Portuguese Poet Research Articles

‘Céus ao rés-da-página’: imagem, superfície, poesia e política (Considerações sobre Carlos de Oliveira)

Estrelas são imagens recorrentes na poesia de Carlos de Oliveira, constituindo uma chave de leitura para o seu projeto poético e político: são contraponto, resistência, construto utópico que se impõe diante (ou dentro) da “noite” salazarista: símile da própria escritura. Aprofundando esta reflexão e relacionando as estrelas-signo do poeta português aos igualmente obsedantes astros do universo poético de Mallarmé, aos céus da pintura de Magritte e às reflexões de Jean-Luc Nancy, Maurice Blanchot e Jacques Rancière, buscamos reconhecer as representações do céu estrelado como imagens conceituais, autorreflexivas, alegorias da imagem poética: céu decaído, dessacralizado, inscrito ao rés-da-página – des-astre. Nesta perspectiva, a imagem poética e a superfície da página do poema se revelam, por sua construção mesma, atos políticos de desafio a todo determinismo de forma e significação, a classificações e hierarquizações, à submissão a modelos e poderes soberanos. ---DOI: http://dx.doi.org/10.22409/gragoata.2018n45a1062.

Escrever é ser: heteronímia e escritura no Livro do Desassossego

O poeta português, em sua produção literária, experimentou algo até então inexplorado: viver poeticamente em um mundo identitário multíplice, onde cada voz e cada texto correspondente caracterizam-se como únicos, apesar das proximidades que se possam verificar entre essas identidades criativas. No Livro do Desassossego, Fernando Pessoa, embora pela voz de um semi-heterônimo (Bernardo Soares), explica poeticamente o processo da despersonalização, isto é, conferir sensações, emoções e reflexões a diferentes personalidades, com estilos próprios e genuínos. Pessoa é, assim, o lugar onde todos os eus que ele engendra sentem e registram suas próprias sensações. Ele é um artífice, cuja identidade se adere, por extensão ou contraposição, ao artifício produzido. Este ensaio propõe pensar que a voz soariana presente no Livro do Desassossego corresponde ao exercício identitário da escritura-processo pessoana que se caracteriza pelo desdobramento e pelo consequente estilhaçamento que multiplica, marcado pela heteronímia. Essa mobilidade é justamente o que possibilita a disseminação – que se concretiza, especialmente, na fragmentação emergente da prosa poética, na pulverização da voz e no esfacelamento do sujeito enunciador.

NO ESPAÇO DO POEMA: A PRESENÇA DO REAL - UMA RELAÇÃO ENTRE O POEMA E A FOTOGRAFIA NA POESIA DE SOPHIA DE MELLO BREYNER ANDRESEN

A partir da análise de “No poema”, propomos uma leitura de analogia entre as percepções sobre poesia para a autora portuguesa Sophia de Mello Breyner Andresen e a noção de “fotografia”, ressaltando a visão dela sobre o fazer poético ser uma busca pelo real. Desse modo, o poema surge como um elemento presentificador do mundo, por meio dele, podemos ver, sentir, logo nos conectamos ao real. Esses aspectos são lidos em comparação com a fotografia e seu papel também de reprodução da realidade, de presentificador dos elementos do mundo.

Radicalidade expressiva em Abílio-José Santos: uma obra poética fora do espaço da galeria, uma obra visual à margem do sistema editoria

The first part of this article introduces to the work of the portuguese poet and designer Abilio-Jose Santos, highlighting its diversity of expressive forms and the radical exploration of the signs that are present in it. In a second instance, the article focuses on his manifestos and interventionist texts, as well as on some of his experiences with mail art that relate to the entirety of his subversive project. Interested in directly addressing politics, economics and the artistic legitimation systems, Abilio-Jose Santos never neglected the continuous experimentation with new poetic structures. Thus, it is possible to find in his works a politicisation of aesthetics and a critique of the aestheticisation of politics which is constructed through his artistic practice in itself.

