Temps de solitude et de patience, de silence et de lenteur : la dimension de l’attente amoureuse pourrait paraître un sentiment désuet, peut-être archaïque, donc vidé de sens à l’époque de la globalisation, de l’abolition des distances et de la vitesse des communications. Ses représentations romanesques au XXe siècle nous démontrent, au contraire, comment l’attente amoureuse peut se révéler un paradigme très intéressant pour comprendre, à travers la littérature, les contradictions de l’homme moderne. Le but de la présente étude comparatiste est de définir une sorte de « modèle » des représentations romanesques de l’attente amoureuse au XXe siècle à travers une comparaison entre trois grandes œuvres narratives du siècle passé : A la Recherche du temps perdu (1913-1927) de Marcel Proust, Joseph und seine Brüder (1933-1943) de Thomas Mann et El amor en los tiempos del cólera (1985) de G. García Márquez. En se fondant sur les réflexions sur l’attente amoureuse offertes par Roland Barthes (Fragments d’un discours amoureux, 1977 et Le discours amoureux, 2007) et en ouvrant la comparaison à d’autres textes romanesques et dramatiques du siècle passé, cette recherche se propose d’étudier le rapport entre le temps impalpable et suspendu de l’attente et les problèmes de la fiction romanesques, tel qu’il se présente dans tout au long du XXe siècle. / Love waiting is a time of patience and solitude, silence and slowness: it may seem like an obsolete and archaic sentiment, deprived of all meaning in the age of globalization, shortening of distance and rapidity of communications. Its representations in the 20th century novel, instead, show how the love waiting proves to be an interesting paradigm to understand the contradictions of contemporary humanity through the literature. This comparative research aims to define a sort of “model” of representations of the love waiting in the 20th century novel by the comparison between three important novels of the last century: Marcel Proust’s A la Recherche du temps perdu (1913-1927), Thomas Mann’s Joseph und seine Brüder (1933-1943) and Gabriel García Márquez’s El amor en los tiempos del cólera (1985). Drowing inspiration from Roland Barthes’ ideas about love waiting (Fragments d’un discours amoureux, 1977 and Le discours amoureux, 2007) and also widening the comparison to other narrative texts and pieces of the last century, this work aims to analyse the relation between the suspended and impalpable time of waiting on one side and the complex form of novel on the other side, as it occurs over the 20th century.

Orientador: Adriana Giarola Kayama / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T19:45:00Z (GMT). No. of bitstreams: 1 Dias_ClaytonJunior_M.pdf: 76587345 bytes, checksum: bd7706906798a0f2b9b6d5e91dcb11db (MD5) Previous issue date: 2012 / Resumo: Nessa pesquisa nosso principal objetivo foi resgatar uma obra importante do Pe. José Maurício Nunes Garcia que ainda não havia sido editada no Brasil e pesquisada em função da sua interpretação, a Missa em Mi bemol, composta no ano de 1811, catalogada como CPM 107. Com esse trabalho, esperamos contribuir para que essa peça seja conhecida, divulgada e que a análise aqui realizada auxilie os interpretes: regente, solistas, coro e organista na sua performance. Após uma pequena abordagem histórica sobre Pe. José Maurício Nunes Garcia e sua obra, apresentamos uma pesquisa sobre a origem e evolução das partes do Ordinário da Missa (até a forma utilizada na composição dessa peça) e na sequência, realizamos a analise da Missa em Mi bemol (1811) tendo como base o te6rico Felix Salzer, procurando salientar aspectos analíticos que poderiam ser utilizados na interpretação dessa obra. Por fim, no Anexo, apresentamos a partitura editada da Missa em Mi bemol (1811) / Abstract: Our main objective in this research was to recover the Missa em Mi bemol (1811, catalogue number CPM 107) composed by Father José Maurício Nunes Garcia, a work which still had not been edited and studied in sight of its interpretation in Brazil. With this research we hope to contribute in making this Mass known, and that our analysis assist conductors, soloists, choir and organist in perform it. After a brief look at Father José Maurício's life and musical production, we presented a study of the origin and evolution of the parts of the Ordinary of the Mass (up to the form used in Father Jose Mauricio's Mass). We then proceeded with the analysis of the Missa em Mi bemol (1811) based on the theory of Felix Salzer, in an attempt to point out analytical aspects that could be used in the interpretation of the work. Finally, in the Apendix, we presented the edited score of the Missa em Mi bemol (1811) / Mestrado / Praticas Interpretativas / Mestre em Música

