Novembro de 2017

My latest paper published, written with the genius, Michael Haugh

Joint fantasising as relational practice in Brazilian Portuguese interactions

Published in Language and Communication - Volume 55, July 2017

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Novembro de 2017

Exhibition "Design and Utopia of the Games"- Curated together with Studio M'Baraká

WOULD IT BE UTOPIAN TO DREAM OF A UNIVERSAL LANGUAGE?

In the year of the Rio de Janeiro’s Summer Olympic Games, estúdio M´Baraká in partnership with CRABpresents the exhibition “Design and Utopia of the Games”. From the collection of Markus Osterwalder, a Swiss designer and researcher that has been building a collection of memories and images of the Olympics since the 90’s, the exhibition presents 5 graphic designs of the Olympic and Paralympic Games that have stood out by their expressive power and thus, have become icons of international design: Tokyo ‘64; Mexico ‘68; Munich ‘72; Los Angeles ‘84 and Barcelona ‘92.

If, in one hand, the Olympics are a kind of universal ritual, in which all rules must be strictly followed, no matter which city hosts it , on the other hand, communication is what makes every edition unique. The symbolic universe built for the games’ communication and design will, inevitably, bring two opposing forces that don’t repeal one another, but are, rather, in mutual exercise: universality and uniqueness, a hybrid that will give color, consistency, smell and identity to each edition of the games.

With a Collection of classic and unique images, emotional references that refer to the city hosts of the games on the XX century, the exhibition highlights historical moments and challenges of the 5 editions presented.

Tokyo 64, Mexico 68, Munich 72, Los Angeles 84 and Barcelona 92 are represented thorough graphic designs that have become icons of international design. Design &Utopia of the Games proposes a free interpretation of the creative process of 5 great designers: Yausako Kamekura, Lance Wyman, Otto Aicher, Deborah Sussman and Joseph Trias.

The pieces are reproductions from the collection of Markus Osterwalder, one of the biggest collector of olympic design, with more than 12 thousand itens.

http://www.mbaraka.com.br/en/projects/31/design---utopia-dos-jogos.html

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Novembro de 2017

Exhibition "When the sea became Rio" - Curated together with studio M'Baraká

The exhibition was inspired by the curious historical fact that the portuguese explorers had mistaken the guanabara bay with a river, naming a city that is internationally known for its beaches and bay life style, as Rio (river in portuguese).

Assembled at the National Historical Museum in Rio de Janeiro, it presents the relation of Rio's citizens (Cariocas) with the sea and the beach. Starting at the city's "discovery",
it explores the myths of the Atlantic, the amazing portuguese navigation technologies, and the native population devastation. The narrative follows through the story of the beginning of sea baths as health treatments on the late 18th century and it also portrays the contemporary Rio, when the beach extrapolates its geographical boundaries becoming part of the city's identity.

Experiencing a diverse route of history and putting together different times and techniques, contemporary artists are exposed along with important artworks from the collection of the National Historical Museum and other public and private collections.

http://www.mbaraka.com.br/en/projects/35/quando-o-mar-virou-rio.html

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Janeiro de 2016

ótima entrevista da Laerte sobre um ano desde o ataque ao Charlie Hebdo

clica aqui "você pode fazer piada de qualquer coisa, mas é importante verificar de que lado da piada você está. Essa é uma constatação que é possível e é preciso fazer – não em nome de censurar, mas de verificar o que está sendo dito com aquele discurso." 

"eu acho que o humor é uma linguagem que se realiza mais eficientemente quanto mais houver ausência de emoções."

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Agosto de 2015

'Por desconhecimento, pessoas tratam a comunicação como algo banal'

Entrevista da maravilhosa Maria do Carmo Leite de Oliveira sobre comunicação, fala em interação e divulgação do seu livro 'Você está entendendo?'

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Maio de 2015

Listen to me talk about Humour and conversation in close relationships

Conference 2015 - IPrA

14th International Pragmatics Association Congress held in University of Antwerp, Antwerp, Belgium 

There are various practices by which humour arises in interaction, ranging from jocular mockery and teasing through to humourous irony and wisecracks (Béal and Mullan 2013; Dynel 2009, 2013; Haugh 2010, 2014; Sinkevicuite 2013, 2014). One practice that has received somewhat less attention to date is what Hay (2000, 2001) terms “fantasy humour”, where through the (co-)construction of imaginary worlds with their own logic, participants engage in a form of affiliative interactional play. In this paper, we examine instances of fantasy humour identified in a corpus of recordings of over 18 hours of ordinary talk in Portuguese. We draw from an interactional pragmatics perspective (Arundale 1999, 2010; Haugh 2010, 2012), namely, an approach to pragmatics that is informed by research and methods in ethnomethodological conversation analysis (Heritage 1984; Sacks, Schegloff & Jefferson 1974), in analysing our collection of candidate episodes of fantasy humour. Two different forms of fantasy humour were identified in our dataset: (1) exaggerated fantasy humour and (2) absurd fantasy humour. While both often featured irony as means of reducing responsibility for what is being said through footing shifts (Clift 1999), in the former case humour arises through exaggeration and creaing caricatures of a known world, whereas in the latter case humour emerges through the seemingly irrational creation of an unknown world. We propose that in the case of exaggerated fantasy humour, participants display values and norms of the group by contrasting the exaggerated scenario with (perceived) shared expectations. The second case seems to function mainly as means of affiliating, that is, as a way of creating social bonds and solidarity amongst members of the group in question. However, we note that in both cases, participants may not only accomplish serious interactional business through fantasy humour episodes, but may also accomplish disaffiliative stances with particular interlocutors. We conclude that fantasy humour not only may occasion evaluations of mock impoliteness (Culpeper 1996; Leech 1983; Haugh and Bousfield 2012), but is also consequential for the ongoing (conjoint) co-constitution of relational connection and separation (Arundale 2006; Haugh 2010) amongst participants.

