O sentido ético da dramática de si e o significado político da poética da diferença na pragmática do ensino: considerações à luz de Foucault

This essay discusses the theme of poetics in teaching activity, and discusses its possible ability to think about the ethical-formative sense and its possible political use to propose alternatives to the educational praxis that is restricted, in actuality, a pragmatic teaching. From the point of view of aesthetics of existence, therefore, we proposes a particular notion of poetic, fairly close to what can be understood by the dramatic that underlies the pragmatic of you last Foucault, as well as analyzes your chances to problematize the current pragmatic teaching. Thus, we look forward to assist the educator thinking both the possibility of ethics (self) transformation as the meaning of formation of another in his educational activity.

Francisco de Quevedo e Gregório de Matos: diálogos barrocos sobre literatura e mulher

This study investigates the theme of misogyny on the works of Francisco de Quevedo and Gregório de Matos. The investigated material consists in five selected poems of each author which conform to this perspective. The objective is to establish an initial approach that indicates the prejudice against women on the poetics of both writers, in association with the historical context of the 17th century and the baroque´s aesthetics on literature

O caleidoscópio dos clássicos: Haroldo de Campos (re)lê Camões

O objetivo deste artigo é discutir a leitura dos clássicos feita por Haroldo de Campos no poema "A máquina do mundo repensada", de 2000, em particular, e a leitura do cânone que o poeta empreende em sua trajetória, de um modo geral. O que se pretende elucidar é que a recepção dos clássicos por Haroldo de Campos é a base para a construção do seu projeto poético.

A Confluência de Gêneros em Dark Water, de Walter Salles Jr.

Dark Water is the title of the translation of a short story, ―Floating Water‖, from the book Honogurai mizu no soko kara by Koji Suzuki, originally published in Japan, that the Japanese director Hideo Nakata adapted for the cinema and that was remade by the Brazilian director Walter Salles Jr. The objective of this study is to analyse Walter Salles’ film to demonstrate how it resolved the problems of transcreation, whilst at the same time it fulfilled commercial and artistic functions and incorporated the traces of its aesthetic trajectory. In this case, attention is drawn to the types of relationship between literature and cinema, to the metalinguistic function as a generator of poetics and of an interesting dialogue between genres.

The Invisible Blackness of Harryette Mullen's Poetry: Writing, Miscegenation, and What Remains to Be Seen

This essay addresses the poetics of Harryette Mullen, an awarded African-American female poet whose work questions the boundaries that shape the expectations for accessible intelligibility in African-American literature. Mullen’s poems skirt the edges of intelligibility by going beyond the expectations for a visible/intelligible form of language that would embrace the experience of blackness. I argue that writing in Mullen’s poetry works as process of miscegenation by playing on the illegibility of blackness, beyond a visible line of distinction between what is or should be considered part of blackness itself, which engages new forms of reflection on poetry as a politically meaningful tool for rethinking the role of the black (female) poet within the black diaspora.

Memoria se deseja, o resto se ouça ou veja: considerações sobre um poema de Frederico Barbosa .(2010)

In Frederico Barbosa’s poem “Memoria se”, the memory experience is marked in the body, which means that the memory is not only recorded on the lyrical person unconsciousness, but it is also something that, as an insignia, presents itself and becomes dense as permanence in this lyrical person body. The poet is heir of what may be called “tradition of rigour,” consequently, a discussion of his poetics aspects must consider the inventiveness and the dialogue with other texts, not only those from the canon but also those from the popular repertory that Frederico Barbosa assimilates and recreates.

Traduzir Lucano em português: ensaio de poética tradutória sincrônica

The aim of this paper is to offer an essay of synchronous translation poetics, based on the theoretic thought of Haroldo de Campos and Antoine Berman, which highlight the relevance of translation history in the work of contemporary translators. For this purpose, starting from a close-reading of the first seven Latin hexameters of Lucan’s Pharsalia, I present a comparative study of the translations of Filinto Elisio (18th century), José Feliciano de Castilho (19th century) and Vieira (2011).

A leitura da literatura e os dias

Plato’s philosophy and the Aristotle’s poetics have settled the postulates for a theoretical thought on the production process and the reading of fiction. The specialization of the knowledge areas into disciplines has provided multiple readings for the literary. A tension among literary and social theories goes through the horizon of reading from the literary and immediate reality, and today presents itself as literature production and reading guiding possibilities.

