Discurso constelar e contingência: a pregnância de Mallarmé

The aim of this article is to discuss Mallarmé‘s poem A throw of dice, establishing some theoretical interfaces among Jakobson‘s reading, Lacan‘s psychoanalysis and some elements from the French discourse analysis. The poem, considered a milestone of modern poetry, has already engendered various discourses about itself, what allows us to consider it here a permanent invention, or yet, a throw of dice in eternal whirl. Attentive to the roaring of such discourses, and available for listening the theory that contributes to the poem‘s critical analysis, the reading herein engaged bets on the profit that the Mallarmé‘s poem study carries, for the perception of contemporary poetry, which inherited from him the double-sided lyrical coin: high revision of the possibilities of invention and very strong metalanguage.

The Invisible Blackness of Harryette Mullen's Poetry: Writing, Miscegenation, and What Remains to Be Seen

This essay addresses the poetics of Harryette Mullen, an awarded African-American female poet whose work questions the boundaries that shape the expectations for accessible intelligibility in African-American literature. Mullen’s poems skirt the edges of intelligibility by going beyond the expectations for a visible/intelligible form of language that would embrace the experience of blackness. I argue that writing in Mullen’s poetry works as process of miscegenation by playing on the illegibility of blackness, beyond a visible line of distinction between what is or should be considered part of blackness itself, which engages new forms of reflection on poetry as a politically meaningful tool for rethinking the role of the black (female) poet within the black diaspora.

Haroldo de Campos e a utopia da escritura original

The aim ofthis article is to discuss the existence ofan original writing utopia in Haroldo de Campos, which seems to be more important to his work than the concretist utopia. It is possible to understand the Haroldo's poetry project since the establishment of a parallel between the epic aedo and the haroldian attitudes concerning the invention and the tradition, taking them as difference in the constitution of Haroldo's identity. Once he assumes a impossibility to rescue the origin itself, the haroldian project turns to the 'jetzeit" and that, secondly Agamben is very contemporaneous.

Quando o lírico e o narrativo se encontram em Nuno Júdice

Nuno Judice’poetry has a peculiar discourse, whose devices of construction mixe poetry and prose in order to eliminate the borders between the two kinds of language. The Classical tradition is a constant reference in his poetry, by means of the imagery and the allegory in which some Greek myths are mentioned. Nevertheless, the context of modernity from which the poet Nuno Judice emerges put together the dimensions of space and time so as it is impossible to separate them. In this paper we analyse two poems extracted from the book As Regras da Perspectiva (1990) and our purpose is to discuss some literary questions as the metalanguage, the sensations, the lyric subjectivity, the narrative trends, the special meanings and the forms of the world.

O papel da tradução na construção da identidade da literatura afro-americana no Brasill

This paper discusses the role of translation in the construction of the identity of African-American literature in Brazil, by considering the relations between the Brazilian sociocultural context, infl uenced by biological and cultural miscegenation, and the particular way that the literary criticism represented by essays and translations of the Brazilian critic Sergio Milliet, published in between the 40’s and 60’s, approaches AfricanAmerican poetry, with special focus on Langston Hughes’ poems. In this paper, differences between Brazilian and American racial contexts are brought into light in regard to the discourses on miscegenation and race. It is discussed the extent to which Sergio Milliet developed a racialized identity for African-American poetry in his essays, which, however, was rebuilt through translation, in his anthology Obras Primas da Poesia Universal, with a less racialized perspective so that African-American aesthetics could sound less dissonant and regional and more inclined towards the principle of universality which characterizes the anthology composed of renowned foreign and Brazilian poets.

passagem de Drummond pelo fantástico

It is quite possible that the story “O Gerente” (1945), by Carlos Drummond de Andrade, is unknown to the Brazilian reader, who’s more familiar with his poetry. However, the peculiarity of its narrative language and the treatment given to fantastic awakening interest in the text, which challenges the possibilities of literary research. The humor, a trait more common in the poetry of Drummond, becomes a stylistic strategy with curious effects of meaning, as well as the structural aspects of the narrative. The fantastic, a category that Drummond has not cultivated, appears so unusual in his narrative. Our purpose is to analyze the discursive construction procedures for establishing differences between the traditional and the new paradigms of the fantastic. For this, we will seek to highlight the story fragments that allow the discussion of certain issues such as social conventions, the everyday, the feeling of love, the tension created between the comic and tragic.

