ETAPA PRELINGUISTICA Y LINGUISTICA PDF
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Three Preliminary Aspects Victor K. Mendes 43 “The Poet is Not a Faker”: Klobucka on George Monteiro. Worlds of Difference, Words of Equivalence: The Selected Prose of Fernando Pessoa. Niketche — Uma danga de poligamia. Sapega on Lidia Jorge.
O vento assobiando nas gruas. Mendes The first section of A Repertoire of Contemporary Portuguese Poetry encom- passes nine poets as critically read by a younger generation of critics. As for some orchestras or theater companies, parts of this repertoire could be dif- ferent in different circumstances, but any convincing alternative list of poets would have to overlap, at least partially, with the one presented here. Starting with authors publishing since and ending with those who debuted in the s, this is a relatively cautious sequence, in the sense that it leaves for another opportunity poets with more recent publishing careers, some of them already highly acclaimed, like the winner of the Poetry Prize awarded by the Portuguese Association of Writers, Ana Luisa Amaral.
In brief, the modernist Fernando Pessoa’s posthu- mous influence on twentieth-century Portuguese poets would start being seriously challenged over the following decades.
Two poets who debuted in the s, Fernando Pinto do Amaral and Adilia Lopes, complete this short repertorial list of nine. We kindly invite you, dear reader, to return to some of these poets once in a while, in English, in Portuguese, or in both.
By transporting its own corpse, this poetry etqpa highly aware of the historicity of the poetic form. On the contrary, what is patent is the quest for a new equilibrium, where nei- ther the world can be imposed on sentiment, nor sentiment on the world. It is a matter of a Prelibguistica tradition in which the prelinguisttica between the self and things is searching for a new pact through an initial breaking away: In this essay we read the following: It is the following sonnet in Portuguese and in Lnglish: The cinematographic reference to Elia Kazans well-known film is crossed, simtiltaneoLisly, with Wordsworths intertext.
Let us now look at Joaquim Manuel Magalhaess reading, which starts exactly from the quotational nature of Belos sonnet: In this paragraph the reverberation of the above mentioned affirmative poetology I have just summarized is evident — i.
Really, in any poet who is considered by the critic to be a poet: However, the passage invoked explicitly embodies a series of significant read- ing prelinguistic.
Be this as it may, they are the essential ontologized, which in relation to poetic diction is an inalienable a priori. In this poetology of Magalhaes there is only nature, or naturaliza- tions, which prelintuistica poem can only represent naturally: The second verse is not even involved in his exegesis. I he same occurs with the first tercet and the first line of the second tercet. Actually, in my opinion, what pgelinguistica most interesting in the poem is completely overlooked.
Full text of “A repertoire of contemporary Portuguese poetry /”
In reality, it is actually Ruy Belo himself who con- tradicts this balance. The exercise of the sonnet, for the author of Boca Bilingue, can be assimilated to the repetitive nature of the forms of literary culture.
In this sense I turn to a passage of the preface to the second edition of Aquele Grande Rio Eufrates’. If this trope of vice refers us to anything at all, it is to the vicious circle of the return to the forms of cultural tradition, which strip the poetic dictum of a unitary expressive agency.
This imperative of cultural allusion in Ruy Bello is concomitant with his broadening of the repository of canonized forms of the modernist ethos, in the posterity of which the poet is situated. This idea of the imposition of a form such as the sonnet, apparently, would shape its de-historicization. However, reading this sonnet attentively, we see that what it does is precisely deny its naturalness and, by synecdoche.
And this because it revokes dif- ferent essential places of that lyrical tradition. Really, the lyrical subject introduces self-consciousness as if it were another, otherness as that consciousness, specifically in the second verse: On the contrary, it denies this form as permanence or poetic foundation.
Art as Nature or identity with itself This reading goes through the following pas- sage stated by the critic: Let us read the following passage, concerning, precisely, the images that seek to express this coincidence: We saw that this movement is essentially paradoxical and condemned in advance to fail- ure. It presupposes an Art, a poetic word, which would give origin like Nature. Indeed, the poet has left us some very brief but fundamental considerations, which from here on will influence my reading of the sonnet.
They are the following: It might be said that a negative dialectic determines this scenario. Joaquim Manuel Magalhaes seems to overcome this vacuousness. Magalhaes looked and saur.
