas na música indígena brasileira tratada por autores significativos, bem como, refletidos nos estudos mais recentes sobre o “elemento indígena” em Villa-Lobos. O Poema sinfônico Mandú-Çarará, que integra o conjunto de obras do compositor com esta temática indígena, foi elaborado a partir de relatos nativos recolhidos por João Barbosa Rodrigues (1890). Na busca por compreender as diferentes narrativas dos textos envolvidos, analisaremos a estrutura morfológica de cada uma delas. Destacaremos também aspectos musicais da obra que possam remeter às manifestações musicais indígenas. Finalmente, será apresentada uma possível relação entre o texto cantado e a música da obra. / This essay intends to study the multiple aspects from Heitor Villa-Lobos's Mandú-Çarará Symphonic Poem, which may be related to certain characteristics identified in Brazilian indigenous music studied by significant authors, as well as reflected in the most recent studies about the "indigenous element" in Villa-Lobos. The Mandú-Çarará symphonic poem, which integrates the composer’s set of works with the indigenous theme, was elaborated from native accounts collected by João Barbosa Rodrigues (1890). In the search to understand the different narratives from the texts involved in the work, we will analyze the morphological structure of each of them. We will also highlight musical aspects of the work that may refer to indigenous musical manifestations. Finally, a possible relation between the sung text and the work's music will be presented.

Este trabalho propõe uma leitura dos livros Canções sem metro, de Raul Pompéia, e Missal, de Cruz e Sousa. Investiga a origem do poema em prosa na literatura francesa, bem como analisa os principais problemas relacionados à conceituação desse novo formato. A análise pretende, ainda, identificar os traços mais marcantes dos primeiros livros dedicados ao poema em prosa no Brasil, no que diz respeito aos temas e à estrutura. Ao centrar a discussão sobre a dimensão discursiva do poema em prosa, sobre os operadores de tensão de sua constituição e sobre as figuras de dualidade, o trabalho apóia-se no estudo teórico crítico desenvolvido por Tzvetan Todorov / This paper proposes a comparative reading of Raul Pompéias Canções sem metro and Cruz e Sousas Missal. It also aims both at reflecting upon the origins of prose poem in the French literary tradition. Through the analysis of this new genre, this paper will identify the most remarkable features of the books above mentioned, seen as the first examples of the genre of prose poem in Brazil. Raul Pompéias Canções sem metro and Cruz e Souzas Missal will be studied in order to identify their themes and structure. The theoretical framework of this paper will be the critical method developed by Tzvetan Todorov, emphasizing particularly the figures of duality

A presente dissertação de mestrado insere-se no campo dos Estudos Culturais em Educação e consiste na análise de poemas em língua de sinais brasileira (Libras). As perguntas que norteiam a pesquisa são: como a poesia surda usa a língua de sinais e quais os temas que privilegia? Em outras palavras, o que dizem os poemas e como dizem? E como a poesia surda produz sentidos através da língua de sinais? A partir dessas perguntas, tracei como objetivos: (1) investigar poesias em língua brasileira de sinais, contribuindo com investigações sobre a literatura surda no Brasil; (2) desenvolver um estudo linguístico dos elementos presentes na produção poética; (3) analisar as experiências narradas nos poemas em língua brasileira de sinais; (4) apresentar o que os poemas carregam como ensinamentos. Analisei dez poemas, e para realizar a escolha visualizei setenta e dois (72) poemas, parte do meu arquivo pessoal, mas também retiradas do banco de dados do projeto “Produção, Circulação e Consumo da Cultura Surda Brasileira” (KARNOPP, KLEIN e LUNARDI-LAZZARIN, 2012), do site literatura surda e do YouTube. A metodologia para o desenvolvimento do trabalho foi de coleta de poemas e posterior análise, sob o viés linguístico e cultural, verificando as questões fonológicas e léxicas expressas nos poemas, e da Pedagogia Cultural. Como resultados das análises, consideramos os objetivos elencados e destacamos que, no uso dos sinais, a recorrência de neologismos e o uso de classificadores. Nas análises das experiências narradas, Ser Surdo e Orgulho Surdo foram temas frequentes nos poemas que contam o sofrimento presente no processo histórico da comunidade surda, bem como as lutas realizadas pelos surdos e a defesa da língua de sinais. O modelo do professor surdo na constituição