Cette thèse se propose d'étudier la question du Bouc Emissaire dans les œuvres de Gabriel García Márquez. Le thème du Bouc Emissaire est étroitement lié aux personnages dont l'existence semble attachée à ce phénomène. Soumis à leur triste sort, il est difficile d'envisager les personnages de Gabriel García Márquez en dehors de ces cercles vicieux. L'auteur associe inconsciemment ou pas ce phénomène du Bouc Emissaire aux thèmes tels que ceux de la Maison, du Corps meurtri ou sublimé, de l'Identité, de l'Altérité... qui seront exploités tout au long de ce travail. Il est donc intéressant de se demander pourquoi l'auteur semble ressentir le besoin pressant et permanent de construire des sociétés fictives faites avec et par des personnages boucs émissaires. En se servant de l'écriture, l'auteur semble dévoiler et affronter son univers personnel, le monde, notre actualité. Aussi, ce travail compte bien interroger certains ouvrages de Gabriel García Márquez afin d'observer dans un premier temps les éléments nécessaires à la formation du Bouc Emissaire. Puis notre analyse nous permettra de voir comment se manifestent les phénomènes d'exclusion en parallèle avec les réalités sociétales, tout en gardant en toile de fond la vie de l'auteur. / This thesis proposes to study the issue of Scapegoat in the works of Gabriel García Márquez. The theme of the Scapegoat is closely related to characters whose existence seems attached to this phenomenon. Submitted to their fate, it is difficult to imagine the characters in Gabriel García Márquez outside these vicious circles. The author combines unconsciously or not this phenomenon Scapegoat themes such as those of the House, the bruised body or sublimate, Identity, Otherness ... of which will be used throughout this work. It is therefore interesting to ask why the author seems to feel the pressing need to build permanent and fictitious companies made with the characters and scapegoats. By using writing, the author seems to reveal and confront his personal universe, the world, our news. Also, this work intends to examine certain works of Gabriel García Márquez to observe in the first place the elements necessary for the formation of the Scapegoat. Then our analysis allow us to see how phenomena occur in parallel with the exclusion societal realities, keeping in the background the life of the author.

[pt] A antropologia teológica busca focalizar o ser humano e suas dimensões a partir da realidade da fé em Jesus Cristo. Com interesse especial nessa busca, nos propomos, dentro de uma ótica sistemático-pastoral, investigar a possibilidade de superação do problema conhecido como dualismo antropológico no interior do movimento pentecostal brasileiro, a partir da caracterização de suas representações mais influentes no cenário nacional atualmente, tanto do chamado pentecostalismo clássico, como do neopentecostalismo. Para a análise de conceituação e identificação do dualismo, e ainda para o critério de assimilação da antropologia teológica de integração, oposta ao dualismo, toma-se como principal referência teórica a obra do teólogo espanhol radicado no Brasil, Alfonso García Rubio, dada a sua relevância e experiência no assunto em questão. Com isto, pretendemos chegar ao fim da pesquisa oferecendo uma perspectiva não somente teórica, mas principalmente prática, para o segmento cristão estudado, a fim de que se perceba sua possibilidade real de superação do dualismo constatado. / [en] The theological anthropology seeks to focus on the human being and its dimensions from the reality of faith in Jesus Christ. With special interest in this search, we propose, within a systematic and pastoral perspective, investigating the possibility of overcoming the problem knows as anthropological dualism within the Brazilian Pentecostal movement, from the characterization of its most influential representatives in the national scene today, both the so-called classical Pentecostalism as the neo-Pentecostalism. For the analysis of the concepts and identification of dualism, and yet for the criterion of assimilation of theological anthropology integration, as opposed to dualism is taken as main theoretical reference work by the Spanish theologian living in Brazil, Alfonso García Rubio, given its relevance and experience in the subject matter. With this, we aim to get to the end of the research offering not only theoretical, but mostly practical perspective for the Christian segment studied in the order to realize who your real chance of overcoming the dualism found.

