Traços decadentistas na poesia de Camilo Pessanha e Al Berto

This monograph aims contribute to point out the presence of technical procedures, formal and thematic elements, typical of the Symbolist/Decadentism aesthetic in lyric poetry of Al Berto (1948-1997), using the Camilo Pessanha’s (1867-1926) work as tool to comparison. To achieve this goal, we analyze the corpus selected for research, consisting of three Pessanha’s poems taken from the book that brings together his work, Clepsidra, “Caminho I”, “Caminho II” e “[Depois das bodas de oiro]”, and three poems of Al Berto, taken from the book O Medo, which is the combination of his work too: “Os dias sem ninguém - 4”, “Doze moradas de silêncio – I” and “[no exíguo espaço do corpo ou da casa]”. Through the comparison between the analysis of the poems from Al Berto and Camilo Pessanha it was found resemblances, in fact, - and obviously some differences - between both. Furthermore, it was verified that Al Berto, a contemporary poet, rescues numerous traits of the decadent aesthetic, whose Camilo Pessanha is one of the greatest representatives

A poesia de Adélia Prado: expressão feminina do cotidiano e do sublime

This work aims to locate Adélia Prado’s poetry in the scenery of the contemporary Brazilian literature in order to comprehend some issues that are part of the manner how the poet constructs her poems and which may elucidate, through the lyric speaker, the relation of her poetry with the historical and cultural moment in which her work is placed. In this sense, the purpose of this study is to analyze Adélia Prado’s poetic construction by emphasizing the female voice of her lyric speaker and the superposition of elements from the semantic fields of the prosaic and the sublime, since we have identified these aspects as basic ones for the development of an interpretation on this poetry. This way, we have tried to comprehend the connection that the poet establishes between the material and the spiritual, the erotic and the religious, the immanent and the transcendent and we have concluded that, for the poet, everything can be subject to poetry. For this work, we used the volume Poesia reunida (1995) for it provides a wider view over Adélia Prado’s poetry

O labirinto dificultoso da poesia de Frederico Barbosa

Frederico Barbosa’s poetry builds an intricate and amazing maze of words and meanings in which negativity and emptiness concepts emerge to be the expressing voice of the lyric subject. This article aims to follow the routes of this poetry in terms of its poetic and linguistic procedures, of giving shape to its critical point of view on poetry itself and on the fears and edges of humanity.

Os deslimites da poesia e os reflexos do mundo: uma leitura de No banheiro um espelho trincado

Lyric poetry is where the relationships between world perception, language and representation are mostly problematized. In fact, poetic creation oscillates between the desire of a realistic expression of the world, beings and things and the understanding that its urgent task is simply to reinvent the world order and denaturalize it. Thus, Sérgio Mello’s poems in No Banheiro um Espelho Trincado (2004) conceive a poetry mainly concerned on the tension between words and things; between the lyric subject and the world; between language and the reality it encloses, through groups of images that range from the natural to the rupture process. His poems are small pieces of narrative, scenes that are articulated through the cutting technique, like the process of a cinematographic edition.

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.

Representações do exílio e da melancolia: uma leitura das crônicas de Berna, de Clarice Lispector

Pós-graduação em Letras - FCLAS

O canto dos helenos: poesia e performance

This study presents a brief reflection on the genesis of literary genres in Ancient Greece. It is intended here, in the first place, take us off this "comfort zone" when we talk about "Greek literature" in antiquity, at least from the period of Homer until the fifth century. B.C. , moment when, in fact, the writing has become stable not only in the continent but spreads out reaching the Italian peninsula and generating what we have today as the Roman alphabet. Therefore, we examine some terms that appear to be so clear for us which termed other doings, such as poetry, poem, among others. We also examine issues concerning the epic, lyrical and dramatic poetry.

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.

Corpo lavrado: a poesia telúrica de Ana Paula Tavares

In this paper we analyze how the symbols of land and woman are articulated in the lyric from Ana Paula Tavares. Such motifs, applicants at O lago da lua (1999), will take on a structuring in the poetic universe from this Angolan writer, because architect his being in the world at an existential level and political. Paula Tavares gives her voice to express, with defiance and tenderness, the bitter cry of women prisoners in their own silence. The symbiosis between land and woman works as formative and empowering element of identity

O espaço urbano como construção poética do sujeito

This is a critical and analytical study about some poems written by the Brazilian poet Fábio Weintraub concerning the construction of the poetic space as a critical and poetical view of the subject. The lyric aspect in the poet's work is objective and sensitive towards urban scenes in which all the objects play a role as images of the cities' routine, in which space is performed as the drama of the subject who sees the scene.

