Seminários em LI - Discurso Literário - Slides + Exercícios

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SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Profª. Claudia de Freitas Lopes 
Aula 1: Texto literário e não literário 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
CLASS CONTENT: 
 As principais características do texto literário e do texto 
não literário; 
 O texto literário como criação estética; 
 O texto literário e a bagagem cultural do receptor. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
HUMAN COMMUNICATION 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
E.E. Cummings 
1894 - 1962 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
I felt a Funeral, in my Brain 
 
I felt a Funeral, in my Brain, 
And Mourners to and fro 
Kept treading—treading—till it seemed 
That Sense was breaking through— 
 
And when they all were seated, 
A Service, like a Drum— 
Kept beating—beating—till I thought 
My Mind was going numb— 
 
And then I heard them lift a Box 
And creak across my Soul 
With those same Boots of Lead, again, 
Then Space—began to toll, 
Emily 
Dickinson 
1830 - 1886 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
As all the Heavens were a Bell, 
And Being, but an Ear, 
And I, and Silence, some strange Race 
Wrecked, solitary, here— 
And then a Plank in Reason, broke, 
And I dropped down, and down— 
And hit a World, at every plunge, 
And Finished knowing—then. 
http://allpoetry.com/poem/8441913-I-felt-a-Funeral--in-my-Brain-by-Emily-Dickinson 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
REALITY 
PARTICULAR VISION 
AESTHETIC PATTERNS 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
The Constitution of the United States 
We the People of the United States, in Order to form a more 
perfect Union, establish Justice, insure domestic 
Tranquility, provide for the common defence, promote the 
general Welfare, and secure the Blessings of Liberty to 
ourselves and our Posterity, do ordain and establish this 
Constitution for the United States of America. 
Article. I. 
Section. 1. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
All legislative Powers herein granted shall be vested in a 
Congress of the United States, which shall consist of a 
Senate and House of Representatives. 
Section. 2. 
The House of Representatives shall be composed of 
Members chosen every second Year by the People of the 
several States, and the Electors in each State shall have the 
Qualifications requisite for Electors of the most numerous 
Branch of the State Legislature. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
text 
 [tekst] Show IPA 
noun1.the main body of matter in a manuscript, book, news
paper, etc., as distinguished from notes,appendixes, headin
gs, illustrations, etc. 
2.the original words of an author or speaker, as opposed to 
a translation, paraphrase, commentary, orthe like: The new
spaper published the whole text of the speech. 
3.the actual wording of anything written or printed: You ha
ve not kept to the text of my remarks. 
4.any of the various forms in which a writing exists: The tex
t is a medieval transcription. 
5.the wording adopted by an editor as representing the orig
inal words of an author: the authoritativetext of Catullus. 
 http://www.thefreedictionary.com/text 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
A text can be written or oral, and most of us 
intuitively know the differences between these two 
varieties, even though there isn’t a very precise 
distinction between the two. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
There is a classical sense in 
which literary and nonliterary 
may be distinguished. This 
distinction is important for 
those studying Literature. In 
the context of classical 
literature studies, literary and 
nonliterary refer to stylistic 
elements. This is also a 
distinction important to those 
wishing to establish careers as 
literary authors. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
Literary works are those that have significantly 
complex and detailed literary devices particularly in 
metaphor and symbolism. Also important are literary 
elements of chronology and psychological 
characterization. Metaphor and symbolism are 
significant and distinguish literary from nonliterary 
because deeper meanings are embedded in the text 
through these techniques. A text rich in metaphor and 
symbolism will impart both literal and figurative 
meanings and will accommodate deeper and more 
layered themes. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
The element of chronology is significant because the times 
present, past and future can be used to serve greater 
purposes than cause and effect, before and after 
sequencing of events. Chronology can either develop unity 
or create fragmentation; it can be cohesive or it can 
disrupt and disturb. Psychological characterization, which 
makes the character more important than the character's 
actions, develops and exposes the mental, cognitive and 
emotional processes that build or curtail relationships, 
drive or thwart motivation, bring happiness and luck or 
despair and anguish. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
In contrast, nonliterary refers to texts that are thin on 
metaphor and symbolism: these texts want to tell a story 
and to entertain. The thematic elements and issues are 
simple and easily identifiable, if there are themes rather 
than simple morals. Chronology is true to life with a few 
flashbacks for providing backstory if needed. Action and 
events outweigh character development and psychological 
depth. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
These distinguishing characteristic are applicable, with 
variations, to fiction and nonfiction. Literary nonfiction may 
be considered represented by biographies and 
autobiographies that seek to explore the metaphors and the 
symbols suggested by real life experience in order to 
understand universal characteristics of human life. 
Chronology may be used to explore a wider range of 
associated events and relationships, while psychological 
understanding drives the progress and depth of the 
narrative revealing inner motives, confusion, restlessness 
etc in order to examine the human condition and the 
driving forces behind success and failure, happiness and 
sorrow. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
Subjetividade 
predominante 
Subjetividade 
predominante 
Subjetividade 
predominante 
Subjetividade 
predominante 
Subjetividade 
predominante 
Subjetividade 
predominante 
Subjetividade 
predominante 
Subjetividade 
predominante 
This group of elements, 
among others, reveal the 
literary power to manifest 
all that is timeless, 
universal, essential, and 
endless in human beings 
and the world.M 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
Literature plays in our formation and development as 
human beings. Indeed, the correct interpretation of 
intense and rich literary texts are very likely to 
contribute to enrich our perception of the world and, 
therefore, to improve our understanding of it.SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
“Trata-se da percepção, do sentido de observação e da 
análise/síntese elaborada pelo artista/autor. Além de 
tomarmos em conta a forma única, completamente 
individual, dessa condição de apreensão da(s) 
experiência(s), devemos considerar, também, a capacidade 
de elaboração da linguagem que irá transmitir as emoções, 
as sensações, as condições (contexto) em que os 
acontecimentos evoluíram, a sequência lógica, para que o 
desenrolar dos fatos mantenha a verossimilhança.” Paula, 
L.S. (2011, p. 19). 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
From what was aforementioned, it’s clear to see that 
literature occupies a prominent place among all the other 
forms of art manifestations. Let’s see why: 
 
• Firstly, because it can transform our way of understanding 
reality, and, therefore, transform us; 
 
• Secondly, because it makes possible to transfer the 
essence of being human to other generations in a very 
unique way; 
 
• Finally, because it is the only form of art that can refer to 
other art manifestations. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
From what we studied so far, we can conclude that the 
main purpose of non-literary texts is to provide 
information. The language used by the author is usually 
common to most of us and its meaning may be subjected 
to the test of truth regarding reality. 
 
When we come across literary language, on the other 
hand, it’s easy to see that we are facing a special use of 
our language. Even though the words and phrases refer to 
our reality, it’s plain to see that their meaning go beyond 
our noticeable immediate reality. It’s language in the 
service of artistic creation. Our complete understanding 
of it is dependent on our cultural background and 
previous readings. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
Unlike literary texts, which as we saw, are based on 
creative and imaginative writing, non-literary texts are 
mainly informational. Some examples of non-literary 
texts are: 
 
• newspaper articles; 
•magazine articles; 
• textbooks; 
• journal and diary entries; 
• brochures; 
• advertisements; 
• reports; 
• prescriptions; 
• editorials; 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
Texts are always written for a purpose. Sometimes, it’s not 
so easy to figure out the function(s) of a certain text, but 
some possible ones are: 
 
• to inform; 
• to criticize; 
• to persuade; 
• to amuse; 
• to satirize; 
• to praise. 
 
