Utopía e imágenes marinas en el cine Brasileño: Papel fundamental de Glauber Rocha

Gracias a su riqueza y complejidad, las imágenes marítimas de Rocha se convirtieron en la fuente principal de los motivos utópicos disponibles en el cine brasileño. En particular, “El Cinema de Retomada” de mediados de los años noventa trajo mitos inaugurales y los impulsos vinculados a la formación de Brasil y la identidad nacional, favoreciendo el retorno del pensamiento utópico. Terra em Transe ofrece un punto de partida para la trayectoria utópica más reciente. Representaría el oscuro período de gobierno del presidente Collor, cuando la transición a la democracia parecía condenada al fracaso, Brasil se había convertido en una nación de emigrantes, y el mar, que un día fue cruzado por los descubridores portugueses, llevó a los personajes hacia la derrota y la muerte, en lugar del paraíso esperado. Desde ese momento, impulsada por un giro económico favorable en el país, la curva se eleva, proporcionando una lectura más positiva de las imágenes del sertón del Cine Nuevo. Películas como Corisco y Dada (Rosemberg Cariry, 1996), Baile perfumado, (Lírio Ferreira y Paulo Caldas, 1997) y Crede-mi (Bia Lessa y Dany Roland, 1997) muestran un sertón colorido junto al mar e imágenes marinas, evidenciando la posibilidad, o incluso la realización del paraíso prometido. Muchas otras películas de los noventa presentaron imágenes del mar y extensiones de agua, ya sea en sus escenas de apertura o en momentos claves en los que adquieren un significado totalmente alegórico. Por ejemplo O Sertão das memorias (José Araújo, 1996), Bocage, o triunfo do amor (Djalma Limongi Batista, 1998), Ação entre amigos (Betro Brant, 1998), Terra do mar (Eduardo Caron y Mirella Martinelli, 1998) y Hans Staden (Luiz Alberto Pereira, 1999). La lista en sí, de ninguna manera exhaustiva, da fe de la importancia del tropo marítimo en el reciente cine brasileño y al rol inaugural de Rocha en la formación de la imaginación cinematográfica de Brasil.

Ovid, Remedia amoris 95: uerba dat omnis amor

Anagrams and syllabic wordplay of the kind championed by Frederick Ahl in his Metaformations have not always been favourably received by scholars of Latin poetry; I would hesitate to propose the following instance, were it not for the fact that its occurrence seems peculiarly apposite to the context in which it appears. That Roman poets were prepared to use such techniques to enhance the presentation of an argument by exemplifying its operation at a verbal level is demonstrated by the famous passage of Lucretius (DRN 1.907–14; also 1.891–2) in which the poet seeks to illustrate the tendency of semina … ardoris to create fire in wood by the literal presence of elements from the word for ‘fires’ (IGNes) in that denoting wood (lIGNum). A similar conception may underlie the association insinuated by the love elegists between amor and mors, suggesting that death is somehow ‘written into’ love: so Propertius declares laus in amore mori (2.1.47), while Tibullus appears to point to the lurking presence of death in the pursuit of love in the lines interea, dum fata sinunt, iungamus amores: | iam ueniet tenebris Mors adoperta caput (1.1.69–70) – so swift and unexpected is death's approach that it is already present in aMOReS in the preceding line. Ovid's awareness of the poetic potential of this kind of play (if that is the right word for it) is fully exhibited in his celebrated account of Echo and Narcissus in Metamorphoses 3, where the subject matter gives the poet ample scope to exploit the humorous and pathetic possibilities afforded by Echo's fragmented repetitions of the frustrated entreaties of her beloved.

Amor intellectualis diaboli

An essay on love and liberty in the writings of Gillian Rose, Marquis de Sade, Max Horkheimer and Theodor W. Adorno, written in response to the following provocation: "Encore un effort. A banderole publicitaire carries the breathless descriptions of the new fashions for 1968, when anything goes and details place the accent on this or that part of the body and its adornment: a pair of shoes that come off in a struggle, for example, the heel of one snapped off; a striking checked shirt, with two buttons undone; a light-coloured trench coat (perfect for a May day); a blouson-style jacket that allows easy freedom of movement; place casual slacks worn with an ankle boot. Beauty is in the streets as fashion becomes democratic (or so say the houses of haute couture), while the philosopher of the boudoir extorts us once again to make an effort if we wish to be republicans. Here, to an assembled crowd of sensitive men and women, which petit-maitre or dangerous man of principles would suggest that the only moral system to reinforce political revolution is that of libertinage, the revenge of nature's course against the aberrations of society?"