da identidade surda e o curso de Letras-Libras são marcos de salvação do povo surdo. Na análise sobre os ensinamentos dos poemas, a Pedagogia Cultural possibilitou a compreensão dos poemas ABC e números como meios de expressão da celebração da comunidade surda através da riqueza estética dos poemas em língua de sinais, bem como a valorização das experiências surdas. / This dissertation falls within the field of Cultural Studies in Education and focuses on an analysis of Brazilian Sign Language (Libras) poems. The questions guiding the research are: how does deaf poetry use sign language and what themes does it privilege? In other words, what do the poems say and how they say it? And how does deaf poetry create emotions and feelings through sign language? These questions led to the following objectives: (1) to investigate Brazilian poetry in sign language, contributing to research on deaf literature in Brazil; (2) to develop a linguistic study of the elements present in poetic production; (3) to analyze the experiences narrated in Brazilian sign language poems; (4) to present the poems as a tool for teaching. I analyzed ten poems, selected from seventy-two (72) collected as part of my private collection, and also taken from the "Production, Circulation and Consumption of Brazilian Deaf Culture” project database (Karnopp, KLEIN and LUNARDI -Lazzarini, 2012), the website “deaf literature” and YouTube. The methodology for the study was the collection of poems and subsequent analysis from linguistic and cultural perspectives to investigate the phonological and lexical elements expressed in the poems, and Cultural Pedagogy. In the results of the analysis, we consider the stated objectives and highlight the use of signs, the recurrence of neologisms and the use of classifiers. Analysis of the experiences narrated showed that “Being Deaf” and “Deaf Pride” were common themes in the poems that recount this historical process in the deaf community suffering, as well as the struggles fought by deaf people and the defense of sign language. The role of the deaf teacher in the formation of deaf identity and courses studying Libras represent the salvation of deaf people. In the analysis of what the poems teach, Cultural Pedagogy as used to understanding the ‘ABC’ and ‘numbers’-based poems as means of expression of the celebration of the deaf community through the aesthetic richness of the poems in sign language as well as the appreciation of deaf experiences.

O poeta milanês Giuseppe Parini (1729-1799), embora ocupe um papel de destaque na história da literatura italiana no século XVIII, não é estudado no Brasil, inclusive dentro do ambiente acadêmico voltado aos estudos da italianística. Seu poema narrativo Il Giorno é considerado uma das mais importantes obras do Settecento italiano, apresentando uma dura crítica à nobreza do século XVIII por meio de uma sátira que busca se opor à poesia árcade sentimental em voga na época. O poema de Parini serviu de inspiração para grandes autores da literatura italiana estudados atualmente inclusive no Brasil, como Giacomo Leopardi, Alessandro Manzoni e Ugo Foscolo. Original, clássico e, ao mesmo tempo, atual, Il Giorno é uma obra que merece ser incluída nos estudos de literatura da academia brasileira e, portanto, necessita de uma versão comentada e anotada em língua portuguesa. Entendemos que sua ausência nos estudos dos italianistas brasileiros deva-se sobretudo à dificuldade de compreensão do poema, repleto de latinismos e figuras de linguagem e som, e julgamos que apresentar uma tradução comentada de ao menos uma parte Il Giorno é uma forma de incentivar o contato de professores, pesquisadores e estudantes com esse grande autor e, dessa forma, torná-lo conhecido em nosso meio acadêmico. Portanto, apresentamos uma tradução comentada de Il Mattino, primeira parte da obra. Trata-se de uma tradução estrangeirizante, que preserva os arcaísmos e rebuscamentos do poema italiano, fundamentais em sua constituição como obra satírica ao se contrapor ao assunto narrado na obra: o dia a dia superficial e irrelevante de um jovem membro da aristocracia italiana do século XVIII. / Although the Milanese poet Giuseppe Parini (1729-1799) plays a prominent role in the history of Italian literature of the eighteenth century, he is not studied in Brazil, not even within the academic community focused on Italian studies. His narrative poem Il Giorno is considered one of the most important works of the Italian Settecento: it presents a harsh criticism to the nobility of the eighteenth century by means of a satire that seeks to oppose itself