Between France and Brazil, Relation and Violence in Poetry and Translation

Propomos, neste artigo, apresentar os resultados de um estudo estatístico textual realizado com a obra psicografada Parnaso de Além-Túmulo (1932), com ênfase de análise nos 31 poemas mediúnicos atribuídos ao poeta brasileiro Augusto dos Anjos pelo médium Francisco Cândido Xavier. A ferramenta digital utilizada foi o Hyperbase, em sua versão online (hyperbase.unice.fr/hyperbase/). O corpus é formado por 9 textos mais os 31 poemas atribuídos a Augusto dos Anjos. Dentro das funções estatísticas e documentárias da ferramenta utilizada, verificamos a distribuição de frequências, a distribuição das palavras funcionais, a distribuição gramatical e o uso de bicódigos e de tricódigos. Quanto aos resultados das análises realizadas, destacamos que Parnaso de Além-Túmulo (1932) e os 31 poemas atribuídos a Augusto dos Anjos não se aproximam, estilisticamente, de Eu (1912), que tem a autoria comprovada do poeta paraibano. Os supostos poemas atribuídos à autoria de dos Anjos se encontram, na verdade, mais próximos de Lira imortal (1939), que foi também psicografada por Chico Xavier.

These considerations aim to discuss the diction of the sublime in Augusto dos Anjos’ poetry, whose particularities seem to respond to the perception of the crisis of the ideal. The opening of language to a transcendent dimension, in Augusto dos Anjos’ poetry, reveals contact points with the representation of the low, renewing the diction of the sublime when it approaches the grotesque. Augusto dos Anjos’ poetry finds in the articulation between devices of the sublime and the grotesque a platform to renew the language in the service of greatness, no longer accessible to the traditional means of elevation discourse. Augusto dos Anjos reveals an expressional modality that we call the hideous sublime, a poetic diction that seeks to create the sublime effect through brutal rapture.

Augusto de Carvalho Rodrigues dos Anjos (Paraíba, 1884 - Minas Gerais, 1914) foi um escritor brasileiro, que morreu aos 30 anos de idade, mais conhecido por escrever poesias, também foi autor de crônicas. Suas poesias foram um tanto rejeitadas na época, por não corresponderem fielmente aos modelos literários vigentes, como também por tratarem de temas que a literatura brasileira dava pouco espaço. Abordando uma visão trágica da vida, Augusto dos Anjos nos motiva a indagá-lo quanto às suas leituras e absorção de ideias, sobretudo em relação à filosofia trágica. Nesta pesquisa, aprofundamo-nos no universo cultural augustiniano buscando, na estimativa de sua leitura, explicitar aspectos da obra e vida do autor, reconhecendo, ao menos em parte, as referências e influências literárias em sua obra, a partir da história da leitura, utilizando basicamente seus escritos, que nos dão vestígios dessas relações. Por meio disso, analisamos seus escritos sobre uma perspectiva pessimista e trágica, não delimitando seus pensamentos, suas práticas literárias e ideias, mas relacionando estas com as filosofias de Schopenhauer e Nietzsche, por conta de suas filosofias acerca do trágico. Parecem ser influências que conseguimos observar, sobretudo, ao ler as poesias de Augusto dos Anjos.