A text may also have as its main function/purpose any 
combination of these. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Profª. Claudia de Freitas Lopes 
Aula 2: LITERATURA 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 2: LITERATURA 
CLASS CONTENT: 
 Identificar o conceito básico de Literatura; 
 Reconhecer a importância da Literatura; 
 Relacionar Literatura e mistério. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 2: LITERATURA 
LITERATURE!?! 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 2: LITERATURA 
If there is such a thing as literary theory, then it would seem 
obvious that there is something called literature which it is 
the theory of. We can begin, then, by raising the question: 
what is literature? There have been various attempts to 
define literature. You can define it, for example, as 
'imaginative' writing in the sense of fiction -writing which is 
not literally true. But even the briefest reflection on what 
people commonly include under the heading of literature 
suggests that this will not do. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 2: LITERATURA 
Seventeenth - century English literature includes 
Shakespeare, Webster , Marvell and Milton; but it also 
stretches to the essays of Francis Bacon, the sermons of John 
Donne, Bunyan's spiritual autobiography and whatever it was 
that Sir Thomas Browne wrote. It might even at a pinch be 
taken to encompass Hobbes's Leviathan or Clarendon's History 
of the Rebellion. French seventeenth-century literature 
contains, along with Comeille and Racine, La Rochefoucauld's 
maxims, Bossuet's funeral speeches, Boileau's treatise on 
poetry, Madame de Sevigne's letters to her daughter and the 
philosophy of Descartes and Pascal. (Terry Eagleton) 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 2: LITERATURA 
Water boils at 212ºF. 
 
 
Napoleon died in 1821. 
 
 
Alice was beginning to get very tired of sitting by her 
sister on the bank, and of having nothing to do: once 
or twice she had peeped into the book her sister was 
reading, but it had no pictures or conversations in it, 
‘and what is the use of a book’, thought Alice, 
‘without pictures or conversation?’ 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 2: LITERATURA 
Fiction is the form of any work that deals, in part or in whole, 
with information or events that are not real, but rather, 
imaginary and theoretical—that is, invented by the author. 
Although the term fiction refers in particular to novels and 
short stories, it may also refer to a theatrical, cinematic, or 
musical work. Fiction contrasts with non-fiction, which deals 
exclusively with factual (or, at least, assumed factual) events, 
descriptions, observations, etc. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 2: LITERATURA 
Fiction is imaginary written information, which is untrue. 
Realistic Fiction can actually happen, and the author may be 
describing events that are real in the story. An example of a 
novel that actually did take place is called From The Earth To 
The Moon by Jule's Verne's. This is an event that actually 
ended up taking place when Neil Armstrong went to the 
moon. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 2: LITERATURA 
Realistic fiction – plot which, although untrue, could actually 
happen. Some events, people, and places may even be real. It 
may be possible that, in the future, imagined events could 
physically happen. For example, Jules Vernes novel From The 
Earth To The Moon was proven possible in 1969, when Neil 
Armstrong landed on the Moon. Science fiction often predicts 
technologies that later become a reality. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 2: LITERATURA 
Another sub-genre that may be included in this is crime 
fiction like Sherlock Holmes by Arthur Conan Doyle, Hercule 
Poirot by Agatha Christie, Gremlin Greaves by Svaj Darwin 
and so on. All these works depict a fictional but plausible 
story. 
Historical fiction is also a sub-genre that takes fictional 
characters and puts them into real world events. For 
example, Diana Gabaldon's characters in "The Outlander" 
series involves time travel and love in Scotland but also 
contains historical events such as the Battle of Culloden. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 2: LITERATURA 
Non-realistic fiction 
Non-realistic fiction is that in which the story's events could 
not happen in real life, which involve an alternate form of 
history of mankind other than that recorded, or need 
impossible technology. A good deal of fiction books are like 
this, including works by Lewis Carroll (Alice In Wonderland), J. 
K. Rowling (Harry Potter), and J. R. R. Tolkien (The Lord of 
the Rings). 
However,even fantastic literature is bidimensional: it is 
situated between the poles of realism and the marvelous or 
mythic. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 2: LITERATURA 
Geographical details, character descriptions etc. create a 
rhetoric of realism, which "invites the reader to ignore the 
text's artifice, to suspend one's disbelief, exercise poetic faith 
and thereby indulge in the narrative's imaginative world". The 
bidimensionality appears within the story as astonishment or 
frightening. According to G. W. Young and G. Wolfe, fictional 
realities outside the text are evoked, and the reader's 
previous conceptions of reality are exposed as incomplete. 
Hence, "by fiction is one able to gain even fuller constructs of 
what constitutes reality". 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 2: LITERATURA 
“A reader lives a thousand lives 
before he dies, said Jojen. The 
man who never reads live only 
one.” George R. R. Martin 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 2: LITERATURA 
Fiction enables us to explore the recesses of man’s head and 
heart with a torch; history allows us only the natural light of 
day, which does not usually shine into such places. 
Literature is man’s exploration of man by artificial light, 
which is better than natural light because we can direct it 
where we want. 
David Daisches, A Study of Literature for Reading and Critics 
(Ithaca, N.Y.: Cornell University Press, 1948)24 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 2: LITERATURA 
It is through literature that a student learns to examine 
thought and action compassionately. When a reader is able to 
identify with a character and his conflict or problem in a story 
and see life through the eyes of this character, that reader has 
begun to share an author’s insight and has thus begun to read 
with appreciation. Reading in this way is to respond both 
emotionally and intellectually. As you read this powerfully-
written novel by Paule Marshall, we hope that it delights, 
enlightens, humanizes, and sensitizes you as members of our 
uniquely diverse community here in Prince George’s County. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 2: LITERATURA 
The way you approach reading a literary work is very 
important. While reading you must be able to see 
relationships, perceive the development of character, theme, 
symbols, and be able to detect multiple meanings. You can 
reject or accept, like or dislike the literary work, depending 
on the effect it has on you. It is okay to do so. You shouldn’t 
jump to a final judgment too soon, whether it is about the 
character, the theme, or other elements. Remember: People 
and situations are not always as they appear at first. Be 
objective because your emotional reaction can sometimes 
cause unsound perception and interpretation. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 2: LITERATURA 
Keep this question in mind — “Can I justify my judgments 
based on evidence from the work itself?” 
 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 2: LITERATURA 
LITERATURE 
Written or 
spoken 
material 
Creative 
writing 
Artisc 
writing 
Pleasure 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 2: LITERATURA 
THE IMPORTANCE OF LITERATURE 
Literature preserves the ideals of a people; and ideals – love, 
faith, duty, friendship, freedom, reverence – are the part of 
human life most worthy of preservation. The Greeks were a 
marvelous people; yet of all their mighty works we cherish 
only a few ideals, - ideals of beauty in perishable stone, and 
ideals of truth in imperishable prose and poetry. It was simply 
the ideals of the Greeks and Hebrews and Romans, preserved 
in their literature, which made them what they were, and 
which determined their value to future generations. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 2: LITERATURA 
Literature preserves the 
ideals of a civilization and 
allows these ideas to be 
passed from father to son, so 
that, long after a civilization 
is gone from the face of the 
earth, their ideals still 
endure. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 2: LITERATURA 
According to a research conducted by Raymond Mar (2009), 
literature can actually improve us as people. Indeed, 
“individuals who often read fiction appear to be better able 
to understand other people, empathize with them and view 
the world from their perspective” (Paul, A.M., 2013). 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 2: LITERATURA 
We also read good literary works 
for the sheer pleasure we take in 
a work of art of any kind. 
Readers are likely to respond to 
well-chosen and well-ordered 
words, though, they might not 
be able to identify precisely 
what they are responding to, 
especially when they are not 
very experienced readers. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 2: LITERATURA 
 