to the sentimental Arctic poetry, very much in vogue at the time. Parinis poem was an inspiration for great Italian writers that are studied nowadays, in Brazil as well as abroad, such as Leopardi, Manzoni and Ugo Foscolo. Original, classic and modern at the same time, Il Giorno deserves to be included in the literature studies of the Brazilian academic community, and, therefore, needs an annotated version in Brazilian Portuguese. We understand that its absence in the field of Italian studies in Brazil is dewed mainly to the difficulty of its comprehension, full of Latinisms and stylistic literary devices, and we believe that an annotated translation of at least one part of Il Giorno is a way to encourage teachers, researchers and students to get in touch with this great writer and, thereby, make him known in our academic community. Therefore, we present an annotated translation of Il Mattino, the first part of Il Giorno. It is a foreignization translation, with all the archaisms and refinements of the Italian poem, considering that those archaisms and refinements, when countering the subject narrated in the work the superficial and irrelevant day-to-day of a young member of the Italian aristocracy of the eighteenth century , are fundamental to the formation of the poem as a satiric work.

A presente dissertação de mestrado insere-se no campo dos Estudos Culturais em Educação e consiste na análise de poemas em língua de sinais brasileira (Libras). As perguntas que norteiam a pesquisa são: como a poesia surda usa a língua de sinais e quais os temas que privilegia? Em outras palavras, o que dizem os poemas e como dizem? E como a poesia surda produz sentidos através da língua de sinais? A partir dessas perguntas, tracei como objetivos: (1) investigar poesias em língua brasileira de sinais, contribuindo com investigações sobre a literatura surda no Brasil; (2) desenvolver um estudo linguístico dos elementos presentes na produção poética; (3) analisar as experiências narradas nos poemas em língua brasileira de sinais; (4) apresentar o que os poemas carregam como ensinamentos. Analisei dez poemas, e para realizar a escolha visualizei setenta e dois (72) poemas, parte do meu arquivo pessoal, mas também retiradas do banco de dados do projeto “Produção, Circulação e Consumo da Cultura Surda Brasileira” (KARNOPP, KLEIN e LUNARDI-LAZZARIN, 2012), do site literatura surda e do YouTube. A metodologia para o desenvolvimento do trabalho foi de coleta de poemas e posterior análise, sob o viés linguístico e cultural, verificando as questões fonológicas e léxicas expressas nos poemas, e da Pedagogia Cultural. Como resultados das análises, consideramos os objetivos elencados e destacamos que, no uso dos sinais, a recorrência de neologismos e o uso de classificadores. Nas análises das experiências narradas, Ser Surdo e Orgulho Surdo foram temas frequentes nos poemas que contam o sofrimento presente no processo histórico da comunidade surda, bem como as lutas realizadas pelos surdos e a defesa da língua de sinais. O modelo do professor surdo na constituição da identidade surda e o curso de Letras-Libras são marcos de salvação do povo surdo. Na análise sobre os ensinamentos dos poemas, a Pedagogia Cultural possibilitou a compreensão dos poemas ABC e números como meios de expressão da celebração da comunidade surda através da riqueza estética dos poemas em língua de sinais, bem como a valorização das experiências surdas. / This dissertation falls within the field of Cultural Studies in Education and focuses on an analysis of Brazilian Sign Language (Libras) poems. The questions guiding the research are: how does deaf poetry use sign language and what themes does it privilege? In other words, what do the poems say and how they say it? And how does deaf poetry create emotions and feelings through sign language? These questions led to the following objectives: (1) to investigate Brazilian poetry in sign language, contributing to research on deaf literature in Brazil; (2) to develop a linguistic study of the elements present in poetic production; (3) to analyze the experiences narrated in Brazilian sign language poems; (4) to present the poems as a tool for teaching. I analyzed ten poems, selected from seventy-two (72) collected as part of my private collection, and also taken from the "Production, Circulation and Consumption of Brazilian Deaf Culture” project database (Karnopp, KLEIN and LUNARDI -Lazzarini, 2012), the website “deaf literature” and YouTube. The methodology for the study was the collection of poems and subsequent analysis from linguistic and cultural