Entre o cinema e a poesia, a memória e a imagem

The aim of this essay is to analyze common aspects between cinema and poetry such as image and memory. Images represent the subject’s perception, whose memory of things and feelings are built artistically (fragmentary sequences, a new idea of time and space, no-narrative style) into the language of cinema and poetry. Homological relations between both languages are put in evidence in this essay in order to bring to discussion those aspects that show the tinny frontiers that separate artistic systems.

Poética e Figuratividade: uma análise de Io (Ovídio, Metamorfoses, I, 583-747)

This paper presents the development of a scientific investigation that addresses the Latin text using theoretical concepts of Linguistic, Literary Poetic and Semiotic in order to focus mainly on aspects of the figurative expression. Therefore, the meaning effects raised by the perception through the reading of text were taken as baseline data to investigate the particular arrangement of language, responsible for expression of these effects. As a result of this investigation, a metalinguistic discourse was produced about the basic features of the poetic figurativity of the text. This analysis and description had a focus mainly on the first step of the procedures of figurativization, i.e., the figuration of the discourse, when a theme is coated by semiotic figures. In addition, reference notes were drafted to accompany the selected translation of support, with general comments about the culture (mythology, history, geography, philosophy, etc.), necessary data to an more comprehensive understanding of the text (these notes shall provide basic subsidies for reading the original Latin)

A multiplicidade poética de Emílio Moura: o encanto da hora amarga

The modernist poet Emílio Moura (1902-1971) incorporates a strictly modern language regarding the imagistic suggesting a mainly poetry metalinguistic. That way, from the works Canto da hora amarga (1932) and Cancioneiro (1944) we attest, through the poetic analysis, that modernity Moura’s poetry takes place in confluences with ideas ranging from biblical tradition and come to the depersonalization of the modern I and questing. We objectify, therefore, demonstrate and explore the metalinguistic and intertextual character that results in the personification of poetry, as clarified muse. To achieve this, this same poetry undergoes a dualistic and pessimistic sentiment, baroque, the I that is divided into life and death, light and shadow; goes through a romantic feeling of anguish and desolation and reaches the multiplicity of the poetic speaker, which promotes a constant struggle with the language. More than draw a correlation between classical and modern ideas (in the sense that the poet creates depersonalization and appropriates of free, short prose or verse, typical of modernism), intend to supply, at least in part, the dearth of studies on the miner poet who has found fertile ground to question and analyze internally the role of poetry in the multiplicity of man and modern society to therefore conclude that universalism the Emílio Moura becomes distinctive and mature. Thus, we will check how poetic inflows corroborate both works for reevaluation and critical insertion of poetic the Emílio Moura in the context of modern/Modernist Brazilian literature

Serenas e desesperadas: representações femininas na obra poética de Cecília Meireles

Pós-graduação em Letras - FCLAS

Poéticas interditas: erotismo, subversão e repúdio em Florbela Espanca (1894-1930) e Judith Teixeira (1880-1959)

Pós-graduação em Letras - FCLAS

O craque, o sex symbol e o homem de sucesso: a construção da imagem de Neymar no mercado brasileiro de revistas (2010/2011/2012)

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

E. T. A. Hoffmann e Jacques Callot: a ficção da imagem

Hoffmann wrote several fairy tales, including "Princess Brambilla" (1821), which has an remarkable pictorial component: when it was published, the text went along with eight illustrations by Carl Friedrich Thiele, which were derived from original prints made by the Frenchman Jacques Callot. While Callot images portray the Italian theater of the Commedia dell'Arte, Thiele's works follow the plot of the narrative, representing the characters of Hoffmann, who disguise themselves because of the carnival that is taking place in Rome. The costumes and masks worn by the characters however do not ensure them full secrecy. Instead of a complete undercover, they lead to double meanings and double identities so that narrative levels and artistic references overlap and create an effect similar to a set of a polyphonic orchestra (which is a metaphor implied in the very subtitle, where the narrative is called a Capriccio).

Traduzir Lucano em português: ensaio de poética tradutória sincrônica

The aim of this paper is to offer an essay of synchronous translation poetics, based on the theoretic thought of Haroldo de Campos and Antoine Berman, which highlight the relevance of translation history in the work of contemporary translators. For this purpose, starting from a close-reading of the first seven Latin hexameters of Lucan’s Pharsalia, I present a comparative study of the translations of Filinto Elisio (18th century), José Feliciano de Castilho (19th century) and Vieira (2011).

Gênese de uma obra e esboço de uma poética: a correspondência de João Guimarães Rosa

The quality and the diversity of the material – questionnaires, glossaries, notes, drawings, comments on his work, reflections on language and literature, indications and references – which we find when we read the correspondence of João Guimarães Rosa with the translators of his texts to other languages certify the importance to the study of his work. In this research, we intend to comment on some excerpts of this correspondence, mainly on the unpublished ones, which belong to the Guimarães Rosa Fund (IEB/USP), that we consider relevant to elucidate the process of the origin of this work and to shape Rosa’s poetry or as the author used to call his “platform” of writer.

Percepção e experiência na criação poética

The artistic language is deeply related to the ability of imagination of the human spirit. The poetic experience is based on the perception of physical existence. The poet tries to show through images what he wishes to express and his tendency is to deal with words as a concrete thing.

A palavra poética de Arnaldo Antunes

This article reflects on Arnaldo Antunes‟ (AA) poetics. For this purpose, both the contributions of Fontanille and Zilberberg regarding tensivity, as well as some ideas of Tatit regarding song semiotics. The aim is to think about how the dance between enunciation and enunciate is structured in AA within poetical architecture as exemplified here based on the analysis of the poem “Palavra”. The hypothesis is that the tension between the two central nuclei of the poem, metalanguage and erotism, are the essential compositional marc of AA poetical stylistics. The results lead to the reflection that the musical tension is the game that guarantees the movement between the density of the word and the erotic fluidity of the authorial (metalinguistic) act of production.

Expresividad poética y traducción con breve lectura de Fedro I. 1

The term poetic expressiveness refers to the multiple joints of the plan of expression, derived from the expressive value of the linguistic sign (ROSSET: 1970, 135) and its particular role in the field of poetry. The features of meaning, such as projection, elevation and salience, make it possible to consider expressive all poetic statements which constitute particularly dense instances in the formal consolidation of a convergence between the two planes (expression/content), and therefore it stands out from the others due to the high density of structural parallelisms and isomorphisms, which are procedures responsible for the impression that a particular form of content can only be expressed by cutting that same specific form of expression out. These considerations have an immediate impact on the reading, interpretation and practice of translating poems, which is intended to be demonstrated here, through an example of translation of a Phaedrus' fable, written in iambic meter.