A doença de criar passarinhos: a lírica humanizadora de João Cabral de Melo Neto

João Cabral de Melo Neto n a jamais aimé les vers sentimentaux et prolixes venus de la tradition romantique. C est pour ça que son uvre a un discours objectif, rigoureusement elaboré e elle comporte certaines influences concretistes ça explique pourquoi l auteur est connu comme l ingénieur de la langage. En verité, le poète même dissait qu il était un homme froid et rationnel. La critique a assidument analysé la matière logique et le rigeuer formel de l uvre de Cabral de Melo. Pourtant, dans ce travail nous analysons les poèmes dont le sentiments humaines sont la mtière principal de l élaboration de l experiènce esthétique. La poèsie de João Cabral n est pas simple verbalisme formel, ni un uvre sens vie, car les objects concrètes et la langage objectif n empêchent pas qui le sujet décrit avec émotion les scènes presents dans les poèmes. Nous travaillons avec la hypothèse de que le poète a une attitude trop humaine quand il parle de l experience culturel et de l experience de la vie dans le Nord-est brésilien. Les unités témathiques de ce travail, pourtant, montrent la représentation du Nord-est dans la poèsie de João Cabral et examinent aussi le sentiment qu il sent par la memoire culturel de sa région. Parmi les aspects qui composent sa lyrique humaine nous citons la personification constant de les paysages du Nord-est le poète ne veux pas faire une décrition tophographique de la région parce que les places ont un valeuer sentimentel pour lui; au moyen d un discours erotique, Cabral represente les desirs et les intints humaines de sa terre; ensuite, il semble que le poète est enchanté et enveloppé avec certains elemets culturels de sa région, come l hamac, la littérature oral et la musique régional; la preoccupation avec la population explorée et la denonciation de la condition miserable dans le Nord-est brésilien confirment aussi la humanité présent dans son uvre; finalment, la récordation de l enfance et la nostalgie du temps passé sont, pour le poète, un possibilité qui peut aider dans la formation humaine de la population

Terra Natal, de Ferreira Itajubá, e a permanência do romantismo

In this dissertation we argue that the work Terra Natal, by the poet Ferreira Itajubá, presents, predominantly, themes and forms typical of the Romantic period, although it came out in 1914, when the romantic aesthetic was no longer popular in Brazilian Literature. Firstly, we discuss about Ferreira Itajubá s biography, his bibliographic production as well as the critical fortune of his works. Secondly, we outline the course of the Romantic Movement from its emergence in Europe to its arrival in Brazil as well as its impact in the state of Rio Grande do Norte. Finally, we analyze of Terra Natal, taking into account other aspects such as context and structure through the analysis of the poems VII, IX, XVIII, XXI and also of the song Viola , inserted in the poem VIII. We highlight the following romantic themes during the analysis: exile, nostalgia for the past, cult of native land, the romantic view of woman, projection of soul s state on nature, and religiosity. We will try to create dialogues between Terra Natal and works of popular Romantic Brazilian writers, such as Gonçalves Dias, Casimiro de Abreu, José de Alencar,Visconde de Taunay and Castro Alves, in order to show the affiliation of the above-referenced work and the Romantic ideals

O Aleph e seus duplos: mimesis e auto-reflexividade na obra de Jorge Luis Borges

This study approach the Jorge Luis Borges s prose of fiction under the perspective of mimesis and the self-reflexivity. The hypothesis is that the Aleph is a central symbol of the Borges s fictional universe. The rewriting and the retake of this symbol along of his work entail to a reflection about the possibilities and the limits of mimesis. This study is divided in three parts which contain two chapters. The first part Bibliographic revision and conceptual fundaments of inquiry discuss the critical fortune of author (Chapter 1) and the concepts that will give sustentation to the inquiry (Chapter 2). The second part About the Borges s aesthetic project sketch out the literary project defended by Borges that is his conception of the literature and his ideological matrix (Chapter 3) beside his anti-psychologism and his nostalgia of epos (Chapter 4). The third and last part is entitled The Aleph and his doubles. In the chapter 5 this study analyses the short story El Aleph and consider its centrality on the Borges s work. The argument that is on this short story Borges elaborates a reflection about mimesis. In the chapter 6, on the same hand, four short stories will be analysed: Funes el memorioso ; El Libro de Arena ; El evangelio según Marcos and Del rigor en la ciencia . The conclusion that is the Borges s literature is self-awake of its process as such demonstrate its parodic sense and its bookish origin. Hence, the Borges s literature overlapping the mimetic crisis of language and challenge the limits between fiction and reality. However, it doesn t surrender to the nihilist perspective that is closing of literature to the world

Análise da implementação e gestão dos projetos ambientais em Moçambique, o caso do plano integrado de desenvolvimento para a praia de Xai-Xai, subsídios às políticas públicas