Morte na antilírica de João Cabral de Melo Neto

The critic João Alexandre Barbosa, points in the work Agrestes (1981-1985), of the Brazilian poet João Cabral de Melo Neto, the presence of individualized death. Thus way, this study proposes to analyse the meanings of lyrism and first-person enunciations, in the work Agrestes, a trace gradually eliminated from Cabral’s discursive field since his first work, Pedra do Sono (1940-1). These elements will clash with João Cabral’s poetics, previously based on the selection of voices and artistic practices consistent with his compositional method, with rigorous sorting values and elimination of any subjectivism. To understand this inconsistency, we propose studying the last part of the work Agrestes, entitled “A indesejada das gentes”, a place where the theme of death is recurrent, as well as the presence of enunciators to set out, even to reveal its feelings about aging and death. The analytical procedure should research the hypothesis of rupture of the inflexible tone of João Cabral’s speech that would follow in respect to the poetic project, a reverse path, starting from objective poetry in the direction of subjective poetry.

A palavra poética de Arnaldo Antunes

This article reflects on Arnaldo Antunes‟ (AA) poetics. For this purpose, both the contributions of Fontanille and Zilberberg regarding tensivity, as well as some ideas of Tatit regarding song semiotics. The aim is to think about how the dance between enunciation and enunciate is structured in AA within poetical architecture as exemplified here based on the analysis of the poem “Palavra”. The hypothesis is that the tension between the two central nuclei of the poem, metalanguage and erotism, are the essential compositional marc of AA poetical stylistics. The results lead to the reflection that the musical tension is the game that guarantees the movement between the density of the word and the erotic fluidity of the authorial (metalinguistic) act of production.

Expresividad poética y traducción con breve lectura de Fedro I. 1

The term poetic expressiveness refers to the multiple joints of the plan of expression, derived from the expressive value of the linguistic sign (ROSSET: 1970, 135) and its particular role in the field of poetry. The features of meaning, such as projection, elevation and salience, make it possible to consider expressive all poetic statements which constitute particularly dense instances in the formal consolidation of a convergence between the two planes (expression/content), and therefore it stands out from the others due to the high density of structural parallelisms and isomorphisms, which are procedures responsible for the impression that a particular form of content can only be expressed by cutting that same specific form of expression out. These considerations have an immediate impact on the reading, interpretation and practice of translating poems, which is intended to be demonstrated here, through an example of translation of a Phaedrus' fable, written in iambic meter.

Por uma imagem da literatura: a poética do escancaramento do diretor Luiz Fernando Carvalho

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

O sublime e o problema da modernidade em Pedro Kilkerry

Current paper discusses manifestations of the sublime in Pedro Kilkerry´s poetry as one of the distinguishing characteristics within the Parnassian orientations predominant in his cultural context. The particular way that Kilkerry employs the sublime´s expedients demonstrates the dialogue of his poetry with Romantic ideals, whose traits in his lyrical stance are directly linked to Symbolist influence, far from traditional Parnassian models. The sublime in Kilkerry develops through an elliptical and suggestive language that demonstrates the impossibility of the ideal being directly expressed and shows the affinity of his poetic work with the idealist crisis that marks post-Romantic poetry and provides the basis on which the poetics of Modernity is structured. The poetry of Pedro Kilkerry develops within a complex zone of convergence between the models provided by the Parnassian aesthetic, Romantic idealism with an atavic presence to Symbolism, and the search for new answers to old idealistic concerns. The meeting of these three conflictive currents, perceptible in the manifestations of the sublime in Pedro Kilkerry´s poetry, demonstrates his lyrical sensitivity to the trends of Modernity.

Um passeio pelos bosques ficcionais de Antonio Tabucchi

The Italian writer Antonio Tabucchi (Pisa-1943, Lisbon-2012) is considered by the critic as one of the most representative voices in the contemporary European literature. The Literature, according to Tabucchi, exerts a fundamental role in society and it, still according to the writer, must cause disquietude, evoke doubts, raise questions and not tranquilize people’s mind. Thereby, it’s noticed that it’s one of the reasons why the tabucchian narrative incessantly dialogues with Luigi Pirandello’s and Fernando Pessoa's poetics, establishing a great fictional game in wich the people, the truths, the history and the world are shown, at the least, duplicated.

Espaços de exclusão e subjetividades do exílio: sobre Angu, de sangue, de Marcelino Freire

The paper aims to examine the work of Marcelino Freire, Angu de sangue (2000), from a poetic of identity with the black narratives and experiences of characters who participate in a space of exclusion, violence and social exile. Overall, the book deals with death and violence so raw and without idealizations. The characters struggle to survive in a cruel formo f life and denote the suffering and despair of those marked by peripheral situation. By proposing an analysis of tales of Angu de sangue, the work presented here reflects on a poetics of exclusion that runs the seventeen tales that make up the work in dialogue with images and internal references (through the images that illustrate the stories), and on the other hand, with pictures and references to the urban context of the excluded, represented on the pages of newspapers, magazines and television news.