Conceição Lima, Poet of São Tomé e Príncipe Russell G. Hamilton Maria da Conceição de Deus Lima, who most often goes by her authorial name Conceição Lima, was born in 1961 on the island of São Tomé, situated in the Gulf of Guinea, some 170 miles from mainland Africa. A citizen of the small two-island nation of São Tomé e Príncipe, Conceição Lima has emerged in the postcolonial period as one of lusophone Africa's foremost contemporary poets. She began writing poems in her teens. As a matter of fact, in 1979, when she was only 19 years old, Conceição Lima traveled to Angola where, in Luanda, she participated in the 6th Conference of Afro-Asian Writers. She recited some of her poems and was probably the youngest among the many participants. Lima herself has referred to this recital as the first youthful phase of her emergence as a poet. What might be termed Conceição Lima's second youthful phase began when she first had poems published in newspapers, magazines, and anthologies. Her premiere as a poet of national recognition occurred in 1984 when Conceição Lima was among five São-Tomeans, who reached adulthood after independence and contributed to a caderno (notebook) that is an anthology consisting of thirteen poems. Among the total of six São-Tomeans who have poems in the anthology, the only one not a member of the then youngest postcolonial generation is Alda Espírito Santo. Born in 1926, Espírito Santo emerged as a published poet in the 1950s, and over the decades has come to be much admired for her verse. The above-cited notebook anthology, titled A Descoberta das Descobertas ou as Descobertas da Descoberta (The Discovery of the Discoveries or the Discoveries of the Discovery), was organized by Frederico Gustavo dos Anjos, two of whose poems are also included in the volume. The first poem printed in the anthology is by none other than Conceição Lima, identified by her nickname "Ção." The title of "Ção"'s introductory poem is "Descoberta" (Discovery). In a second caderno, this one being not an anthology, but an analytical study titled As Descobertas da Descoberta ou a Dimensão de uma [End Page 194] Mensagem Poética (The Discoveries of the Discovery or the Dimension of a Poetic Message), published in 1985, Frederico Gustavo dos Anjos makes the following pertinent statements with respect to Conceição Lima's poem "Descoberta": "Descoberta" representa o resultado da visão objectiva que permite considerar de maneira justa e não por mero acaso os altos e baixos de toda uma situação conflituosa, mas objectiva, gerada por contradições sociais que não podem ser ignoradas. Então a 'Descoberta' faz o balanço das esperanças e dos feitos , dos sonhos e das possibilidades, do real e do ideal. E é Conceição Lima quem faz (pretende?) a constatação colectiva. Colectiva quererá dizer já de todos? "Discovery" represents the result of the objective vision that permits us to consider in a just manner and not merely because of the highs and lows of a conflictive, but objective situation engendered by social contradictions that cannot be ignored. "Descoberta" thus takes account of the hopes and actions, of the dreams and possibilities, of the actual and the ideal. And it is Conceição Lima who makes (seeks to make?) a collective confirmation. (Does collective already include all?) (10) Augusto dos Anjos's foregoing observations implicitly affirm that in the sphere of a then emerging postcolonial literature Conceição Lima herself was in fact a revelation, or, indeed, a "discovery." In that early postcolonial period Lima's personal, but also essentially collective, poetic voice expressed a sense of the revolutionary idealism that characterizes many of the literary works produced by young, emerging writers. During the ensuing years since Conceição Lima's first lyrical works appeared in print, she has continued to cultivate in her poetry, albeit with what might be termed decreasing idealistic patriotism, a "São-Tomeanness," at times provocative, in the most positive sense of the word, and always aesthetically engaging. Over...

Augusto dos Anjos’ poetry usually slides from the usual categorizations. Despite the hegemonic criticism the Brazilian literature of the early twentieth century receives, being described as old-fashioned, our gaze allocates Augusto dos Anjos in modernity itself. In the present work we seek to understand Augusto dos Anjos’ poetic project, giving a reading of one of his poems, “A meretriz”, in the light of the aesthetic concept of modernity by Charles Baudelaire, consolidated in one of his emblematic figures — the courtesan —, and by the perspective of the concept of allegory by Walter Benjamin.