Pós-graduação em Geografia - IGCE

A posição política de Casimiro de Abreu

O artigo se propõe uma análise (mais imanente que genética, mais jurídica que sociológica) da projeção do Estado na obra de Casimiro de Abreu. É um estudo de literatura nacional, é um valor político. O objeto da política é o estado em toda sua extensão. Assim em relação ao governo, ele estigmatiza severamente a administração pública, a despeito da homenagem que presta à família real. Não aceita o conceito fechado, étnico de nação, mas sim, aceita o conceito aberto em que nação é igual a povo sem distinção de raça, classe... O território é o elemento dominante de sua obra. De território deriva o conceito de pátria, do conceito de pátria deriva o conceito de exílio e nostalgia. Não há pois nacionalismo no sentido forte da palavra em sua obra, mas civismo e sobretudo patriotismo onde pátria tem sentido arquétipo de terra dos pais. A pátria se torna, por conseguinte, uma isotopia de leitura que estrutura sua obra aparentemente apenas lírica e chorosa. This paper purports an analysis (more immanent / than genetic, more juridical than sociological) of the projection of the State in Casimiro de Abreu’s work. It is a study of national literature, national being a political value. The object of politics is the State in its whole extension. Thus, in connection with government, he severely stigmatizes public administration in spite of tribute he pays to the royal family. He does not accept the restrict, ethnic concept of nation, accepting instead the wide concept in which nation is equal to people without discrimination of race, class, etc. Territory is the dominant element in this work. The concept of country derives from territory, the concept of exile and nostalgia derives from concept of the country. Therefore, there is no nacionalism, in the strong sense of the word, in his work, but civism and, above all, patriotism, which means that country archetypically signifies the land of the forefathers. Thus, country becomes an isotopy of reading which structures his only apparently lyric and plaintive work.

Com a morte convivo

The documentary Com a Morte Convivo (With death I cohabit) shows people who work at or go to the Cemitério da Saudade (Nostalgia's Cemetery), located in Bauru, a city of the state of São Paulo. Investigating the relations between these characters and the cemetery brings out the discovery of both expressiveness and significance of image, silence and pause. The use of these elements intends to provide a sensory experience of the characters' world view

As configurações do amor na lírica de Nuno Júdice

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Ou isto ou aquilo: a poesia (não tão) infantil de Cecília Meireles

In this paper, we propose a brief analysis of Ou Isto ou Aquilo, a 1964 children's poetry book by Cecilia Meireles. Based on the perception that the poems in this book possess a distinctive character, both aesthetically and thematically, the analysis focuses precisely on the work's unique aspects, regarding the approach to certain issues which are not customarily associated with the child's universe - such as solitude, death, longing, sorrow, angst and nostalgia. Our work aims to shun a common - and sometimes reductionist - vision of children's poetry, by seeing the ludic primarily as a tool that allows the poet to address denser themes in a way that is accessible to children, but without underestimating them. Likewise, based on the assumptions presented, we intend to demonstrate how the author allows not only children, but also to the adult readers, to get in contact with poetic profundity that is not restricted to the target audience. Thus, we expect that the presentation and the analysis of children's poems might, in a way, redeem the importance of Cecilia Meireles's children's poetic production

Ou isto ou aquilo: a poesia (não tão) infantil de Cecília Meireles

In this paper, we propose a brief analysis of Ou Isto ou Aquilo, a 1964 children's poetry book by Cecilia Meireles. Based on the perception that the poems in this book possess a distinctive character, both aesthetically and thematically, the analysis focuses precisely on the work's unique aspects, regarding the approach to certain issues which are not customarily associated with the child's universe - such as solitude, death, longing, sorrow, angst and nostalgia. Our work aims to shun a common - and sometimes reductionist - vision of children's poetry, by seeing the ludic primarily as a tool that allows the poet to address denser themes in a way that is accessible to children, but without underestimating them. Likewise, based on the assumptions presented, we intend to demonstrate how the author allows not only children, but also to the adult readers, to get in contact with poetic profundity that is not restricted to the target audience. Thus, we expect that the presentation and the analysis of children's poems might, in a way, redeem the importance of Cecilia Meireles's children's poetic production

Memoria e short story postcoloniale femminile: Anita Desai e Alice Munro

In ogni capitolo, l’atto del ricordare viene indagato nelle diverse valenze che lo mettono in rapporto diretto con la nostalgia e l’oblio. L’analisi dei testi letterari copre un arco di tempo di quasi un secolo, partendo dalle innovazioni tecnico-stilistiche realizzate da Katherine Mansfield fino all’eccezionale ricchezza e al meritato successo di pubblico e critica della scrittrice canadese Alice Munro. La bibliografia dei testi primari e secondari è strutturata con criteri tematici e cronologici.