A estética da ópera cômica, germe da música setecentista, deu aos compositores uma nova gama de combinações e estratégias musicais de contraste e fluxo dramático, pois, ao representar na ópera a ação de homens comuns, a música pôde absorver e combinar tanto materiais retirados dos mais diversos contextos culturais - como a caça, a guerra e o campo - quanto estilos musicais que, juntos, são chamados de tópicas musicais. Por conseguinte, a gama de combinações setecentista possibilitou os compositores criarem significados expressivos únicos, de acordo com as finalidades expressivas determinadas pelo contexto social, cultural e teológico nos quais a música se insere. Tais inovações na linguagem musical também estavam disponíveis para o padre e compositor brasileiro José Maurício Nunes Garcia (1767 - 1830). O objetivo desta pesquisa é estudar o Kyrie da Missa de Santa Cecilia do Pe. José Maurício Nunes Garcia na perspectiva da significação musical, a fim de investigar (1) a estratégia musical pela qual José Maurício compôs este Kyrie, (2) se estratégias musicais apontam para um significado expressivo que tenha relação (isto é, que seja correlato) com as unidades culturais/teológicas envolvidas no martírio de Santa Cecília (como, por exemplo, abnegação, redenção, salvação, etc.), e se, (3) a partir disso, podemos compreender como essas unidades culturais e/ou ideias teológicas influenciam as escolhas musicais. Ao manipular desde elementos formais, como harmonia e cadências, a tópicas musicais retiradas da tradição da música pastoril à tradição de representar na ópera cenas de assombro e maravilha (cuja música ficou conhecida como ombra), José Maurício consegue dialogar com a cultura e a teologia que circundam a Missa de Santa Cecília. / The aesthetics of comic opera, germ of eighteenth-century music, gave to composers a new range of musical combinations and strategies of contrast and dramatic flow. By playing in the opera the action of ordinary men, music was able to absorb and combine both materials taken from more diverse cultural contexts - such as hunting, war and the countryside - as well as musical styles that, together, are called musical topics. Consequently, the range of eighteenth-century combinations allowed composers to create unique expressive meanings, according to the expressive purposes determined by the social, cultural, and theological context in which music is inserted. Such innovations in the musical language were also available to the Brazilian priest and composer José Maurício Nunes Garcia (1767 - 1830). This research aims to study the Kyrie of the Mass of St. Cecilia of Fr. José Maurício Nunes Garcia in the perspective of musical signification, in order to investigate (1) the musical strategy in which José Maurício composed this Kyrie, (2) if the musical strategie points to the cultural / theological units involved in the martyrdom of St. Cecilia (such as self-denial, redemption, salvation, etc.), and if (3) we can understand how these cultural units / theological ideas influence musical choices. By manipulating from formal elements, such as harmony and cadences, to musical topics taken from the tradition of pastoral music to the tradition of representing scenes of awe and wonder (whose music became known as ombra), José Maurício manages to dialogue with the culture and the theology surrounding the Mass of St. Cecilia.

