Entre beats e bytes: a poesia experimental de Robert Creeley

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Travessia e impasse: O lugar de Sebastião Uchoa Leite na poesia contemporânea

Sebastião Uchoa Leite's work is circumscribed in a field of tension with tradition, which makes impossible is delimitation to anyone who seeks to draw his poetic profile. The undeniable identification with the modernist masters does not mean the enhancement of such standards; on the contrary, they are contaminated by the crossing of the most diverse references. The ambiguity comes from the fact that the poet neither puts limits in a temporal-spaced territory, nor sets defined directions. His is a hybrid textual project, as in a crossing, which the nomad route places, side by side, the referring speeches from tradition and from the contemporary world.

A clepsidra e o labirinto: figurações do exílio em Camilo Pessanha e Mário de Sá-Carneiro

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Tradição e modernidade em Sousândrade

Pós-graduação em Letras - IBILCE

A casa: estreitos laços entre literatura e arquitetura

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

The invisible blackness of Harryette Mullen's poetry: writing, miscegenation and what remais to be seen

Este ensaio aborda a poética de Harryette Mullen, poetisa afro-americana cuja obra questiona os limites que moldam as expectativas pela inteligibilidade acessível na literatura afro-americana. Os poemas de Mullen exploram as bordas da inteligibilidade, avançando para além das expectativas por uma forma visível/ Rev. Let., São Paulo, v.52, n.1, p.101-120, jan./jun. 2012. 119 inteligível de linguagem que abarcaria a experiência da negritude. Argumenta-se que a escrita na poesia de Mullen funciona como um processo de miscigenação ao jogar com a ilegibilidade da negritude, para além de uma linha visível de distinção entre o que é ou que deveria ser considerado como parte apropriada da negritude, o que possibilita novas formas de reflexão sobre a poesia como um instrumento politicamente significativo para se repensar o papel da poetisa e do poeta negros no espaço da diáspora negra.

Antonio Candido, leitor de poesia fin-de-siècle

Este artigo objetiva, a partir de estudos de Antonio Candido voltados para a poesia lírica fin-de-siècle, brasileira e francesa, rastrear o modo pelo qual o autor articula Simbolismo e Modernismo. Tal veio do pensamento estético e crítico-teórico de Candido (com a respectiva prática analítica de textos poéticos) não foi tão valorizado quanto os eixos “árcade/romântico” e “modernista” que fundamentam sua vasta obra. No entanto, revela-se da maior importância na medida em que confi gura um “eixo intermediário” propício a uma nova apreciação do Simbolismo no Brasil.

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.

Oswald de Andrade e Tarsila do Amaral: poesia e pintura modernistas

The objective of the present text is to establish connections between literature and painting through the comparison between Oswald de Andrade’s poem “Longo da Linha” and Tarsila do Amaral’s painting “Palmeiras”, both belonging to the Brazilian Modernist movement Pau-Brasil. To emphasize also the step taken by the two artists, in Modernism, against the previous academicism, C. S. Peirce’s semiotics theory will be used as analytic basis to demonstrate, in Tarsila’s painting, a path towards planarity and stylization to produce quality effects, closer to the shape and the adventure of senses than to symbolization, whilst for Oswald, this same path leads to the presence of visualization as composition factor.

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

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".