O Conceito de Estilo:: Abordagens
O Conceito de Estilo:: Abordagens
O Conceito de Estilo:: Abordagens
O CONCEITO DE ESTILO:
ABORDAGENS
META
$SUHVHQWDURVHOHPHQWRVTXHFRQVWLWXHPRHVWLORFRPRIHQ{PHQROLQJtVWLFR
individual de dado autor.
OBJETIVOS
$R¿QDOGHVWDDXODRDOXQRGHYHUi
FDUDFWHUL]DUDSDUWLUGHWH[WRVLQGLFDGRVWUDoRVOLQJtVWLFRVSRVVtYHLVTXH
GH¿QHPRHVWLORGHGDGRDXWRU
2OLQJXLVWDIUDQFrV*HRJHV0RXQLQUHXQLDVGHÀQLo}HVGHHVWLORHPWUrVJUXSRVMiTXH
YiULRVOLQJLVWDVWDPEpPWrPSURFXUDGRFODVVLÀFiODVGHDFRUGRFRPRVFULWpULRVTXHHODVVH
IXQGDPHQWDP6mRHODVDVTXHFRQVLGHUDPHVWLORFRPR¶GHVYLRGDQRUPD·DVTXHRMXOJDP
FRPR¶HODERUDomR·HDVTXHRHQWHQGHPFRPR¶FRQRWDomR·
)RQWHVKWWSWUDQVODWRUX\ÀOHVZRUGSUHVVFRP
(VWLOtVWLFD
,1752'8d®2
$OtQJXDSRUWXJXHVDWHPXPDH[SUHVVmRSUySULDUHVXOWDQWHGDVFRP
ELQDo}HVIRQpWLFDVPRUIROyJLFDVVLQWiWLFDVHVHPkQWLFDVXWLOL]DGDVSHORV
VXMHLWRVIDODQWHV$(VWLOtVWLFDGDOtQJXDSRUWXJXHVDWHPSRUIXQomRLQYHQ
WDULDUHHVWXGDURVHIHLWRVGHHVWLORSURGX]LGRVHPFDGDWLSRGHFRPELQDomR
(VVHHVWXGRVHUiREMHWLYDGRQRVHQWLGRGHGHPDUFDURVGHVYLRVH[LVWHQWHV
em determinados empregos de categorias ou classes gramaticais (artigo,
SURQRPHV YHUERV DGYpUELRVH RXWUDVGH YHULÀFDU DV UHODo}HVHQWUH RV
FRQVWLWXLQWHVGDIUDVHFRQFRUGkQFLDHVWUXWXUDIUiVWLFDGHDYDOLDUDVSRWHQ
FLDOLGDGHVOH[LFDLVGDOtQJXDYRFDEXOiULRVHVSHFLDLVIRUPDomRGHSDODYUDV
QHRORJLVPRVDUFDtVPRVSROLVVHPLDVHRXWUDV
$SDODYUD´HVWLORµVHUHIHULDDXPREMHWRSRQWLDJXGRXWLOL]DGR
pelos antigos gregos e romanos para escrever em tabuinhas
HQFHUDGDV3RUXPSURFHVVRVHPkQWLFRPXLWRFRPXPRQRPH
que antigamente designava o instrumento com que se escrevia
SDVVRXDGHVLJQDUDSUySULDHVFULWDHPRGRGHHVFUHYHU
(Fontes: http://romanhistorybooksandmore.freeservers.com)
50
O conceito de Estilo: abordagens
Aula
O CONCEITO DE ESTILO
Em outras disciplinas de nosso Curso de Letras, tivemos a oportunidade
6
GHGHPRQVWUDUTXHDOtQJXDpXPVLVWHPDRUJDQL]DGRGHVLJQRVOLQJtVWL
FRVLPSRQGRXPOp[LFRHGHWHUPLQDGDVQRUPDVJUDPDWLFDLV1RHQWDQWR
RLQGLYtGXRTXHDXWLOL]DVHOHFLRQDRVVLJQRVSDODYUDVGHQWURGDVVpULHV
SDUDGLJPiWLFDV H FRPELQDRV OLYUHPHQWH QR HL[R VLQWDJPiWLFR e QHVVD
liberdade de recriar a linguagem que se situa o estilo.
