Estudo comparativo ortográfico: uma análise descritivo-comparativa em documentos históricos do século XIX em São Luís do Maranhão

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A casa: estreitos laços entre literatura e arquitetura

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Historiografia literária e formação do cânone: Ana Miranda, Augusto dos Anjos e Olavo Bilac

Pós-graduação em Letras - IBILCE

A tradição literária poética e sensorial em Le Clézio

A segunda metade do século XIX mostra-se como um período no qual em cada um dos grandes poetas se abre e se fecha o leque de correspondências da analogia: Baudelaire, Verlaine, Rimbaud, Mallarmé, expressam em sua obra essa tendência à busca da verdadeira vida, do real oculto, movimento em que as sensações desempenham um papel primordial. Atualmente, a obra de Le Clézio vem confi rmar a procura de um mundo completo suscitado pela poesia, o único modo possível de se traduzir em palavras o êxtase sensorial: é o que mostram tanto seus ensaios, quanto suas obras fi ccionais, de L’extase matérielle e L’Inconnu sur la terre a Mondo et autres histoires, Désert, La Quarantaine e Coeur brûle et autres romances, corpus selecionado para a discussão do assunto.

Linguagem poética e crescimento urbano-industrial / Poetical language and urban-industrial growth

O impacto do crescimento urbano-industrial sobre a lírica moderna é abordado sob o ângulo das dissonâncias ocorridas entre as representações temáticas e os procedimentos expressivos. Assim se confrontam as “respostas” dos poetas europeus à Revolução Industrial e o surgimento das grandes cidades com as dos modernistas brasileiros de 22 face à industrialização de São Paulo. Nestes, ao contrário dos primeiros, os conflitos instauram-se entre a celebração programática da vida moderna e, num primeiro momento, a impossibilidade de adequação de suas formas de expressão ao registro dessa modernidade. Dessa forma se explicam os desequilíbrios temático-expressivos existentes em Paulicéia Desvairada, bem como as adequações conseguidas por obras posteriores. The impact of urban-industrial growth on modern lyrics is approached from the angle of the dissonances which occurred between the thematic representations and the expressive procedures. Thus, the European poets’ responses to the Industrial Revolution and the emergence of the large cities are confronted with those of the 1922 Brazilian Modernists in relation to the industrialization of São Paulo. In the latter, contrary to what happened with ther former ones, the conflicts take place between the programmatic celebration of modern life and, at first, the impossibility of adequating their form of expressions to the record of said modernity. Thus the thematic-expressive disequilibrium in Paulicéia Desvairada, as well as de adequations obtained in later works are explained.

Uma leitura de 26 poetas hoje / A reading of 26 poetas hoje

Este trabalho procura identificar selecionadas produções poéticas da antologia 26 Poetas Hoje as faces da resistência indicada por Alfredo Bosi no ensaio “Poesia Resistência”. Do “grito de alarme” pessoal de poetas pertencentes a gerações diferentes, emerge uma poesia espontânea, autêntica e, sobretudo, resistente, como produto da renovação da expressão poética, impregnado de afetividades e de intimismo e que incorporou o coloquial e os recursos da grande poesia brasileira desde 22. This reading presents a sample from this anthology and tries to identify in it the faces of resistance indicated by Alfredo Bosi in his essay: “ Poesia Resistência”. In the several manners the poets of different generations chose for their personal cry of alert we find a poetry wich is spontaneous, authentic and, above all, “resistent”. This is due mainly to the renewal of the poetical expression, impregnated with affective ness and intimism, which included colloquial language and devices used by all great Brazilian poetry since the modernism of 1922.

De poeta a editor de poesia: a trajetória de Machado de Assis para a formação de suas Poesias Completas

Pós-graduação em Letras - FCLAS

Murilo Mendes, Francis Ponge e o poema em prosa

The present paper aims to discuss the configuration of the prose poem both in the works of Murilo Mendes' Poliedro (1972) and Francis Ponge's Le parti pris des choses (1942). From the beginning, the similarity between both works is explained by the impulse of focusing on daily objects and also the diverse positioning of the lyrical subjects in Murilo Mendes (less objective) and Francis Ponge (more objective) when they establish a relation with the simple things they wish to marvel. In accordance, the form of the prose poem helps to build this specific and singular view of the objects. Using this background to dialogue with the critical scholarly resources on both writers, we briefly analyse some poems and set out to reflect on the prose poem, which holds the works of the Brazilian and the French poets open to comparison.

Deslizar nas ruas, entre Mário de Andrade e Max Jacob

This essay intends to point to a possible dialogue between Mário de Andrade and Max Jacob, starting from the books of poems Paulicéia desvairada (1922) and O losango cáqui (1926), Le cornet à dés (1916) and Le laboratoire central (1921). Divided into three parts, it investigates the figuration in the two poets of the harlequin’s image, through which both would operate several displacements. One of them, the resumption of a romantic mythology of the artist, as in Baudelaire, and the conscience of his staging character. Other, through the opposition between reason and madness, legitimating a lyrical state as a way to a different perception of the reality. Lastly, through the proposition of an artistic sincerity, moral of work with deep impact over the literary language.

