Algumas considerações sobre a poesia de BOCAGE

Este trabalho visa à análise das poesias eróticas e satíricas de Manuel Maria Barbosa du Bocage e de sua repercussão na sociedade portuguesa do século XVIII. A ironia, por definição, propõe a inversão de enunciados, negando o contrário daquilo que se afirma ou vice-versa. Mas, tal recurso, largamente empregado pelo Poeta, extrapola a mera função de figura de pensamento, uma vez que, potencializando um poderoso arsenal crítico, propicia a construção de um discurso desestabilizador, cuja intenção é colocar em xeque a ideologia oficial. A lírica bocagiana, em sua vertente erótica e satírica, vale-se do deboche, do escracho ou da sátira desbocada para colocar às claras a distinção entre essência e aparência, em uma sociedade cuja moral se constrói a partir das crenças religiosas nem sempre professadas, quer pelo corpo social como um todo, quer pelo clero, guardião desta moral. Examinaremos, neste trabalho, os modos de representação discursiva inscritos nesta poesia. Bocage ultrapassou as fronteiras de seu tempo em poemas cuja licenciosidade, muitas vezes, não esconde uma ponta de amargura e sofrimento. Dividido entre dois mundos: o árcade, sob o signo da razão, constituído de regras rígidas; e o romântico, regido pela paixão, Elmano não esconde o desconcerto, que procura na clandestinidade a via possível para a expansão de um espírito revoltado

Literatura popularista moderna al País Valencià: darreres edicions i aportacions [Ressenyes de dos volums de la col·lecció ‘Biblioteca d’Autors Valencians']

Ressenyes de dos volums de la col·lecció ‘Biblioteca d’Autors Valencians’ dedicats a autors i obres dels segles XVII i XVIII. D’una banda es comenta l’ edició l’ any 1995 d’Antoni Ferrando Francés dels versos del porta barroc Pere Jacint Morlà i d’altra, l’ edició l’any 1996 de Joaquim Martí Mestre sobre els col·loquis valencians eròtico-burlescos del segle XVIII

Tatuagem da palavra : educação sentimental do corpo no corpus poético de Maria Teresa Horta

While looking to the body and finding it engraved by cultural, imaginary and power-related texts through a discourse embodied in itself, this research proposes a new vertiginous approach to it by analyzing the following works: Poesia completa II, more specifically, Educação sentimental, and Novas cartas portuguesas. Such transgressive and performatic works are from Maria Teresa Horta (1937-), Portuguese writer, who proposes a new education by a renewed language: a sentimental education spawned from the erotic element. Starting from the deconstruction of the view over the spoiled body and exposed in Novas cartas portuguesas, from the poetic texts in Educação sentimental, as well as in remaining ones in Poesia completa II, Horta disassembles and reassembles the body, giving a new meaning to the symbols that surround us and our experiences. Other than proposing to all, men and women, such new meaning of the behavior and current practices models, Horta s education allows, through a performance action, the construction of a stage for female identity, free from the phallic influence. A new identity, able to handle all holy and profane characteristics of women, discarding the chromatic lens of sin. Horta s poetry emerges as a new proposal of literary labor

'Muddy eels' (Archilochus 189W)

Un análisis de las ediciones y comentarios acerca de Arquíloco (fr. 189-W) desde Liebel (1812) y la sugestión de un posible nuevo contexto (homoerótico), en el caso de que el poema no esté relacionado con la saga de Neobula y sus hermanas.

Da Apollonio Rodio ad Aristeneto : Persistenze e innovazioni di un paradigma mitico

La principal característica de la quinta carta de las Epistolaí de Aristéneto proviene de la identidad literaria de Medea en el tercer libro de Argonautica de Apolonio Rodio. De tal manera, la carta se observa como un ejemplo interesante de un texto "re-escrito" del tercer libro del poema, el cual, abastecido por la memoria sáfica de los síntomas del amor, es considerado un punto de expansión y difusión de un núcleo teorético de la literatura erótica greco-latina.