Para se descobrir uma poética do Cancioneiro Geral de Garcia de Resende é necessário que se analise a Compilação não somente pelo seu conteúdo, mas principalmente pela sua forma, constituída de ritmo, de rima e de métrica, e, sobretudo, de estruturas estróficas e de recursos retóricos. Esta Tese propõe definir uma ars poetica implícita na Compilação levada a cabo por Garcia de Resende, que, de 1449 a 1516, reuniu poemas, registrando neles uma época denominada Pré-Renascimento. Através de seis grupos de formas a balada, o vilancete, a esparsa, a trova, a cantiga e os poemas de formas mistas, uma inovação do Compêndio e através do estudo dos artifícios retóricos empregados pelos poetas palacianos, é possível vislumbrar uma poética que não foi proposta por Resende em seu Prólogo, diferentemente do que ocorreu com os cancioneiros castelhanos da mesma época. No entanto, através dos paradigmas encontrados no que se pode denominar amor pela forma daqueles poetas, e através dos gêneros cultivados por eles, percebe-se, também, uma poética no Cancioneiro resendiano. / In order to find out a poetics of Garcia de Resendes Cancioneiro Geral it is necessary to analyze the songbook not only through its content, but mainly through its form, constituted of rhythm, rhyme, metric and, above all, its stanza structure and rhetoric recourses. The purpose of this thesis is to define an implicit ars poetica of the compilation organized by Garcia de Resende, who collected poems from 1449 to 1516, registering in it an age called pre-Renaissance. Through six groups of forms ballads, vilancetes, esparsas, trovas, cantigas and poems of mixed forms, an innovation of the compendium and through the study of rhetoric artifices employed by the court poets, it is possible to catch a glimpse of a non proposed poetics by Resende in his Prologue, unlike what occurred with the Castilian cancioneros of the same epoch. However, through the paradigms found in what could be called love of the form by those poets, and through the genders they cultivated, it is possible to realize a poetics that characterizes Resendes songbook.

Para se descobrir uma poética do Cancioneiro Geral de Garcia de Resende é necessário que se analise a Compilação não somente pelo seu conteúdo, mas principalmente pela sua forma, constituída de ritmo, de rima e de métrica, e, sobretudo, de estruturas estróficas e de recursos retóricos. Esta Tese propõe definir uma ars poetica implícita na Compilação levada a cabo por Garcia de Resende, que, de 1449 a 1516, reuniu poemas, registrando neles uma época denominada Pré-Renascimento. Através de seis grupos de formas a balada, o vilancete, a esparsa, a trova, a cantiga e os poemas de formas mistas, uma inovação do Compêndio e através do estudo dos artifícios retóricos empregados pelos poetas palacianos, é possível vislumbrar uma poética que não foi proposta por Resende em seu Prólogo, diferentemente do que ocorreu com os cancioneiros castelhanos da mesma época. No entanto, através dos paradigmas encontrados no que se pode denominar amor pela forma daqueles poetas, e através dos gêneros cultivados por eles, percebe-se, também, uma poética no Cancioneiro resendiano. / In order to find out a poetics of Garcia de Resendes Cancioneiro Geral it is necessary to analyze the songbook not only through its content, but mainly through its form, constituted of rhythm, rhyme, metric and, above all, its stanza structure and rhetoric recourses. The purpose of this thesis is to define an implicit ars poetica of the compilation organized by Garcia de Resende, who collected poems from 1449 to 1516, registering in it an age called pre-Renaissance. Through six groups of forms ballads, vilancetes, esparsas, trovas, cantigas and poems of mixed forms, an innovation of the compendium and through the study of rhetoric artifices employed by the court poets, it is possible to catch a glimpse of a non proposed poetics by Resende in his Prologue, unlike what occurred with the Castilian cancioneros of the same epoch. However, through the paradigms found in what could be called love of the form by those poets, and through the genders they cultivated, it is possible to realize a poetics that characterizes Resendes songbook.