 
 
 
 
 
 
 
 
 
 
Akerman Freud Todorov 
LITERATURE AND THE UNCANNY 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 2: LITERATURA 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Profª. Claudia de Freitas Lopes 
Aula 3: LINGUAGEM 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
CLASS CONTENT: 
 Identificar a relação entre literatura e linguagem; 
 Reconhecer a forma como a literatura reflete os eventos 
cotidianos; 
 Relacionar literatura e cultura. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
Language is succinctly defined in our glossary as a 
"human system of communication that uses arbitrary 
signals, such as voice sounds, gestures, or written 
symbols." But frankly, language is far too 
complicated, intriguing, and mysterious to be 
adequately explained by a brief definition. 
The following observations on language, drawn from 
the works of various writers and scholars, take us 
beyond definitions. Approaching the subject from 
different metaphorical perspectives, these quotations 
may serve as points of departure for exploring the 
mysteries--and the limitations--of language. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
"Every individual is at once the beneficiary and the 
victim of the linguistic tradition into which he has 
been born--the beneficiary inasmuch as language 
gives access to the accumulated records of other 
people's experience, the victim in so far as it 
confirms him in the belief that reduced awareness is 
the only awareness and as it bedevils his sense of 
reality, so that he is all too apt to take his concepts 
for data, his words for actual things." 
(Aldous Huxley, The Doors of Perception, 1954) 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
"Language is an anonymous, 
collective and unconscious art; 
the result of the creativity of 
thousands of generations." 
(Edward Sapir) 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
"As Horne Tooke, one of the founders of the noble science of 
philology, observes, language is an art, like brewing or baking; 
but writing would have been a better simile. It certainly is not 
a true instinct, for every language has to be learnt. It differs, 
however, widely from all ordinary arts, for man has an 
instinctive tendency to speak, as we see in the babble of our 
young children; (…) Moreover, no philologist now supposes that 
any languagehas been deliberately invented; it has been 
slowly and unconsciously developed by many steps." 
(Charles Darwin, The Descent of Man, 1871) 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
The choices skilled writers make about the use of language 
enable them to express ideas that will contribute 
significantly, not only to our delirium, but also to the cultural 
content of a society. 
 
Indeed, it is through language that writers are able to 
transmit the habits, routines, context, traditions etc. of a 
people. Literature, then, opens the doors to the human soul 
and leads readers to a closer look on human beings and their 
culture(s) 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
 
 
 
 
 
 
Culture is the characteristics of a particular group of 
people, defined by everything from language, religion, 
cuisine, social habits, music and arts. Today, in the United 
States as in other countries populated largely by immigrants, 
the culture is influenced by the many groups of people that 
now make up the country. 
 
 WHAT IS ? 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
Since each language has its own distinctive features, which 
are peculiar to a people and their way of conceiving the 
world, we can only expect that the literature produced in a 
specific language will say about those people, their culture 
and their society. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
In fact, literature, as a subjective human expression, 
enables readers to understand not only themselves, but also 
their culture and their people, as well as other cultures and 
other people more deeply. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
“A literatura expressa os dilemas, sentimentos e muitas 
vezes a realidade do homem, de maneira a explorar o 
raciocínio e o imaginário do leitor, transportando-o para o 
lugar do outro. 
 
Desse modo, ela leva o leitor à análise de realidades 
diversas, impulsionando-o ao conhecimento, pois trata de 
reflexos da história e da realidade social de determinadas 
comunidades retratando a cultura, os costumes, e a 
organização política e social de determinada região...” 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
As part of the culture of a specific society, literature enables 
readers to understand the social patterns that were/are 
considered important to that society, such as 
the changes that took place, its cultural and organizational 
manifestations, its progress etc. 
Besides, literature, through its unique form of expression, is 
able to highlight those factors which are essential for a 
society, for example, its problems, its customs, as well as its 
political and social organization. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 1: Texto literário e não literário 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Profª. Claudia de Freitas Lopes 
AULA 4 - LINGUAGEM 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 4 - LINGUAGEM 
CLASS CONTENT: 
 Conceitos básicos da linguagem; 
 
 A diferença entre comunicação humana e comunicação 
animal; 
 
 As funções da linguagem; 
 
 Texto e discurso. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 4 - LINGUAGEM 
Language is the human capacity for acquiring and using 
complex systems of communication, and a language is any 
specific example of such a system. The scientific study of 
language is called linguistics. 
Estimates of the number of languages in the world vary 
between 6,000 and 7,000. However, any precise estimate 
depends on a partly arbitrary distinction between 
languages and dialects. Natural languages are spoken or 
signed, but any language can be encoded into secondary 
media using auditory, visual, or tactile stimuli – for 
example, in graphic writing, braille, or whistling. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 4 - LINGUAGEM 
Human language has the properties of productivity, 
recursivity, and displacement, and relies entirely on social 
convention and learning. Its complex structure affords a much 
wider range of expressions than any known system of animal 
communication. Language is thought to have originated when 
early hominins started gradually changing their primate 
communication systems, 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 4 - LINGUAGEM 
Languages evolve and diversify over time, and the history of 
their evolution can be reconstructed by comparing modern 
languages to determine which traits their ancestral 
languages must have had in order for the later 
developmental stages to occur. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 4 - LINGUAGEM 
We live in a world of language. We talk to our friends, our 
associates, our wives and husbands, our lovers, our 
teachers, our parents, our rivals, and even our enemies. 
 
We talk to bus drivers and total strangers. We talk face-to-
face and over the telephone, and everyone responds with 
more talk. Television and radio further swell this torrent of 
words. 
 
Hardly a moment of our waking lives is free from words, 
and even in our dreams we talk and are talked to. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 4 - LINGUAGEM 
We also talk when there is no one to answer. Some of us 
talk aloud in our sleep. We talk to our pets and sometimes 
to ourselves. 
The possession of language, perhaps more than any other 
attribute, distinguishes humans from other animals. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 4 - LINGUAGEM 
Human language is unique in comparison to other forms of 
communication, such as those used by non-human animals. 
Communication systems used by other animals such as bees 
or non-human apes are closed systems that consist of a 
closed number of possible things that can be expressed. 
In contrast, human language is open-ended and productive, 
meaning that it allows humans to produce an infinite set of 
utterances from a finite set of elements and to create new 
words and sentences. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 4 - LINGUAGEM 
This is possible because human language is based on a dual 
code, where a finite number of meaningless elements (e.g. 
sounds, letters or gestures) can be combined to form units 
of meaning (words and sentences). Furthermore, the 
symbols and grammatical rules of any particular language 
are largely arbitrary, meaning that the system can only be 
acquired through social interaction.The known systems of 
communication used by animals, on the other hand, can 
only express a finite number of utterances that are mostly 
genetically transmitted 
 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 4 - LINGUAGEM 
The Ballad Of Reading Gaol by Oscar Wilde 
(1854-1900) 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 4 - LINGUAGEM 
I 
He did not wear his scarlet coat, 
For blood and wine are red, 
And blood and wine were on his hands 
When they found him with the dead, 
The poor dead woman whom he loved, 
And murdered in her bed. 
 
