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.

The flower on the street or the light in the swamp: similarities between the poetics of Bueno de Rivera and Drummond

Considering the controversial question of influence, discussed by Harold Bloom, and the reliever concept of poetic membership, proposed by Joao Cabral de Melo Neto, this article aims to show how the poets belonging to the generation of 1945 of Brazilian modernism are characterized by membership with the work of an older poet. We will show this relation in the study of the work of two poets: Drummond, who, according Silviano Santiago, would be the most representative poet of the twentieth century, and Bueno de Rivera, whose work shows a significant similarity of themes and images with the work of the first - which, as noted in this article, is not an indicator of lack of originality. Accordingly, we will reiterate the importance of Drummond’s work and will propose the rescue of Rivera's poetry, somehow forgotten by literary criticism, showing the points of contact between the works of those two poets in relation to the poet's anguish by being-in-world, characteristic of modernity crisis experienced by both, and approached in his works.

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.