2(VWLORpDVVLPHPSULQFtSLRLQGLYLGXDOHGHFRUUHGDVXEMHWLYLGDGH
conferida ao discurso no intuito de o desviar do grau zero, isto e, do uso
UHJXODUQRUPDOGDOLQJXDJHP´'HÀQLGRFRPRGHVYLRRHVWLORQmRpXPD
categoria que possa ser regida pela lei do tudo ou nada. Linguagem natural
HOLQJXDJHPGHDUWHVmRGRLVSyORVHQWUHRVTXDLVVHHVWDEHOHFHPDGLVWkQFLD
YDULiYHOGHXPRXGHRXWURDVSURGXo}HVHVFULWDVGHFDUiWHUDIHWLYRµ-HDQ
&RKHQ3RUHVWDUD]mRDUHWyULFDFOiVVLFDGLVWLQJXLDWUrVHVWLORVHOHPHQWDUHV
RVLPSOHVRPRGHUDGRHRVXEOLPH(PERUDVHPJUDQGHSHUWLQrQFLDDWXDO
PHQWHHVWDGLVWLQomRHYLGHQFLDDYDULHGDGHGRVGHVYLRVHFRQVHTXHQWHPHQWH
DQDWXUH]DGRHVWLORFRPRH[SUHVVmRPDUFDGDHPPHQRURXPDLRUJUDX
relativamente a um discurso neutro.
Por outro lado, o emprego do termo estilo, demasiado rico e demasiado
FRPSOH[RWRUQDVHWmRDPEtJXRTXHDOJXPDVSHVVRDVUHFXVDPDSDODYUDH
FKHJDPDQHJDUDH[LVWrQFLDGDQRomRFRPRPXLWREHPREVHUYRXRHVWX
GLRVRIUDQFrV3LHUUH*XLUDXG1RHQWDQWRYDPRVDSUHVHQWDUXPDGHÀQLomR
JHUDO H WHQWDUHPRV DR ORQJR GHVWD DXOD GLVWLQJXLU DOJXPDV FRQFHSo}HV
TXHPDUFDUDPpSRFDRXXPDYLUDJHPGDVXDKLVWyULD'HPRGRDPSORR
estilo denota uma propriedade comum a todos os enunciados quaisquer
que sejam, embora se capte de forma particular em cada um. Designa-se
SRUHVWLORRVWUDoRVTXHFRQIHUHPXPFDUiWHUGLVWLQWLYRDXPFRQMXQWRGH
IUDVHVSURQXQFLDGDVRXHVFULWDV$QRomRGHHVWLORDVVHPHOKDVHSRULVVR
jGHLQGLYLGXDOLGDGH
Assim sendo, temos o estilo como escolha: escolha feita pelos falan-
WHVHPWRGRVRVFRPSRUWDPHQWRVGHXVRGDOtQJXDLVWRpFRPRLGLROHWR
FRQFHELGRFRPRRVLVWHPDGHH[SUHVVmRGHXPLQGLYtGXRLVRODGR2HVWLOR
FRPRGHVYLRTXHLPSOLFDXPDUHODomRFRPXPPRGHORFRPXPSDGUmR
FRPXPDQRUPD2HVWLORFRPRHODERUDomRFRPXPDWpFQLFDTXHUHVXOWD
QDIXQomRSRpWLFDWDOFRPRDSUHVHQWDGDSRU5RPDQ-DNREVRQ