He walked amongst the Trial Men 
 In a suit of shabby grey; 
 A cricket cap was on his head, 
 And his step seemed light and gay; 
 But I never saw a man who looked 
 So wistfully at the day. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 4 - LINGUAGEM 
I never saw a man who looked 
 With such a wistful eye 
 Upon that little tent of blue 
 Which prisoners call the sky, 
 And at every drifting cloudthat went 
 With sails of silver by. 
 
 I walked, with other souls in pain, 
 Within another ring, 
 And was wondering if the man had done 
 A great or little thing, 
 When a voice behind me whispered low, 
 'THAT FELLOW'S GOT TO SWING.' 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 4 - LINGUAGEM 
Dear Christ! the very prison walls 
Suddenly seemed to reel, 
And the sky above my head became 
Like a casque of scorching steel; 
And, though I was a soul in pain, 
My pain I could not feel. 
 
I only knew what hunted thought 
Quickened his step, and why 
He looked upon the garish day 
With such a wistful eye; 
The man had killed the thing he loved, 
And so he had to die. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 4 - LINGUAGEM 
Yet each man kills the thing he loves, 
By each let this be heard, 
Some do it with a bitter look, 
Some with a flattering word, 
The coward does it with a kiss, 
The brave man with a sword! 
 
Some kill their love when they are young, 
And some when they are old; 
Some strangle with the hands of Lust, 
Some with the hands of Gold: 
The kindest use a knife, because 
The dead so soon grow cold. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 4 - LINGUAGEM 
Some love too little, some too long, 
Some sell, and others buy; 
Some do the deed with many tears, 
And some without a sigh: 
For each man kills the thing he loves, 
Yet each man does not die. 
 
He does not die a death of shame 
On a day of dark disgrace, 
Nor have a noose about his neck, 
Nor a cloth upon his face, 
Nor drop feet foremost through the floor 
Into an empty space. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 4 - LINGUAGEM 
Language certainly figures centrally in our lives. We 
discover our identity as individuals and social beings when 
we acquire it during childhood. It serves as a means of 
cognition and communication: it enables us to think for 
ourselves and to cooperate with other people in our 
community. It provides for present needs and future plans, 
and at the same time carries with it the impression of 
things past. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 4 - LINGUAGEM 
Truly, human language has certain characteristics that 
cannot be found in the communication systems of other 
animals. One of these characteristics is creativity. 
arbitrariness. 
 
To say that words are arbitrary means that there is no 
natural resemblance between the forms of linguistic signs 
and their meaning. 
duality. Duality refers to the two levels of structure in 
which language operates. it can operate with both spoken 
and written media. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 4 - LINGUAGEM 
Language Functions - a lot of what we say is for a specific 
purpose. Whether we are apologizing, expressing a wish or 
asking permission, we use language in order to fulfill that 
purpose. Each purpose can be known as a language function. 
Savignon describes a language function as “the use to which 
language is put, the purpose of an utterance rather than the 
particular grammatical form an utterance takes” (Savignon, 
1983). 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 4 - LINGUAGEM 
It has to do with the 
way speakers 
organize language in 
order to fulfill a 
specific purpose, 
therefore making 
their speech more 
meaningful. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 4 - LINGUAGEM 
The Referential Function corresponds to the factor of 
Message and describes a situation, object or mental state. 
The descriptive statements of the referential function can 
consist of both definite descriptions and deictic words, e.g. 
"The autumn leaves have all fallen now.“ 
 
The Expressive (alternatively called "emotive" or 
"affective") Function relates to the Addresser (sender) and 
is best exemplified by interjections and other sound 
changes that do not alter the denotative meaning of an 
utterance but do add information about the Addresser's 
(speaker's) internal state, e.g. "Wow, what a view!" 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 4 - LINGUAGEM 
The Conative Function engages the Addressee (receiver) 
directly and is best illustrated by vocatives and imperatives, 
e.g. "Tom! Come inside and eat!“ 
 
The Poetic Function focuses on "the message for its own 
sake"[3] (the code itself, and how it is used) and is the 
operative function in poetry as well as slogans. 
 
The Phatic Function is language for the sake of interaction 
and is therefore associated with the Contact factor. The Phatic 
Function can be observed in greetings and casual discussions of 
the weather, particularly with strangers. It also provides the 
keys to open, maintain, verify or close the communication 
channel: "Hello?", "Ok?", "Hummm", "Bye"...The Metalingual 
(alternatively called "metalinguistic" or "reflexive") Function 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 4 - LINGUAGEM 
Discourse (Latin: discursus, “running to and from”) 
denotes written and spoken communications such as: [1] 
In semantics and discourse analysis: A generalization of 
the concept of conversation within all modalities and 
contexts. 
The totality of codified language (vocabulary) used in a 
given field of intellectual enquiry and of social practice, 
such as legal discourse, medical discourse, religious 
discourse, et cetera.[2] 
In the work of Michel Foucault, and that of the social 
theoreticians he inspired: discourse describes “an entity 
of sequences, of signs, in that they are enouncements 
(énoncés)”.[3] 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
AULA 4 - LINGUAGEM 
THE END 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Profª. Claudia de Freitas Lopes 
Aula 5: REVIEW 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 5: REVIEW 
CLASS CONTENT: 
Revisão 
 
 Texto literário e não literário; 
 Literatura: conceito e importância; 
 Literatura, linguagem e cultura; 
 Linguagem. 
 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 5: REVIEW 
LITERARY AND NON-LITERARY TEXTS 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 5: REVIEW 
I'm Nobody! Who are you? (260) 
 by Emily Dickinson 
I'm Nobody! Who are you? 
Are you – Nobody – too? 
Then there's a pair of us! 
Don't tell! they'd advertise – you know! 
 
How dreary – to be – Somebody! 
How public – like a Frog – 
To tell one's name – the livelong June – 
To an admiring Bog 
Emily Dickinson 
1830-1886 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 5: REVIEW 
THE SELFISH GIANT – OSCAR WYLDE 
 
Every afternoon, as they were coming from school, the 
children used to go and play in the Giant’s garden. 
It was a large lovely garden, with soft green grass. Here and 
there over the grass stood beautiful flowers like stars, and 
there were twelve peach-trees that in the spring-time broke 
out into delicate blossoms of pink and pearl, and in the 
autumn bore rich fruit. The birds sat on the trees and sang so 
sweetly that the children used to stop their games in order to 
listen to them. “How happy we are here!” they cried to each 
other. 
One day the Giant came back. He had been to visit his friend 
the Cornish ogre, and had stayed with him for seven years. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 5: REVIEW 
After the seven years were over he had said all that he had 
to say, for his conversation was limited, and he determined 
to return to his own castle. When he arrived he saw the 
children playing in the garden. 
“What are you doing here?” he cried in a very gruff voice,and the children ran away. 
“My own garden is my own garden,” said the Giant; “any one 
can understand that, and I will allow nobody to play in it but 
myself.” So he built a high wall all round it, and put up a 
notice-board. 
TRESPASSERS 
WILL BE 
PROSECUTED 
 
