Les études critiques littéraires insistent sur le fait que la langue poétique joue un rôle prépondérant dans la construction du poème et ce qu’il englobe comme sens et symboles. La langue poétique a, en effet, une particularité inspiratrice à travers laquelle elle exprime l’objectif axial du discours poétique. Elle est l’épicentre du rayonnement de la créativité et le liant entre les constituants subjectifs et objectifs du poète. Elle est la traduction fidèle des conceptions, des sensations et des inquiétudes de l’auteur. C’est ainsi que s’opère la consonance entre la langue et le processus poétique pour créer une cohésion organique basée sur un interactionnisme symbolique. Celui-ci aide, de son côté à définir les manifestations de la fonction poétique à travers «le rythme, la manipulation phonétique et l’image ». Cependant, avec l’émergence de la modernité ou la conception moderne de la critique, cette langue acquiert de nouvelles notions et méthodes fondées sur le sens, la construction imagée de même que sur la saturation musicale du texte. C’est pourquoi nous relevons de nombreux textes débordant de dépaysement, de nostalgie. Nous relevons, aussi, d’autres textes reflétant un état de tension et d’inquiétude au niveau du sens ou une langue qui ne peut exister que par les glissements de sens, le récit, le discours ou la narration poétique. C’est là où réside le rôle du poète dans la mise en avant de cette langue en faisant appel à sa capacité et à sa force créatives qu’il met au service de son texte afin de parvenir à la transmission la plus juste du sens.Le chercheur que je suis tentera de suivre à la trace l’expérience poétique de l’auteur qui a perduré plus de huit décades de prises de position. Le lecteur de son recueil se retrouve en face de l’histoire ancienne de l’Iraq, du monde arabe voire du monde entier. Il a composé des poèmes et strophes pour exprimer ses tiraillements et ses idées. Les thèmes qu’il aborda se subdivisent entre une poésie strictement personnelle dans laquelle il relate ses sentiments et sa nostalgie pour son pays de même que les souffrances et privations qu’il assuma durant son exil et une poésie où il traite pêle-mêle d’érotisme, de panégyrie, de description, d’élégie, de causticité… Le tout a été traité dans un style, une musicalité et un imaginaire féconds et qui nous rappelle la période florissante de la poésie arabe. Ces poèmes se présentent, donc, truffés de créativités esthétiques. Il a fait appel à l’habillage le plus étincelant, la langue la plus éloquente et les sens les plus nets de la poésie des poètes éminents (šu‘arâ’ al-Fuḥûl ), le plus célèbre des poètes de l’époque de Muhammad Mahdi Al-Jawâhirî.C’est pour ces raisons, et beaucoup d’autres, que cette étude propose de jeter la lumière sur les composantes esthétiques et créatives de sa poésie. Il n’est point étonnant si nous affirmons que ce personnage se distingue par plusieurs figures de style et d’esthétisme. Ceci constitue, par ailleurs, un des points axiaux que traitera cette recherche. La première partie concerne « la musicalité du texte ». Elle propose un travail analytique de la musique poétique de l’auteur. Elle englobe trois chapitres dans lesquels nous avons traité trois questions personnelles : la mesure, la rime et le rythme. La seconde partie porte le titre « techniques de la langue poétique ». Cette question s’appuie sur plusieurs fondements et éléments divers qui permettent de démontrer la façon d’utiliser la langue par le poète et sa capacité à la modeler harmonieusement avec les autres éléments du texte. Cette partie se décompose en deux chapitres. La troisième partie porte le titre (la symbolique de l’image poétique). Nous y avons abordé la question de l’image dans la poésie d’al- Jawâhirî et l’avons divisée en deux chapitres. La quatrième partie s’intitule (la symbolique dans la poésie d’al- Jawâhirî). Nous y avons démontré que le symbole joue un rôle prépondérant dans la formation du texte ...... / Literary critics studies insist that poetic language plays a leading role in the construction of the poem and what it includes as meaning and symbols. Poetic language is indeed an inspiring feature through which it expresses the axial objective of poetic discourse. It is the epicenter of the radiation creativity and linking between subjective and objective components of the poet. It is the accurate translation of ideas, feelings and concerns of the author. Thus operates the consonance between language and the poetic process to create an organic cohesion based on symbolic interactionism.This help his side to define the manifestations of poetic function through "the pace, phonetics and image manipulation." However, with the emergence of modernity and the modern conception of criticism, the language acquires new concepts and methods based on meaning, pictorially building as well as the musical saturation of the text.That is why we note many texts full of scenery, nostalgia. We note, also, other texts reflecting a state of tension and anxiety in meaning or language that can only exist by the shifts in meaning, narrative, speech or poetic narration. This is where lies the role of the poet in the prior implementation of this language by using his ability and his creative force that it offers to its text in order to achieve the most accurate transmission of meaning.The researcher I try to keep track of the poetic experience of the author that lasted more than eight decades of positions.The sound collection drive ends up in front of the ancient history of Iraq, the Arab world or the whole world. He composed poems and verses to express her worries and ideas. The themes he tackled are divided between a strictly personal poetry in which he recounts his feelings and