Anchieta, o Orfeu Brasílico: a prática do gênero epidíctico em três epigramas

Pós-graduação em Letras - FCLAS

A imaginação como metafísica:uma leitura do poema o percurso de um particular de Wllace Stevens

Wallace Stevens produziu uma poesia considerada difícil, distante da dicção fragmentária do primeiro Eliot tanto quanto da imagística de William Carlos Williams, apesar de compartilhar com o último o interesse pelas coisas como elas são. Sua dicção poética se caracterizou muito mais pelo interesse quase filosófico na relação entre imaginação e realidade, interesse que o levou a considerar a primeira, a “rainha das faculdades” segundo Baudelaire, como uma forma de metafísica. Expurgando dela os resquícios românticos subjetivizantes e dotando-a de capacidade de abstração e generalização, Stevens lhe dá envergadura de ontologia, na medida em que ela possibilita ao poeta tanto a apreensão das particularidades do mundo real quanto o desenvolvimento do pensamento lógico em direção a uma fenomenologia da percepção. Esta concepção e prática poética se acentuou ao longo da trajetória poética de Stevens e embora a crítica note algum excesso retórico nos poemas de maturidade, a sua capacidade inicial de síntese — notável em Harmonium, seu livro de estréia (1923) — é retomada nos poemas da fase final de sua produção, como mostaremos na análise do poema “O percurso de um particular”, publicado após a morte do poeta, em 1955.

L'Inspiration romantique de Gaspard de la Nuit

In this work, we intend to show that Aloysius Bertrand in “Gaspard de la Nuit” drew the inspiration to his poems in prose from its nearest context: that one of French Revolution and the revolt of the spirit against everything which would impose an exaggerated materialism. Thus, in the middle of Enlightenment, there were those who went in search of “mysterious realities” and a “sense of mystery” that the pre-romantic literature in Britain and in Germany would express in its poetry. It is also in the 18th century that some works about the “Commedia dell‟arte” and caricature concede to the grotesque a significant part in the formation of art, extending it to the supernatural and the absurd.

Leitura crítica da produção literária de Alfonsina Storni

This paper presents the trajectory traced by the Literary Criticism on the poetry of Alfonsina Storni, an Argentine writer of the early twentieth century. The first literary production of Alfonsina Storni, called modernist or tardorromántica (SARLO, 1988), is produced in the period 1916-1925; from Ocre (1926), she marks a break, confirmed in their last two books of poetry, Mundo de siete Pozos (1935) and Mascarilla y Trébol (1938), with the label of vanguardism and new aesthetic experiences such as antisoneto. Regarding the Criticism built over the poetic work of Alfonsina Storni by his contemporaries, we have three positions of reading: approaches biographical criticism and proposals for readings of critics and poets linked to Vanguard Argentina and made some critical texts by women from the middle academic. According to Salomone (2006), the criticism made by third trend marks another landmark of the constitutive deed of Alfonsina Storni, show tensions and positions that differ from the hegemonic critical. Subsequently, there is setting up a Women's Literature, along with a normative critique, which will consider the production book produced by women as produced by a subject biological woman, and that represents certain textuality with naturalized features peculiar to women. Today, in light of the Critical Feminist and contributions of Discourse Analysis, especially on the concepts and the connections between language and power, a critical reading of the production female, consists of texts of women writers since the mid-nineteenth century, is focused as a result of an ideological perspective and typically androcentric patriarchal, for example, on poems by Alfonsina Storni. According to Alice Salomone (2006), from the 80s of last century, the look on the production literary Latin American writers has another approach, which she calls "critical current: feminist criticism and modernity cultural".

Mito e concretude: a morte na poesia de Angelus Silesius

This study intends to get a general overview on the German Angelus Silesius (1624- 1677)’s poetry about the way he discusses death. For the purpose of postulating some hypotheses about the meaning of death in the historical period in which the poet lived, we will comment some poems by identifying clues which reclaim the period’s moral.

O fragmento poético em cadernos de João de Aníbal Machado

Os Cadernos de João (1957) encerram três livros anteriores de Aníbal Machado: ABC das catástrofes, Topografia da insônia e Poemas em prosa. A originalidade da coletânea está no fato de que abriga uma diversidade de formas e gêneros, entre eles o fragmento e o poema em prosa. Neste trabalho, propomo-nos a estudar o fragmento poético nos Cadernos de João, a partir da ideia de poiesis, tal como a concebeu os primeiros românticos alemães, sobretudo Schlegel e Novalis, para o quais o fragmento era capaz de incorporar, a um só tempo, crítica, teoria e criação.

Sonho e poesia em Gaspard de la Nuit, de Aloysius Bertrand

Considerado o criador do poema em prosa na literatura francesa, Aloysius Bertrand incorporou em seus textos diversos elementos da cultura popular da Idade Média, entre eles, o sonho e o pesadelo. Neste artigo pretende-se mostrar que, em certos poemas do Gaspard de la Nuit, o sonho funciona não só como um motivo literário, mas também como componente da construção textual.