O presente texto analisa o poema “O Negro”, de Augusto dos Anjos, sob o ponto de vista da resistência à ordem ideológica que reservou aos povos de origem africana o lugar da exclusão, negando-lhes o direito à voz e à vida digna. A análise tomou como fundamentação o pensamento crítico de Alfredo Bosi (1977; 2002; 2015), em particular sobre poesia e resistência, e do pensamento teórico e reflexivo acerca da relação entre lírica e sociedade, segundo a sistematização de Adorno (2003), Merquior (1997; 2013) e Holanda (2019). O objetivo principal foi examinar o poema, investigando suas tensões visíveis em relação ao processo histórico e social brasileiro, referente ao contexto de sua produção – início do século XX -, tomando-o como recusa e resistência aos discursos correntes de dominação e domesticação do escravo. Sob o ponto de vista da recusa, trata-se de uma lírica que se abre ao social conduzindo o leitor para além do cotidiano de aflição, “na direção de uma situação digna do homem” (ADORNO, 2003, p. 73), que é, ao mesmo tempo, resistir e refugiar-se do sistema de opressão. Palavras-chaves: Augusto dos Anjos; Negro; Poesia; Resistência.

The aim of this essay is to discc the importance of lietrary criticism in the rediscovery of Eu, by Augusto dos Anjos as well as to propose a reading of his poetry.

João Cabral de Melo Neto e Augusto dos Anjos são dois poetas que possuem obras bastante diferentes, no entanto, há semelhanças importantes entre suas poéticas. Por meio de uma leitura comparativa alguns de seus poemas principais, esse estudo busca ressaltar três elementos que fazem seus projetos estéticos confluírem em seus aspectos fundamentais.

This article, using Cesario Verde as a point of reference, presents diverse strategies of poetic reconstruction of the city via scansion and formal analysis of representative poems: “cidade/city/cite” by Augusto de Campos, “Ode Triunfal” by Alvaro de Campos (heteronym of Fernando Pessoa), “As Scismas do Destino” by Augusto dos Anjos, “Paisaje de la Juventud que Vomita (Anochecer en Coney Island)” by Federico Garcia Lorca and “O Inferno de Wall Street” by Joaquim de Sousândrade. These poems are taken from Portuguese, Brazilian, Spanish and US-American literature and provide a fertile line of inquiry into urban poetics.

The presence of scientific language in Brazilian literature is not a new phenomenon. Indeed, in the first written descriptions of the reality of the country, by the scribes who came with the first navigators, two elements stand out: the attempt to be “scientific” and the attempt to be “poetic.”1 From those first attempts, many others followed. In “Modernismo e modernidade na arte politica” [Modernism and Modernity in Politial Art], Gilberto Freyre reviews the early chronology and names Martins Junior, a member of the late Nineteenth century “German School of Recife,” as the “founding father” of scientific poetry in Brazil, and he calls it “modernismo do mais louco” [the maddest kind of modernism].2

Inicialmente esquecida pela crítica, a poética de Augusto dos Anjos apresenta diversas facetas que constituem sua singularidade. Antes consideradas como um ponto negativo de sua obra, as peculiaridades da poesia augustiana são objeto de numerosos escritos acadêmicos desde os anos 50. Atualmente, ainda existem temas a serem explorados com maior profundidade. A presença de elementos do cristianismo é um desse tópicos. Por isso, este artigo busca refletir sobre a espiritualidade cristã no poeta do Eu por meio da análise comparada de dois sonetos dedicados à morte do pai do poeta. Os poemas possuem representações diferentes da morte e ao compará-las, delimitaremos duas manifestações da espiritualidade cristã associadas a elas.

Just because a didatc reason, since a long time, the brazilian literature writers have been named by some kind of style e manner presented in certain academics classification that doesn’t includes the poet Augusto dos Anjos called then as a trasition poet. In fact, he doesn’t take care of rules or writting ways. That’s the theme of this article. KEY WORDS : Augusto dos Anjos, style, didatic.

Augusto dos Anjos’s poetry belongs to the last voices of traditional lyricism inBrazil, and thus far from ruptures brought about by Vanguardism or Modernism. Although Darwinism is only superficial, Eschatology is deep and tries to destroy the scientific approach and structure. The grotesque supports anti-lyricism coupled to transcendental philosophy. Since it is immersed in gnosiologic dualism, the literary work Eu [Me] (1912) has a dark physiognomy, which debates Art Nouveau in Augusto dos Anjos’s poetics. These aspects foreground a multi-meaning in-betweenness.

