THE GALICIAN-PORTUGUESE LYRIC AND THE 17TH-CENTURY LOVE POETRY: ARTS OF LOVE, SONGS AND WRITTEN SONGS

In this paper, we discuss important echoes of Galician-Portuguese lyric that remain in the 17th-century love lyric poetry produced in Portugal. In order to achieve this main objective, we highlight some specificities of the troubadours’ lyric and of the 17th-century poetry, particularly the fundamentally musical character of the troubadours’ songs as opposed to the fundamentally written character of the 17th-century poems. This contrast indicates that they are compositions from different times (predominantly the 13th and the 17th centuries) and produced according to distinct poetic conceptions. However, they are compositions which are also similar in many ways, and whose similarities, especially regarding the lyrical genre, point to similar quests for perfect practice of love, outlining “arts of love” understood as unsystematic precepts of loving which are practiced in poetry. In this article, we intend to show that these poetic loves are technically conceived and, as historical constructs, they differ from each other, since they are characterized by their peculiar moments of achievement. However, they are not isolated in the time. As mentioned above, the troubadours’ songs are essentially musical while the 17th-century poems, as indicated by the prevalent poetic preceptive in their time, are essentially written. Nevertheless, those trobar songs reverberate in these poems (“written songs”) and in both kinds we read and listen to similar precepts of love, as though we were in labyrinths of love echoes with no way out.

THE “CARTAS PORTUGUESAS” (PORTUGUESE LETTERS) AND THE TRADITION OF THE “UNREQUITED LOVE" IN THE PORTUGUESE LITERATURE OF FEMALE VOICE

Inserted in the perspective of literary studies, this paper proposes an analysis of the “Cartas Portuguesas” (Portuguese Letters), a work attributed to Mariana Alcoforado, assuming that this work is constituted within the Lusitanian literature as an important formative element of the imaginary loving Portuguese female voice. Through the study, it is possible to identify the fact that the letters are prefaced, stylistically or thematically, by the songs of love and of friend, and succeeded by works such as “Livro de Sóror Saudade” (Book of Longing Sóror), of Florbela Espanca, and “Novas Cartas Portuguesas” (New Portuguese Letters) by Maria Isabel Barreno, Maria Velho da Costa and Maria Teresa Horta.

THE PORTUGUESE DIASPORA IN THREE CONTEMPORANEOUS LITERATURE NOVELS: POINTS AND COUNTERPOINTS

In O retorno (2011), Dulce Maria Cardoso invite us to know the Rui’s story, a Portuguese Angolan teenager that returned from Angola, together his family. He is compelled to rebuild his life in Continental Portugal, from a precarious and limited financial situation. The scenario was the seventies and the turbulent period of return of more than a half million of Portuguese citizens, during the decolonization of former Portugal overseas territories in Africa. In this paper, we have analyzed the theme of diaspora in the contemporaneous Portuguese Literature, considering as the start point the sociocultural context contained in the book O retorno. Thus, we have established a bridge with two other novels, within a comparative perspective, in order to find similarities or dissimilarities among them, once they address the same theme: Pouca terra...Poucá terra, by Júlia Nery (1984), that brings to the center of the narrative the emigrants story from France, under the approach of a girl called  Leonor, and Livro, by José Luís Peixoto (2012), which has the main focus, among the multiplicity of themes, the emigration scenario from France, and the loving disagreements between two young lovers: Ilídio and Adelaide. The goal is to sketch a viewpoint, clarified by the cultural studies, which conduct us to understand more largely some questions which come by the Dulce Maria Cardoso novel, and also the two other books in question.  They give us the measure of the construction of the contemporaneous Portuguese novel, and reflect the idea of a nation which uses to have a condition of discomfort. This discomfort is proper to who are at the mercy of the diasporic fateful experience, since the most remote past.  

THE DICTIONARISTIC TRADITION IN ITALY AND THE TREATMENT OF LOANS FROM THE PORTUGUESE

The present essays shows that the Italian dictionaristic tradition started with the publishing of the first monolingual dictionary, edited by the Accademia della Crusca, in 1612, whose participants used to defend the purity of the Florentine language. The selection of vocabulary for this first dictionary has reflected the thought of an intellectual elite. In fact, this first edition does not display a single word from Portuguese, despite the frequent commercial and cultural contact that existed between the Portuguese people and several Italian states and republics.

Thoughts on the development of writing on language settings contact

This scientific paper presents the results of an ethnographic study and it is aimed at reflect about the development of writing in language contexts in contact through reflective analysis of the interferences of speech in the writing production of children enrolled in the 7th grade of elementary school. The languages contexts in contact pay attention due to the complexity than the teaching of standard variety takes on linguistic diversity that enters the school. In this sense, we base this research on the theory Educational Sociolinguistic, based on authors: Bortoni-Ricardo (2004, 2005 and 2011) and Damke (1988, 2009 and 2013). The results demonstrate that the marks of the languages in contact that are present in the writing, are regulars and depend on the linguistic contact of the speaker, blending with the linguistic variation of the Portuguese language, and what it allow create pedagogical intervention activities that consider specifics contexts writing.