OSWALD DE ANDRADE���S THEATER: THE LITERARY FUNCTION AND THE HISTORICAL SERIES

Studies carried out so far allow us to observe important aspects regarding the transformation of the dramatic genre. They show how either traditional or new formal elements are assimilated or reworked by the authors in Modernism and in contemporary productions, with different meanings, transforming the dramatic genre in such a way that typical elements of the ancient tragic genre assume different meanings in the contemporary tragic drama. The same phenomenon can be identified in the elements of metatheater, which undergo displacements in the Vanguard Theater, defining new functions. This approach assumed by most contemporary cultural practices is celebrated as a creative possibility to renew the cultural matrixes; however, such practices are not new, and are found in the production of the poet, playwright and writer Oswald de Andrade. It is important to mention that even Oswald de Andrade revisited traditional sources, as observed by Gilberto Mendonça Teles (2009) when addressing the models of cultural interpretation in the current days. Although there are several studies on Oswald de Andrade’s works, focusing mainly on his prose and poetry, his theatrical texts are still poorly studied. Considering Oswald de Andrade's productions, his theatrical texts present procedures that testify his modernity in the capacity of anticipating changes, which are currently conceived as procedures and trends of contemporary poetics. This reflection is what is intended in the present text.

Irreverent idealism: the chronicles of Oswald de Andrade and Nelson Rodrigues

This paper aims to confront the chronicles "Telefonema" (1944-54) by Oswald de Andrade and "Confissões" (1967-74) by Nelson Rodrigues and examine the unique manner how they fit in the tradition of the genre in Brazil. This is about checking points of approximation and distancing in the ways by each one of the authors uses idealism and irreverence as a critical style, analyzing their strifes with artists and intellectuals of their times. The aim is to show that both, despite their ideological incompatibilities, supported similar conceptions of national authenticity and stood out as untimely writers in the brazilian chronicle's history.

EPISTEMOLOGIA/EPISTOLOGRAFIA: NOTAS PARA UMA CR��TICA

A presente explana����o desenvolve-se a partir das (MIGNOLO, 2003) cartas publicadas do escritor mineiro Fernando Sabino: Cartas na mesa (2002), Cartas a um jovem escritor e suas respostas (2003) e Cartas perto do cora����o (2011). Lidas em conjunto e de forma linear as cartas s��o (des)locadas de seu l��cus (abstrato) original, isto ��, o espa��o intimo da conviv��ncia com os amigos. Tal fato j�� indica relevante caracter��stica do texto epistolar sinalizado no t��tulo da explana����o, ���pensamento n��made���, trata-se de uma met��fora fornecida por Brigitte Diaz em seu livro O g��nero epistolar ou o pensamento n��made (2016) e que evoca, de forma apropriada, a natureza andarilha das cartas. Uma outra met��fora necess��ria e que transcende o texto �� a das ���teorias itinerantes��� (MIGNOLO, 2003), sua presen��a justifica-se ao provocar reflex��es em torno da teoriza����o epistologr��fica, visto que v��rias teorias j�� viajaram por cartas, como a psicanalise, fato que Jacques Derrida em Mal de arquivo (2001) menciona, e as considera����es modernistas presente nas cartas de intelectuais como M��rio de Andrade. Mas, e a teoria da carta? Ter�� ela viajado atrav��s do texto epistolar? Ou ent��o foi for��ada a, tal como um intruso, viajar a reboque nos espa��os liminares da teorias europ��ias? Ou, ent��o, sua viajem foi inviabilizada justamente por ser ���teoria��� e n��o teoriza����o?. Leitura essencialmente metaf��rica est�� envolta nas considera����es de Walter Mignolo em Hist��rias locais/projetos globais (2003) acerca da dupla natureza da fronteira, geogr��fica e epistemol��gica, a fim de sustentar que a teoriza����o epistolar nasce a partir das fronteiras.

CULTURAL CANNIBALISM: A TURNING POINT IN THE PROPOSITION OF AMBIVALENT POETICS IN THE LATIN AMERICAN LITERARY DISCOURSE

The concept of cultural cannibalism was discussed and re-established by intellectuals from the field of literary and cultural criticism, and it was also the object of creative appropriation by a significant group of writers in Brazil and in the Latin America context. Nevertheless, this concept is revitalized in the contemporary context, reflecting the critical consciousness of the writer on the understanding of social inequalities that shape Latin America, in its different segments, be they political, economic or cultural.