3DUDXP PDLRU DSURIXQGDPHQWR GHVVDVTXHVW}HV YDPRV SRVWDUXP
WH[WR HODERUDGR SHOD SURIHVVRUD 1LOFH 6DQW·$QQD VREUH D YDULHGDGH GR
conceito de estilo:
´$SDODYUD¶HVWLOR·TXHKRMHVHDSOLFDDWXGRTXHSRVVDDSUHVHQWDU
FDUDFWHUtVWLFDV SDUWLFXODUHV GDV FRLVDV PDLV EDQDLV H FRQFUHWDV jV
PDLVDOWDVFULDo}HVDUWtVWLFDVWHPXPDRULJHPPRGHVWD'HVLJQDYD
HPODWLP²¶VWLOXV·²XPLQVWUXPHQWRSRQWLDJXGRXVDGRSHORVDQWLJRV
51
(VWLOtVWLFD
SDUDHVFUHYHUVREUHWDEXLQKDVHQFHUDGDVHGDtSDVVRXDGHVLJQDUD
SUySULDHVFULWDHRPRGRGHHVFUHYHU
1RGRPtQLRGDOLQJXDJHPWrPVLGRWmRQXPHURVDVDVGHÀQLo}HVGH
HVWLORTXHYiULRV OLQJLVWDVWrPSURFXUDGRFODVVLÀFiODV GHDFRUGR
FRP RV FULWpULRV HP TXH HODV VH IXQGDPHQWDP $VVLP *HRUJHV
0RXQLQ,QWURGXomRj/LQJtVWLFDUH~QHDVGHÀQLo}HVGHHVWLORHP
WUrVJUXSRVDVTXHFRQVLGHUDPHVWLORFRPR¶GHVYLRGDQRUPD·
DVTXHRMXOJDPFRPR¶HODERUDomR·DVTXHRHQWHQGHPFRPR
¶FRQRWDomR·1LOV(ULN(QNYLVW/LQJtVWLFDHHVWLORDVGLVWULEXLHP
VHLVJUXSRVHVWLORFRPR¶DGLomR·HQYROWyULRGRSHQVDPHQWR
HVWLORFRPR¶HVFROKD·HQWUHDOWHUQDWLYDVGHH[SUHVVmRHVWLORFRPR
FRQMXQWRGH¶FDUDFWHUtVWLFDVLQGLYLGXDLV·HVWLORFRPR¶GHVYLRGD
QRUPD·HVWLORFRPRFRQMXQWRGH¶FDUDFWHUtVWLFDVFROHWLYDV·HVWLORV
GH pSRFD HVWLOR FRPR ¶UHVXOWDGR GH UHODo}HV HQWUH HQWLGDGHV
OLQJXtVWLFDV·IRUPXOiYHLVHPWHUPRVGHWH[WRVPDLVH[WHQVRVTXHR
SHUtRGR
3RGHVH REVHUYDU TXH RV FULWpULRV GRV GLYHUVRV JUXSRV QmR VmR
H[FOXGHQWHV$VVLPSRUH[HPSORDVFDUDFWHUtVWLFDVLQGLYLGXDLVSRGHP
LQFOXLUHVFROKDGHVYLRGDQRUPDHODERUDomRFRQRWDomRRTXHPRVWUD
DGLÀFXOGDGHGHWDLVFODVVLÀFDo}HV
$FUHVFHQWHVHTXHGRVWHyULFRVGD(VWLOtVWLFDDOJXQVVyFRQVLGHUDP
RHVWLORQDOtQJXDOLWHUiULDRXWURVRFRQVLGHUDPQRVGLYHUVRVXVRVGD
OtQJXDDOJXQVUHODFLRQDPRHVWLORDRDXWRURXWURVjREUDRXWURVDLQGD
DROHLWRUTXHUHDJHDRWH[WROLWHUiULRDOJXQVVHFRQFHQWUDPQDIRUPD
da obra ou do enunciado, outros na totalidade forma-pensamento.
