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Copyright of Tradução em Revista is the property of Faculdades Catolicas - Pontificia Universidade Catolica do Rio de Janeiro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

After translating Unha tempada no paraíso (Valer, 2019), the first book by Claudio Rodríguez Fer to be published in Brazil, I would like to present to the Brazilian reader the five texts that make up "Génesis biopoética", the first part of ADN do infinito (Andavira Editora, 2021), the Galician author's latest collection of poems. The main aim of this work is to make an approach to his poetry and to show my Portuguese version of these poems. It is worth noting that Claudio Rodríguez Fer's literary work is written in Galician and that, with the irruption of his erotic poetry, he renewed the aesthetics of 1980s Galician literature in the 1980s. [ABSTRACT FROM AUTHOR]

The article analyzes publications by nosotros, an indie publishing house concerned with giving visibility to the production of Argentinean and Brazilian women. For four years, the publishing house portrays the work in progress of women poets in bilingual booklets (Spanish-Portuguese) with thematic and aesthetic diversity. The present text intends to discuss processes of erasure and inclusion of women in institutional environments and poetic anthologies in Brazilian poetry; the difficulty of a mature woman to persist publishing even today; the independent market as the locus that remains possible to articulate resistance and new poetics; the themes of physical displacement in poetry written by women and the search for new roads to find their ways. Statistics on poetic anthologies from the beginning of the century are pointed out to measure the exclusion of women, besides the use of the theoretical aspects of gender studies and feminist criticism to analyze the poems in the methodology. In conclusion, the editorial task of nosostros, and this very text are acts to guarantee the memory of women Brazilian poets, to portray their work in progress, to affirm that they exist and can persist in the future. [ABSTRACT FROM AUTHOR]

Copyright of Revista Linhas is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Sociologia & Antropologia is the property of Sociologia & Antropologia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ilha do Desterro: A Journal of English Language, Literatures in English & Cultural Studies is the property of Universidade Federal de Santa Catarina, CCE Departamento de Pos-Graduacao em Lingua Englesa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Estudos Ibero-Americanos is the property of EDIPUCRS - Editora Universitaria da PUCRS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Boletín Galego de Literatura is the property of Universidad de Santiago de Compostela, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Lletres Asturianes is the property of Academia de la Llingua Asturiana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Sónia Sultuane is a writer and artist who has been occupying a prominent place in the cultural scene of Mozambique. The collection of poems No colo da Lua (2009) reveals a poetic voice in the feminine that relates to nature in the perspective signaled by ecofeminist studies regarding the endorsement of a humanistic exercise to protect the world and the most diverse manifestations of nature. To support this epistemological location, we will anchor in the positions of Angélica Soares (1999) on eroticism and ecology, by Carmen Tindó Secco (2014) on the reflections around affection and poetry, by Greta Gaard (2017) on the direction of ecofeminism, and by Izabel Brandão (2003) on the critical frontiers of ecofeminism and literature. [ABSTRACT FROM AUTHOR]

This work is part of the efforts to review the critical fortune regarding the late work of Carlos Drummond de Andrade, especially from his posthumous book O amor natural. Our goal is to refute a recurring hypothesis in analyzes devoted to this book. The "disappearance of the world" and the refusal of history were commonly recognized in the collection of erotic poems by Carlos Drummond de Andrade. In fact, in most poems, the inscription of the world is not self-evident. However, we argue that even if social conflicts are not evident in the verses, concern about public problems is present. We will try to prove this proposition by means of a brief review of the theme of world feeling in Drummond, which will be compared with the inscription of the historical context in "O que o bairro Peixoto", poem of O amor natural in which the world's bewilderment round the erotic scene. [ABSTRACT FROM AUTHOR]

The work Corola, by Claudia Roquette-Pinto (2000), introduces a consistent poetic project arising from the use of expressive metalinguistic resources and of its cohesive structure. Resorting to intratextuality promotes the unity and the metalinguistic reflections of the book's 48 poems. The dialog with the literary tradition is simultaneous with the awareness of the enunciators that the poetry of Corola is intervallic and fissile. The initial 47 untitled poems build a strong relationship of continuity and revealing interdependence of a presence of a "theory" of the poetic creation based on misfortunes. The lyricism in Corola does not present marks of self-pity related to the castaway situation announced in the last poem of the work. The adjectives exhausted, torn, discredited ascribed to the poetic self, make it unfold into another, critical appreciator of their own poetic noises and a conscious hostage of an intermittent and lacunar time which favors the construction of a poetics of a patient waitfor the rescue of the poetry and of the development into a reader-spectator of himself or herself and of the poetic text. We will analyze some metalinguistic procedures and compositional concerns announced by Corolas poetic selves, as well as the recurrent figure of the garden as a poetic space. [ABSTRACT FROM AUTHOR]