perspectives to investigate the phonological and lexical elements expressed in the poems, and Cultural Pedagogy. In the results of the analysis, we consider the stated objectives and highlight the use of signs, the recurrence of neologisms and the use of classifiers. Analysis of the experiences narrated showed that “Being Deaf” and “Deaf Pride” were common themes in the poems that recount this historical process in the deaf community suffering, as well as the struggles fought by deaf people and the defense of sign language. The role of the deaf teacher in the formation of deaf identity and courses studying Libras represent the salvation of deaf people. In the analysis of what the poems teach, Cultural Pedagogy as used to understanding the ‘ABC’ and ‘numbers’-based poems as means of expression of the celebration of the deaf community through the aesthetic richness of the poems in sign language as well as the appreciation of deaf experiences.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2017-03-09T15:09:09Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertação DIGITAL.pdf: 3914765 bytes, checksum: c5b2ecec5536092b89babf6420b6f72b (MD5) / Made available in DSpace on 2017-03-09T15:09:09Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Dissertação DIGITAL.pdf: 3914765 bytes, checksum: c5b2ecec5536092b89babf6420b6f72b (MD5) Previous issue date: 2016-08-30 / CNPQ / A tessitura deste trabalho constitui-se de uma narrativa histórica sobre a instalação da vanguarda tropicalista no campo cultural pernambucano especificamente entre os anos de 1967 e 1968. Muito embora o golpe civil e militar de 1964 houvesse instaurado no país, principalmente entre as fileiras progressistas dos campos político, intelectual e artístico, um clima de tensão permanente, alguns setores da produção cultural pernambucana destacaram-se por sua articulação e resistência no período pós-golpe. Através do protagonismo artístico dos Grupos Construção e Raiz, entre os anos 1965 e 1967, com a realização de shows-pesquisas, festivais de bossa nova, feiras regionais de música, programas musicais de televisão bem como cursos acadêmicos foi possível reintroduzir no cenário cultural local a discussão sobre a atualização da identidade nordestina a partir dos discursos da modernidade. A agitação cultural promovida por tais grupos, no entanto, seria radicalizada pelo professor universitário e ensaísta Jomard Muniz de Britto e outros artistas e intelectuais a partir de 1968. Oriundos do mesmo grupo de sociabilidade que havia construído as ideias e práticas culminantes tanto do Construção quanto do Raiz, acrescidos posteriormente de alguns integrantes do Grupo Sanhauá bem como do Poema-Processo, os tropicalistas promoveram uma verdadeira carnavalização artístico-intelectual entre as cidades de Recife e Olinda. Sob a égide da antropofagia oswaldiana, agenciada àquela altura pela vanguarda artística brasileira, os tropicalistas pernambucanos visualizaram no coro da marginalidade o caminho ideal para promoção da desprovincianização da cultura nordestina. / The tessitura of this work consists of a historical narrative about the installation of the Tropicalia forefront in Pernambuco cultural field specifically between the years 1967 and 1968. Although the civil and military coup of 1964 were introduced in the country, especially among the ranks of progressive political, intellectual and artistic, a climate of permanent tension, some sectors of Pernambuco cultural production stood out for its articulation and resistance in the post-coup period. Through the artistic leadership of Group Construction and Root, between the years 1965 and 1967, with the realization of shows, research, bossa nova festivals, regional music shows, musical programs television as well academic courses was possible to reintroduce the local cultural scene discussion on updating the northeastern identity from the discourse of modernity. The cultural agitation by such groups, however, would be radicalized by university professor and essayist Jomard Muniz de Britto and other artists and intellectuals from 1968. Coming from the same group of sociability that had built the ideas and practices culminating both construction as root later augmented by members of Sanhauá Group and the Poem-Process, the tropicalists promoted a true artistic and intellectual carnivalization between the cities of Recife and Olinda. Under the aegis of Oswaldian cannibalism, brokered by then the Brazilian artistic avant-garde, Pernambucans tropicalistas viewed the chorus of marginality the ideal way to promote deprovincialization of northeastern culture.

