RESUMO Com base em Watt, de Samuel Beckett, o artigo traz uma reflexão sobre os caminhos do romance moderno, considerando três elementos: a paródia literária e filosófica na obra de juventude do autor; a dificuldade em determinar o foco narrativo; e o emprego de séries e combinatórias para questionar a organização do tempo romanesco sob a forma da ação.

ABSTRACT The article approaches Samuel Beckett’s Watt as a reflection on the paths of the modern novel. Three elements are highlighted: the literary and philosophical parody in the author’s early work; the difficulty in determining the narrative focus; and the use of series and combinations to question the organization of romanesque time in the form of action.

resumo O artigo propõe um debate a respeito do teatro tardio de Samuel Beckett a partir do conceito de paródia, tal como utilizado por Theodor W. Adorno e Hans-Thies Lehmann para pensar tanto a crise do drama quanto as possibilidades de sua superação. Nesse contexto, a peça Aquela vez é analisada como um caso singular de seu teatro tardio. As relações entre memória e narrativa na experiência individual, tais como propostas pelo texto beckettiano, são examinadas à luz do emprego da voz em off como recurso de encenação. Com base nesses elementos, o artigo discute a pertinência do conceito de paródia para o teatro tardio de Beckett.

abstract The paper proposes a debate on Samuel Beckett’s later theater based on the concept of parody, as discussed by Theodor W. Adorno and Hans-Thies Lehmann, as a reflection both on the crisis of drama and on the possibilities of overcoming it. In this context, the play That Time is analyzed as a singular case of Beckett’s later theater. The relations between memory and narrative in individual experience, as proposed by his play, are considered in the light of voiceover as a major staging device. Based on these elements, the article discusses the relevance of the concept of parody to Beckett’s later theater.

O artigo situa as peças televisivas de Samuel Beckett em relação à questão da autonomia dos meios artísticos. Aponta-se uma forma de trabalho com o meio televisivo semelhante àquele desenvolvida por Beckett em outros meios (teatro, prosa, rádio): a crítica às convenções de cada gênero (drama, romance, filme televisivo) e o desenvolvimento dos meios de produção. Nesse contexto, o artigo destaca as condições de trabalho disponíveis ao artista nos estúdios da Süddeutscher Rundfunk, em Stuttgart, e, por fim, propõe uma análise de duas das peças televisivas: Eh Joe e … só as nuvens….

The paper discusses Samuel Beckett’s television plays in connection to the autonomy of means of artistic production. It points out a set of similarities between Beckett’s work with the television medium and with other media (theater, prose, radio): a critique of each genre convention (drama, novel, television film) and the development of the means of production. In this context, the article highlights the working conditions available to the artist at the Süddeutscher Rundfunk, in Stuttgart, and proposes an analysis of two television plays: Eh Joe and …but the clouds….

El artículo ubica las obras televisivas de Samuel Beckett en relación con la idea de autonomía de los medios artísticos. Em primer lugar, se señala una forma de trabajar en el ámbito de la producción televisiva similar a aquellas empleadas por Beckett en otros medios (teatro, prosa, radio): la crítica a las convenciones de cada uno de los géneros (drama, romance, película televisiva) y el desarollo de los medios de producción. Em ese sentido, el texto destaca las condiciones de trabajo disponibles en los estúdios de Süddeutscher Rundfunk, en Stuttgart, y, finalmente, propone el análisis de dos obras para televisión: Eh Joe y …but the clouds….

RESUMO O artigo formula algumas hipóteses para a análise da obra tardia de Samuel Beckett, particularmente as peças para televisão, produzidas pela Süddeutscher Rundfunk - SDR (hoje: Südwestrundfunk - SWR), sob direção do autor, entre 1966 e 1986: Eh Joe , Geistertrio , ..nur noch Gewölk... , Quadrat I + II , Nacht und Träume e Was Wo 1. Sugere-se a abordagem das peças por meio de duas questões - o desenvolvimento tecnológico dos meios de produção e a historicidade dos gêneros artísticos - que teriam suas referências teóricas na reflexão estética de Theodor W. Adorno e Walter Benjamin. Segundo essa perspectiva, as peças para televisão retomam o questionamento das convenções dos gêneros literários, iniciado por Beckett nos trabalhos em prosa e nas peças teatrais, ao desenvolver um novo meio de produção artístico junto à televisão pública alemã.