He was a very selfish Giant. 
 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 5: REVIEW 
The poor children had now nowhere to play. They tried to play 
on the road, but the road was very dusty and full of hard 
stones, and they did not like it. They used to wander round 
the high wall when their lessons were over, and talk about the 
beautiful garden inside. “How happy we were there,” they 
said to each other. Then the Spring came, and all over the 
country there were little blossoms and little birds. Only in the 
garden of the Selfish Giant it was still winter. The birds did 
not care to sing in it as there were no children, and the trees 
forgot to blossom. Once a beautiful flower put its head out 
from the grass, but when it saw the notice-board it was so 
sorry for the children that it slipped back into the ground 
again, and went off to sleep. The only people who were 
pleased were the Snow and the Frost. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 5: REVIEW 
“Spring has forgotten this garden,” they cried, “so we will 
live here all the year round.” 
The Snow covered up the grass with her great white cloak, 
and the Frost painted all the trees silver. Then they invited 
the North Wind to stay with them, and he came. He was 
wrapped in furs, and he roared all day about the garden, and 
blew the chimney-pots down. “This is a delightful spot,” he 
said, “we must ask the Hail on a visit.” So the Hail came. 
Every day for three hours he rattled on the roof of the castle 
till he broke most of the slates, and then he ran round and 
round the garden as fast as he could go. He was dressed in 
grey, and his breath was like ice. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 5: REVIEW 
Ms. Margarget Manager 
Chief Executive Officer 
Acme Company 
 
Dear Ms. Manager, 
I am writing to notify you that I am resigning from my position 
as Customer Service Manager with Acme Company. My last day 
of employment will be February 1. 
I appreciate the opportunities I have been given during my 
time with your company, as well as your professional guidance 
and support. 
I wish you and the company the best of success in the future. 
If I can assist with the transition, please do let me know. 
Very sincerely, 
Jill Applicant 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 5: REVIEW 
 
When we two parted 
In silence and tears, 
Half broken-hearted 
To sever for years, 
Pale grew thy cheek and cold, 
Colder thy kiss; 
Truly that hour foretold 
Sorrow to this. 
 
 
 
 
 
 
The dew of the morning 
Sunk chill on my brow --- 
It felt like the warning 
Of what I feel now. 
Thy vows are all broken, 
And light is thy fame; 
I hear thy name spoken, 
And share in its shame. 
WHEN WE TWO PARTED 
Lord Byron (1788-1824) 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 5: REVIEW 
They name thee before me, 
A knell to mine ear; 
A shudder comes o'er me --- 
Why wert thou so dear? 
They know not I knew thee, 
Who knew thee too well: --- 
Long, long shall I rue thee, 
Too deeply to tell. 
 
 
In secret we met --- 
In silence I grieve, 
That thy heart could forget, 
Thy spirit deceive. 
If I should meet thee 
After long years, 
How should I greet thee? --- 
With silence and tears. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 5: REVIEW 
Non-literary text forms an independent part of a 
publication. Non-literary texts are informational writing: 
factual material, informational explanations, newspaper 
articles, textbooks, journal and diary entries, and so forth 
that are published in newspapers, Informative magazines 
current affairs news and educative articles. Non-literary 
composition uses facts and figures to proof a point. Non-
literary composition is written objectively. In contrast, 
Literary texts are fictional compositions based on the artist’s 
will and imaginations and are therefore subjective. Poetry, 
novels, short stories and dramas are written in a particular 
way, and this is referred to as literary text. In literary texts, 
authors creatively create feelings and ideas to entertain their 
audiences. Examples of literary texts are poems, short stories 
and dramas. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 5: REVIEW 
There is a classical sense in which literary and nonliterary 
may be distinguished. This distinction is important for those 
studying Literature. In the context of classical literature 
studies, literary and nonliterary refer to stylistic elements. 
This is also a distinction important to those wishing to 
establish careers as literary authors. 
Literary works are those that have significantly complex and 
detailed literary devices particularly in metaphor and 
symbolism. Also important are literary elements of chronology 
and psychological characterization. Metaphor and symbolism 
are significant and distinguish literary from nonliterary 
because deeper meanings are embedded in the text through 
these techniques. A text rich in metaphor and symbolism will 
impart both literal and figurative meanings and will 
accommodate deeper and more layered themes. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 5: REVIEW 
The element of chronology is significant because the times 
present, past and future can be used to serve greater 
purposes than cause and effect, before and after 
sequencing of events. Chronology can either develop unity 
or create fragmentation; it can be cohesive or it can 
disrupt and disturb. Psychological characterization, which 
makes the character more important than the character's 
actions, develops and exposes the mental, cognitive and 
emotional processes that build or curtail relationships, 
drive or thwart motivation, bring happiness and luck or 
despair and anguish. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 5: REVIEW 
In contrast, nonliterary refers to texts that are thin on 
metaphor and symbolism: these texts want to tell a story and 
to entertain. The thematic elements and issues are simple and 
easily identifiable, if there are themes rather than simple 
morals. Chronology is true to life with a few flashbacks for 
providing backstory if needed. Action and events outweigh 
character development and psychological depth. 
These distinguishing characteristic are applicable, with 
variations, to fiction and nonfiction. Literary nonfiction may be 
considered represented by biographies and autobiographies 
that seek to explore the metaphors and the symbols suggested 
by real life experience in order to understand universal 
characteristics of human life. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 5: REVIEW 
Chronology may be used to 
explore a wider range of 
associated events and 
relationships, while 
psychological understanding 
drives the progress and depth 
of the narrative revealing inner 
motives, confusion, 
restlessness etc in order to 
examine the human condition 
and the driving forces behind 
success and failure, happiness 
and sorrow. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 5: REVIEW 
It is a curious and prevalent opinion that literature, like all 
art, is amere play of imagination, pleasing enough, like a new 
novel, but without any serious or practical importance. 
Nothing could be farther from the truth. Literature preserves 
the ideals of a people; and ideals--love, faith, duty, 
friendship, freedom, reverence--are the part of human life 
most worthy of preservation. The Greeks were a marvelous 
people; yet of all their mighty works we cherish only a few 
ideals,--ideals of beauty in perishable stone, and ideals of 
truth in imperishable prose and poetry. It was simply the ideals 
of the Greeks and Hebrews and Romans, preserved in their 
literature, which made them what they were, and which 
determined their value to future generations. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 5: REVIEW 
In a word, our whole 
civilization, our freedom, our 
progress, our homes, our 
religion, rest solidly upon 
ideals for their foundation. 
Nothing but an ideal ever 
endures upon earth. It is 
therefore impossible to 
overestimate the practical 
importance of literature, 
which preserves these ideals 
from fathers to sons, while 
men, cities, governments, 
civilizations, vanish from the 
face of the earth. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 5: REVIEW 
Literature and Language 
 
Literature, written in a specific language, enable readers to 
understand the culture in which that language is spoken more 
deeply. This is due to the fact that language is the medium of 
literature and that each language has its own distinctive 
features, which are peculiar to a people and their way of 
conceiving the world. 
Skilled writers and the use they make of language enable them 
to express ideas that will contribute significantly, not only to 
our delirium, but also to the cultural content of a society. 
Besides, literature enables readers to understand the social 
patterns that were/are considered important to a society and 
highlights those factors which are essential for that society. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 5: REVIEW 
Language is a uniquely human feature. Thus, it 
distinguishes us from other animals and enables us to 
express ourselves in a creative and flexible manner. It 
permeates our daily lives and that linguists recognize its 
primacy in the way we conceive the world. 
Human language has certain characteristics that cannot be 
found in the communication systems of other animals, such 
as creativity, arbitrariness and duality (design features). 
Although animals are also able to communicate to some 
extent, their communication is not speech mainly because 
it’s very restricted, but also because it lacks the flexibility 
of human language. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 5: REVIEW 
Creativity → the capacity human 
beings have to produce and 
understand an infinite number of 
sentences they had never heard 
before. 
arbitrariness → the lack of natural 
resemblance between the forms of 
linguistic signs and their meaning. 
 