École de style, espace de mémoire et de réflexion, champ d’expérimentation de formes narratives, l'œuvre journalistique de Gabriel García Márquez affiche une indéniable ambition littéraire tout en gardant une valeur documentaire. En examinant les chroniques des Notas de Prensa 1980-84 et le reportage Noticia de un secuestro (1996), un constat général se dégage : la tentative de conversion esthétique que l'on trouve dans ces ouvrages vient confirmer ce qui était déjà une évidence dans la période initiale (1948-1961), la consolidation d'un espace singulier dans son œuvre se rapprochant de façon subsidiaire et non subalterne de ses travaux proprement littéraires. Cette recherche fusionnelle marque définitivement son reportage, car c'est dans ce domaine que l'investissement de la matière documentaire confine à la forme romanesque. Le facteur immuable du style serait la clé expliquant cette transposition des recours rhétoriques et narratifs dans la non-fiction. Par ce biais les échanges entre les deux domaines de son écriture s'avèrent plutôt fructueux; à terme, tous deux ciblent une vision poétique de la réalité et valident indépendamment leurs procédures de représentation. Mais cette tendance convergente n'est pas toujours exempte de zones de tension, surtout lorsque l'auteur se permet quelques écarts fictionnels dans ses chroniques. En revanche, dans le reportage qui se veut écrit comme un roman, la correspondance stricte avec l'enquête devient un impératif grandissant. Ainsi, son journalisme joue un rôle précurseur dans la presse colombienne tout en rejoignant un courant universel. / A stylistic school, a vehicle for recollection and reflection, an experimental field with narrative forms, Gabriel García Márquez’s journalistic works are characterised by both an undeniable literary ambition and genuine documentary value. An examination of the columns, Notas de Prensa 1980-84, and the reportage, Noticia de un secuestro [1996], leads to the following finding: the attempt at aesthetic transformation that runs throughout these works confirms what was already obvious in the initial period (1948-1961), the consolidation of a singular level in his work that approaches in a subsidiary but not subordinate manner his literary works proper. This quest can be seen definitively in all his reportage work, the area in which the approach to the documentary material borders on that of the novel form. The key to this transposition of rhetorical and narrative recourse to non-fiction would appear to be found in the style –its inalterable nature. It is in this way that the interplay between the two fields of his writing proves to be so rich; both ultimately strive for a poetical vision of reality and they independently validate their representative processes. However, this converging trend also contains some areas of tension, not least of which when the author allows himself to digress in his columns into what is nothing less than a brief sketch of a fictional work. In contrast, in the reportage intended to be written as a novel, a strict adherence to the investigation itself becomes increasingly crucial. It is in this way that his journalism can be seen as both a precursor in the Colombian press and as part of a universal current.

Alan Garcia, l’actuel président du Pérou, est un des politiciens les plus controversés dans l’histoire péruvienne. Le succès de sa carrière comme candidat est fort opposé aux résultats catastrophiques de sa première gestion présidentielle. Dans la culture populaire, les compétences discursives de Garcia, ainsi que le contraste entre son succès et ses pauvres performances en tant que président, l’ont élevé au rang de mythe. Ce travail de recherche présente une analyse pragmatique linguistique des stratégies discursives utilisées par le président Garcia dans son deuxième mandat (2001-2006). L’analyse sera centrée sur le rapport établi par Steven Pinker (2007) entre politesse positive et solidarité communale. Les travaux de Brown et Levinson (1978, 1987) et d’Alan Fiske (1991) sont notre base théorique. L’exclusion sociale d’une partie de la population électorale péruvienne, selon le point de vue de Vergara (2007), est l’élément clé pour mieux comprendre le succès de la stratégie discursive de Garcia. Vegara présente une analyse diachronique multi-variable de la situation politique péruvienne pour expliquer