ABSTRACT The article raises some questions to a further investigation of Samuel Beckett's late works, particularly his television plays produced by the Süddeutscher Rundfunk - SDR (today: Südwestrundfunk - SWR) between 1966 and 1985: Eh Joe , Geistertrio , ... Nur noch Gewölk ... , Quadrat I & II , Nacht und Träume , Was Wo . It is suggested that the television plays might be approached by the technological development of the means of production as well as by the historicity of artistic genres. Both questions have their theoretical background in the aesthetic reflection of Adorno and Benjamin. From this perspective, the television plays resume the rupture of genres that Beckett was already dealing with in his prose and theatre works by configuring a new means of artistic production during his work with the German public television station.

O artigo procura situar a interpretação proposta por Theodor W. Adorno para a peça "Fim de partida", de Samuel Beckett, no contexto de sua concepção de autonomia da arte. Segundo a hipótese do trabalho, o conceito de autonomia subjaz ao diagnóstico histórico de Adorno a respeito do gênero dramático, o qual justifica sua leitura da peça como uma paródia do drama. O artigo busca mostrar os acertos dessa leitura perante a recepção inicial da peça, e também seus limites, uma vez que resulta em uma abordagem da experiência teatral focada primordialmente na consideração do texto teatral, em detrimento da encenação.

This article aims to situate the interpretation proposed by Theodor W. Adorno for Samuel Beckett’s play "Endgame" in the context of his conception of the autonomy of art. According to the hypothesis of this essay, the concept of autonomy underlies Adorno’s historic diagnostic about the dramatic genre, which justifies his analysis of the play as a parody of drama. The article seeks to demonstrate the successes of this reading in face of the play’s early reception, as well as its limitations, since it results in an approach to the theatrical experience primarily focused on regarding the theatrical text, at the expense of the staging.

O artigo aborda a peça Descrição de imagem, de Heiner Müller, como um exemplo de sua dramaturgia tardia. Pela análise dos diversos movimentos do texto, busca-se entender a qualificação, dada pelo próprio Müller em sua autobiografia, da peça como um autodrama, termo que remeteria, segundo a hipótese do artigo, a um confronto com o gênero brechtiano da peça de aprendizagem (Lehrstück).

The article discusses Heiner Müller's play Description of image as an example of his late playwriting. By analyzing the various movements of the text, we seek to understand its qualification, given by Müller himself in his autobiography, as an autodrama, a term that would refer, according to the hypothesis of the article, to a comparison with the Brechtian genre of the learning play (Lehrstück).

O artigo aborda os comentários de Walter Benjamin aos poemas do ciclo "Manual para habitantes das cidades" de Bertolt Brecht, a fim de discutir a especificidade da lírica brechtiana no quadro mais geral da reflexão de Benjamin sobre a lírica urbana moderna. Benjamin retoma duas questões decisivas à constituição da obra de Brecht: a sobriedade da linguagem e o ensinamento como forma de transmissão da experiência urbana e política. Esse vínculo entre experiência e transmissão não se reduz à instrução de condições de sobrevivência na cidade grande, mas se constitui, sobretudo, no aprendizado de uma postura crítica perante a cidade. Enquanto a comunicação entre indivíduos isolados é precária e a organização política aproxima-se da ilegalidade, os poemas almejam a constituição de um vínculo entre "eu" e "tu" por meio da reflexão poética da experiência urbana.

This paper discusses Walter Benjamin's comments on the poems of the cycle 'Handbook for city dwellers" by Bertolt Brecht, to discuss the specificity of Brechtian lyricism in the more general debate about the Benjamin's reflexions on modern urban lyricism. Benjamin takes up two critical issues to the constitution of Brecht's work : the sobriety of language and teaching as a means of transmission of the urban and political experience. This link between experience and transmission can not be reduced to the instruction of conditions of survival in the big city, but it is constituted principally in learning a critical stance towards the city. While communication between isolated individuals is poor, and political organization approaches the illegality, the poems aspire to the establishment of a link between "I" and "you" through a poetic reflection of urban experience.

L'article traite des commentaires de Walter Benjamin sur les poèmes du cycle "Manuel pour habitants des villes" de Bertolt Brecht, pour discuter de la spécificité de la lyrique brechtienne dans le cadre plus général de la réflexion de Benjamin sur la lyrique urbaine moderne. Benjamin reprend deux questions essentielles à la constitution de l'œuvre de Brecht : la sobriété du langage et l'enseignement comme moyen de transmission de l'expérience urbaine et politique. Ce lien entre l'expérience et la transmission ne se limite pas à l'énoncé des conditions de survie dans les grandes villes, mais suppose surtout l'apprentissage d'une attitude critique envers la ville. Alors que la communication entre les individus isolés est précaire et que l'organisation politique se rapproche de l'illégalité, les poèmes aspirent à l'établissement d'un lien entre le "moi" et le "toi" grâce à une réflexion poétique de l'expérience urbaine.