Duality → it refers to the way 
elements which have no meaning, 
such as sounds and letters (one 
level) combine in order to form 
meaningful elements, such as words 
(another level). 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 5: REVIEW 
Language Functions - a lot of what we say is for a specific 
purpose. Whether we are apologizing, expressing a wish or 
asking permission, we use language in order to fulfill that 
purpose. Each purpose can be known as a language function. 
Savignon describes a language function as “the use to which 
language is put, the purpose of an utterance rather than the 
particular grammatical form an utterance takes” (Savignon, 
1983). 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 5: REVIEW 
It has to do with 
the way speakers 
organize language 
in order to fulfill a 
specific purpose, 
therefore making 
their speech more 
meaningful. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 5: REVIEW 
The Referential Function corresponds to the factor of 
Message and describes a situation, object or mental state. The 
descriptive statements of the referential function can consist 
of both definite descriptions and deictic words, e.g. "The 
autumn leaves have all fallen now.“ 
 
The Expressive (alternatively called "emotive" or 
"affective") Function relates to the Addresser (sender) and is 
best exemplified by interjections and other sound changes 
that do not alter the denotative meaning of an utterance but 
do add information about the Addresser's (speaker's) internal 
state, e.g. "Wow, what a view!" 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 5: REVIEW 
The Conative Function engages the Addressee (receiver) 
directly and is best illustrated by vocatives and imperatives, 
e.g. "Tom! Come inside and eat!“ 
 
The Poetic Function focuses on "the message for its own 
sake"[3] (the code itself, and how it is used) and is the 
operative function in poetry as well as slogans. 
 
The Phatic Function is language for the sake of interaction 
and is therefore associated with the Contact factor. The Phatic 
Function can be observed in greetings and casual discussions of 
the weather, particularly with strangers. It also provides the 
keys to open, maintain, verify or close the communication 
channel: "Hello?", "Ok?", "Hummm", "Bye"...The Metalingual 
(alternatively called "metalinguistic" or "reflexive") Function 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 5: REVIEW 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO 
LITERÁRIO 
Profª. Claudia de Freitas Lopes 
REVIEW 1 a 5- Literary Interpretatiom - Practicing 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
REVIEW 1 a 5- Literary Interpretatiom - Practicing 
CLASS CONTENT: 
Practicing 
 
 How to analyze a poem; 
 How to analyze a literary text; 
 Linguistics, Semantics, History, Biography, 
Theory. 
 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
REVIEW 1 a 5- Literary Interpretatiom - Practicing 
More than two thousand years ago, the Roman poet Horace 
claimed that literature is "sweet" and "useful." Since then, 
literature has been traditionally understood, at least in Western 
cultures, as having the dual purpose of entertaining and 
educating its audience. Literary texts are constructed in effect 
as objects of beauty, sources of pleasure and as conveyors of 
messages and information. While authors often claim no 
practical purpose for their works, all literature constitutes an 
attempt at persuasively conveying certain values and ideas. The 
entertaining and beautiful aspect of literary works acts in reality 
as part of the appeal and attractiveness which the work tries to 
attach to the ideas which it seeks to convey. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
REVIEW 1 a 5- Literary Interpretatiom - Practicing 
The beauty of literature is therefore a part of its rhetoric, a 
device intended to strengthen the overall persuasiveness and 
influence of the work on its audience. While the entertaining 
aspect of literature may be rather obvious, understanding 
the ideas or values which a text advances is not always a 
simple task. Part of the problem is the fact that the ideas of 
a literary text are almost always presented in indirect or 
"symbolic" form 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
REVIEW 1 a 5- Literary Interpretatiom - Practicing 
Many people are wary of interpreting literature. They see 
interpretation as arbitrary, arcane, and possibly fraudulant, as 
something teachers do to baffle students.However, we all 
interpret as we read. To read (at least with understanding and 
appreciation) is to interpret. Interpretation includes a number 
of different things readers do. Most commonly, people think 
that to interpet is to decode meanings hidden in the writing 
by the author. The question asked is, "What did the author 
really mean?" This question shows a simplistic understanding 
of what imaginative writing is and how literature works. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
REVIEW 1 a 5- Literary Interpretatiom - Practicing 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
REVIEW 1 a 5- Literary Interpretatiom - Practicing 
The World of the Writer 
 
When someone writes something, he or she does so in a context. This 
context includes the writer's feelings, beliefs, past experiences, goals, 
needs, and physical environment. 
The World of the Reader 
When one reads, one reads in the context of his or her own world. 
What the reader encounters is not the world of the author; the reader 
encounters the world of the text. More information on this process. 
The meaning which the text has for the reader emerges from the 
interaction of the reader's world with the world of the text. The 
meaning does not reside in the text or in the author's intentions. The 
meaning happens as the text is read and reflected upon. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
REVIEW 1 a 5- Literary Interpretatiom - Practicing 
Intrepretation, then, is something a reader does in response to a 
text. But it is important to recognize that a text can be 
meaningful to reader who can not express that meaning in words. 
"Meaning precedes explanation." 
 
When you interpret a novel, you create a text which has its own 
world. 
 