La poética "palimpséstica" de Ricardo Gil Soeiro: los espectros lingüísticos y culturales de la tradición clásica

La publicación de la tetralogía Palimpsesto (2016) del poeta portugués Ricardo Gil Soeiro constituye una sorprendente aportación dentro del ámbito literario peninsular a las relaciones entre filosofía y literatura. Ante las consecuencias nihilistas de la deconstrucción, ensaya las posibilidades impotentes que todavía contiene la creación poética. Este artículo quiere resaltar dos de sus aspectos: la base hermenéutica de la dialéctica de los deícticos personales y las huellas espectrales de la tradición clásica grecorromana.

‘Escutei as confidências da sombra”: a elegia na poesia de Jorge Gomes Miranda

Análise da elegia na poesia do poeta português contemporâneo Jorge Gomes Miranda, com ênfase nos diálogos que essa poesia estabelece com os vários momentos da história da elegia, das origens, na Grécia antiga, à contemporaneidade. A elegia é compreendida não apenas como um discurso de lamento por uma perda, mas como um discurso ativo mobilizado por um ideal de homem e de sociedade.
 
 
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 DOI: http://dx.doi.org/10.22409/cadletrasuff.2017n55a490

El Arte Poética en Romance Castellano (1580) de Miguel Sánchez de Lima y la preceptiva poética castellana de influencia italiana de finales del siglo XVI

The first poetic principles that organized and fixed the new way of doing poetry in Spanish—both in their maxims and in their uses—did not appear in the Iberian Peninsula until almost the last two decades of the sixteenth century. However, this fact does not imply that the Spanish poets were not caught up in the new winds of change, which it started during the Thirties of the same century in Italy, just the opposite. Therefore, some normative texts, which seek to explain and systematize the new poetic regulation, just all in Spanish instead of in Latin, begin to diffidently appear from 1580. El Arte Poetica en Romance Castellano (1580), by the Portuguese poet Miguel Sanchez de Lima, is one of the first attempts that tries to justify and set up the new literary precepts of the moment, in contrast to the old medieval Spanish literary theories.

Pharmakopolis: Cesário Verde’s Lisbon

Abstract Through the example of the Portuguese poet Cesário Verde (1855–86), this article interrogates the relationship between the space of the nineteenth-century European capital city and the literary figure of the flâneur. Specifically, it considers in the first place the role of this aimless, noctambulist observer in a city (Lisbon) that differs in numerous ways from the better-studied locales of Paris and London. Second, it argues for an expansion of the understanding of the flâneur as passed down since Walter Benjamin’s reading of Baudelaire. Specifically, Cesário, owing both to his career as a physician and to his extremely understated, self-effacing poetic style, allows readers to glimpse the otherwise unnoticed psychological and physiological effects of the wandering, nocturnal observations that characterize the flâneur genre. Using Jacques Derrida’s concept of the pharmakon, a drug that both cures and poisons, this article makes the case that the flâneur, rather than a potentially subversive optic for social observation, represents instead an unending, constraining and addictive practice that is dictated by the very social and technological forces that enable his noctambulism. In this light, the otherwise free-wheeling and plotless text of the flâneur can instead be read as a narrative of capture, confinement and obligation.

Echoes of Portuguese India in Goan Poets, 1893-1973

Abstract: This essay-bibliography examines Goan poetry through echoes of Indo-Portuguese culture, focusing on poets born in the late nineteenth or early twentieth century, and who represent a long-ignored enclave of cultural hybridity. The author discusses these formative years in view of the topics of the poetry, the language, the distinctive features of Indo-Portuguese lyrics, and what it means to write as a Portuguese poet in Goa. The study includes a selected bibliography of the principal poets of Goa since the middle of the nineteenth century, complete with some biographical notes, and a selected critical bibliography on Goa and Goan poetry. Useful indications of libraries where these texts can be found in the US, France, Portugal, and Goa are also indicated when available.

Expressões de homoerotismo na poesia Ode Marítima, de Fernando Pessoa. Mergulho nos insondáveis: mar e imaginário

The core discussion in this paper focuses on the apprehension of the imaginary corresponding to the social reality of the Portuguese poet Fernando Pessoa (1888-1935). Our main concern lies on its descriptive effects according to an analysis of the homoerotic images that can be grasped in Ode Maritima by Alvaro de Campos, Pessoa’s most undisciplined and impetuous heteronym. Ode Maritima was first published in 1925 in Orpheu , a magazine that gave rise to Portuguese Modernism. We believe that the issues we highlight herein, based on the confrontation between the anguish felt by the ‘lyric I’ and the ‘closet’ (Sedgwick, 2007), permit a glimpse of the Pessoan imaginary coercively marked by heteronormativity.