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Novembro de 2014

um trecho que sintetiza o que de mais importante aprendi escrevendo a tese

Connectedness and separateness form a functional opposition in that the total autonomy of parties precludes their relational connection, just as the total connection between parties precludes their individual autonomy. (…) In established relationships, the interplay between connection and separation is always present, so that the relational partners are continually poised ‘between unity and differentiation’ (1996: 79), or in other words, poised between being a social system and being individual components, as opposed to being poised between the ends of a continuum. The tensional interplay of connectedness and separateness is fluid and dynamic, it is not resolvable, and it cannot be eliminated short of ceasing all communication. Relationships are neither driven by nor oriented toward achieving a synthesis of, maintaining a balance between, or canceling out the contradictory poles. Connectedness and separateness is the principal or fundamental dialectic in relationships because no relationship exists except as two separate or differentiated individuals achieve some form of social connection or unity. The dialectic is integral with the individual/social dialectic because achieving connectedness among individuals generates what is social, while achieving separateness within the social generates what is individual. (Baxter & Montgomery, 1996 apud Arundale, 2010, p. 2087)

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Novembro de 2014

sobre a ironia

"Just as an actor or a doctor is sanctioned by role to say (or do) what would not ordinarily be sayable (or doable), the shift of footing into irony allows the ironist effectively to take on the persona of another to say the unsayable” (Clift, 1999, p. 542)

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Novembro de 2014

sobre o humor

"Patrick Charaudeau insiste sur la nécessité de décrire l’humour comme une catégorie générique dominante pouvant être subdivisée en catégories descriptives et énonciatives. Ces catégories, déjà établies dans le précédant volume, sont reprises et approfondies dans le but de présenter les différentes manières de partager la transgression d’une certaine conception du monde à travers l’acte humoristique. La combinaison de procédés et d’effets variés multiplie la taxonomie de l’humour. Ces combinaisons permettent de critiquer une doxa et/ou d’établir une connivence ludique entre interlocuteurs".

De l’ironie à l’absurde et des catégories aux effets - Charaudeau, 2013

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Abril de 2014

Meu seminário na Griffith University School of Languages and Linguistics

Minha temporada de bolsa sanduíche está chegando ao fim, mas antes vou apresentar este seminário que é uma espécie de resumo de muita coisa que aprendi por aqui. 

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Outubro de 2013

Virei Viral - a exposição mais linda de todos os tempos, no CCBB - Rio

Fazer os textos da exposição e trabalhar na curadoria me ensinou muitas coisas. Da cultura do compartilhamento, da mídia digital, de como era antes, mas, principalmente, aprendi a escrever sem medo de ser criticada e a acreditar na fluidez de toda e qualquer autoria, inclusive a dos nossos próprios textos. 

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Setembro de 2013

A fatalidade em falar

A palavra falada é irreversível, tal é a sua fatalidade. (BARTHES, p.93).

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Julho de 2013

Como tratar as identidades na pesquisa linguística

O processo de publicação de um artigo é tão longo que quando ele finalmente sai a gente mal lembra do que ele trata.... Mas é sempre uma alegria ver um texto seu publicado num periódico legal. 

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Junho de 2013

Steven Pinker explica a Pragmática Linguística

Eu não sou muito fã do Pinker, mas achei esse vídeo ótimo e acho que ele serve aos propósitos do site. Ele é claro e acessível e explica bem o que é a Pragmática Linguísitca.

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Junho de 2013

Cultural Scripts

Conhecendo os cultural scripts - uma técnica simples e acessível de análise de dados. Quem quiser, linguista ou não, vai conseguir entender.

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Junho de 2013

Do começo

Não é fácil começar a escrever na internet. Não se sabe quem vai ler ou se alguém vai ler, é como escrever sem público e com todo o público do mundo. Difícil.

O site vai tratar da minha paixão, a linguística, mas não é por ela que resolvi começar. Tenho encontrado tantas dificuldades pra fazer linguística nos dias de hoje que talvez por isso tenha escolhido essas dificuldades como o tema do meu primeiro post.

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