"A la búsqueda de nuevos horizontes". La scrittura della migrazione africana in Spagna

La migrazione genera spesso nei soggetti migranti forme di spaesamento, poiché lo spostamento fisico condiziona la sfera emotiva: in loro può emergere il senso di nostalgia verso la patria e il desiderio del ritorno, oppure la volontà di annullare le proprie radici e di conformarsi ai modelli della società ricevente. Spesso tali sensazioni di spaesamento possono essere superate grazie alla pratica creativa della scrittura; è per questo che nelle varie realtà di immigrazione ha preso campo la pratica della scrittura migrante, dove si dà spazio all’altro che cerca di far sentire la propria voce, ricorrendo alla lingua del Paese d’arrivo, senza rinunciare ai tratti distintivi della sfera culturale d’origine, creando testi ibridi, che disegnano un ponte tra le culture. Focus della ricerca è la scrittura della migrazione africana in Spagna, studiata sia in prospettiva generale che specifica, mediante quattro autori e le relative opere selezionate: Laila (2010) della marocchina Laila Karrouch, Las tres vírgenes de Santo Tomás (2008) dell’equatoguineana Guillermina Mekuy, Una vida de cuento (2006) del camerunese Boniface Ofogo, Amina (2006) del senegalese Sidi Seck. L’analisi dei testi è effettuata sulla base di due filoni tematici, la famiglia e il rapporto con la società d’arrivo, ed è corredata dallo studio del lessico relativo ai due temi di riferimento. Leggere fra le righe il microcosmo della famiglia significa porre l’attenzione sulle diverse dinamiche affettive che stanno dietro alla parola “migrazione” e sulle particolari dimensioni familiari che caratterizzano la vita odierna, dove spesso avviene il contatto fra più culture. Un contatto che si riflette nel macrocontesto della realtà ospite dove si ha modo di avviare un dialogo fra nativi e stranieri, poiché spesso le iniziali forme di contrasto si tramutano in sete di conoscenza e volontà di avvicinarsi, facendo emergere l’idea che la diversità non separa ma arricchisce.

Traduzione di brani di Nizar Qabbani nel suo periodo spagnolo. Suggestioni di Al-Andalus

Il presente elaborato consiste nella traduzione dalla lingua araba alla lingua italiana di alcuni brani poetici dell'autore siriano Nizar Qabbani. Si tratta in particolare dei testi Aurāq Isbāniya, (Diari spagnoli), Ahzān fi-l-Andalus (Tristezze in Al-Andalus), Gharnāṭa (Granada). I temi principali di queste poesie sono delle suggestioni della Spagna e soprattutto la nostalgia sentita dall'autore, nel suo nazionalismo arabo, per l'antico califfato di Al-Andalus. L'elaborato è diviso in cinque sezioni: 1. Introduzione: spiegazione del tema centrale dei brani tradotti. 2. L'autore. Breve biografia e opera: un'introduzione sulla vita e la produzione artistica di Nizar Qabbani. 3. Traduzione e testo originale: parte centrale dell'elaborato, la traduzione dei poemi con testo originale arabo a fronte. 4. Commento di traduzione: esposizione di scelte e strategie traduttive che sono state seguite per la realizzazione del lavoro. 5. Bibliografia. Tutti i testi consultati per la stesura dell'elaborato.

Mondi leggeri – traduzione di un racconto di Tat’jana Tolstaja

Il presente elaborato è una proposta di traduzione del racconto «Legkie miry» [Mondi leggeri] della scrittrice contemporanea russa Tat’jana Tolstaja. Il racconto venne pubblicato sul sito della rivista «Snob» nel maggio 2013. Il libro di cui fa parte il racconto, invece, è stato presentato nelle maggiori librerie di Mosca e San Pietroburgo nel giugno 2014. «Legkie miry» esce dopo qualche anno dall’ultima pubblicazione dell’autrice e intende, in chiave ironica e non, mostrare la realtà americana degli anni Novanta vista con gli occhi di un’insegnante dell’epoca sovietica. Avventure dolceamare con la casa appena comprata, stanze magiche e mondi leggeri, molteplici sfaccettature di due studenti in particolare, operai che sistemano la casa, o fanno finta. Ma anche lunghi viaggi verso nord dell’America, per raggiungere il posto di lavoro, cantautori russi irrinunciabili compagni di viaggio, mirtilli raccolti e regalati, e l’appena percettibile nostalgia di casa, di Mosca.

Le parole dell'Ostalgia

Questa tesi si concentra su di un attuale fenomeno culturale tedesco denominato Ostalgie,termine che designa la Nostalgia degli abitanti dell'Ex DDR (Germania dell'Est) nei confronti di vari aspetti della loro quotidianità durante la dittatura. Tra questi figurano elementi riconducibili ad ambiti quali quello politico, commerciale e culturale, che successivamente alla riunificazione tedesca furono smantellati senza ritegno dal nuovo sistema capitalista e soggetti a un processo di "Occidentalizzazione". Per dare conto di ciò è stato presentato un elenco di parole relative ai suddetti ambiti, atte a descrivere ciò che caratterizzava la realtà dell' Est della Germania e a delineare il sentimento di Nostalgia dei suoi abitanti successivamente alla loro scomparsa.

