A poética de Paulo Henriques Britto

A partir de uma seleção de dezesseis poemas metalinguísticos dos livros Liturgia da Matéria (1982), Mínima Lírica (1989), Trovar Claro (1997), Macau (2003), Tarde (2007) e Formas do Nada (2012) pretendeu-se chegar ao que se chama aqui de A Poética de Paulo Henriques Britto. Tal poética compreende as características e temas mais frequentes em sua poesia, bem como quais recursos expressivos são mais evidentes em cada um dos livros. Paulo Henriques Britto, tradutor, professor e escritor com sete livros publicados (sendo um deles de contos), lançou seu primeiro livro de poesias, Liturgia da Matéria, em 1982 e vem ganhando destaque no cenário da poesia brasileira contemporânea. Em 2004 ganhou um dos maiores prêmios literários do Brasil, o Prêmio Portugal Telecom, com o livro Macau lançado em 2003. Pretende-se que o estudo aqui feito acerca da poesia de Britto não fique restrito a si, mas que traga contribuições para a crítica da poesia brasileira contemporânea, já que ainda se carece de uma quantidade de material critico relevante, o que muitas vezes dificulta o ensino e a aprendizagem de tal poesia. Assim, a análise da poesia metalinguística de Paulo Henriques Britto pretende descobrir, em parte, quais os novos rumos que a produção de poesia tomou no Brasil. Nosso corpus é composto por dezesseis poemas, sendo eles: “I”, da série “Dez Sonetos Sentimentais”, “III”, da série “Três Lamentos” e “Profissão de Fé” do livro Liturgia da Matéria; “I” e “II”, da série “Minima Poética” do livro Mínima Lírica; “II” e “VII” da série “Sete Estudos para a Mão Esquerda” e “Sonetilho de Verão” do livro Trovar Claro; “II” da série “Fisiologia da Composição” e “Biodiversidade” do livro Macau; “I” e “II” da série “Art Poétique” e “5” da série “Crepuscular” do livro Tarde e “I” e “III” da série “Oficina” e o poema “Pós” do ...

SPelha: poética locativa

Pós-graduação em Artes - IA

A forma poética do mundo: notas sobre o poema em prosa "Paisagem", de Julien Gracq

In this article, we examine the landscape “locus” by reading a poem in prose of Julien Gracq’s collection “Liberté grande”. Our aim is to understand how the poet uses rhetorical strategies in order to recreate or create – by means of the verb, the space around him. The term “rhetorical strategy” is used here in its broadest sense, and relates to devices that the poet uses to give iconic visibility to the space described, exploring the landscape through language and in this way unraveling a bit of  the poetic form of the world

Poética e Figuratividade: uma análise de Io (Ovídio, Metamorfoses, I, 583-747)

This paper presents the development of a scientific investigation that addresses the Latin text using theoretical concepts of Linguistic, Literary Poetic and Semiotic in order to focus mainly on aspects of the figurative expression. Therefore, the meaning effects raised by the perception through the reading of text were taken as baseline data to investigate the particular arrangement of language, responsible for expression of these effects. As a result of this investigation, a metalinguistic discourse was produced about the basic features of the poetic figurativity of the text. This analysis and description had a focus mainly on the first step of the procedures of figurativization, i.e., the figuration of the discourse, when a theme is coated by semiotic figures. In addition, reference notes were drafted to accompany the selected translation of support, with general comments about the culture (mythology, history, geography, philosophy, etc.), necessary data to an more comprehensive understanding of the text (these notes shall provide basic subsidies for reading the original Latin)

A multiplicidade poética de Emílio Moura: o encanto da hora amarga

The modernist poet Emílio Moura (1902-1971) incorporates a strictly modern language regarding the imagistic suggesting a mainly poetry metalinguistic. That way, from the works Canto da hora amarga (1932) and Cancioneiro (1944) we attest, through the poetic analysis, that modernity Moura’s poetry takes place in confluences with ideas ranging from biblical tradition and come to the depersonalization of the modern I and questing. We objectify, therefore, demonstrate and explore the metalinguistic and intertextual character that results in the personification of poetry, as clarified muse. To achieve this, this same poetry undergoes a dualistic and pessimistic sentiment, baroque, the I that is divided into life and death, light and shadow; goes through a romantic feeling of anguish and desolation and reaches the multiplicity of the poetic speaker, which promotes a constant struggle with the language. More than draw a correlation between classical and modern ideas (in the sense that the poet creates depersonalization and appropriates of free, short prose or verse, typical of modernism), intend to supply, at least in part, the dearth of studies on the miner poet who has found fertile ground to question and analyze internally the role of poetry in the multiplicity of man and modern society to therefore conclude that universalism the Emílio Moura becomes distinctive and mature. Thus, we will check how poetic inflows corroborate both works for reevaluation and critical insertion of poetic the Emílio Moura in the context of modern/Modernist Brazilian literature

Serenas e desesperadas: representações femininas na obra poética de Cecília Meireles

Pós-graduação em Letras - FCLAS

Gênese de uma obra e esboço de uma poética: a correspondência de João Guimarães Rosa

The quality and the diversity of the material – questionnaires, glossaries, notes, drawings, comments on his work, reflections on language and literature, indications and references – which we find when we read the correspondence of João Guimarães Rosa with the translators of his texts to other languages certify the importance to the study of his work. In this research, we intend to comment on some excerpts of this correspondence, mainly on the unpublished ones, which belong to the Guimarães Rosa Fund (IEB/USP), that we consider relevant to elucidate the process of the origin of this work and to shape Rosa’s poetry or as the author used to call his “platform” of writer.

Percepção e experiência na criação poética

The artistic language is deeply related to the ability of imagination of the human spirit. The poetic experience is based on the perception of physical existence. The poet tries to show through images what he wishes to express and his tendency is to deal with words as a concrete thing.

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.

As figurações da morte e da memória na poética de Manoel de Barros

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

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

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Entre o claro e o escuro: uma poética da angústia em Saramago

Pós-graduação em Estudos Literários - FCLAR

Poética do surrealismo: uma leitura de Campos de Carvalho

In this article we analyze how the character of the story-teller is build up as a fictional creation in the novel Vaca de nariz sutil (1961) by Walter Campos de Carvalho (1916-1998). We associated the building process of the narrator-character to the poetic of the surrealism, process which brings a fragmentary feature to the writer’s language, and reflects a search for some coherency in a given chaotic environment, wherein space itself becomes the role of a dialogue between identity and representation of the real in the construction of the narrative analyzed here.

Êxtase enfermiço: neurose e a poética da transcendência em Cruz e Sousa

This article is a discussion on the vision of transcendence peculiar to the poetic of Decadentism and considers the reference offered for the Cruz e Sousa´s poetry. We call poetic transcendence the search for Ideal and for broke the barrier of usual perception by the poetic work. Among the romantics, the transcendence was search for many ways; one of them was the sublime ravishing. In the Symbolism/Decadentism, the transcendent ravishing finds its opposite – the fall. The Cruz e Sousa´s poetry illustrates this new leitmotiv which have rise in the center of Modernity.