'HQWUH DV LQ~PHUDV GHÀQLo}HV H H[SOLFDo}HV GR IHQ{PHQR HVWLOR
DUURODPRVDOJXPDVTXHVHHQFRQWUDPQDELEOLRJUDÀDLQGLFDGDQRÀQDO
GRFDStWXORHVSHFLDOPHQWHQDVREUDVMiUHIHULGDVGH0RXQLQH(QNYLVW
HQRVOLYURVGH*XLUDXG)LFDDROHLWRUDWHQWDWLYDGHHQFDL[iODVQRV
JUXSRVPHQFLRQDGRVEHPFRPRDVHOHomRGDVTXHOKHSDUHFHUHP
PDLVVDWLVIDWyULDV
´2HVWLORpRKRPHPµ%XIIRQ
´2HVWLORpRSHQVDPHQWRµ5pP\GH*RXUPRQW
´2HVWLORpDREUDµ5$GH6D\FH
´(VWLORpDH[SUHVVmRLQHYLWiYHOHRUJkQLFDGHXPPRGRLQGLYLGXDO
GHH[SHULrQFLDµ0LGGOHWRQ0XUUD\
´(VWLORpRTXHpSHFXOLDUHGLIHUHQFLDOQXPDIDODµ'kPDVR$ORQVR
´(VWLORpDTXDOLGDGHGRHQXQFLDGRUHVXOWDQWHGHXPDHVFROKDTXH
ID]HQWUHRVHOHPHQWRVFRQVWLWXWLYRVGHXPDGDGDOtQJXDDTXHOHTXH
DHPSUHJDHPXPDFLUFXQVWkQFLDGHWHUPLQDGDµ0DURX]HDX
´2 HVWLOR p FRPSUHHQGLGR FRPR XPD rQIDVH H[SUHVVLYD DIHWLYD
RX HVWpWLFD DFUHVFHQWDGD j LQIRUPDomR YHLFXODGD SHOD HVWUXWXUD
OLQJtVWLFDVHPDOWHUDomRGHVHQWLGR2TXHTXHUGL]HUTXHDOtQJXD
H[SULPHHRHVWLORUHDOoDµ5LIIDWHUUH
´2HVWLORGHXPWH[WRpRFRQMXQWRGHSUREDELOLGDGHVFRQWH[WXDLV
GRVVHXVLWHQVOLQJtVWLFRVµ$UFKLEDOG+LOO
52
O conceito de Estilo: abordagens
Aula
´(VWLORpVXUSUHVDµ.LEpGL9DUJD
´(VWLORpH[SHFWDWLYDIUXVWUDGDµ-DNREVRQ
´(VWLORpRTXHHVWiSUHVHQWHQDVPHQVDJHQVHPTXHKiHODERUDomR
6
GDPHQVDJHPSRUVLPHVPDµ,GHP
´(VWLORpRDVSHFWRGRHQXQFLDGRTXHUHVXOWDGHXPDHVFROKDGRV
PHLRVGHH[SUHVVmRGHWHUPLQDGDSHODQDWXUH]DHSHODVLQWHQo}HVGR
LQGLYtGXRTXHIDODRXHVFUHYHµ*XLUDXG
´(VWLORpRFRQMXQWRREMHWLYRGHFDUDFWHUtVWLFDVIRUPDLVRIHUHFLGDVSRU
XPWH[WRFRPRUHVXOWDGRGDDGDSWDomRGRLQVWUXPHQWROLQJtVWLFR
jVÀQDOLGDGHVGRDWRHVSHFtÀFRHPTXHIRLSURGX]LGRµ+HUFXODQR
de Carvalho)
´(VWLORpDOLQJXDJHPTXHWUDQVFHQGHGRSODQRLQWHOHFWLYRSDUDFDUUHDU
DHPRomRHDYRQWDGHµ0DWWRVR&kPDUD
&RPRXPIHFKRDHVWDVpULHGHGHÀQLo}HVFDGDTXDOFRPVXDUHODWLYD
validez, e muitas delas com pontos comuns, sejam lembradas estas
SHUWLQHQWHVSRQGHUDo}HVGH*HRUJHV0RXQLQ
´2HVWLORËXPIHQ{PHQRKXPDQR GHJUDQGHFRPSOH[LGDGHe
D UHVXOWDQWH OLQJtVWLFD GH XPD FRQMXJDomR GH IDWRUHV P~OWLSORV