his nostalgia for his country as well as the suffering and deprivation that he assumed during his exile and a poetry which he deals jumble of eroticism, panegyric, description, elegy, caustic ... everything was covered in a style, musicality and a fertile imagination and reminds us of the flourishing period of Arabic poetry. These poems present themselves, so riddled with aesthetic creativity. He appealed to the most sparkling dress, the most eloquent language and the clearest sense of the poetry of prominent poets (šu'arâ al-Fuḥûl), the most famous poets of the time of Muhammad Mahdi Al-Jawahiri.It is for these reasons and many others, that this study will shed light on the aesthetic and creative components of his poetry. It is not surprising if we say that this character is distinguished by several figures of style and aesthetics. This is, moreover, one of the axial points as process this search. The first part "the musicality of the text." It provides analytical work of the poetic music of the author. It includes three chapters in which we treated three personal questions: the measure, rhyme and rhythm. The second part is entitled "techniques of poetic language." This question is based on several foundations and various elements that demonstrate how to use the language of the poet and his ability to shape harmoniously with the other elements of the text. This part is divided into two chapters. The third part of the title (the symbolism of the poetic image). We approached it the question of the image in the poetry of al-Jawahiri and have divided into two chapters. The fourth part is called (the symbolism in the poetry of al-Jawahiri). We have shown that the symbol plays a key role in the formation of the text and opens a wide field for interpretation in view of the fact that it is based on a coated indirect language of a relative confusion of sailing. This is where lies the pleasure of the reader who finds himself forced to reread the text several times hoping to decipher the exact meaning hidden. The most successful poetry is the one whose meaning is latent or confused....

A presente pesquisa propõe uma articulação entre as letras de RAP e a linguagem poética como possibilidade de ensino de leitura no Ensino Médio. A pesquisa foi motivada ao constatar, durante a prática docente, o desinteresse da linguagem poética pelos educandos do Ensino Médio de algumas escolas públicas estaduais. Ao se perceber a necessidade de trabalhar a linguagem poética de maneira atrativa dentro da sala de aula, a pergunta de pesquisa surge: É possível uma articulação entre o RAP e a linguagem poética? Na tentativa de solucionar tal pergunta, esta pesquisa tem como objetivo apresentar, por intermédio da leitura fruitiva, uma proposta de ensino de leitura. Para cumprir esse projeto utilizamos as letras das canções `Cálice, de Chico Buarque e Criolo e o poema `José, de Drummond no intuito de aproximar os alunos de linguagens diferenciadas, partindo da mais comum que é a do RAP para levá-los a textos mais elaborados da literatura. Como fundamentação teórica, utilizam-se os estudos de Mikhail Bakhtin e do Círculo, que servem de arcabouço teórico, visando a importância das relações dialógicas no processo de ensino/aprendizagem. A realização da análise possibilitou verificar a presença das diferentes vozes que permeiam o processo discursivo, observando-se principalmente o dialogismo, a interdiscursividade e a intertextualidade, os efeitos de sentido e as marcas da ideologia para a assimilação do texto poético como materialidade sócio-histórica e cultural. A conclusão apresenta uma discussão do resultado das análises desenvolvidas na pesquisa, demonstrando o enriquecimento decorrente da relação dialógica mantida entre os gêneros e da possibilidade de ampliar o horizonte cultural dos alunos, tornando efetiva a formação de leitores críticos e responsivos. / This current research proposes an articulation between RAP lyrics and the poetic language as means of reading lectures in secondary education. The motivation for this research came during faculty practice when observed the indifference that the student body had at certain public secondary schools towards the subject. While realizing the necessity of dealing with the poetic language in a more attractive way, the question for this research emerged: Is it possible to articulate RAP and poetic language? In the attempt to answer such question, the target of this research is to present a proposal for reading lectures through mediation of pleasant reading to the students. In order to perform this project, we utilize the lyrics of the songs `Cálice from Chico Buarque and Criolo and the poem `José from Drummond. As an attempt to bring the students closer to more distinguished language stiles, we start from the most common, which is RAP, to take them to more elaborate readings. As foundation for this thesis, studies from Mikhail Bakhtin and from Criolo are used. They serve as theoretical structures aiming for the importance of dialogical relationships in the teaching/learning process. Through the achievement of the analysis, it was possible to verify the presence of different voices that permeate the speech process, specially observing the dialogical, interdiscoursive and intertextual aspects, the meaning effects, and the ideological signs in order to assimilate the poetic text as a social-historical and cultural materialization. The conclusion presents a discussion of the analyses results that were developed in this research that demonstrate the enrichment of the dialogical relationships maintained between the genres and the possibility to magnify the students cultural horizons making the formation of critic and responsive readers become real.

