'Yes, the century is an ashen sun': poem and subject in the philosophy of Alain Badiou

This thesis examines the relation between philosophy, the poem and the subject in the mature philosophy of Alain Badiou. It investigates Badiou’s decisive contribution to these questions primarily by means of comparison, especially to Martin Heidegger, Philippe Lacoue-Labarthe and Theodor Adorno, as well as by analysing Badiou’s readings of poems and prose by Paul Celan and Samuel Beckett respectively as sites of potential dialogue with his immediate predecessors. The thesis stresses the importance of French philosophy’s German heritage, emphasising not only Badiou’s radical departure from Heidegger and his legacy, but also the former’s wholesale rejection of philosophies that would, in the wake of twentieth-century violence and beyond, proclaim their own end or completion. The thesis argues Badiou’s innovative readings of Celan and Beckett to be crucial to understanding this endeavour: for Badiou, both writers use the poem to affirm novel conceptions of subjectivity capable of transcending the historical conditions of their presentation. The title quotation from Badiou’s The Century, ‘Yes, the century is an ashen sun’, anticipates both the affirmative nature of these subjective figures, and their presience, beyond the bounds of a twentieth-century ‘ashen sun’ pervaded by melancholy, for the ‘new suns’ of the twenty-first. The thesis is in four chapters. The first chapter unfolds the central concepts of Badiou’s departure from Heidegger using Paul Celan’s poems to focus the enquiry. It is guided by two of Badiou’s most condensed declarations about the poem, that, firstly, ‘the modern poem harbours a central silence’, and secondly, that ‘Celan completes Heidegger’. The second chapter exposes the political implications of Heidegger’s writings on Friedrich Hölderlin and the role of the subject therein, offering at its close some thoughts about what Badiou calls, following Philippe Lacoue-Labarthe, the poem’s ‘becoming-prose’. It concludes by drawing the poem and politics into relation by way of the philosophical category of the subject. The third chapter reads Badiou’s concept of ‘anabasis’ against Heidegger’s ‘homecoming’ in order to think the possibility of a collective political subject’s formation in the wake of Auschwitz. The final chapter examines the imbrication of the Two of love and the ‘latent poem’ in Badiou’s reading of Samuel Beckett’s late prose, contrasting this ‘affirmative’ reading of Beckett to Theodor Adorno’s earlier emphases on negation. Following its investigations of subjectivity, poem and prose throughout, the thesis concludes by returning to the title quotation in order to unfold the particular relations between subject, affirmation and negation Badiou’s philosophy enacts, and to offer further routes forward for research regarding Badiou’s philosophy and aesthetic figuration.

Studies of chess; containing Caissa, a poem,

Mode of access: Internet.

Grimorio: a tradução nos limites de "prosa"

This article aims at discussing the translation of the word grimoire, central in Mallarme's conception of language, in a poem called 'Prose' and its four translations into Portuguese. To do so, it will be necessary, in the first place, to have a closer look at this word and its meanings in Mallarme's work and discuss, in a following step, the choices in translation.

Altazor, de Vicente Huidobro: o gesto político numa das epopeias de XX

This article aims at presenting a reading of Vicente Huidobro's poem Altazor (1931,) assuming the epic genre postulations and the conditions of its development in the first half of the twentieth century. Important works were produced in that period, setting in motion a deployment of the epic genre as refashioned by the avant-garde movements and contesting the metaphysical formulations that had considered it impossible as a discursive space in modern times. Altazor is situated in this movement as a self-conscience of issues of language and its objective capacities. The work deals with the possible modes of enunciation of a great poet, Altazor, who lacks his former serenity of old and looks for a language able to transcend his mother tongue, because he does not accept its origin. His political revolution is performed on language, the artifice through which history is told.