6H DOJXP GLD VHFKHJDUD DWULEXLU DR HVWLOR XPD IyUPXODKi
GHVHU XPD IyUPXOD H[WUHPDPHQWH FRPSOH[D 7RGDV DV UHGXo}HV
ODSLGDUHVGDGHÀQLomRGHHVWLORVySRGHPVHUHSHUPDQHFHUFRPR
HPSREUHFLPHQWRVXQLODWHUDLV1mRGDPRVDLQGDSRUÀQGDVDVQRVVDV
WHQWDWLYDVSDUDFRPSUHHQGHURSRUTXrGRHIHLWRTXHFHUWDVREUDVWrP
VREUHQyV1HVWDHQFUX]LOKDGDRQGHWDOYH]FRPSUHHQGDPRVSRUTXHp
que certo poema nos envolve e nos possui e nos toca de determinada
PDQHLUD WHP TXH KDYHU XPD FRQYHUJrQFLD GH FDXVDV OLQJtVWLFDV
IRUPDLVPDVWDPEpPGHFDXVDVSVLFROyJLFDVSVLFDQDOtWLFDVKLVWyULFDV
VRFLROyJLFDVOLWHUiULDVHWF(VHUiLQGXELWDYHOPHQWHRFRQMXQWRTXH
SRGHUiGDUFRQWDGHVVDFRLVDDLQGDPXLWRPLVWHULRVDTXHpDIXQomR
SRpWLFDSRUTXHpTXHFHUWDVPHQVDJHQVSURGX]HPHPQyVHIHLWRV
LQFRPHQVXUiYHLVFRPRVGHWRGDVjVRXWUDVHVSpFLHVGHPHQVDJHQV
TXHTXRWLGLDQDPHQWHUHFHEHPRVµ
53
(VWLOtVWLFD
&21&/86®2
2EVHUYDPRVQHVWDDXODTXHDSDODYUD´HVWLORµVHUHIHULDDXPREMHWR
pontiagudo de ferro ou de osso utilizado pelos antigos gregos e romanos
SDUDHVFUHYHUHPWDEXLQKDVHQFHUUDGDV3RUXPSURFHVVRVHPkQWLFRPXLWR
comum, o nome que antigamente designava o instrumento com que se
HVFUHYLDVHQWLGRPDWHULDOSDVVRXDGHVLJQDURSUySULRPRGRGHH[SUHVVmR
GRSHQVDPHQWRVHQWLGRWUDQVODGRÀJXUDGRRXPHWDIyULFR(QWUHRXWUDV
PXLWDVSRVVLELOLGDGHVDSDODYUD´HVWLORµSRGHVHUWRPDGDGHGRLVPRGRV
PDLVFRPXQVDVXEMHWLYDPHQWH²LVWRpFRPRUHÁH[RGDSUySULDSHUVRQ
DOLGDGHPDUFRGRWDOHQWRHGDRULJLQDOLGDGHGRSHQVDPHQWR(DtHQWUDP
QDVXDIRUPDomRRVPDLVGLYHUVRVIDWRUHVFRPRDFXOWXUDDVHQVLELOLGDGH
RERPJRVWRDLQWHQomRHQÀPWXGRTXHFRQVWLWXLRVHUHVSLULWXDOGHXP
GDGRDXWRU'Dt$FpOHEUHIUDVHGH%XIIRQ´2(VWLORpRKRPHPµERE
MHWLYDPHQWH²RXVHMDHPUHODomRjPDWpULDGHTXHVHXWLOL]DRHVFULWRUDR
JrQHUROLWHUiULRSRUHOHSUHIHULGRHWDPEpPjVHVFRODVLPLWDo}HVWUDGLo}HV
UHDo}HVYDULDQGRGHXPDpSRFDSDUDRXWUDRXGHXPSDtVSDUDRXWURe
GHLQWHUHVVHFHQWUDOGD(VWLOtVWLFDDHVFULWDTXHVHLPS}HFRPRFULDomRH
UHYHODRJrQLRHDVYLUWXGHVGHVHXFULDGRUHVFULWRUGHL[DQGRSRLVDVXD
personalidade indelevelmente assinalada no que produz.