la rationalité de la population électorale péruvienne. À partir de cet encadrement théorique, nous procéderons à l’analyse lexicométrique qui nous permettra d’identifier les stratégies discursives utilisées dans le corpus des discours de Garcia qui a été choisi pour l’analyse. D’après le schéma de Pinker, les données obtenues seront classifiées selon la définition de politesse positive de Brown et Levinson. Finalement, nous évaluerons le rapport entre les résultats classifiés et le modèle de solidarité communale de Fiske. L’objectif est de démontrer que le style discursif de Garcia est structuré à partir d’une rationalité dont l’objet est de fermer la brèche sociale entre le politicien et l’électorat. / Peruvian President Alan Garcia is one of the most controversial politicians in Peruvian history. His successful career as a presidential candidate is opposed to the catastrophic results of his first presidential government. Garcia’s discursive skills and the high contrast between his political success and his poor performance as a president have become a myth in Peruvian popular culture.. In this work we will present a pragmatic-linguistic analysis of the discursive strategies used by Garcia in his second administration (2006-2011). The analysis will be focused on the relationship established by Steven Pinker (2007) between Positive Politeness and Communal Sharing. The works of Brown and Levinson (1978, 1987) and Alan Fiske (1991) will be our theoretical groundwork. Social exclusion in Peruvian electoral population, as explained by Vergara (2007), is the key factor to understand the success of Garcia’s discursive strategy. In his work, Vergara presents a diachronic multi-variable analysis of the Peruvian political situation that explains the rationality behind Peruvian elector’s decisions. Once established the referential political framework, we will proceed with the lexicometric analysis that will help us to identify the discursive strategies used in a previously selected sample of Garcia’s public discourses. In order to match Pinker’s scheme, we will classify these findings according to the positive politeness categorization of Brown and Levinson. Finally, we will associate these results to the Communal Sharing model of social relationship, as defined by Fiske. Our goal is to demonstrate that Garcia’s discursive style is rationally structured to reduce the social gap between the Politician and the Elector.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2017-11-23T09:51:11Z No. of bitstreams: 2 Dissertação - Luciano Gonzaga Peres - 2017.pdf: 1272230 bytes, checksum: 33370d5644b3065ad74009f16c66a8a0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-11-23T09:51:49Z (GMT) No. of bitstreams: 2 Dissertação - Luciano Gonzaga Peres - 2017.pdf: 1272230 bytes, checksum: 33370d5644b3065ad74009f16c66a8a0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-11-23T09:51:49Z (GMT). No. of bitstreams: 2 Dissertação - Luciano Gonzaga Peres - 2017.pdf: 1272230 bytes, checksum: 33370d5644b3065ad74009f16c66a8a0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-09-05 / The present study has the purpose of bringing to light the work of José Godoy Garcia, In particular the book Rio do Sono (Sleep River) (1948). For this purpose, It was necessary to appeal to considerations about authors traditionally affiliated with Modernism, as Mário de Andrade, Manuel Bandeira and Carlos Drummond de Andrade. It was also necessary for us to locate the Modernism in Goiás and its relation to the publication of the various numbers of the magazine Oeste. The decisive role of Léo Lynce, Bernardo Élis, José Décio Filho and José Godoy Garcia so that the Modernism would gain place in Goiás was provided by such a press vehicle, seen as a true herald of the innovations proposed by such literary period. The texts published in the magazine demonstrate the climate of ideological conflict in which the State of Goiás was, Because there were some authors who were still attached to the past movements, publishing poems that mirrored characteristics of Parnassianism and Romanticism. This confluence of literary styles made us realize the hybrid panorama of our literature in the first half of the 20th Century. After verifying these formative aspects of Modernism in Goiás, We began to analyze the poetic construction and how all these factors influenced