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.

ÁGUA VIVA: UM ROMANCE LÍRICO DE CLARICE LISPECTOR

In Água viva, text of Clarice Lispector, published in 1973, stays evident the encounter of the poetry with the fiction prose, forming a unity. This article aims to investigate how this encounter occurs and to demonstrate the ways by which the poetry interlaces with the fiction narrative, in other words, how the process of fusion of the categories of the narrative with the lyric modes occurs, resulting in the hybridism of the narrative genre, in the lyric novel. In fact, the narrative categories, in the end, surrender to the appeals of the lyric poetry, making the work hybrid. Inspired in the existentialist´s theories of Martin Heidegger and of Jean-Paul-Sartre, the Lispector´s text undertakes a questioning concerning the existence, trying to understand the human condition. Themost intimate questionings and the deepest emotions, belonging to the abysmal part of the ‘dasein’, can not be expressed by the common speech. The characters, in the impossibility of express, by the use of common words, their existential anguish, utilizes a language permeated by the own resources of the poetry, trying to embrace all the aspects of their subjectivity. The characters assume, then, a poetic-lyric discourse, highly suggestive. It is there that the prose allows to be invaded by the poetry and it is how occurs the establishment, in the text, of the union between prose and poetry. The literary overtakes thereby the common discourse and configures itself in an artistic speech. To make possible the work of analysis, some theorists of the matter are convoked such as Ralph Freedman and Rosa Maria Goulart, as other studious of Lispector´s work.

A FORÇA CENTRÍPEDA DA POESIA LIRÍCA

This study investigates the motives and the modes of confluence between lyric prose and prose, in the novel, Húmus, of Raul Germano Brandão, portuguese writer from XX century. The higher the sensibility of the man, more he understands that the mystery of poetry is in the essence of what is said and not in certain shapes. In lyric predominates the feeling, the emotion, the subjectivity, the expression of ‘self’, because the lyric matter is, exactly, the subjective world. The modern man is an anguished being, once he watches the fragmentation of his integrity, namely, his identity is being misplaced. However such anguish cannot be expressed by common words, because they cannot translate all the intensity of human pain. The expression of deep restlessness that oppresses the being demands the presence of the lyric. Insofar makes poetry, the romance text unfold itself as space of experimentation, of varied configurations, of multiple resources, that substitutes the unity of enunciator by the plurality of enouncements and assimilates uncountable proper resources of the poetry making, such as metaphors, symbols, images and allegories, turning the frontiers between poetry and prose fluid. After all, truthfully, it is the language of poetry that makes the literature exists.

VOZ POÉTICA FEMININA NA ERA BLOG: "OS CASOS DA MARIA CLARA"

ABSTRACT: This article talks about the female contemporary poetry, specifically in the era of blogs. It explores the idea that female poetry, in the contemporary production, surpasses the value of phallocentric tradition and religious mysticism that previously contributed to suffocate voices, referring women, as for their practices of reading and writing, the expansion of a silent poetry. This text develops some elements of the current female creation, placing poetry written by women in the virtual world defined by the diversity of environment, theme and languages. Thus, this paper presents data from a literary experience on the internet by twelve writers from all over Brazil. They differ in their professional and educational daily practices. Once the article discusses the multiplicity of forms of contemporary poetics on feminine writing production, it presents the case study “Maria Clara: universos femininos” - a collection born in a new genre and context -, in the realm of gender and poetry. KEYWORKS: Gender and poetry. Era blog. Maria Clara: uniVersos femininos.

2020: A New Era of Sign Language Literature

 Summary: Sign language is the primary daily language of many Deaf people, yet sign language is not always included as a part of Deaf Education. Teachers of the Deaf in France in the late 1700s and early 1800s established using sign language in the classroom and yet generations later educators chose to revert back to oralism, not including any sign language when teaching Deaf children. And the trend continues to this day. Researchers in the 1960s, 70s and 80s proved that sign languages are natural languages, and yet this fact did not change the difficulties schools still have in reassuring parents and administrators that the Deaf students will learn to communicate, read and write a sign language as with your fellow listeners regarding oral languages that speak. Now, in the 21st century most educators and researchers are aware that sign languages are sophisticated languages with grammar, syntax and large vocabularies. Yet accepting sign languages as written languages has taken longer. Those who support the idea of writing sign languages feel that the availability of written literature and poetry in sign languages will lead to improved literacy in oral languages and in the long run, increase acceptance by the hearing world. Showing that sign languages have a written form helps establish sign languages as foreign languages in schools. With the advent of the internet and social media, writing sign languages is spreading quickly. The year 2020 is the beginning of a new era of sign language literature.Keywords: Sign Language; Literature; SignWriting; Deaf; Education.

RESISTANCE TO THE COLONIALITY AND COLONIAL SUBSERVIENCE. THE LEGACY OF COLONIALISM IN JORGE BARBOSA AND VIRIATO DA CRUZ AFRICAN POETRY

From the 70's, Africa was a massive wave of independence process. However, such processes are not meant processes of decolonization. According with Fanon (1961) also decolonization is based not only on the territorial and political, but mostly mental. While some former colonies resist colonial hegemony still visible in the local culture, others are colluding with the colonizing process. Thus, it will analyze the subservience and resistance to colonization in Lusophone African poetry, especially with the Angolan Viriato da Cruz, with the poem MaKézú (1961) and Cape Verdian Jorge Barbosa with Prelude (1956).

Poetry and transcendence in the A Túnica Inconsútil, of Jorge de Lima

We intend to study this text as Jorge de Lima establishes the relationship between two distinct activities, poetry and religion, for the elaboration of the A Túnica Inconsútil. In our perspective, the effective union of these two perspectives will be accomplished through the technique of surrealist collage, which makes use of the combination of disparate elements, together with the exploitation of classic tops of literature, such as the trip and the island. Join this practice the metaphysical poet's ideological project, which aims to establish the "poetry in Christ".

RÔMULO QUIROGA IN THE GALLERY OF MODERN PAINTERS: CONJUNCTION BETWEEN POETRY AND PAINTING IN THE POETRY OF MANOEL DE BARROS

ABSTRACT: This article discusses the poetic creation in the poem “As lições de R. Q.” of the poet Manoel de Barros, and in the note that precedes it, identifying possibilities for interpretation of the poem in relation to the proposed questions, namely: the question of influence in the arts, the question of the interpenetration of technical and glances between poetry and painting, also addressing the issues of primitivism and colonialism.  KEYWORDS: Manoel de Barros. Poetry. Painting.