Interpretation is not an arcane skill taught only to the initiated. It 
is an activity we all take part in, in more ways than we realize. 
What I've said about interpretation applies also to music, movies, 
television, drama, the visual arts, . . . 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
REVIEW 1 a 5- Literary Interpretatiom - Practicing 
An important feature of literary texts which distinguishes them 
from other kinds of persuasive discourse is the fact that they 
operate not through direct statement and explicit revelation of 
their contents but instead through indirect allusion, 
understatement, implication, and even concealment. Literary texts 
in effect often veil the 'truth' which they seek to convey in an 
attempt at enhancing its attractiveness and endowing it with a 
sense of mystery and transcendental value. Literature, much like 
modern advertisement, is often an attempt at persuasion which 
operates on subliminal levels and artfully instills its message by 
concealing it under a cover of fictional situations and devices 
affecting the audience on emotional, intuitive, experiential, and 
instinctive levels 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
REVIEW 1 a 5- Literary Interpretatiom - Practicing 
Given its tendency to speak about its subject indirectly, the essential 
mode of communication of literature may be said to be a symbolic 
one. A symbol may be defined in general terms as a signifier of a 
complex nature which always places its most important referent 
outside of itself. For the purposes of conveying meaning, literary 
texts make use of a variety of special signifying devices--known in 
general as figures or tropes--such as symbols, allegories, metaphors, 
metonymies, similes, paradoxes, ironies, etc. Although each literary 
device has a name and a definition, it is not so important to know 
what they are called so much as to understand that, in general, 
symbolic figures make indirect references and create semi-invisible 
chains of association between different sets of images, concepts, and 
ideas 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
REVIEW 1 a 5- Literary Interpretatiom - Practicing 
Literary theory in a strict sense is the systematic study of the 
nature of literature and of the methods for analyzing 
literature. However, literary scholarship since the 19th 
century often includes—in addition to, or even instead of 
literary theory in the strict sense—considerations of 
intellectual history, moral philosophy, social prophecy, and 
other interdisciplinary themes which are of relevance to the 
way humans interpret meaning 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
REVIEW 1 a 5- Literary Interpretatiom - Practicing 
It is useful to think of texts as sign systems. This applies also 
to pictorial images and to literary texts. 
Signs gain their meanings from a relation between two 
components, signifier (signifiant) and signified (signifié). 
Signifiers in language are words, also called lexemes. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
REVIEW 1 a 5- Literary Interpretatiom - Practicing 
In semantics, at the lexical and the textual level, meaning is 
developed FIRSTLY by an act of selection: in any utterance, we 
select from the full range of synonymous signifiers (also called 
words or lexemes) in a semantic field. The user's selection is 
governed by her/his knowledge of the range of connotations 
(=general associations) of a lexeme. See Semantic. When the 
lexemes are combined to form a textual utterance, in most kinds 
of text lexemes with a homogeneous level of connotation and 
valuation are selected. This means that words with a homogeneous 
level of value are combined to form a coherent text, on a 
consistent stylistic level. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
REVIEW 1 a 5- Literary Interpretatiom - Practicing 
Semantics of literary text 
In more complex kinds of text, the equivalence between 
lexemes can also be thought of as contrast. When this 
happens, the homogeneous level may be ruptured: for 
instance, different fictional users (characters, speakers) 
within a text may monosemize a lexeme differently, 
understanding or playing on a word in another sense. In such 
cases, a second classeme is created, which may have a 
different value level as against the first. There may even be 
a third classeme, or a fourth. This process opens a further 
dimension of a larger isotopy. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
REVIEW 1 a 5- Literary Interpretatiom - Practicing 
It usually takes some active involvement of the 
listener/reader to grasp the isotopic dimensions, and thus 
to determine the meaning(s) of a complex form of textual 
coherence. Such a combination of different (ruptured, 
heterogeneous, complex) isotopic dimensions hence 
requires a pragmatic dimension, since it involves the user, in 
this case the listener/reader's activity. A literary text 
operates in this way, and thus represents--more than any 
other kind of text--the complexity of non-literary (or non-
linguistic) reality. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
REVIEW 1 a 5- Literary Interpretatiom - Practicing 
Periodization is the attempt to 
categorize universal history or 
divide time into named blocks. 
The result is descriptive 
abstraction that provide 
convenient terms for periods of 
time with relatively stable 
characteristics. However, 
determining the precise 
beginning and ending to any 
"period" is often arbitrary. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
REVIEW 1 a 5- Literary Interpretatiom - Practicing 
To the extent that history 
is continuous and 
ungeneralizable, all 
systems of periodization 
are more or less arbitrary. 
Yet without named 
periods, however clumsy 
or imprecise, past time 
would be nothing more 
than scattered events 
without a framework to 
help us understand them. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
REVIEW 1 a 5- Literary Interpretatiom- Practicing 
Nations, cultures, families, and even individuals, each with their 
different remembered histories, are constantly engaged in imposing 
overlapping, often unsystematized, schemes of temporal 
periodization; periodizing labels are continually challenged and 
redefined, but once established, a period "brand" is so convenient 
that many are very hard to shake off. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
REVIEW 1 a 5- Literary Interpretatiom - Practicing 
Literary Periods 
 
Tracing the evolution of literature through time scholars often group 
works from a certain timeframe together and label it as a period or 
movement. This section of The Literature Network aims to disect 
these movements for the better understanding of you, the reader. 
The movements or periods listed here where not mutually exclusive in 
their timeframes, they overlap, liberally. In some cases a single 
author can even be claimed by more than one movement. Classifing 
art, an art in itself, often ends up more fluid like this. Each 
introduction (listed below) includes a broad overview of the 
movement or period, examples of key works, and a list of major 
authors. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
REVIEW 1 a 5- Literary Interpretatiom - Practicing 
Literary Periods 
 
Renaissance Literature 
The Enlightenment 
Romanticism 
Transcendentalism 
Victorian Literature 
Realism 
Naturalism 
Modernism 
Bloomsbury Group 
Existentialism 
Beat Generation 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
REVIEW 1 a 5- Literary Interpretatiom - Practicing 
Born 19th of January 1809, 
was mostly known for his 
poems and short tales and his 
literary criticism. He has been 
given credit for inventing the 
detective story and his 
pshycological thrillers have 
been infuences for many 
writersm worldwide. Edgar 
Allan Poe died in the hospital 
on Sunday, October 7, 1849. 
 
 
EDGAR ALAN POE 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
REVIEW 1 a 5- Literary Interpretatiom - Practicing 
The Haunted Palace 
 
 
In the greenest of our valleys 
 By good angels tenanted, 
Once a fair and stately palace— 
 Radiant palace—reared its head. 
In the monarch Thought’s dominion, 
 It stood there! 
Never seraph spread a pinion 
 Over fabric half so fair! 
 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
REVIEW 1 a 5- Literary Interpretatiom - Practicing 
Banners yellow, glorious, golden, 
 On its roof did float and flow 
(This—all this—was in the olden 
 Time long ago) 
And every gentle air that dallied, 
 In that sweet day, 
Along the ramparts plumed and pallid, 
 A wingèd odor went away. 
 
 
Wanderers in that happy valley, 
 Through two luminous windows, saw 
Spirits moving musically 
 To a lute’s well-tunèd law, 
Round about a throne where, sitting, 
 Porphyrogene! 
In state his glory well befitting, 
 The ruler of the realm was seen. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
REVIEW 1 a 5- Literary Interpretatiom - Practicing 
And all with pearl and ruby glowing 
 Was the fair palace door, 
Through which came flowing, 
flowing, flowing 
 And sparkling evermore, 
A troop of Echoes, whose sweet 
duty 
 Was but to sing, 
In voices of surpassing beauty, 
 The wit and wisdom of their king. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
REVIEW 1 a 5- Literary Interpretatiom - Practicing 
But evil things, in robes of sorrow, 
 Assailed the monarch’s high estate; 
(Ah, let us mourn!—for never morrow 
 Shall dawn upon him, desolate!) 
And round about his home the glory 
 That blushed and bloomed 
Is but a dim-remembered story 
 Of the old time entombed. 
 
 
 
 
And travellers, now, within that valley, 
 Through the red-litten windows see 
Vast forms that move fantastically 
 To a discordant melody; 
While, like a ghastly rapid river, 
 Through the pale door 
A hideous throng rush out forever, 
 And laugh—but smile no more. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
REVIEW 1 a 5- Literary Interpretatiom - Practicing 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Profª. Claudia de Freitas Lopes 
Aula 6: MIMESIS 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 6: MIMESIS 
CLASS CONTENT: 
 1. Identificar o conceito de mimese; 
 