Au moment où la scène poétique au Moyen Orient était ébranlée par un bouleversement inouï du point de vue de la forme et du style, le mouvement littéraire et intellectuel marocain, dont la poésie s’abandonnait durant les trente premières années du XXème siècle, à une torpeur et à un anachronisme dont il avait du mal à s’arracher. L’onde de choc orientale finira avec le temps par atteindre les poètes marocains,mais leurs tentatives timides et embarrassées, ne seront pas à la mesure des espoirs escomptés.Dans les années soixante-dix, un groupe de poètes marocains animé par une ambition incoercible, attentif à la refonte et empressé - à coups de manifestes et de textes émancipés - d’en finir avec le legs mitigé des poètes de la modernité des années soixante, va s’engager dans une écriture désencombrée de toutes contraintes. Ni le poème classique, ni le poème de vers libre ne les convainc plus. Ils veulent la rupture.Cette radicalisation délibérée, transgressive qui va toucher la langue, la grammaire, la signification et les rythmes, et va conduire à une crise poétique et à mettre des obstacles entre le lecteur et la poésie moderniste”. / During the early twenty years of the 20 th centry, the intellectual and literarymovement in Morocco was outdated. The poetry of that time also kept on reproducingthe same old poetic genres. In the course of time the moroccan poets will realise that thearabic poetic movementhad reached a high level researching new styles and new forms.Influenced by theconcept of revival, the moroccan poets attempted to go beyond the bounds oftraditional poetry.However, their attempts remained very limited. The 1970s, in Morocco, werecharaterised by the birth of an ambitious group of poets. As early as their first texts,they asserted their longing to go beyond the experience of the 1960s, and to write a textthat is free from any constraint related to the classical poem or the free verse one. Neverthe less, their radical modernist experience will transform the poetry the 1970s into aprocess of transgression that will affect language, grammar, meaning and rhythm.Moreover,it will lead to a poetic crisis putting obstacles between the reader and themodernist poetry.

Metaphor is the most widely recognized and discussed type of trope. It has attracted the attention of analysts from various disciplines, e.g. philosophy, psychology, cognitive science, and literature. Research from these fields has shown that metaphors are ubiquitous and indispensable in our lives. It is not only literary discourse that is abundant with metaphors, but metaphors are also common in scientific discourse and even in our everyday language. Moreover, research from cognitive linguistics has shown that our thinking is metaphorical to a certain extent. Thus, if metaphors are so ubiquitous in our lives, how do we recognize them? In this paper selected metaphors from The Love Song of J. Alfred Prufrock by T.S. Eliot have been analyzed. These are metaphors from literary discourse; hence, the analysis was partly influenced by the genre and the specific, poetic context. The focus is on linguistic metaphors that can be identified in this poetic text, not on underlying conceptual metaphors. The aim of this paper has been to see how the metaphors in the poem are constructed and how the metaphorical part of the strings they occur in interacts with a seemingly literal part. According to the results of the analysis, the metaphorical constructions in the poem show a variety of modes of interaction among their constituents. Typically the metaphorical part of the poetic construction evokes a complex and directly perceptible phenomenon which serves as the basis for the understanding of the poetic persona’s feelings. Also the metaphors that describe the setting of the poem seem to be projections of the protagonist’s mood. Thus, the affective aspect of the metaphors is essential in the poem since it connects the metaphors to a network of meanings related to a prominent theme of the poem, namely the speaker’s paralysis and insecurity of himself, adding to the expressive complexity of the poem’s structure.