the work of José Godoy Garcia. We find that the author went beyond mere modernist fads, strongly exercising the role of literary critic and making evident the concern with the underprivileged, with the marginalized beings, with those who had no space in poetry. What we found, then, was a well-known author of his social role and master of his poetic practice, which made the poet to be recognized not only by his contemporaries, but also by other poets and other scholars of literature. We find that although he is not a goiano author with enormous commercial recognition, his works reflect well the maturity and conscience of those who knew how to measure the language appropriate to the poems, essays, short stories and other textual genres to which he appealed. In order to base our incursions on the work of Godoy Garcia, we use several theoretical contributions, among which we highlight: Afrânio Coutinho (1996), Antônio Geraldo Ramos Jubé (1978), Darcy França Denófrio (1996), Gilberto Mendonça Teles (1964), Humberto Eco (1979), Massaud Moisés (1974), Octávio Paz (1974) and Tzvetan Todorov (1978), to support this dissertation. / O presente estudo tem a finalidade de trazer à luz a obra de José Godoy Garcia, em especial o livro Rio do sono (1948). Para tal propósito, foi preciso que recorrêssemos a considerações sobre autores tradicionalmente filiados ao Modernismo, como Mário de Andrade, Manuel Bandeira e Carlos Drummond de Andrade. Também foi preciso que localizássemos o Modernismo em Goiás e a sua relação com a publicação dos vários números da revista Oeste. O papel decisivo de Léo Lynce, Bernardo Élis, José Décio Filho e José Godoy Garcia para que o Modernismo ganhasse corpo em Goiás foi propiciado por tal veículo de imprensa, visto como verdadeiro arauto das inovações propostas por tal período literário. Os textos publicados na revista demonstram bem o clima de embate ideológico no qual o Estado de Goiás se encontrava, pois havia alguns autores que O presente estudo tem a finalidade de trazer à luz a obra de José Godoy Garcia, em especial o livro Rio do sono (1948). Para tal propósito, foi preciso que recorrêssemos a considerações sobre autores tradicionalmente filiados ao Modernismo, como Mário de Andrade, Manuel Bandeira e Carlos Drummond de Andrade. Também foi preciso que localizássemos o Modernismo em Goiás e a sua relação com a publicação dos vários números da revista Oeste. O papel decisivo de Léo Lynce, Bernardo Élis, José Décio Filho e José Godoy Garcia para que o Modernismo ganhasse corpo em Goiás foi propiciado por tal veículo de imprensa, visto como verdadeiro arauto das inovações propostas por tal período literário. Os textos publicados na revista demonstram bem o clima de embate ideológico no qual o Estado de Goiás se encontrava, pois havia alguns autores que ainda estavam presos aos tidos movimentos passadistas, publicando poemas que espelhavam características do Parnasianismo e do Romantismo. Esta confluência de estilos literários nos fez perceber o panorama híbrido de nossa literatura na primeira metade do Século XX. Depois de constatados esses aspectos formativos do Modernismo em Goiás, passamos a analisar a construção poética e como todos esses fatores citados influenciaram a obra de José Godoy Garcia. Verificamos que o autor foi além dos meros modismos modernistas, exercendo fortemente o papel de crítico literário e deixando evidente a preocupação com os desvalidos, com os seres marginalizados, com aqueles que não tinham espaço na poesia. O que constatamos, então, foi um autor bem consciente do seu papel social e senhor de sua prática poética, o que fez o poeta ser reconhecido não só pelos seus contemporâneos, como também por outros poetas e por outros estudiosos da literatura. Constatamos que, embora não seja autor goiano com enorme reconhecimento comercial, suas obras espelham bem a maturidade e consciência de quem soube dosar a linguagem adequada aos poemas, aos ensaios, aos contos e a outros gêneros textuais a que recorreu. Para alicerçar nossas incursões sobre a obra de Godoy Garcia, utilizamos diversos aportes teóricos, entre os quais destacamos: Afrânio Coutinho (1996), Antônio Geraldo Ramos Jubé (1978), Darcy França Denófrio (1996), Gilberto Mendonça Teles (1964), Humberto Eco (1979), Massaud Moisés (1974), Octávio Paz (1974) e Tzvetan Todorov (1978), para fundamentarem esta dissertação.