Metaformose das metamorfoses: Leminski reinventa Ovídio

This article provides an analysis of Leminski’s Metaformose that establishes a remarkable re-reading of Ovid’s Metamorphoses. It is a poetic narrative published posthumously in 1994. * is work, which received “Prêmio Jabuti de Poesia” in 1995, was found among the papers of the author along with many essays, short stories, poems and a novel. * rough the author’s own theoretical conceptions, one seeks to interpretating the way the myth of Arachne is approached by him, re' ecting on the reinvention and reinterpretation of both Greek and Latin mythology and Literature in contemporary writing.

Estudo sobre o acento secundário e a tonicidade dos monossílabos em português arcaico por meio da música e da métrica das Cantigas de Santa Maria

This paper aims to make a study on secondary stress and stress of monosyllabic words in Archaic Portuguese. With regard to secondary stress, our intention is to demonstrate its limits of occurrence. And about monosyllabic words, the aim is to analyse its stress attribution and the possibility of those words assume prominences in the linguistic level demonstrating or not its prosodic independence. The data will be collected by means of a new methodology in the study of the prosody of dead language. This methodology is based on the observation of coincidences and non-coincidences of musical prominences of poetic texts with musical notation, and linguistic prominences.

O poético alinhave de Murilo Mendes: o poeta, a musa e a metapoesia em As Metamorfoses

Lying under the contribution of a display of characteristics with multiple meanings (Catholicism, Surrealism, unite of contraries, and the dialogue with other types of art), Murilo Mendes focalizes some subjects that are made to become appealing in his works. Some of these subjects appear in his 1945’s poetry book, As metamorfoses, the object of analysis in this present work: the poet’s figure, insert in the historical view of the World War II and by the poet devastated; the muse’s figure, carrier of the sacred and the profane, whose body represents a repository of descriptions with surrealistic meanings, that is shown indistinctly as the poetry itself; and, concluding, the poetry (or the metapoetry) expressed in this context (historical and literary). Therefore, we intend to search, based in the analysis of poems, how each of this instances are configured inside the poetic universe of Murilo Mendes, with the intention of enlighten the constitution of the sewing made of them by the poet from Juiz de Fora; instances that are very precious when we deal with the poetry that gives to his writings the patent feature of modernity.

Os jogos frutais e o poema: natureza viva; natureza-morta

The (usually rotten) fruit theme or motif is recurring in Ferreira Gullar‟s poetic work (from A luta corporal, 1954, to Em alguma parte alguma, 2010). It can be said that the semantic-metaphoric field comprises metapoetic to political and social issues –expressive aspects in the author‟s trajectory. Thus, starting from the fruit topic which is characteristic of the bucolic-pastoral poetic tradition and tracing its presence in Brazil, this paper aims, by analysing some of Gullar‟s poems, to reflect on the peculiar way the problem is subverted in his lyric.

O acento secundário no português arcaico

This paper aimsto study secondary stressinArchaic Portuguese demonstrating its limits of occurrence and its behavior through the Metrical Theory by Hayes (1995). The data was collected by means of a new methodology in the study of the prosody of ancient periods of the language. This methodology is based on the observation of matching and mismatching of musical and linguistic prominences of poetic texts with musical notation.

O dramático e o poético em Le concile féerique, de Jules Laforgue

We briefl y present here a dramatic work of the French Symbolist poet Jules Laforgue – Le Concile Féerique. During the analysis, we see collages of Fleurs de bonne volonté poems, conceived in a dialogued and original way, showing us, mostly, in the work of the French poet, the modernity and the persistence of poetry.

Proparoxítonas no português arcaico: uma análise por meio da música e do texto das Cantigas de Santa Maria

This paper aims to conduct a study on proparoxytones in Medieval Portuguese through an innovative methodology based on the observation of coincidences and no-coincidences of musical and linguistic prominences of poetic texts with musical notation.. This methodology allowed us to verify the existence of a hundred and thirteen proparoxytones words in a corpus constituted by the first hundred Cantigas de Santa Maria. It was possible to locate the stressed syllable in 92,93% of the found words.

Percalços compositivos em notas de oficina, de Alberto Martins

À utopia de um presente forte modernista que edificaria um futuro grandioso, a literatura contemporânea registra riscos, tensões existenciais, violência moral e física, justaposições espaciais, ilusões referenciais. O artista contemporâneo, consciente da incerteza do futuro e da queda das utopias, empurra o presente e aceita supressões temporais. Para reflexão sobre o fato, selecionamos, da produção modernista e contemporânea, os poemas “O elefante”, de Carlos Drummond de Andrade, e “Notas de oficina”, de Alberto Martins. O estudo desses textos deve favorecer a compreensão do diálogo estabelecido entre os dois momentos. O elefante drummondiano, apesar da frágil condição de execução e da indiferença dos leitores, não desestabiliza o criador, que afirma: “Amanhã recomeço”. As “Notas de oficina” registradas pelo eu poético criado por Alberto Martins discutem o sofrimento do criador proveniente do processo criativo e indicam que o corpo do artesão sofre fisicamente as dificuldades do fazer artístico e despende mais tempo de descanso que de execução. A elipse temporal estende-se e impede a criação porque o erro é incompreensível e consequentemente não ajustado pelo eu poético. O artista contemporâneo revela a condição limite entre o fazer discursivo e sua impossibilidade, entre a ignorância e a dor de saber que “alguma coisa está errada”.