RESUMO
$QRomRGHHVWLORSRUXPODGRH[SUHVVDDPDQHLUDHVSHFLDOTXHFDGD
HVFULWRUSRVVXLSDUDGDUIRUPDDVVXDVLGpLDV3RURXWURODGRDSUHVHQWDVH
WDPEpPFRPRRUHVXOWDGRGDVHOHomRÀQDOUHDOL]DGDSRUXPGDGRHVFULWRU
HPIDFHGDVSRVVLELOLGDGHVH[SUHVVLRQDLVTXHDOtQJXDOKHRIHUHFH
0DWWRVR&kPDUD-~QLRUUHVXPHDGHTXDGDPHQWHDH[WHQVmRGRWHUPR
´HVWLORµFRPRDPDQHLUDWtSLFDSRUTXHQRVH[SULPLPRVOLQJXLVWLFDPHQWH
LQGLYLGXDOL]DQGRQRVHPIXQomRGDQRVVDOLQJXDJHP1HVVHSURFHVVRWHP
OXJDUXPD´HVFROKDHQWUHDVSRVVLELOLGDGHVGHH[SUHVVmRTXHVHDSUHVHQWDP
QDOtQJXDµ7XGRLVVRGHFRUUHDQWHVGHWXGRGRQRVVRLPSXOVRHPRWLYRH
GRSURSyVLWRFODURRXVXEFRQVFLHQWHGHVXJHVWLRQDUPRWLYDURSUy[LPR
3RUWDQWR R HVWXGR GH WRGDV DV YLUWXDOLGDGHV GR HVWLOR p HVVHQFLDOPHQWH
PDWpULDGD(VWLOtVWLFD
54
O conceito de Estilo: abordagens
Aula
ATIVIDADES
/HLDPFRPPXLWDDWHQomRRWH[WRSRVWDGRGDSURID1LOFH6DQW·$QQDH
6
SURFXUHPUHÁHWLUVREUHDFRQFHSomRGHHVWLORLPDJLQDGD%XIIRQ´2HVWLOR
pRKRPHPµ2TXHTXHULDGL]HUHVVHDXWRUFRPWDOGHÀQLomR"2TXHVHULD
SDUDHOHR´KRPHPµ"&RPRUHVXOWDGRTXHUHODomRLPDJLQRXWHU´HVWLORµ
H´KRPHPµ"
$JRUDSURFXUHPID]HUXPDVtQWHVHGRWH[WRSURFHGHQGRGDVHJXLQWH
PDQHLUDLQGLTXHGHPRGRVXFLQWRHREMHWLYRDVGLÀFXOGDGHVTXHDQRomRGH
HVWLORDSUHVHQWDGHVGHVXDHODERUDomRLQLFLDO5HGLMDSRLVXPSHTXHQRWH[WR
VREUHHVVDTXHVWmRHDSUHVHQWHDRVHXWXWRUHVROLFLWHGHOHXPDDSUHFLDomR
&20(17É5,262%5($6$7,9,'$'(6
1mRHVTXHoDPTXHYRFrVSRGHPFRQVXOWDURXWUDVREUDVLQGLFDGDVQD
ELEOLRJUDÀDVREUH´HVWLORµLQFOXVLYHGLFLRQiULRVHVSHFLDOL]DGRVFRPR
RGH0DVVDXG0RLVpV²´'LFLRQiULRGHWHUPRVOLWHUiULRVµ6mR3DXOR
Ed. Cultrix. 1974.
35Ð;,0$$8/$
0RGDOLGDGHVGHÀJXUDVGHHVWLORH[HPSORVHDSOLFDo}HV
$872$9$/,$d®2
$SDUWLUGHVWDDXODVLQWRPHFDSDFLWDGRSDUDFRPSUHHQGHURIHQ{PHQR
´HVWLORµ1DVXDGLPHQVmRHYDULHGDGH3DUDVHODUHVVDFRPSUHHQVmRSUH
tendo discutir com o meu tutor as formas de expressividade e de criatividade
TXHXPHVFULWRUFRPR*XLPDUmHV5RVDLPSULPLXHPVXDREUDOLWHUiULD
5()(5È1&,$6
AGUIAR E 6,/9$9LFWRU0DQXHOGH$(VWLOtVWLFDLQ Teoria da Litera-
tura. Coimbra: Almedina. 1969.
&Ç0$5$-5. Joaquim Mattoso. &RQWULEXLomRjHVWLOtVWLFDSRUWXJXHVD.
5LRGH-DQHLUR$R/LYUR7pFQLFR(GLWRUD
CHALHUB, Samira. )XQo}HVGDOLQJXDJHP6mR3DXOR(GÉWLFD
______________. A metalinguagem6mR3DXOR(GÉWLFD
'·212)5,2. Salvadore. Teoria do texto: WHRULDGDOtULFDHGRGUDPD²
YRO6mR3DXOR(GÉWLFD
55
(VWLOtVWLFD
56