UNCERTAIN BOUNDARIES: ADELINO MAGALHÃES IN THE BRAZILIAN HISTORIOGRAPHY AND LITERARY CRITICISM

This paper aims to verify how the presence of the author Adelino Magalhães (1887-1969) has been portrayed over the years by both the Brazilian literary historiography and the specialized literary criticism. Given that the author raises, both in the historiography and in the criticism, dissonant opinion, the present article tries to establish the largest possible number of studies that deal with Magalhães’s prose, as well as to show the status of discussions about his inclusion or omission within the Brazilian Modernism. To conclude so, it was made, at first, a path of the major Brazilian literary historiography, trying to highlight the uncertain presence and, often conflicting, of the writer in a given period and/or in certain literary aesthetics. In a second moment, there were covered paths on Magalhães’s critical work by studying his critical fortune.

THE POETRY OF CONVERGENCE AND THE MIRROR IMAGE IN GUIMARÃES ROSA

Affiliated with a literary context in which the poet seeks reconciliation between the self and the universe without rejecting the consciousness of the poetic process and the renovation of language, the poems of Guimarães Rosa in his book Ave, Palavra, are close to what Octavio Paz called "poetry of convergence." Such analogical point of view turns into metaphor in the poems through the myth of Narcissus and images that associate a reflexion and the meeting with the Other as a way to know yourself. This work presents a reading of these poetic compositions by examining how the analogy is established, relating those poems to his other works, identifying them, not as an accident in his trajetory, but as a work that carries Guimarães Rosa’s concerns explored in his literary career.