Intersubjectivity and poetic translation

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Paul Auster and the music of change: building new stories

In the work of Paul Auster (Newark, 1947 - ), we find two main themes: the sense of loss and existential drift and the loneliness of the individual fully committed to the work of writing, as if he had been confined to the book that commands his life. However, this second theme is clearly the dominant one because the character's space of solitude may include its own wandering, because this wandering is also often performed inside the four walls of a room, just like it is narrated inside the space of the page and the book. Both in his poetry, essays and fiction, Auster seems to face the work of writing as an actual physical effort of effective construction, as if the words that are aligned in the poem-text were stones to place in a row when building a wall or some other structure in stone.

Tradução e poesia: actividades irreconciliáveis?

Associar tradução e poesia será, muitas vezes, sinónimo de enfrentar preconceitos académicos e científicos muito enraizados na cultura ocidental. Se, por um lado, a tradução é vista como indispensável à troca de informações entre códigos linguísticos diferentes e até mesmo como a possibilitadora de avanços científicos e tecnológicos decorrentes do contacto com outras realidades economicamente mais evoluídas, a verdade é que o seu papel enquanto “ponte” cultural está longe de ser aceite universalmente quando em causa passam a estar os “tesouros literários” de uma cultura nacional. Este carácter polémico levou-me a ponderar a hipótese de analisar, de um ponto de vista eminentemente prático, quatro traduções dissemelhantes, de épocas também distintas, do poema The Tyger, de William Blake. Ter ao dispor quatro traduções de quatro tradutores diferentes tornou possível a compilação de um corpus mais alargado e diversificado onde basear conclusões reais para os problemas de tradução de poesia, devidamente contextualizados.

Traduzir Cesário Verde - Cesário Verde intraduzível

It is main goal of this article to stimulate the debate and reflection on Translation Studies. Based on Cesário Verde‘s poem O Sentimento dum Ocidental (1880) we will discuss the effectiveness and applicability of poetry translation. Since the beginning of the XX century Cesário Verde and his work have been studied on an international range. We may therefore make reference to outnumbered translations of his poems in English, French, German, Italian, and Czech. Poetry translation raises however several difficulties which may affect the comprehension, interpretation and analysis not only of this author but also of his texts. In this manner we will naturally confront as well some of the most relevant items for Translation Studies, namely: Translation purposes and criteria; Translation necessity, possibility and usefulness. We invite you thus to observe the rich and complex Poetry-Translation relation within the analysis of one Cesário‘s poem in Italian, English, German and French.

Lisboa, cidade cenográfica: memorando do projecto

Lisboa, cidade cenográfica é uma instalação que resulta dum processo de sucessivos registos de momentos, experiências e vivências da cidade de Lisboa, com diferentes narrativas. Através do método de assemblage de elementos retirados à rua e reconstruindo composições de blocos volumétricas que incluem desde imagens gráficas, à presença de fontes de luz e de som, e texturas várias, produzi uma instalação destinada a ser ocupada, como se do próprio processo de deambulação por uma cidade se tratasse – neste caso Lisboa. A instalação final, – Lisboa, cidade cenográfica -, constitui em si uma maqueta, como ponto de partida para um outro processo, quase interminável, que conduzisse a uma outra instalação que nos engolisse e se apoderasse da nossa presença. Manipulando diferentes escalas, composições e morfologias de espaço obter-se-ia uma instalação quase infindável, como a própria cidade. A actual instalação é como a síntese dum Fóssil Urbano. Na observação e captação de imagens da cidade houve a preocupação de efectuar a diferentes horas do dia. Os sons utilizados na instalação, foram gravados nas ruas de Lisboa e incluem desde sinos de igreja, ao chilrear de pássaros, aos aviões que sobrevoam, ao trânsito e respectivas buzinas e sirenes de ambulâncias, entre outros. No âmbito do desenvolvimento do projecto e desta Memória Descritiva, tive a preocupação de pedir a algumas pessoas – Cartas de Lisboa -, testemunhando o modo como habitam ou habitaram a cidade. Nos headphones presentes na instalação, ouve-se o poema Lisbon Revisited (1923), de Álvaro de Campos, completando assim o som ambiente de Lisboa, cidade cenográfica. Aquele poema só audível daquele modo, acaba por se sobrepor assim, dum modo subtil, aos outros sons ambiente (exteriores aos headphones).