Embora Vinicius de Moraes seja conclamado por sua poesia amorosa, sua obra possui, no entanto, outro lado, uma face bizarra e prolífica ainda pouco explorada pelos estudiosos. A tendência que muito de seus versos dispõe para o espectro do anômalo, do feio, do asqueroso, do putrefato é evidente e o torna, com a devida atenção, o maior herdeiro no século XX da poesia grotesca levada a efeito por Cruz e Sousa e Augusto dos Anjos. Essa tendência esbarra igualmente, outras vezes, no riso espontâneo do nonsense, da glutonaria, do escatológico e da incorreção.

This study concentrates on the discovery of Japanese Buddhism by Brazilian intellectuals as a group of spiritual practices and as a body of spiritual wisdom. The study has been realized through readings and meetings with Japanese Buddhist monks and/or Japanese immigrants. These intellectuals defend a religious experience based on a universal notion of representations of Japanese Buddhism, which provides them with a non-dualistic philosophical perspective and a unique psychological experience. Through innovative spiritual experiences these intellectuals have broken the tension created within the dispute between secularized science and the Catholic hegemony, both predominant in the intellectual panorama. KEYWORDS: Japanese Buddhism - intellectuals - Zen in Brazil - Buddhism in Brazil This study analyzes the discovery of Japanese Buddhism by Brazilian intellectuals. Writing to various groups, the intellectuals used poetry, history, tales of romance, philosophical-religious reflections, memories and confessions, as well as music and children's literature, to communicate their spiritual experiences. This history is marked by the conjugation of practices and textuality of intellectuals and parts of the middle-class, with various religious knowledge from Euro-Christian, African, and Native Indian cultural inheritances that have presided over Brazilian society for three centuries. Frank Usarski (2002), a Brazilian researcher of Buddhism, does not consider this to be a religious phenomenon of the masses. As a result, measuring the impact of Buddhism on Brazilian culture is difficult because such intellectuals have produced different discourses in their theoretical base and among their constituencies. In the following analysis, to realize the commonalities and differences in the game of connotations, we considered reading as a cultural practice which serves as a developer of senses and understanding (CHARTIER 1996). There are two main lines that organize the historical understanding of Buddhism in Brazil. These lines sometimes intersect each other, and other times move in a parallel manner. In one line, there is Japanese immigrant Buddhism and in the other, the discovery of generic Buddhism by intellectuals as well as the meetings of many of these intellectuals with the immigrants and their teachings. The relationship between Brazilian culture and Japan is very old and extensive, stretching far beyond the mass migration of Japanese immigrants to Brazil during the twentieth century. While the Portuguese Jesuits converted Brazilian Indians in the sixteenth century, companions of the same religious order were in Japan. These priests preached Christianity to the Japanese, studied, and wrote about Japanese culture, history, and Buddhism. It is not possible to establish tangible connections between the readings of Brazilians and these old Portuguese works, in the nineteenth century. Nonetheless, we can infer that an influence was felt through the clearer and more audible teachings of the French, English, Germans, and Americans, who would renew references to Buddhism. The Initial Discoveries From the second half of the nineteenth century until the 1950s, Buddhism from India and from Japanese poetry was discovered through Europeans who studied the Orient. It is possible that some ideas from Brazilian writers, such as Fagundes Varela (1841-1875), Machado de Assis (1839-1908), and Raimundo Correia (1859-1911), were inspired, metaphorically, in the European fantasies of a fantastic Asia (COELHO et al, 1969). As a matter of fact, in 1912, Augusto dos Anjos used to express personal anguish poetically using Buddhist ideas (ANJOS 1976). In addition, philosopher Farias Brito reflects on Buddhism in two of his texts. In a small history book in 1891, he states that India influenced the Western world and that the life of Christ has many aspects in common with Buddha's life - both being gods and human, and that there were communications between them through unknown passageways. …