Ruy Cinatti, the French–Portuguese mission and the construct of East Timor as an ethnographic site

ABSTRACTThe French–Portuguese Ethnological Mission to Portuguese Timor (1966/1969) financed by French and Portuguese research bodies and initially directed by Louis Berthe was the first mission that conducted lengthy and thorough ethnographic research in East Timor vernaculars and with East Timorese communities. Using personal and scientific archives, printed and oral sources, this article analyses the mission’s background, the role of Ruy Cinatti (a Portuguese poet, former colonial official in Timor and anthropologist trained in Oxford) in its launch, and its political and scientific context. The mission, undertaken during the Portuguese late colonial period and subject to the Portuguese authorities’ approval and surveillance, marked East Timor as a site of anthropological inquiry into the Anthropology of European tradition produced in Southeast Asia, affiliated to post-war structuralism. This case study throws light on individual agency, Portugal’s shortcomings in modern anthropology training, the international competition for Portuguese Timor as part of the Indonesian “field of ethnological study” and the transnational connections in its construction in the era of decolonization.

Espaço de Transgressão e Espaço de Convenção

Through life in society, the human being incorporates a set of rules and beliefs that are culturally shared, taking the myths accepted by the group as representations of truth. Any lack of accordance with the collective perceptions suggests a form of abnormality, while the acceptance of what is already established assures healthiness. Imprisoned by the convention space, the individual forges his own overtaking, either by the nonsense of madness or art pretending. Taking as main reference the work of the Portuguese poet Fernando Pessoa, it is possble to reach a theoretical body in consonance with the thoughts of this pioneer of modernity in Portugal.

Dio e l’uomo. Due assoluti a confronto nella poesia di Miguel Torga

Abstract - This paper aims to illustrate the hard existential itinerary of the Portuguese poet and doctor Adolfo Correia Rocha, better known as Miguel Torga. Starting from a strictly Catholic education, the poet passes through a deep crisis that will mark all his life. Unable to accept an absolute God who condemns his creatures to sin and death, Miguel Torga decides to rise up and to call into question the nature of the Creator and his own existence, in the meanwhile searching for a divine nature intrinsic to the human being. By analizing his poetical production, it is possible to recognize a passage from an age of spontaneous faith to an age of rebellion and, finally, to a peaceful acceptance of his own spiritual conflict. Talked God down, Man rises up, defining a new reference system in which Earth and Poetry become the coordinates of a new religion: the “religion of Man”.

Where contemporary art and contemporary music preservation practices meet: The case of Salt Itinerary

This paper reflects on the continuity of Salt Itinerary, a born-digital musical work that crosses boundaries between music, theatre, and the visual arts, created by Portuguese poet, performer, and composer Miguel Azguime (b. 1960). Several composers and interpreters have pointed out the importance of documentation in the preservation of contemporary music when they experience difficulties while performing the prescribed actions in the score without a description of the results to be achieved along with the composer's intentions. Therefore, a methodological approach was developed which combines prescriptive and descriptive documentation as a main component in the preservation strategy for contemporary musical works. This paper analyses and discusses whether and how this methodology can be applied to the field of contemporary art preservation. It also raises the question of who is responsible for producing and storing this documentation for works of art that exist only outside the museum realm.

OCCULTISM AND MEDIUMSHIP IN FERNANDO PESSOA

This work is the result of a research on the influence that the occultism had on the work of the Portuguese poet Fernando Pessoa. To delimitate the study, we selected papers of Fernando Pessoa, which suggested that the poet considered himself medium, and hence influenced his work, building his depersonalization. This work presents, thus, as main objectiveto analyze personal papers of Fernando Pessoa, whose outstanding characteristic is the presence of occultism and the supposed mediumship defended by him in response to non-literary and heteronymic manifestations. To this end, I focused on specific objectives, which are: a) to study the speech of Fernando Pessoa on his supposed mediumship / occultism b) to analyze specific texts that are, for the poet, mediumistic manifestations c) to study excerpts from a set of personal letters in which Fernando Pessoa suggested being a medium. It is true that this dissertation will address many discussions already made by scholars and specialists in Fernando Pessoa, but we consider the possibility to deepen issues and contribute to the critical fortune of the poet.