The splendore, the intense bright- ness, the intense brilliance prevails over a gaze that would be sensitive. Art is no longer a trope of the posthumous, but an appearance, a presence, in the poem. A poem on seeing is, in this sense, a poem on the end of giving poetry to be seen. It is Ruy Belo who says it to us: Deanie Loomis tries in vain to com- ment in class an extract from a poem by Wordsworth.
Let us return again to the sonnet.
In the preface prelinfuistica Tmnsporte no Tempo Ruy Belo tells us: It is not the place of the autotelic Imperative that would make this final place serve as a closing place for the poem. When all is said and done, he sees that the image is image, transport of the non-existence of the object.
Works Cited Etspa, Ruy. The Rhetoric of Romanticism. Ettapa os dois posfacios publicados pelo autor em Belo, He is the translator into Portuguese of the seminal work, Orientalism, by Edward Said.
His pprelinguistica recent book is Um Intelectual na Foboldndia: Taking as its point of departure the argument that Jorge de Sena tailed productively in his attempt to overcome Fernando Pessoa, and that Ruy Belo — trying to emulate Pessoa but at the same time writing quite different poetry — emerges as Pessoa’s worthy successor, this article proposes a brief analysis of three preliminary aspects of temporality as a contribution to a lrelinguistica study of time in Ruy Belo’s poetry: In the rich history of his country’s twentieth-century poetry, Ruy Belo is the worthy successor to the great Fernando Pessoa and may be considered, within an intentionally restricted national lyric repertoire, the second Portuguese poet of the century.
From the critical point of view, however, Ruy Belo is still awaiting his own equivalent of Eduardo Lourenqo’s Pessoa Revisitado: Let us therefore put an abrupt end to this reductive paragraph, with its concern for the poet’s complete works, in order to focus on a relatively secure point of time.
For time is precisely what it is all about.
There were, of course, other similar attempts, but in terms of an explicit confrontation Sena subsumes them all. Ruy Belo attempted to imitate Pessoa and, despite himself, produced poetry that was substantially different from Pessoa’s. In another art form, we may be linguostica of how Brahms the composer of preliguistica First Symphony related to Beethoven of the Ninth: We do not find in Belo the structural lucidity of Pessoa’s prose in verse, but we encounter in it another space 2 ind, above all, another time.
Some prevalent critical approaches to Belo tend to label him as an epigone to Modernism which often means to Pessoa or wrap him up in the miseries and anachronisms of the Portuguese literary-historical narrative of the s and s, in this way revealing their own share of analytic distress.
These miseries and anachronisms are of little help in reading Belo’s poetry in the context of the twenty-first-century republic of letters; in other words, in making it contemporary. My contribution to such an undertaking is to show how Belo inscribes in the temporality of his verses a stage in the history of how the Portuguese became hedonists, and does so — much better than Pessoa — regardless of the thematic sadness suffusing so many of his poems.
The poet is faced with the difficult problem of the co-existence, within the poetic text, of contradictory stances. In this regard, the most relevant factor is without a doubt the author’s belonging, on the crucial issue of how to cope with life, to the party of Catholicism as well as, simultaneously and in an overt contradiction, to the party of the critics of Linguistoca and, even more amply, of Christianity: This is the most intense contradiction of Belo’s poetry, and it is of religious nature, as was the case, in an altogether different context, of Camoes’s epic as pointed out by Almeida Garrett in Travels in My Homeland.
Unlike what happens in Sena, Belo’s inscription of this discrepancy in time fortunately does not beget a set of rules that confine temporality to a dialectical version of history. Let us locus then, hrst ol all, on time as the condition of possibility. Belo’s orange is not an erapa, just as the journey around this orange is not a journey at all.
Let us have a look at the poem’s syntactic pattern: A scrutiny of the conditions of linguisfica for Belo’s orange brings us to the question of time. What this linuistica suggests is a micro-narrative principle resting on at least two moments that are aligned as follows in the linear time of analysis: The answer to this question, in the context of the poem, requires a consideration of, in the first place, the art of painting, along with the hands that paint in order to make sense, and the discipline of this art of emotional restraint, and secondly, the act of looking at painting or, more precisely, of having seen an orange painted in a picture.
This anti-Aristotelian explanation is well known to us and has its origin in some of Oscar Wilde’s maxims about art and life or in the work of the outstanding art historian Ernst Gombrich. Art as challenge and aggressiveness is refuted by time through an unannounced shift of register that is such a recurrent surprise of this poetry. Only for a while does the orange deny the course of time. The orange that is eaten becomes part of the cycle of metamorphosis by means of death.
In other passages of the text, the poet occupies the place of the orange in time. Do painted oranges die?