The intention of the thesis is characterization of the innovative poetry, which appears in a composition named Altazor o el viaje en paracaídas by avant-garde poet Vicente Huidobro. In the beginning, I will focus on describing the situation, which anticipated the creation, partly I will present an author`s background and artistic circles, where he used to appear in. He was influenced significantly by francophone environment. Part of his work, including fragments of Altazor, was even written in french language. Consecutively I will describe the evolution of his literary creation to the moment of writing the Altazor. During this period Vicente Huidobro introduced his own literary movement - the creationism. I will subsequently compare fundamentals of the creationism with the ideas of the Spanish philosopher José Ortega y Gasset expressed in his essay named The Dehumanization of art. Here I will focus on describing the perception of literary creations at the time of writing both pieces and also I will outline characteristics of "new art". Then I will analyse the composition of the Altazor itself with regard to composition, language and themes. I will place the most emphasis on thematic analysis of the composition, where I will focus on usage of recurring motifs. In the language analysis I will explain...

Made available in DSpace on 2016-04-28T19:58:52Z (GMT). No. of bitstreams: 1 Roseli Hirasike.pdf: 622941 bytes, checksum: 0cfa0e7d142d905b392cbc7276275bd3 (MD5) Previous issue date: 2014-02-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This master s degree dissertation aims to present the construction process for both, the text and the character to focus the feminine theme approach, in the short stories entitled Amor, Devaneio e embriaguez duma rapariga and A imitação da rosa, by Clarice Lispector, published as part of the short stories collection Laços de família. The use of poetic word, language, narrative and character construction take a transgressive style that, actually, matches the author approach of the feminine theme, as a human attribute which remains oppressed and static. The feminine revived and revealed is approached from a historical, philosophical, mystic and social perspective. A brief exposition has also been presented, from ancient times, before monotheistic religions, to the modern family concept. A brief history of the family, as an institution, completes the above mentioned perspectives as we face the short stories collection inspiration. It is a reflection concerning the influence of the domestic enviroment and social rules, in general, on women s existence, with the literature as a factor for changing minds and the perception of the beauty and fullness of being / Esta dissertação objetiva demonstrar o percurso de construção do texto e das personagens, com foco na abordagem do feminino, nos contos Amor, Devaneio e embriaguez duma rapariga e A imitação da rosa, de Clarice Lispector, publicados na coletânea Laços de família. O uso da palavra poética, a linguagem, a narrativa e a construção das personagens seguem um estilo transgressor que se afina com o modo como a autora trata da questão do feminino, como atributo humano, oprimido e estático. O feminino entendido como sentido re-experimentado e revelado é mostrado de uma perspectiva histórica, filosófica, mística e social, desde tempos antigos, anteriores às religiões monoteístas e à noção atual de família. Uma breve história da formação da família dá continuidade às perspectivas mencionadas, diante da temática da coletânea. Trata-se de reflexão sobre a influência do espaço doméstico e dos papéis sociais em geral na existência da mulher, com a literatura como agente de transformação do pensamento e da percepção da beleza e plenitude do ser