Folhetins teatrais e transferências culturais franco-brasileiras no século XIX: questões de uma edição da Semana Lírica de Martins Pena

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

A busca da experiência total do humano na poesia de Alexei Bueno

Pós-graduação em Estudos Literários - FCLAR

As configurações do amor na lírica de Nuno Júdice

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Pissing Glass and the Body Crass: Adaptations of the Scatological in Théophile

Examination of scatological motifs in Théophile de Viau’s (1590-1626) libertine, or ‘cabaret’ poetry is important in terms of how the scatological contributes to the depiction of the Early Modern body in the French lyric.1 This essay does not examine Théophile’s portrait of the body strictly in terms of the ‘Baroque’ or the ‘neo-Classical.’ Rather, it argues that the scatological context in which he situates the body (either his, or those of others), reflects a keen sensibility of the body representative of the transition between these two eras. Théophile reinforces what Bernard Beugnot terms the body’s inherent ‘eloquence’ (17), or what Patrick Dandrey describes as an innate ‘textuality’ in what the body ‘writes’ (31), and how it discloses meaning. The poet’s scatological lyric, much of which was published in the Pamasse Satyrique of 1622, projects a different view of the body’s ‘eloquence’ by depicting a certain realism and honesty about the body as well as the pleasure and suffering it experiences. This Baroque realism, which derives from a sense of the grotesque and the salacious, finds itself in conflict with the Classical body which is frequently characterized as elegant, adorned, and ‘domesticated’ (Beugnot 25). Théophile’s private body is completely exposed, and, unlike the public body of the court, does not rely on masking and pretension to define itself. Mitchell Greenberg contends that the body in late sixteenth-century and early seventeenth-century French literature is often depicted in a chaotic manner because, ‘the French body politic was rent by tumultuous religious and social upheavals’ (62).2 While one could argue that Théophile’s portraits of a syphilis-ridden narrators are more a reflection of his personal agony rather than that of France as a whole, what emerges in Théophile is an emphasis on the movement, if not decomposition of the body.3 Given Théophile’s public persona and the satirical dimension of his work, it is difficult to imagine that the degeneration he portrays is limited only to his individual experience. On a collective level, Théophile reflects what Greenberg calls ‘a continued, if skewed apprehension of the world in both its physical and metaphysical dimensions’(62–3) typical of the era. To a large extent, the body Théophile depicts is a scatological body, one whose deterioration takes the form of waste, disease, and evacuation as represented in both the private and public domain. Of course, one could cast aside any serious reading of Théophile’s libertine verse, and virtually all of scatological literature for that matter, as an immature indulgence in the prurient. Nonetheless, it was for his dissolute behavior and his scatological poetry that Théophile was imprisoned and condemned to death. Consequently, this part of his work merits serious consideration in terms of the personal and poetic (if not occasionally political) statement it represents. With the exception of Claire Gaudiani’s outstanding critical edition of Théophile’s cabaret lyric, there exist no extensive studies of the poet’s libertine œuvre.4 Clearly however, these poems should be taken seriously with respect to their philosophical and aesthetic import. As a consequence, the objective becomes that of enhancing the reader’s understanding of the lyric contexts in which Théophile’s scatological offerings situate themselves. Structurally, the reader sees how the poet’s libertine ceuvre is just that — an integrated work in which the various components correspond to one another to set forth a number of approaches from which the texts are to be read. These points of view are not always consistent, and Théophile cannot be thought of as writing in a sequential manner along the lines of devotional Baroque poets such as Jean de La Ceppède and Jean de Sponde. However, there is a tendency not to read these poems in their vulgar totality, and to overlook the formal and substantive unity in this category of Théophile’s work. The poet’s resistance to poetic and cultural standards takes a profane, if not pornographic form because it seeks to disgust and arouse while denigrating the self, the lyric other, and the reader. Théophile’s pornography makes no distinction between the erotic and scatological. The poet conflates sex and shit because they present a double form of protest to artistic and social decency while titillating and attacking the reader’s sensibilities. Examination of the repugnant gives way to a cathartic experience which yields an understanding of, if not ironic delight in, one’s own filthy nature.