Helicobacter pylori is an important human pathogen that causes chronic gastritis and is associated with the development of peptic ulcer disease and gastric malignancies. The oral cavity has been implicated as a potential H. pylori reservoir and may therefore be involved in the reinfection of the stomach, which can sometimes occur following treatment of an H. pylori infection. The objectives of this paper were (i) to determine the presence of H. pylori in the oral cavity and (ii) to examine the relationship between oral H. pylori and subsequent gastritis. Gastric biopsies, saliva samples and dental plaques were obtained from 78 dyspeptic adults. DNA was extracted and evaluated for the presence of H. pylori using polymerase chain reaction and Southern blotting methods. Persons with gastritis were frequently positive for H. pylori in their stomachs (p < 0.0001) and there was a statistically significant correlation between the presence of H. pylori in gastric biopsies and the oral cavity (p < 0.0001). Our results suggest a relationship between gastric infection and the presence of this bacterium in the oral cavity. Despite this, H. pylori were present in the oral cavity with variable distribution between saliva and dental plaques, suggesting the existence of a reservoir for the species and a potential association with gastric reinfection.

O artigo examina a abordagem feita por Walter Benjamin da concepção de modernidade apresentada pelo poeta e crítico de arte Charles Baudelaire. Após o exame da ideia de beleza moderna nos textos de crítica de Baudelaire, são abordados os motivos da preferência de Benjamin pela apresentação da modernidade na poesia de Baudelaire, particularmente no poema alegórico "Le cygne". Por fim, o texto enfoca a relação entre a poesia moderna de Baudelaire e a concepção de experiência de Benjamin.

The paper investigates the approach made by Walter Benjamin of Charles Baudelaire's conception of modernity. After examining the idea of modern beauty in Baudelaire's critical texts, the reasons of Benjamin's preference for the presentation of modernity in Baudelaire's poetry are analized, particularly, in the allegorical poem "Le cygne". At last, the paper focuses on the relation between Baudelaire's modern poetry and Benjamin's concept of experience.

O artigo examina a interpretação feita por Walter Benjamin dos poemas de Charles Baudelaire marcados pela noção de ideal, a qual se opõe ao spleen. Benjamin encontra aí o esforço de rememoração de uma experiência plena, a qual constituiria, por sua vez, um elemento essencial à compreensão da modernidade como impossibilidade desta forma de experiência. Com as noções de beleza e de aura, o artigo busca ainda salientar a importância da categoria da distância para a configuração desta forma de experiência.

This paper examines the interpretation made by Walter Benjamin of Baudelaire's poems determined by the notion of Ideal, which is opposed to the concept of spleen. The Ideal is identified by Benjamin as the effort of remembrance of a full experience, which constitutes an essential element to the understanding of modernity as the impossibility of such kind of experience. At last the explanation of the concepts of beauty and aura is introduced to emphasize the importance of the category of distance to the configuration of this form of experience.

Helicobacter pylori is a spiral-shaped Gram-negative bacterium. It colonizes the gastric mucosa of humans and persists for decades if not treated. Helicobacter pylori infection affects more than half of the world's population and invariably results in chronic gastritis. The cagA gene is present in about 60 to 70% of H. pylori strains; it encodes a high-molecular-weight protein (120 to 140 kDa) and several investigators have noted a correlation between strains that possess cagA and the severity of gastric mucosal inflammation. We examined the relation between cagA status in H. pylori strains and chronic gastritis with inflammatory processes in children from Marília, São Paulo, Brazil. One-hundred-twenty-one children were analyzed histopathologically and by polymerase chain reaction (PCR) to detect H. pylori and cagA. We then looked for an association between cagA presence and inflammatory infiltration. Using histology and PCR, we found 47% H. pylori positive infection; 29 children were diagnosed with chronic gastritis, while 28 showed normal mucosa by histopathological analysis. CagA presence was genotyped in both groups, and an inflammatory infiltrate was studied in all infected children with chronic gastritis. We found cagA strains in 20 of 29 (69%) children with chronic gastritis and 18 of 28 (64%) with normal mucosa, demonstrating a strong relationship between the strains and the inflammatory process. We found a positive association between an inflammatory process associated with H. pylori of cagA+ strains and chronic gastritis development.