O presente estudo propõe-se a explorar a carga de afinidades entre a poesia de Adélia Prado e a obra de Guimarães Rosa Grande sertão: veredas. Os aspectos característicos da poeta, que se aproximam e se afastam daqueles do escritor, mostram uma poética em que se reconhece a presença do romance, que a própria Adélia Prado assume como matriz de inspiração de seu fazer poético. Posteriormente, a pesquisa particulariza-se em relacionar trechos do romance rosiano a alguns poemas de Poesia Reunida e A duração do dia, em que a autora, movida pela percepção híbrida do sagrado em meio ao cotidiano, faz uso da linguagem como canal de passagem do imanente para o transcendente e da relação possível entre a experiência mística e a poesia, configurando-se para a poeta Grande sertão: veredas como sua Bíblia Literária. / The present study proposes to explore the burden of affinities between the poetry of Adelia Prado and the work of Rosa Grande sertão: veredas. The characteristic features of the poet, that approach and recede from those of the writer, show a poetics which recognizes the presence of the novel, which takes itself as matrix Adelia Prado inspiration of his poetic. Subsequently, research particularizes in excerpts of the Rosa\'s novel relate to some poems of Reunited Poetry and The duration of the Day, in which the poet, driven by the perception hybrid of the sacred amid the everyday uses of language as a channel for passage of immanent to the transcendent and the possible relationship between mystical experience and poetry, becoming Grande sertão: veredas as \"Literary Bible\" for her.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2015-05-20T15:13:16Z No. of bitstreams: 1 Luana Müller de Mello .pdf: 447417 bytes, checksum: ce1d6268d1063bffc16338581955af3f (MD5) / Made available in DSpace on 2015-05-20T15:13:16Z (GMT). No. of bitstreams: 1 Luana Müller de Mello .pdf: 447417 bytes, checksum: ce1d6268d1063bffc16338581955af3f (MD5) Previous issue date: 2012 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação propõe-se a investigar a representação de trabalhador em canções de Chico Buarque, tomando por base a teoria enunciativa de Émile Benveniste (PLG I e PLG II). Na realização dessa proposta, um impasse foi encontrado: as canções de Chico Buarque valem-se de linguagem poética, deixada de lado, em PLG I e PLG II, restritos ao estudo da linguagem ordinária. Partindo da indicação feita pelo autor de que suas formulações sobre a linguagem ordinária podem ser, direta ou indiretamente, esclarecedoras para o estudo da linguagem poética, revisitamos seus textos produzidos entre 1967 e 1970, em que é mencionado o interesse pela linguagem poética e a reflexão encontra-se centralizada sobre a noção de significância. Com base nessa re-leitura, chegamos à conclusão de que a teoria de Benveniste comporta a poética. Derivamos, então, de suas reflexões modos de compreender a linguagem poética, bem como possibilidades de análise de poemas. Tendo em vista que, sob a perspectiva enunciativa, não se vai ao corpus com categorias prévias de análise, procuramos nas próprias canções os elementos para construir sua significação. Analisamos três canções: Construção (1971), Cotidiano (1971) e Ela é dançarina (1981). Os resultados mostram que nessas canções encontramos um dizer sobre o mundo, que contribui para a compreensão da experiência humana. / This dissertation proposes to investigate the representation of the laborer in songs by Chico Buarque, taking as its basis the enunciative theory of Émile Benveniste (PLG I and PLG II). In the accomplishment of this proposal, an impasse was found: the songs by Chico Buarque rely on the poetic language, left aside in PLG I and PLG II, which are restricted to the study of ordinary language. Based on this indication made by the author that his reformulations about ordinary language might be, direct or indirectly, enlightening to the study of poetic language, we revisited his texts produced between 1967 and 1970, in which is mentioned the interest in poetic language, and the reflection is centralized over the notion of significance. Based on our re-reading, we came to the conclusion that the theory of Benveniste involves the poetic. We derived, then, from his reflections, ways of comprehending the poetic language, as well as possibilities of poems analysis. Given that, by the enunciative perspective, we don’t approach the corpus with previous categories of analysis, we earched in in the songs the elements to build its signification. We analyzed three songs: Construção (1971), Cotidiano (1971) and Ela é dançarina (1981). The results show that in these songs we find a saying about the world that contributes to the comprehension of the human experience.