Not in the Legends

In writing “Not in the Legends”, one of the images and concepts which constantly returned was that of pilgrimage. I began to write these poems while studying abroad in London, after having passed the previous semester in France and travelling around Europe. There was something in the repetition of sightseeing— walking six miles in Luxembourg to see the grave of General Patton, taking photographs of the apartment where Sylvia Plath ended her life, bowing before the bones of saints, searching through Père Lachaise for the grave of Théodore Gericault— which struck me as numinous and morbid. At the same time, I came to love living abroad and I grew discontent with both remaining and returning. I wanted the opportunity to live everywhere all the time and not have to choose between home and away. Returning from abroad, I turned my attention to the landscape of my native country. I found in the New England pilgrims a narrative of people who had left their home in search of growth and freedom. In these journeys I began to appreciate the significance of place and tried to understand what it meant to move from one place to another, how one chose a home, and why people searched for meaning in specific locations. The processes of moving from student to worker and from childhood to adulthood have weighed on me. I began to see these transitions towards maturity as travels to a different land. Memory and nostalgia are their own types of pilgrimage in their attempts to return to lost places, as is the reading of literature. These pilgrimages, real and metaphorical, form the thematic core of the collection. I read the work of many poets who came before me, returning to the places where the Canon was forged. Those poets have a large presence in the work I produced. I wondered how I, as a young poet, could earn my own place in the tradition and sought models in much the same way a painter studies the brushstrokes of a master. In the process, I have tried to uncover what it means to be a poet. Is it something like being a saint? Is it something like being a colonist? Or is to be the one who goes in search of saints and colonists? In trying to measure my own life and work based on the precedent, I have questioned what role era and generation have on the formation of identity. I focused my reading heavily on the early years of English poetry, trying to find the essence of the time when the language first achieved the transcendence of verse. In following the development of English poetry through Coleridge, John Berryman, and Allison Titus, I have explored the progression of those basic virtues in changing contexts. Those bearings, applied to my modern context, helped to shape the poetry I produced. Many of the poems in “Not in the Legends” are based on my own personal experience. In my recollections I have tried to interrogate nostalgia rather than falling into mere reminiscence. Rather than allowing myself poems of love and longing, I have tried to find the meaning of those emotions. A dominant conflict exists between adventure and comfort which mirrors the central engagement with the nature of being “here” or “there”. It is found in scenes of domesticity and wilderness as I attempt to understand my own simultaneous desire for both. For example, in “Canned Mangoes…” the intrusion of nature, even in a context as innocuous as a poem by Sir Walter Raleigh, unravels ordinary comforts of the domestic sphere. The character of “The Boy” from Samuel Beckett’s Waiting for Godot proved such an interesting subject for me because he is one who can transcend the normal boundaries of time and place. The title suggests connections to both place and time. “Legends” features the dual meaning of both myths and the keys to maps. To propose something “Not in the Legends” is to find something which has no precedent in our histories and our geographies, something beyond our field of knowledge and wholly new. One possible interpretation I devised was that each new generation lives a novel existence, the future being the true locus of that which is beyond our understanding. The title comes from Keats’ “Hyperion, a Fragment”, and details the aftermath of the Titanomachy. The Titans, having fallen to the Olympians, are a representation of the passing of one generation for the next. Their dejection is expressed by Saturn, who laments: Not in my own sad breast, Which is its own great judge and searcher out, Can I find reason why ye should be thus: Not in the legends of the first of days… (129-132) The emotions of the conquered Titans are unique and without antecedent. They are experiencing feelings which surpass all others in history. In this, they are the equivalent of the poet who feels that his or her own sufferings are special. In contrast are Whitman’s lines from “Song of Myself” which serve as an epigraph to this collection. He contends for a sense of continuity across time, a realization that youth, age, pleasure, and suffering have always existed and will always exist. Whitman finds consolation in this unity, accepting that kinship with past generations is more important that his own individuality. These opposing views offer two methods of presenting the self in history. The instinct of poetry suggests election. The poet writes because he feels his experiences are special, or because he believes he can serve as a synecdoche for everyone. I have fought this instinct by trying to contextualize myself in history. These poems serve as an attempt at prosopography with my own narrative a piece of the whole. Because the earth abides forever, our new stories get printed over the locations of the old and every place becomes a palimpsest of lives and acts. In this collection I have tried to untangle some of those layers, especially my own, to better understand the sprawling legend of history.