Édouard Dujardin (1861-1949), fondateur de la Revue wagnérienne et de la Revue Indépendante de littérature et d’art, n’a pas été seulement un théoricien du symbolisme, il en a été le praticien. Son œuvre littéraire entre 1885 et 1893 explore aussi bien le vers que la prose, en retrace les questionnements. Résolument engagée dans l’avant-Garde, elle ne s’attaque pas seulement à l’édifice du réalisme, elle remet en cause le modèle de la mimèsis dans une recherche formelle intense. Ainsi l’œuvre de Dujardin se fait-Elle, de manière exemplaire, témoin de cette crise du vers que traversait l’univers des lettres. Genres, formes et confrontation entre les arts délimitent ce parcours en trois parties, qui ne suit pas un plan linéaire ou chronologique, mais un questionnement spécifique déterminé par chaque ouvrage. Pour cette raison, nous avons commencé par son théâtre, qui soulevait la question de l’identité du personnage. Le prénom Antonia nous a ainsi servi de fil conducteur pour aborder la relation vers et prose, telle qu’elle se manifeste soit dans le poème en prose soit dans le vers libre. Dans une seconde partie, nous avons interrogé les formes, la prose poétique de ses nouvelles et de son roman, qui répondent partiellement aux critères définissant le poème en prose. Enfin, dans le cadre de la confrontation entre les arts, nous nous sommes intéressés au phénomène textuel Les Lauriers sont coupés, considéré par la critique comme un procédé de « monologue intérieur », puis au rapport entre poésie et musique par l’étude de l’ouvrage Litanies mélopées pour chant et piano, qui met en vis-À-Vis poème et musique. / Edouard Dujardin (1861-1949), the founder of Revue wagnérienne (the Wagnerian Journal) and Revue Indépendante de littérature et d’art (the independent journal of literature and art) has not only been a theoretician on symbolism but also a practitioner. His literary work between 1885 and 1893 explores verse as well as prose and traces back its questionings. Being resolutely engaged in the avant-Garde, it does not only tackle the structure of realism but also questions the model of mimesis in a sort of formal and intense research. It thus happens that Dujardin’s literary work testifies, in an exemplary way for that matter, to the crisis in verse that the literary universe was undergoing. Genres, forms and confrontations of different forms of arts define this course in three parts which does not follow a linear plan nor a chronological one but rather a specific questioning determined by each literary work. This is the reason why we started by studying his drama which raised the question of the character’s identity. The name of Antonia was thus used as a thread to tackle the relationship between prose and verse, as shown in the poem in prose or in free verse.In a second part, we questioned the forms-The poetic prose of his short stories and of his novel- which partly fulfil the criteria of the poem in verse. Lastly, in the context of the confrontation between the different types of arts, we focused on the text viewed as a phenomenon- Les Lauriers sont coupes- considered by critics as a form of “stream of consciousness” then on the connection between poetry and music through the study of the work Litanies, “mélopées” for piano and song, which confronts poem and music.