Um drink de tradição e novidade: considerações sobre Rilke Shake de Angélica Freitas

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

L'Arrière-pays de Yves Bonnefoy, viagem e escrita de si

This essay attempts to approach the book L’Arrière-pays by Yves Bonnefoy from two central ideas: the notion of travel and autobiographical writing. They belong to the poet’s project, according to which, since L’Improbable published in 1959, and with reference to Baudelaire, “poetry and travel are of the same substance”. Invited by Albert Skira to participate in the collection  Sentiers de la création, Yves Bonnefoy produces in  L’Arrière-pays  a long essay in which he combines art criticism, philosophical reflection and personal narrative. With narrative projects abandoned or transformed into poems, as in the case of L’Ordalie, incorporated into the book Du Mouvement et de l’immobilité de Douve (1953), Yves Bonnefoy in L’Arrière-pays establishes a first path to reconsider the association between narrative and fiction and, for that reason, is the central text of what the poet called his «conversion».

O papel da tradução na construção da identidade da literatura afro-americana no Brasill

This paper discusses the role of translation in the construction of the identity of African-American literature in Brazil, by considering the relations between the Brazilian sociocultural context, infl uenced by biological and cultural miscegenation, and the particular way that the literary criticism represented by essays and translations of the Brazilian critic Sergio Milliet, published in between the 40’s and 60’s, approaches AfricanAmerican poetry, with special focus on Langston Hughes’ poems. In this paper, differences between Brazilian and American racial contexts are brought into light in regard to the discourses on miscegenation and race. It is discussed the extent to which Sergio Milliet developed a racialized identity for African-American poetry in his essays, which, however, was rebuilt through translation, in his anthology Obras Primas da Poesia Universal, with a less racialized perspective so that African-American aesthetics could sound less dissonant and regional and more inclined towards the principle of universality which characterizes the anthology composed of renowned foreign and Brazilian poets.

Leitura crítica da produção literária de Alfonsina Storni

This paper presents the trajectory traced by the Literary Criticism on the poetry of Alfonsina Storni, an Argentine writer of the early twentieth century. The first literary production of Alfonsina Storni, called modernist or tardorromántica (SARLO, 1988), is produced in the period 1916-1925; from Ocre (1926), she marks a break, confirmed in their last two books of poetry, Mundo de siete Pozos (1935) and Mascarilla y Trébol (1938), with the label of vanguardism and new aesthetic experiences such as antisoneto. Regarding the Criticism built over the poetic work of Alfonsina Storni by his contemporaries, we have three positions of reading: approaches biographical criticism and proposals for readings of critics and poets linked to Vanguard Argentina and made some critical texts by women from the middle academic. According to Salomone (2006), the criticism made by third trend marks another landmark of the constitutive deed of Alfonsina Storni, show tensions and positions that differ from the hegemonic critical. Subsequently, there is setting up a Women's Literature, along with a normative critique, which will consider the production book produced by women as produced by a subject biological woman, and that represents certain textuality with naturalized features peculiar to women. Today, in light of the Critical Feminist and contributions of Discourse Analysis, especially on the concepts and the connections between language and power, a critical reading of the production female, consists of texts of women writers since the mid-nineteenth century, is focused as a result of an ideological perspective and typically androcentric patriarchal, for example, on poems by Alfonsina Storni. According to Alice Salomone (2006), from the 80s of last century, the look on the production literary Latin American writers has another approach, which she calls "critical current: feminist criticism and modernity cultural".

Poe, Baudelaire, Huysmans: dândis e malditos

Poe, Baudelaire and Huysmans, voices that bewilder readers due to their literary iconoclastic impulse, knew how to bother society and tradition becoming archetypes of the poèt maudit. Eccentrics, these poets, living exiled to the margins of the frustrated bourgeois society with its moral rules, wish for something beyond world then was offering; so, they turn for the mysterious regions of the obscure, of the sordidness and of the Satanic, finally becoming the poets of the abyss. At the same time maudits and aesthetes, they wish to be sublime and consider the dandyism like the last ray of light of the decadence: it is what this article intends to discuss.

O poético alinhave de Murilo Mendes: o poeta, a musa e a metapoesia em As Metamorfoses

Lying under the contribution of a display of characteristics with multiple meanings (Catholicism, Surrealism, unite of contraries, and the dialogue with other types of art), Murilo Mendes focalizes some subjects that are made to become appealing in his works. Some of these subjects appear in his 1945’s poetry book, As metamorfoses, the object of analysis in this present work: the poet’s figure, insert in the historical view of the World War II and by the poet devastated; the muse’s figure, carrier of the sacred and the profane, whose body represents a repository of descriptions with surrealistic meanings, that is shown indistinctly as the poetry itself; and, concluding, the poetry (or the metapoetry) expressed in this context (historical and literary). Therefore, we intend to search, based in the analysis of poems, how each of this instances are configured inside the poetic universe of Murilo Mendes, with the intention of enlighten the constitution of the sewing made of them by the poet from Juiz de Fora; instances that are very precious when we deal with the poetry that gives to his writings the patent feature of modernity.