'Muddy eels' (Archilochus 189W)

Un análisis de las ediciones y comentarios acerca de Arquíloco (fr. 189-W) desde Liebel (1812) y la sugestión de un posible nuevo contexto (homoerótico), en el caso de que el poema no esté relacionado con la saga de Neobula y sus hermanas.

Da Apollonio Rodio ad Aristeneto : Persistenze e innovazioni di un paradigma mitico

La principal característica de la quinta carta de las Epistolaí de Aristéneto proviene de la identidad literaria de Medea en el tercer libro de Argonautica de Apolonio Rodio. De tal manera, la carta se observa como un ejemplo interesante de un texto "re-escrito" del tercer libro del poema, el cual, abastecido por la memoria sáfica de los síntomas del amor, es considerado un punto de expansión y difusión de un núcleo teorético de la literatura erótica greco-latina.

'Muddy eels' (Archilochus 189W)

Un análisis de las ediciones y comentarios acerca de Arquíloco (fr. 189-W) desde Liebel (1812) y la sugestión de un posible nuevo contexto (homoerótico), en el caso de que el poema no esté relacionado con la saga de Neobula y sus hermanas.

Da Apollonio Rodio ad Aristeneto : Persistenze e innovazioni di un paradigma mitico

La principal característica de la quinta carta de las Epistolaí de Aristéneto proviene de la identidad literaria de Medea en el tercer libro de Argonautica de Apolonio Rodio. De tal manera, la carta se observa como un ejemplo interesante de un texto "re-escrito" del tercer libro del poema, el cual, abastecido por la memoria sáfica de los síntomas del amor, es considerado un punto de expansión y difusión de un núcleo teorético de la literatura erótica greco-latina.

Ėrotika v russkoĭ poėzīi : sbornik stikhov /

Photocopy.

Undressing the actor : the erotic relationship with the audience

The intimacy and eroticism of the actor’s relationship with the audience is captured in the ecstatic revelation of the actor “being in the moment.” Drawing on the theories of Freud and Sartre and twenty years of performance praxis, this paper explores the exchange of erotic discourse between stage and spectator that not only heightens the experience of the liveness of theatre, but creates a symbiosis that is silently negotiated, agreed upon and sensuously performed during the suspended timeframe of the theatrical event. The actor draws the audience into the erotic transaction through various dramatic devices: the seduction of the soliloquy, the somatic and verbal discourses, the sensuality of light and costuming. The audience responds with its own paralingual and verbal foreplay: the playfulness of laughter, the slapping of hands and, most significantly, the gaze. While the gaze is often perceived as a form of voyeurism, this paper argues that the gaze of consensual agreement between audience and actor can work to unmask inhibitions enabling the actor to create the truth of the moment in complete abandon.

Australian eco-pastoral poetry

Les Murray and Judith Wright are two Australian poets who are widely read as landscape poets. While this framing offers valuable insights into their work it often fails to bring the importance into a contemporary context or to recognise the long tradition Australia has had with , to use Leo Marx’ term, “the complex pastoral”. As Ruth Blair reminds us in her chapter “Hugging the Shore: The Green Mountains of South-East Queensland” in The Littoral Zone: Australian Contexts and their Writers it is accepted that North America has a tradition of the complex pastoral mode but it should be remembered that Australia also has a long history of this form. Both Judith Wright’s and Les Murray’s poetry encourages active campaigning for the environment .These Australian poets are eco-pastoral poets whose poetry encourages active reading rather than passive reflections. Their poetry speaks to the strong connection between the lived everyday landscape and the imagination of past, present and future. Their work is imbued with a strong sense of ecocritical awareness while at the same time drawing on pastoral conventions. These two Australian poets do not offer idealistic pastoral notions but rather reveal the complexities of lived human/nonhuman relationships. This paper will discuss these complexities and how poetry can be experienced as literature in action—ways for readers to connect with and negotiate with the land they inhabit. The research for this paper was, in part, drawn from the responses that local community library groups offered after reading the works of these poets. What became evident from this research was the way the poetry made the readers think not only of landscape as a place of refuge from the urban technological world but also as a contemporary place with connection to agency that motivates readers into active change.