O tema desta pesquisa éhabilidades de leitura de poemas. Os problemas que motivaram a pesquisa foram: a constatação de que, para mim e para muitos professores, desenvolver práticas didáticas em que as habilidades de leitura do gênero poema sejam contempladas constitui um desafio; a observação de que os alunos não demonstram interesse pela leitura de poema, apesar do valor desse gênero discursivo para formação do leitor; as dúvidas sobre como preparar os alunos para avaliações externas, como Prova Brasil, ENEM, e SARESP. Meu interesse pelo tema encontrou acolhimento no projeto OBSERVATÓRIO/UNITAU 2011-2014: `Competências e habilidades de leitura: da reflexão teórica ao desenvolvimento e aplicação de propostas didático-pedagógicas, n23038010000201076, financiado por CAPES/INEP. O objetivo geral desta pesquisa é oferecer uma contribuição ao Projeto Observatório/UNITAU e aos demais educadores que vierem a conhecer este trabalho de transposição didática de atividades que enfocam habilidades de leitura de poemas e de reflexão sobre os resultados na sala de aula em que se desenvolveu. Especificamente, a pesquisa objetiva: 1) identificar as características das questões do SARESP, de 2003 a 2007, que cobram habilidades de leitura de poemas da fim de subsidiar a proposta de trabalho de leitura em sala de aula; 2) desenvolver atividades de leitura de poemas, a partir de sequência didática elaborada por participantes do Projeto Observatório/UNITAU, com 30 alunos do 7 ano do Ensino Fundamental II, de uma escola particular da cidade de São Paulo.A Matriz do SARESP (SÃO PAULO, 2009) é utilizadacomo fundamentação legal para as habilidades de leitura exigidas nas provas externas, uma vez que contempla também as exigências da Prova Brasil. A fundamentação teórica desta pesquisa baseia-se na perspectiva sociocognitiva de leitura; na concepção bakhtiniana da linguagem e de gêneros discursivos e nos aspectos constitutivos do gênero discursivo poema. Metodologicamente, realizou-se umapesquisa quantitativa e qualitativadas questões sobre poema das provas SARESP de 2003 a 2007 e uma pesquisa-ação com os alunos sujeitos da pesquisa.Como resultados da análise das provas do SARESP, observou-se quevem aumentando o número de questões sobre poemas, chegando a 8 em 2007, e que as questões exigem inferências a partir do tema e dos recursos lingüísticos de cada poema, abrangendo várias habilidade de leitura. Como resultados da pesquisa-ação, constatou-seque os alunos participaram com empenho das atividades de leitura de poemas propostas e que a sequência didática de leitura contempla as habilidades cobradas pelas provas externas e facilita a apropriação pelos alunos das principais características dos poemas. Sendo assim, conclui-se que a leiturade poemas, por meio de uma sequência didática nos moldes da utilizada nesta pesquisa, deve fazer parte do currículo do 7 ano do Ensino Fundamental. / The theme of this research is reading comprehension abilitiesof poems . The problems that motivated the research were : the perspective that for me and for many teachers, developing teaching practices that reading comprehension abilities are reflected in the poem genre is a challenge , observing that students do not show interest in reading poem, although the value of this discourse genre training for the reader ; some doubts about preparing students for external exams as Prova Brasil , Enem , and SARESP . My interest in thissubject found acquaintance in the project OBSERVATORIO / UNITAU 2011-2014 : ` Competences and habilities on reading : from theoretical reflection to the development and implementation of educational and pedagogical proposals , reference numeber 23038010000201076 , sponsored by CAPES / INEP . The overall objective of this research is to provide a contribution to the Project Observatório / UNITAU and other educators who migh learn about this essay of didactic transposition activities focused onreading comprehension abilities of poems and reflection on the results in the classroom in which it was developped . Specifically , the research aims to : 1 ) to identify the characteristics of the questions on SARESP , 2003-2007 , which requires reading comprehension abilities of the poems to support the proposed work of reading in the classroom , 2) to develop reading activities poems from instructional sequence developed by attendeesof project Observatorio / UNITAU , within 30 students of 7th grade of high schhol, enrolled in a private school in São Paulo City . The Matrice of SARESP ( SÃO PAULO , 2009) is used as a legal basis for reading comprehension abilities required in external exams, since it also includes the requirements Prova Brasil . The theoretical foundation of this research is based on socio-cognitive perspective of reading; in Bakhtinian conception of language and speech genres and constitutive aspects of gender discourse poem. Methodologically , a quantitative and qualitative research was carried outtowards questions about the poem and examsof SARESP 2003-2007 and a quiz with students targeted on the research. As results of the analysis of SARESPs exams , it was noticed that there is growing number of questions about poems , reaching to 8 in 2007 , and that the questions require inferences from the subject and the linguistic resources of each poem, covering various reading comprehension abilities. As a result of the research, it was observed that students who participated with commitment on the activitiesoffered reading poems and the instructional sequence incorporates reading comprehension abilitiesrequired by external emaxs and facilitates ownership by students of the main features of the poems. Therefore , it is concluded that reading poems through a teaching sequence in themodel used in this study , should be part of the curriculum of the 7th grade high school.