La poética del desig: amor i bogeria a l'Orlando furioso

Aquesta tesina, amb el títol "La poètica del desig. amor i bogeria a l'Orlando furioso", proposa una nova lectura del poema de Ludovico Ariosto, prenent com a objectiu l'anàlisi de la bogeria del seu protagonista, el Comte Orlando, "che per amor venne in furore e matto / d'uom che sì saggio era stimato prima". Així doncs, pretenem esbrinar per què davant de la constatació de Matteo Maria Boiardo d'un "Orlando innmorato", Ariosto va respondre amb un "Orlando furioso", narrant així "cosa non detta in prosa mai né in rima". Per arribar fins al fons de la qüestió, ens hem preguntat quins són l'origen, la manifestació textual, la dimensió i el significat del concepte de "furor" en el text; interrogants que ens han conduït cap a una bogeria amorosa que és manifestació externa d'un desig insatisfet. Un concepte que, a més a més d'evocar l"Hercules furens" d'Eurípides i Sèneca, ens remet a la teoria dels humors de Galè, al concepte de 'melancholia' d'Aristòtil i a l'eròtica platònica, al mateix temps que reprodueix els models del que Cesare Segre anomena la 'follie littéraire' característica de l'època medieval. A partir d'aquesta anàlisi s'ha interpretat el text com una apologia de les passions en la que es destrona al savi com a paradigma i model ètic, acabant així amb la imatge de l'home com a "animal rationale", situant per contra la seva "humanitas" ja no en la racionalitat (tampoc en la irracionalitat), sinó en la passionalitat, oferint així un retrat de l'ésser humà com a "animal passionalis" , una criatura intermitja en la que haurien de confluir idealment raó i passió.

Límites teóricos de sujeto epistolar y sujeto poético románticos, en la literatura escrita por mujeres

El proyecto, desarrollado bajo los auspicios del grupo Cos i Textualitat, aborda las relaciones entre las categorías de sujeto poético y sujeto epistolar, en la literatura romántica escrita por mujeres, que abarca corpus textuales del siglo XIX y principios del siglo XX. Haciendo uso de las herramientas del comparatismo, de la teoría de la literatura y de los estudios de género y sexualidad, el proyecto en una primera instancia se detuvo a estudiar la obra de aquellas escritoras (en el ámbito de la literatura norteamericana, española e hispanomericana) que desarrollaron e impulsaron el subgénero de la cartapoema, y cómo dicho subgénero les permitía velar su espacio íntimo, enmascarar su identidad literaria y social, al tiempo que obtenían legitimación social en esta estrategia de escritura. De este modo, el proyecto insiste en las estrategias de lectura de este tipo de textos, marginados por la crítica literaria, y de un tratamiento clasificatorio ciertamente ambiguo, y al mismo tiempo contaminado por la lectura autobiográfica de los textos. Cabe destacar que el punto de partida de este proceso de investigación fue la obra de la escritora norteamericana Emily Dickinson (1830-1886), pero se extendió con posterioridad desde autoras del romanticismo hispanoamericano, incluso hasta llegar a autoras españolas que escapan al movimiento romántico, bien entrado ya el siglo XX.