 2. Relacionar mimese e literatura. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 6: MIMESIS 
Plato and Aristotle - ART 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 6: MIMESIS 
Plato defended art that imitated Ideal realities, not the 
photographic imitation of that which can be sensed and 
individual experiences. He wrote in the Symposium that all 
beautiful things participate in the Idea of beauty. Plato's 
attack on art is that it often presents images that stimulate 
illusory ideas in the viewer. If people know only these images, 
they will have a distorted view of the way things really are. 
The watercolor image of the Empire State Building, the movie 
that only gives a rough approximation of its bio subject — 
these fail as works of art because they are so far from the 
reality they seek to depict. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 6: MIMESIS 
Aristotle, unlike his teacher, supposed that the extravagant 
representation of powerful emotions is beneficial to the 
individual citizen, providing an opportunity for the cathartic 
release of unhealthy feelings rather than encouraging their 
development. 
Tragedy in particular arouses our fear and pity, as we 
recognize the inherent flaw of the tragic hero. Having seen 
the outcome in dramatic form, we are less likely to commit 
similar acts of pride, Aristotle argued, so the literary arts have 
a direct benefit to human society. This provides no grounds for 
a Platonic notion of censorship of the arts. 
 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 6: MIMESIS 
Verisimilitude, in a narrow sense, is the likeness or semblance 
of a narrative to reality, or to the truth. It comes from Latin: 
verum meaning truth and similis meaning similar. In a broader 
sense, verisimilitude refers to the believability of a 
narrative—the extent to which a narrative appears realistic, 
likely, or plausible (regardless of whether it is actually 
fictional or non-fictional). Verisimilitude has its roots in both 
the Platonic and Aristotelian dramatic theory of mimesis, the 
imitation or representation of nature. For a piece of art to 
hold significance or persuasion for an audience, according to 
Plato and Aristotle, it must have grounding in reality. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 6: MIMESIS 
Credibility, and in turn verisimilitude, rested on the reader's 
sense of the world encountered opposition because of the 
dilemma it created: every reader and every person does not 
have the same knowledge of the world. This kind of theory 
suggests that the novel consisted of distinct parts. The way 
novelists avoided this dilemma initially was by adding a 
preface to the work of fiction stating its credibility or by 
including more references to known history within the text 
of the fiction. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 6: MIMESIS 
Verisimilitude tends to be based 
around the appearance or 
proximity to being real, or the 
truth. It was a large part of the 
work of Karl Popper, and can be 
used in a variety of different 
ways to describe something, as 
well. It is a way of implying the 
believability or likelihood of a 
theory or narrative. However, 
just because something can be 
described as having 
Verisimilitude does not mean 
that it is true– only that merely 
appears to or seems to be true. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 6: MIMESIS 
Não compete ao poeta 
narrar exatamente o que 
aconteceu, mas sim o que 
poderia ter acontecido, o 
possível, segundo a 
verossimilhança ou 
necessidade. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 6: MIMESIS 
Mimesis and literature 
Literature is a creative work of fiction. Indeed, the author 
creates an imaginary environment, where characters live their 
own truth. In a literary work, for example, there might be 
talking animals, fantastic places, amazing love stories, etc. 
 
It’s clear to see that we’re talking about a world which is 
totally autonomous from our own. However, it’s important to 
note that there is a significant relationship between this 
fictitious reality created by the author and our own reality. In 
fact, an author doesn’t create a literary work out of the blue. 
The real world provides materials for the author’s imaginary 
world, such as: social, ideological, and linguistic structures, 
among others. 
 
 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 6: MIMESIS 
The same is true 
regarding non-fiction 
literature. Even though 
non-fiction writers 
believe they are merely 
reporting real facts, they 
are actually selecting the 
‘parts’ of reality they are 
willing to show and the 
resulting literature is a 
product of the writers’ 
imagination. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 6: MIMESIS 
Literature is "mimetic," that is to say, re-presents 
'reality', 'nature', or 'the way things are'. It portrays 
moral and other experiences in a compelling, 
concrete, immediately felt way through its aesthetic 
devices and powers, yet allows as well for reflection, 
for a theorizing or reconsideration of the experiences 
evoked, as we are both 'experiencing' the world 
evoked and are separated from it. It is important to 
understand, under this thesis, a couple of aspects of 
literature and representation: 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 6: MIMESIS 
1. human experience is affective and symbolic; 
literature, which uses affect and symbol, can 
represent it as we genuinely experience and imagine 
it. 
2. literature works through the senses both 
immediately (in its sounds and rhythms) and 
symbolically (as words conjure up images, 
associations and so forth) - there is a concrete as 
well as a symbolic presence. 
 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 6: MIMESIS 
Literature is about life, and as such, it engages readers in an 
intricate and elaborate set of emotional, intellectual and 
social considerations. It does so by using language, images 
and symbols, among others, in a complex and subtle form. 
Literature represents society, people, and the world, and the 
more literature we read, the more open we are to its 
effects. 
 
In this class, we talked about mimesis in literature. We 
discussed two conflicting views on it and we saw that 
literature is mimetic in the sense that it represents the world 
around us. Next class, we are going to talk about specificity 
and complexity in literature. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 6: MIMESIS 
Non-fiction is one of the two main divisions in prose writing, 
the other form being fiction. Non-fiction is a story based on 
real facts and information . Non-fiction is a narrative, 
account, or other communicative work whose assertions and 
descriptions are believed by the author to be factual. These 
assertions and descriptions may or may not be accurate, and 
can give either a true or a false account of the subject in 
question; however, it is generally assumed that authors of 
such accounts believe them to be truthful at the time of their 
composition or, at least, pose them to their audience as 
historically or empirically true. Reporting the beliefs of others 
in a non-fiction format is not necessarily an endorsement of 
the ultimate veracity of those beliefs, it is simply saying it is 
true that people believe them (for such topics as mythology, 
religion). 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 6: MIMESIS 
Non-fiction can also be 
written about fiction, 
giving information 
about these other 
works. Non-fiction need 
not necessarily be 
written text, since 
pictures and film can 
also purport to present 
a factual account of a 
subject. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 6: MIMESIS 
Non-fiction can also be written about fiction, giving 
information about these other works. Non-fiction need not 
necessarily be written text, since pictures and film can also 
purport to present a factual account of a subject. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 6: MIMESIS 
Essays, journals, memoir, diaries, documentaries, scientific 
papers, photographs, biographies, textbooks, travel books, 
blueprints, technical documentation, user manuals, diagrams 
and some journalism are all common examples of non-fiction 
works, and including information that the author knows to be 
untrue within any of these works is usually regarded as 
dishonest. Other works can legitimately be either fiction or 
non-fiction, such as journals of self-expression, letters, 
magazine articles, and other expressions of imagination. 
Though they are mostly either one or the other, it is possible 
for there to be a blend of both. Some fiction may include 
non-fictional elements. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 6: MIMESIS 
Some non-fiction may include 
elements of unverified 
supposition, deduction, or 
imagination for the purpose of 
smoothing out a narrative, but 
the inclusion of open falsehoods 
would discredit it as a work of 
non-fiction. The publishing and 
bookselling business sometimes 
uses the phrase "literary 
nonfiction" to distinguish works 
with a more literary or 
intellectual bent, as opposed to 
the greater collection of 
nonfiction subjects 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 6: MIMESIS 
Fiction is the form of any work that deals, in part or in 
whole, with information or events that are not real, but 
rather, imaginary and theoretical—that is, invented by the 
author. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 6: MIMESIS 
Although the term fiction 
refers in particular to novels 
and short stories, it may also 
refer to a theatrical, 
cinematic, or musical work. 
Fiction contrasts with non-
fiction, which deals 
exclusively with factual (or, at 
least, assumed factual) 
events, descriptions, 
observations, etc. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Aula 6: MIMESIS 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
Profª. Claudia de Freitas Lopes 
Aula 7: Litearture and Specificity 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
 Aula 7: Litearture and Specificity 
CLASS CONTENT: 
 
 Reconhecer as características do discurso literário; 
 Identificar a especificidade do discurso literário; 
 Relacionar especificidade e complexidade. 
 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
 Aula 7: Litearture and Specificity 
If we consider the art literature, she is on a special type of 
Communication, which is also worth a special language. Thus 
we can think that the special language needs to rely on a 
language and configures 
in texts, which are characterized in a form of speech. 
SEMINÁRIOS EM LÍNGUA INGLESA DISCURSO LITERÁRIO 
 Aula 7: Litearture and Specificity 
Literature is the art-form of language, and words