O presente estudo propõe-se a explorar a carga de afinidades entre a poesia de Adélia Prado e a obra de Guimarães Rosa Grande sertão: veredas. Os aspectos característicos da poeta, que se aproximam e se afastam daqueles do escritor, mostram uma poética em que se reconhece a presença do romance, que a própria Adélia Prado assume como matriz de inspiração de seu fazer poético. Posteriormente, a pesquisa particulariza-se em relacionar trechos do romance rosiano a alguns poemas de Poesia Reunida e A duração do dia, em que a autora, movida pela percepção híbrida do sagrado em meio ao cotidiano, faz uso da linguagem como canal de passagem do imanente para o transcendente e da relação possível entre a experiência mística e a poesia, configurando-se para a poeta Grande sertão: veredas como sua Bíblia Literária. / The present study proposes to explore the burden of affinities between the poetry of Adelia Prado and the work of Rosa Grande sertão: veredas. The characteristic features of the poet, that approach and recede from those of the writer, show a poetics which recognizes the presence of the novel, which takes itself as matrix Adelia Prado inspiration of his poetic. Subsequently, research particularizes in excerpts of the Rosa\'s novel relate to some poems of Reunited Poetry and The duration of the Day, in which the poet, driven by the perception hybrid of the sacred amid the everyday uses of language as a channel for passage of immanent to the transcendent and the possible relationship between mystical experience and poetry, becoming Grande sertão: veredas as \"Literary Bible\" for her.

Cette étude se situe dans le contexte des échanges culturels franco-chinois au temps de la Révolution culturelle (1966-1976). Nous nous proposons d‘étudier le lien entre les œuvres de Baudelaire et la poésie souterraine chinoise écrite à cette époque, dont la valeur est reconnue aujourd’hui‘hui par le monde littéraire. Alors que Baudelaire est exclu de la liste de diffusion de la littérature officielle chinoise par la censure, Les Fleurs du Mal sont traduites, lues, admirées et imitées par des jeunes auteurs souterrains. Dans la mesure où l‘art devient le meilleur moyen de révolte contre la dictature idéologique, la poésie de Baudelaire participe à l‘édification d‘un nouveau langage poétique qui revalorise l‘existence individuelle en rupture avec la langue de bois, dépositaire de l‘expérience collective. C‘est dans ce cadre que nous discutons, sur la base d‘une analyse textuelle, de l‘influence de Baudelaire sur une génération de poètes chinois. / This research is engaged in the context of Franco-Chinese cultural exchange taking place at the time of the Cultural Revolution (1966-1976). We propose to study the link between the works of Baudelaire and underground Chinese poetry whose value is recognized today by the literary world. While Baudelaire is excluded from the list of introduction by the official literature, Flowers of Evil is translated, read, admired and imitated by young underground writers. Due to art becoming the best way to revolt against ideological dictatorship, the poetry of Baudelaire is involved in the construction of a new poetic language that upgrades individual existence rupturing with the jargon, the depository of the collective experience. In this context we are discussing, on the basis of a textual analysis, Baudelaire‘s influence on a generation of Chinese poets.