Apocrypha Hiberniae. I. Evangelia infantiae

In 1927 M. R. James published Latin Infancy Gospels, identified by him in two related but not identical manuscripts (one the British Library Arundel 404; the other from Hereford), together with a parallel text from the Irish manuscript known as the Leabhar Breac. Later researches brought to light more manuscripts of this Latin work, and also of the Irish text. James recognized that his apocryphal Latin Infancy text was compiled from a combination of the Protevangelium of James and a hitherto unknown text which he named "The Source". Recent research has identified a full Latin translation of the Protevangelium of James. A hitherto unrecognized Irish Infancy Narrative has also been identified in the Dublin manuscript known as the Liber Flavus Fergusiorum. A deep study of this related tradition was called for. This has been carried out over the past ten years by an Irish team in conjunction with Professor Daniel Kaestli and AELAC. The fruits of this labour are published in these two volumes. Volume 13 has a general introduction with a historical sketch of New Testament apocrypha in Ireland and a history of research on the subject. This is followed by a comparison of the Infancy Narratives in the Leabhar Breac and the Liber Flavus Fergusiorum. There are special introductions to these Infancy texts, followed by critical editions of the Irish texts, accompanied by English translations and rich annotation. Next there is similar treatment of the Irish versified Narrative (from ca. 700) of the Childhood Deeds of Jesus (commonly known as the Infancy Narrative (or Gospel) of Thomas. There is then (in volume 14, but with continuous pagination) the edition and translation of an Irish thirteenth-century poem with elements from Infancy Narratives, and both Latin and Irish texts on the wonders at Christ's birth, accompanied by translations and notes. The edition of the Irish material is followed by a critical edition of the full Arundel and Hereford forms of the Infancy Narrative (here referred to as the "J Compilation"), together with a detailed study of all the questions relating to this work. The volume concludes with a critical edition (by Rita Beyers) of the Latin text of the Protevangelium of James, accompanied by a detailed study of the work.. The work contains a detailed study of the Latin translations of the Protevangelium of James and the transmission of this work in the West. The "J Compilation" (a combination of the Protevangelium and texts of Pseudo-Matthew) can be traced back in manuscript transmission to ca. 800,and must have originated some time earlier. Behind it stands an earlier "I ("I" for Irish) Compilation" without influence from Pseudo-Matthew, the form found in the Irish witnesses. It is argued that M. R. James's "Source" may be of Judaeo-Christian origin and may really be the Gospel of the Nazoreans. Among the indexes there is a list of all the Irish words found in the texts. This edition of the Irish and related Latin texts is a major contribution to the study of the apocryphal Infancy Narratives. It should also be of particular interest to Celtic scholars, to students of Irish ecclesiastical learning, and in general to all medievalists.

The Irish Infancy Narratives and their Relationship with Latin Sources

(Résumé de l'ouvrage) In 1927 M. R. James published Latin Infancy Gospels, identified by him in two related but not identical manuscripts (one the British Library Arundel 404; the other from Hereford), together with a parallel text from the Irish manuscript known as the Leabhar Breac. Later researches brought to light more manuscripts of this Latin work, and also of the Irish text. James recognized that his apocryphal Latin Infancy text was compiled from a combination of the Protevangelium of James and a hitherto unknown text which he named "The Source". Recent research has identified a full Latin translation of the Protevangelium of James. A hitherto unrecognized Irish Infancy Narrative has also been identified in the Dublin manuscript known as the Liber Flavus Fergusiorum. A deep study of this related tradition was called for. This has been carried out over the past ten years by an Irish team in conjunction with Professor Daniel Kaestli and AELAC. The fruits of this labour are published in these two volumes. Volume 13 has a general introduction with a historical sketch of New Testament apocrypha in Ireland and a history of research on the subject. This is followed by a comparison of the Infancy Narratives in the Leabhar Breac and the Liber Flavus Fergusiorum. There are special introductions to these Infancy texts, followed by critical editions of the Irish texts, accompanied by English translations and rich annotation. Next there is similar treatment of the Irish versified Narrative (from ca. 700) of the Childhood Deeds of Jesus (commonly known as the Infancy Narrative (or Gospel) of Thomas. There is then (in volume 14, but with continuous pagination) the edition and translation of an Irish thirteenth-century poem with elements from Infancy Narratives, and both Latin and Irish texts on the wonders at Christ's birth, accompanied by translations and notes. The edition of the Irish material is followed by a critical edition of the full Arundel and Hereford forms of the Infancy Narrative (here referred to as the "J Compilation"), together with a detailed study of all the questions relating to this work. The volume concludes with a critical edition (by Rita Beyers) of the Latin text of the Protevangelium of James, accompanied by a detailed study of the work.. The work contains a detailed study of the Latin translations of the Protevangelium of James and the transmission of this work in the West. The "J Compilation" (a combination of the Protevangelium and texts of Pseudo-Matthew) can be traced back in manuscript transmission to ca. 800,and must have originated some time earlier. Behind it stands an earlier "I ("I" for Irish) Compilation" without influence from Pseudo-Matthew, the form found in the Irish witnesses. It is argued that M. R. James's "Source" may be of Judaeo-Christian origin and may really be the Gospel of the Nazoreans. Among the indexes there is a list of all the Irish words found in the texts. This edition of the Irish and related Latin texts is a major contribution to the study of the apocryphal Infancy Narratives. It should also be of particular interest to Celtic scholars, to students of Irish ecclesiastical learning, and in general to all medievalists.

