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".

Antropofagia, dessacralização e devoração em Rilke Shake, de Angélica Freitas

This article investigates the presence of anthropophagy on Rilke shake, analyzing the opening poem “perfect teeth, listen to me,” by the concept of devouring. It discusses how the “Poesia Pau-Brasil” by Oswald de Andrade would be the milestone of a conception of poetry desacralized in Brazil in the twentieth century, retaken by marginal generation and kept alive by Angélica Freitas, with a increasingly accelerated consumption into society as a background.

O fantástico de Charles Nodier: lenda e mito

O artigo centra-se na análise do conto de Charles Nodier, “La légende de soeur Béatrix”, sob a perspectiva do fantástico literário; na criação de seu texto ficcional, o autor parte de uma lenda hagiográfica que acaba por mesclar-se a mitos antigos, associando o mito mariano ao da deusa grega Perséfone. Metáfora da poesia e da musa que caminha entre os dois mitos, a personagem do conto, irmã Béatrix, mostra que a encarnação é o caminho para o reavivamento do mito e da poesia.

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.

Canto e fala: o espetáculo do poder da linguagem na tragédia grega

No presente estudo, destacamos como a estrutura da poesia trágica em partes cantadas e dialogadas resulta num grande espetáculo dominado pela palavra. Nos cantos corais e nos cantos de ator, os estados emocionais são marcados pelo viés da tradição do dialeto dórico. Nos diálogos, o ritmo próximo da fala quotidiana, em dialeto ático, acelera os acontecimentos em cena, põe em ação e movimenta o que Aristóteles depois vai chamar de “ação”. O resultado da mescla de tradição e novidade, de canto e fala, de dança e gestos, é um espetáculo contendo mito e “realidade”, poesia e retórica, entre outras dicotomias, em que o poder da linguagem é colocado em cena. Na tragédia, então, a palavra em todos os seus modos de expressão é o espetáculo a ser visto e ouvido. Assim, a tragédia grega insere-se numa longa tradição iniciada pela poesia oral homérica e anuncia o estabelecimento da filosofia.

Do hexâmetro ao decassílabo: equivalência estilística baseada na materialidade da expressão

This paper deals with the relationship between the Latin hexametre and the Portuguese decasyllable, mainly paying attention to the possibility of a translation which could save some stylistic equivalence based on the proportionality of the materiality of expression.

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.

O rapto de Europa: uma comparação entre Ovídio e Ticiano

In Metamorphoses, the Roman poet Ovid tells the tale of the transformation of Jupiter into a bull to seduce the Phoenician princess Europa. During Renaissance, as is well known, Western civilization fostered an intense renewal of its values under the clear influence of Greco-Roman culture. Ovid, whose fame had not ceased throughout the Middle Ages, became then even better known, and especially his poem Metamorphoses turned into a remarkable source of inspiration not only to literature but also to fine arts and their new humanistic conception. Thus, the episode of the abduction of Europa received a dramatic pictorial expression in the broad brush strokes of the Venetian master Titian Vecellio, who interpreted several classical myths in his canvases at the height of his creative maturity. There are many and obvious relationships in the verses of the ancient Latin poet and the picture of the Italian Renaissancist. In Metamorphoses, the mythical account is described in so many details and set in such an expressive poetic that Titian could take Ovid´s narrative as a model for painting “The Rape of Europa”, doing a true exercise in intersemiotic translation by interpreting verbal signs through pictorial signs.

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.

Na teoria e na ficção: a vanguarda em Clarice Lispector

The short story “Os desastres de Sofia” (1964), of Clarice Lispector, can be read as fictional metaphor for the way as the writer elaborated and presented the concept of “Vanguard”. Philosophical reflections of Walter Benjamin (1933) contains the arguments that Clarice, in this narrative, invigorates, by the use of modern keys, vanguardist, according to her conception, which Benjamin sanctioned by the melancholic look of the past. Clarice is notable as a writer of prose affiliated with the brazilian modern poetry.

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.

Orfeu sem travessa: leitura de um poema de José Paulo Paes

Starting from general considerations on the Orpheus myth and its resonance on Brazilian poetry, this essay aims at an interpretative analysis of the prose poem “Orpheus” from José Paulo Paes, published in one of the author’s latest books, A meu esmo (1995).

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.