<b>O diálogo intertextual com Fernando Pessoa em três contos de José Eduardo Agualusa

The article focuses on the study of three short stories by the angolan writer Jose Eduardo Agualusa (1960-): Se nada mais der certo leia Clarice , Catalogo de sombras and Livre-arbitrio , which are part of his book Manual pratico de levitacao (2005). We will seek to highlight the presence of the Portuguese poet Fernando Pessoa (1888-1935) and his heteronyms, Alberto Caeiro, Ricardo Reis and Alvaro de Campos in the three short stories mentioned, guided by Agualusa’s own considerations, trying to establish, through his books, a regular dialogue between African, Brazilian and Portuguese literature, according to his stance of spreading culture and in particular the African literature to the world, diluting boundaries that can separate the literature of Portuguese-speaking. In the analyzes of the selected texts, we employ as theoretical support the writings by Julia Kristeva (1974), Leyla Perrone-Moises (1990), Tiphaine Samoyault (2008) and Laurent Jenny (1979) .

Os dez signos e o grande enterro: leituras de O astrólogo e o n ovo livro, de Gomes Leal

O artigo pretende apresentar algumas considerações em torno de dois sonetos do poeta português Gomes Leal (1848-1921) – O astrólogo e O novo livro –, ambos constantes de Claridades do Sul (1875), livro que a tradição crítica consagrou como sua obra-prima. Entende-se que os poemas abordam questionamentos recorrentes na obra do referido autor, articulando-se como expressão literária do sentimento de decadência finissecular e operando simultaneamente como etapa preparatória e notícia de O Anticristo (1884-1886). Argumenta-se que o prognóstico pessimista perceptível nos sonetos analisados pode ser lido como uma figuração da trajetória existencial do poeta.

Como-ver: um cinema de palavras na poesia de Manuel Gusmão

http://dx.doi.org/10.5007/1984-784X.2015v15n24p62O artigo se propõe a apresentar uma análise da dinâmica cinematográfica presente na escrita de Manuel Gusmão – poeta e ensaísta literário português –, e de seu trabalho com a sonoridade, com os movimentos, com o jogo de luzes e sombras a co-mover a materialidade verbo-visual dos poemas. Nesse sentido, desenvolvem-se reflexões acerca de uma teorização da imagem e de uma ética do olhar oriundas dos próprios procedimentos imagéticos que se estabelecem no lirismo crítico do referido poeta, no âmbito da poesia portuguesa contemporânea.

João Cabral de Melo Neto e a tradição poética portuguesa

Neste trabalho, proponho acompanhar as complexas relações entre João Cabral de Melo Neto e a literatura portuguesa e o modo como ele se en­tronca nessa literatura por meio de Cesário Verde, cuja poesia despojada de ornamentos retóricos e que privilegia, entre todos os sentidos, uma visão da realidade concreta, fez com que o autor de Serial nele se reconhecesse e o tomasse como o maior poeta português.

O clássico e o contemporâneo, hoje, em alguma poesia portuguesa contemporânea

A partir do ensaio de Giorgio Agamben, «O que é o Contemporâneo?» (in Nudez, Relógio d`Água, 2010), pretende-se reflectir sobre o Contemporâ­neo, em geral, e sobre a literatura portuguesa contemporânea, em particu­lar. O Contemporâneo é entendido não como uma categoria histórica ou cronológica, mas sim como uma categoria a-histórica, como o texto que se consegue manter actual ao longo dos tempos. Para exemplificar esta ideia, algumas poéticas de poetas portugueses são tomadas em consideração de modo a estabelecer-se o diálogo entre o clássico e o contemporâneo: Ca­mões, Cesário Verde, Herberto Helder, Ruy Belo, Nuno Júdice, Manuel de Freitas e Gonçalo M. Tavares são alguns desses poetas escolhidos.