Propõe-se, nesta dissertação, identificar e analisar elementos da cinematografia do cineasta russo (soviético) Serguei M. Eisenstein que seriam fundamentais para a construção do filme como um texto artístico. Selecionou-se, como objeto de análise, o longa-metragem lançado em 1938, Aleksandr Niévski. Examina-se, ao longo da análise, elementos como a construção de personagem, o desenvolvimento do tema, o enquadramento, o som e a mise-en-scène. Parte-se da hipótese de que o filme, sendo um texto artístico, ainda que a sua produção esteja enraizada nas diretrizes do Realismo Socialista, não se limita a transmitir uma realidade restrita, antes o artista amplia as possibilidades significativas do material criativo de que dispõe resultando em um texto que transpõe seu limite espacial e temporal. Dentro dessa perspectiva, objetiva-se identificar os elementos da linguagem cinematográfica, (enquadramentos, mise-èn-scene, montagem etc) que foram explorados ao longo do filme, e analisar como esses aspectos são articulados na construção do tema da obra: o patriotismo. Para embasar o estudo proposto, dividiu-se, de modo geral, o campo teórico em duas vertentes: primeiramente, para a concepção do filme como um texto artístico, valemo-nos do conceito de obra de arte como um texto artístico, desenvolvido pelo teórico russo Iuri Lotman, e da concepção de linguagem poética discutida por Roman Jakobson; já para a análise dos elementos da linguagem artística cinematográfica, privilegiaram-se os textos teóricos de Serguei Eisenstein, assim como os estudos desenvolvidos por David Bordwell e Jean Mitry. Por fim, como metodologia de análise, buscou-se observar e analisar o período histórico vivido pelo cineasta no momento da produção do filme, o Realismo Socialista, e as referências históricas da personagem central que norteiam as escolhas artísticas. Posteriormente, verifica-se, por meio da análise dos elementos da linguagem cinematográfica, como o filme, enquanto um texto artístico, é portador de uma riqueza de sentido advinda da articulação dos elementos cinematográficos, favorecendo a construção de uma unidade temática: o patriotismo / The purpose of this dissertation is to identify and analyze elements of cinematography in the work of Russian (Soviet) filmmaker Sergei M. Eisenstein, which would be essential to the construction of the film as an artistic text. Aleksander Niévski, the motion picture released in 1938, was selected as the scope of the analysis. Throughout the analysis, elements such as character construction, theme development, framing, sound and mise-en-scène were examined. I begin with the hypothesis that the film, as an artistic text, in spite of having been produced with roots in the directives of Socialist Realism, is not limited to conveying a restricted reality; rather, the artist broadens the meaningful possibilities of the creative material at hand, resulting in a text that surpasses its limits of time and space. In this perspective, the objective is to identify the elements of cinematic language (framing, mise-èn-scene, editing etc) explored throughout the film and analyze how these aspects are articulated to construction the theme: patriotism. In order to lay the basis for the proposed study, the theoretical field was, overall, divided into two views: firstly, for the conception of the film as an artistic text, we made use of the concept of the art work as an artistic text - developed by Russian theorist Iuri Lotman and of the conception of poetic language, discussed by Roman Jakobson; and to analyze the elements of cinematic artistic language, the theoretical texts by Sergei Eisenstein as well as the studies developed by David Bordwell and Jean Mitry were favored. Finally, as a method of analysis, I sought to observe and analyze the historical period in which the artist lived at the moment of the production of the film the Socialist Realism and the historical references of the main character which conduct the artistic choices. Subsequently, by analyzing the elements of cinematic language, it is verified how the film, as an artistic text, bears a richness of meaning ensuing from the articulation of the cinematic elements, favoring the construction of a theme unit: patriotism

Made available in DSpace on 2016-08-10T11:07:30Z (GMT). No. of bitstreams: 1 MARIA APARECIDA FERREIRA GONZAGA.pdf: 688141 bytes, checksum: 0f45323d10a2a750e4421344fefdffb5 (MD5) Previous issue date: 2009-09-29 / This paper is a review of the book Perau, writer Carlos Fernando de Magalhães Filgueiras. This study proposes an analysis of the poetic act marked by lush imagery and manipulation of the word, remaining the fascination of his poetry, which consists of two chains that go hand in hand and inextricably linked: a reflection on the being and the poetic discourse. On these issues, excelling the poetic discourse, the creator of Perau constructs his work as a good weaver, uniting wireless interactions with poetic images, expressive tone and a symbolic process in a flexible and innovative polyphony which brings the memory works by inserting it into a plot in which the lyrical being lives new experiences, sometimes with a desire for changes, sometimes with memories of his childhood and the desire to see the non-visible. / Este trabalho constitui uma análise do livro Perau, do escritor Carlos Fernando Filgueiras de Magalhães. Esta obra é assinalada pela exuberância imagética e manipulação da palavra prevalecendo o fascínio de seu fazer poético, que é formado por duas correntes que seguem lado a lado e intrinsecamente ligadas: a reflexão sobre o ser e o discurso poético. Nessas correntes, primando pelo discurso poético, o criador de Perau constrói sua obra, como um bom tecelão, unindo o fio poético com interações de sons, imagens, tom expressivo e um processo simbólico com flexibilidade e polifonia inovadora que traz em si os trabalhos da memória inserindo-a em uma trama em que o ser lírico vive novas experiências; ora com anseios de mudanças, ora com recordações da sua infância e o desejo de ver o não-visível.