A recepção de Shakespeare na Alemanha

This is an article about a decisive moment in the formation of Western modern literature. We are talking about Lessing’s criticism of the excessive influence of neoclassical French theatre on German theatrical production. Lessing considered that the aristocratic model imported from France did not correspond to German society’s context at all – society which had already been marked by an incipient bourgeois mode of life. So the German critic dedicated his theoretical efforts to affirm the necessity and to raise possibilities about a literary production which had more consonance with what he considered to be the German Zeitgeist. It is in Shakespeare’s work that Lessing found his answer, and this fact will unleash the appearing of the Sturm und Drang movement and will consequently give birth to an incipient bourgeois literature. So we analyze here the way this Shakespearian influence happens and its relevance in the formation of a bourgeois literature.

Confidências: os ensaios críticos de Kate Chopin

Between 1894 and 1899 Kate Chopin (1850 – 1904), one of the main exponents of American Realism and Feminism, published seven critical essays in newspapers and journals. To this number, it might be added the sketch ―Confidences‖ and the two first entrances of Impressions, her second diary, totalizing nine texts. These texts unveil a refined critical spirit, an outspoken and edge-cutting style in writing, sometimes sarcastically merciless, and an eager reader, all of them aspects that would be put into practice by the Feminist criticism expressed in the author‘s novels and short stories. To introduce and briefly discuss these essays are the main purposes of this paper.

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).

Figuras da comédia em prosa

El ilustrador francés Jacques Callot (1592-1635) representó personajes de la Commedia dell’Arte en su obra Balli di Sfessania (1616-1620), compuesta por 24 figuras. Esas imágenes se caracterizan por mostrar personajes en movimiento, teniendo al fondo escenas de la realidad italiana. El romántico alemán E. T. A. Hoffmann (1776-1822) insirió en sus cuentos y romances muchos elementos que remiten a las obras tanto de otros escritores como de pintores y músicos. Callot fue visitado por por Hoffmann en varias de sus publicaciones, entre ellas el cuento “Princesa Brambilla” (1821),que posee ocho imágenes directamente elaboradas a partir del modelo de Callot en Balli di Sfessania. Esas imágenes, sin embargo, no representan meras “ilustraciones” con respecto a la historia. Mucho más que ello, las imágenes demuestran como Hoffmann interpretaba las figuras de Callot y, como ellas sintetizaron la relación del escritor con Italia ( país que siempre deseó, pero nunca logró visitarlo) y con el arte pictórica.

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.

Macedo e o romance romântico

Joaquim Manuel de Macedo was a highly acclaimed writer among nineteenth - century readers, although posterity treated his work with many reservations. Despite the severity of his critics, Macedo’s contribution undeniably cannot be limited to his books, but extends to the very concept of the novel as a genre during Brazilian Romanticism. This novelistic concept is fueled by the observation of everyday life as well as by aesthetic ideas brought to light by European Romanticism. Differently, however, in A luneta mágica [The Magic Looking Glass] Macedo employed aspects of the fantastic to produce a daringly critical and creative novel that contrasts vividly with other Romantic works in Brazil

Uma abordagem comparativa da ironia: conceito, tropo e performance

We pursue in this paper an understanding of irony which is shared by both the German author Friedrich Schlegel and the critic Paul de Man. Irony is rather understood as a trope and as a performative act than as a concept, which has indeed consequences to the very legibility of texts.

Visões seiscentistas do paraíso e do inferno: passos na construção da recepção da litratura brasileira na Alemanha

The present text intents to explore how the observation and the annotation of cultural practices of a nation can have a decisive role in the image construction of its literature and how this image can be decisive for the perception of the texts written about the target nation. To exemplify this idea, some important topics for the construction of the image of Brazil and for the text written about this country in Germany are taken under consideration.

Alguns apontamentos sobre Cícero tradutor de poesia

Within the De optimum genere oratorum we can find the statements of a Rhetoric of Translation (106-43 B. C.) where Cicero defines a set of discursive rules considered necessary for an efficient translatorial act. As his ideas about translation are reviewed, this article aims to present some important theoretical aspects of Cicero’s thought and to display his practice through the commentary of a short excerpt from Homer translated by him.

A análise funcionalista e o estabelecimento de quadros categoriais na gramática

Committed to a functionalist view of grammar, this study takes word classes as its object of analysis, aiming to show that categorical rigidity cannot be upheld in linguistic use. The analysis sample presented starts from the solutions of dictionaries in the registration of word classes parts and from the fluidity that these classes show in their use. Aspects of grammaticalization in Portuguese language are taken as evidence. It is argued that the grammatical organization of language has properties that support categorical shift processes, however singular they may seem to examination.

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.

Línguas de ritmo silábico

One of the most controversial issues in the history of Phonetics is the discussion about the typology of speech rhythm. Out of the Greek and Latin tradition on poetry versification, the notion of rhythm has been misunderstood as speech rate. In the early years of the 20th century, a dichotomy merged classifying the speech rhythm into stress-timed and syllable-timed languages, inspired by the old theory of poetic versification. Following the same old pattern, later on, a third type of language were proposed: the moraic languages, initially attributed only to Japanese. With the facilities to carry on acoustic research, in the second half of the 20th century, the typology of language rhythm came to a dead end. Different types of language were set out. This paper discusses these ideas, showing a great misunderstanding among researchers in relation to the characterization of a syllable-timed language. The notion of mora is revisited and its role in the study of speech rhythm is better defined.

A angústia e a ficção contemporânea

Our aim in this article is to accomplish an afterthought concerning contemporary fiction. Taken as initial the afterthought of the role of the novel as fiction and its linking with the afterthought of mimesis in modernity, we aim to consider the presence of agony not only as a theme but also as a structural element of narratives. Eventually, we will make brief tallies of theses aspects in the work of José Saramago.

A presença da angústia em um conto de Mia Couto

This article intends an approach among literary analysis, philosophy and psichoanalysis in a short story from Mia Couto, Mozambican author. From the trajectory of the main character and from their relationship with the others, we intended to do a reading on the presence of anguish within this literary text. In order to do that, two definitions were used to explain what would be considered torment: one from the philosopher Kierkegaard and the other from the psichoanalyst Freud. Concluding, we aim to compare this two readings in a way that we establish bounds between both.