Memoria se deseja, o resto se ouça ou veja: considerações sobre um poema de Frederico Barbosa .(2010)

In Frederico Barbosa’s poem “Memoria se”, the memory experience is marked in the body, which means that the memory is not only recorded on the lyrical person unconsciousness, but it is also something that, as an insignia, presents itself and becomes dense as permanence in this lyrical person body. The poet is heir of what may be called “tradition of rigour,” consequently, a discussion of his poetics aspects must consider the inventiveness and the dialogue with other texts, not only those from the canon but also those from the popular repertory that Frederico Barbosa assimilates and recreates.

O Monolinguismo do Outro O caso do poeta politradutor Armand Robin

Este trabalho aborda a questão da pulsão politradutória mediante a análise de sua manifestação na obra do poeta tradutor bretão Armand Robin (1912 - 1961). Essa pulsão, vinculada a uma visada metafísica na obra de Antoine Berman (A prova do estrangeiro, 2002) - definida como a busca romântica da língua pura -, é reavaliada atentando para os aspectos filosóficos e psicanalíticos mais evidentes. Em consonância com a teoria de Jacques Derrida (Le monolinguisme de l'autre, 1996), este estudo sugere que o politradutor Robin - que traduziu poemas de aproximadamente vinte e duas línguas para o francês - na verdade não"tinha" várias línguas, não era plurilíngue no sentido que convencionalmente conhecemos, mas tinha apenas uma língua e que não era a sua. O fato de considerar este poeta como um monolíngüe afásico singulariza e redimensiona a problemática em torno da pulsão do traduzir: a repetição do gesto tradutório desvela o excesso da busca de outras línguas, o que aponta paradoxalmente para um modo de velar o trauma relacionado à língua materna afásica (no sentido derridiano do termo). Esse duplo gesto de pulsão-repulsão se manifesta no poliglotismo e na politradução: traduzir permanentemente permite que Robin suporte na paixão a dor da abdicação de escrever a própria obra.

A memória do mundo e a confiança em Yves Bonnefoy

Cette communication prétend parcourir quelques poèmes de Les planches courbes (2001) d’Yves Bonnefoy à partir de l’opposition entre mémoire et oubli. Cette réflexion se trouve esquissée dans l’essai “Sous l’horizon du langage” du livre homonyme, lorsqu’il affirme que la poésie est “ce qui, dans l’espace des mots, notre monde, a mémoire du surcroît de ce qui est sur ses représentations” (2002 : 8). Il s’agit d’une mémoire établie moins à partir d’un lieu perdu que retrouvé. Ce à elle que le moi se confie: dans le “oui”, dans la paix, ces deux mots qui apparaissent dans ses livres les plus récents. Le poète apporterait une confiance qui reprendrait, d’une certaine façon, ce que Paul Ricoeur a caractérisé comme le sens des inscriptions-affections: “elles seraient le dépositaire de la signification la plus dissimulée, mais la plus originaire du verbe “demeurer”, synonyme de “durer”. Dans Les planches courbes, il s’agit également d’une mémoire de l’enfance et des mythes. Ce sont des événements qui prennent place dans un temps primordial. Espoir/confiance, donc, de remonter à une force plus ancienne de la langue, de soi-même, de l’être, de ses rapports. Remonter à une unité dans le simple, en reliant une appréhension du monde et de soi-même dans un acte de suffisance, dans lequel celui-ci se conjugue avec une espèce de dépossession: de l’idée, du concept, de l’image.

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

A música em As Báquides, de Plauto: tradução e análise dos cantica

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

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

Pós-graduação em Letras - FCLAS

Afirmação do projeto ético-político do serviço social: a utilização das técnicas das manifestações artístico-culturais no debate sobre os movimentos sociais

Pós-graduação em Serviço Social - FCHS