Latin Infancy Gospels: The J Compilation. Introduction and Edition

(Résumé de l'ouvrage) In 1927 M. R. James published Latin Infancy Gospels, identified by him in two related but not identical manuscripts (one the British Library Arundel 404; the other from Hereford), together with a parallel text from the Irish manuscript known as the Leabhar Breac. Later researches brought to light more manuscripts of this Latin work, and also of the Irish text. James recognized that his apocryphal Latin Infancy text was compiled from a combination of the Protevangelium of James and a hitherto unknown text which he named "The Source". Recent research has identified a full Latin translation of the Protevangelium of James. A hitherto unrecognized Irish Infancy Narrative has also been identified in the Dublin manuscript known as the Liber Flavus Fergusiorum. A deep study of this related tradition was called for. This has been carried out over the past ten years by an Irish team in conjunction with Professor Daniel Kaestli and AELAC. The fruits of this labour are published in these two volumes. Volume 13 has a general introduction with a historical sketch of New Testament apocrypha in Ireland and a history of research on the subject. This is followed by a comparison of the Infancy Narratives in the Leabhar Breac and the Liber Flavus Fergusiorum. There are special introductions to these Infancy texts, followed by critical editions of the Irish texts, accompanied by English translations and rich annotation. Next there is similar treatment of the Irish versified Narrative (from ca. 700) of the Childhood Deeds of Jesus (commonly known as the Infancy Narrative (or Gospel) of Thomas. There is then (in volume 14, but with continuous pagination) the edition and translation of an Irish thirteenth-century poem with elements from Infancy Narratives, and both Latin and Irish texts on the wonders at Christ's birth, accompanied by translations and notes. The edition of the Irish material is followed by a critical edition of the full Arundel and Hereford forms of the Infancy Narrative (here referred to as the "J Compilation"), together with a detailed study of all the questions relating to this work. The volume concludes with a critical edition (by Rita Beyers) of the Latin text of the Protevangelium of James, accompanied by a detailed study of the work.. The work contains a detailed study of the Latin translations of the Protevangelium of James and the transmission of this work in the West. The "J Compilation" (a combination of the Protevangelium and texts of Pseudo-Matthew) can be traced back in manuscript transmission to ca. 800,and must have originated some time earlier. Behind it stands an earlier "I ("I" for Irish) Compilation" without influence from Pseudo-Matthew, the form found in the Irish witnesses. It is argued that M. R. James's "Source" may be of Judaeo-Christian origin and may really be the Gospel of the Nazoreans. Among the indexes there is a list of all the Irish words found in the texts. This edition of the Irish and related Latin texts is a major contribution to the study of the apocryphal Infancy Narratives. It should also be of particular interest to Celtic scholars, to students of Irish ecclesiastical learning, and in general to all medievalists.