One aspect seems to emerge as relevant when it comes to establishing familiarity with the facts linguistics, as well as about those that guide the situations of written production, especially the genres textual. Subsidizing then on this principle, let us take as an example first the circumstances related to orality, whose situations are recurrent in which we find ourselves describing about a fact, a place, a person or even a An object.
Going a little further, contextualizing this fact in relation to written language, relevance acquires the same tone, given the communicative circumstances in which we also make use of this modality of composition, now demarcated by the description. In this sense, supporting other modalities, such as the narration and the dissertation, there is no way to understand them and, above all, materialize them separately, given that they can all merge at the same time, depending on the communicative intentions proposed by the speaker.
Based, therefore, on such assumptions, user friend, we have the privilege of assigning you this subsection, which specifically explores aspects widely relevant to the call
description, which becomes observable through the selection and organization of elements by the observer to lead the interlocutor to the knowledge of the image of a given object described for now, remembering that this object can materialize from different types.Do not stop now... There's more after the advertising ;)
You will also understand that this description can either be given reliably, that is, the object can be represented without any traces of subjective interventions on the part of the observer, as can also be done through clear traces of personal involvement on the part of this somebody. As you can see, there are plenty of reasons to click, see and interact with all the news that are reserved here for this very special person: you!!! Enjoy!
By Vânia Duarte
Graduated in Letters
question 1
(PUC - SP) The excerpt below was taken from the work Memories Sentimental by João Miramar, by Oswald de Andrade.
BOTAFOGO ETC.
“We edged in car by the tree-lined rental mirror of the sunless sea avenues. Faint diamonds of gold flag nationalized the inner green hills. On the other blue side of the bay the Serra dos Órgãos ranged. Boats. And the past came back in the breeze of delicious puffs. Rolah would come skidded through tunnels.
Copacabana was a velvet ruffled in the luminous night through the cracks of the city.”
Didactically, it is customary to say that, in relation to their organization, texts can be composed of description, narration and dissertation; however, it is difficult to find a passage that is
just descriptive, just narrative, just essay. Taking that statement into account, select
one of the alternatives below to classify Oswald de Andrade's text:
a) Narrative-descriptive, with a predominance of descriptive.
b) Dissertation-descriptive, with a predominance of the dissertation.
c) Descriptive-narrative, with a predominance of narrative.
d) Descriptive-dissertation, with a predominance of the dissertation.
e) Narrative-dissertation, with a predominance of the narrative.
question 2
(ITA)
The lion
The girl leads me in front of the lion, forgotten by a passing circus. He is not trapped, old and sick, in an iron fence. I was released on the lawn and the thin wire mesh is a mockery of the king of beasts. No more than a lion's shard: the rheumatic legs, the matted, dull mane. The globular eyes closed wearily, on the muzzle I counted nine or ten flies, which he had no heart to frighten away. Drops trickled from the great nostrils, and I thought for a moment they were tears.
I looked around: we are all adults, not counting the girl. Only for us the lion retains its former prestige - the children are around the little monkeys. One of those present explains that the lion has its legs crooked, its entire life in the tiny cage. Decreased, he can't support himself on his feet.
A piá arrives and, defying the lion with a wild look, throws at him a handful of peanut shells. The king blows through his nostrils, he is still a lion: he makes the grass at his feet tremble.
One of us protests that they should serve him in pieces.
- Doesn't he have a tooth?
- Yes there is, don't you see? He doesn't have the strength to bite.
He continues the kid to throw peanuts in the lion's ravaged face. He looks at us and a glimmer of understanding makes us lower our heads: the bitter aftertaste of defeat is known. He's old, arthritic, can't stand on his legs, but he's a lion. Suddenly, shaking his mane, he begins to chew grass. Why, lion eats green! The boy throws a stone at him: it hit his tearful eye and it hurt.
The lion opened its mouth with yellow teeth, it wasn't a yawn. Amid grimaces of pain, he slowly rose on his crooked legs. Without moving from his seat, he got to his feet. He opened his soft black lips painfully, there was the hoarse horn of the antique fordeco.
For a moment the roar held the little monkeys suspended and made the girl's heart beat faster. The lion let out six or seven howls. Exhausted, he dropped to his side and closed his eyes forever.
I. Although it is not a predominantly descriptive text, description occurs, as the author represents the main character through aspects that individualize him.
II. By emphasizing only the physical conditions of the character, objective description predominates in the text, with denotative language.
III. As it is a predominantly narrative text, the other forms - description and dissertation - do not exist.
We infer that, according to the text, it may (m) be correct (s):
a) All are correct.
b) Only I.
c) Only II.
d) Only III.
e) None of the statements.
See answer