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A presente dissertação visa empreender uma abordagem comparatista que procurará relacionar entre si as obras poéticas, Ritos de Passagem de Tavares e Charneca em Flor de Florbela, por um lado, e por outro, na qualidade de ficção narrativa, Balada de Amor ao Vento de Chiziane e O Silêncio de Gersão, nas quais a imagem da mulher constitui o eixo central. Este corpus literário impõe uma ideologia clara e desafiadora, evidenciando tanto uma identidade como a própria memória social e histórica do século XX, de forma a denunciar o jugo masculino a que o sexo feminino fora sujeito ao longo dos tempos, o que nos permite dilucidar que são estas vozes femininas emergentes na literatura que se tornarão capazes de caracterizar as sociedades atuais (a portuguesa, a angola e a moçambicana) assim como se poderão tornar num importante veículo transformador das mesmas. O embasamento teórico inclui, no primeiro e segundo capítulos, conceitos essenciais que permitirão refletir tanto sobre a natureza complexa do conceito de literatura como a questão da literariedade, devendo o texto literário ser entendido como a forma privilegiada por ser capaz de munir os jovens de instrumentos de análise, de capacidade de interpretação e de compreensão, de desenvolvimento de atitude crítica, entre outras competências que criam e definem a dimensão pessoal e interior de cada leitor. Tendo, ainda, em conta que a literatura comparada se tornou um campo de estudo bastante eficaz no desafio que coloca à diluição de fronteiras literárias, pretenderemos destacar de igual modo a importância da diversificação literária e cultural, na formação dos jovens que frequentam o 3.º ciclo do ensino básico e secundário, em Portugal, e, neste sentido, apresentaremos os ideais associados à metodologia comparatista, por nós considerada o meio privilegiado no estabelecimento de ‘pontes’ entre textos e outras formas de expressão artísticas, que para além de suscitar uma maior reflexão e investigação por parte do leitor, leva-o, consequentemente, a um maior entendimento tanto individual como coletivo. É pela crescente evolução e importância que a figura feminina assume na literatura em geral, figurando-se nesta dissertação, que, no terceiro e quarto capítulos, através de uma leitura pessoal e interpretativa, procuraremos atribuir um lugar de destaque à mulher que assume um tom de revolta contra a sociedade em que se insere, marcadamente falocrática e hostilizada pelo domínio masculino, para poder expressar as suas sensações e emoções a partir de um ponto de vista e de um sujeito de enunciação próprios, que constituirão, no nosso entender, o olhar da diferença. Esta construção de identidades, que o texto literário possibilita, permitirá trazer para dentro da sala de aula uma linguagem com novas tonalidades, reveladoras de outras mundividências ao mesmo tempo que possibilita estabelecer um ‘olhar cruzado’ com outras formas de expressão artísticas, levando ainda os leitores a tomarem consciência das diversas formas de expressão existentes e, sobretudo, a identificar a própria literatura como uma forma privilegiada e eficiente no entendimento do mundo envolvente. Por fim, apresentaremos algumas conclusões que reforçarão a ideia de que a literatura, não obstante o seu carácter ficcional, possui uma forte referencialidade na forma como se apropria do quotidiano e da realidade, possibilitando a revisitação da memória, da história e da cultura da humanidade, convidando os jovens leitores a participar na descodificação dos sentidos do texto e educando-os para uma cidadania plena que implique direitos, deveres e ações, sempre baseados no conhecimento. This dissertation aims to undertake a comparative approach that will seek to relate the poetic works, Ritos de Passagem by Tavares and Charneca em Flor de Florbela, on the one hand, and, on the other, as a narrative fiction, Balada de Amor ao Vento by Chiziane and O Silêncio de Gersão, in which the image of women constitutes the central axis. This literary corpus imposes a clear and challenging ideology, evidencing both an identity and the social and historical memory of the 20th century, in order to denounce the male yoke to which the female sex had been subjected over time, which allows us to elucidate that it is these female voices emerging in literature that will become capable of characterizing current societies (Portuguese, Angolan and Mozambican) as well as becoming an important vehicle for transforming them. The theoretical basis includes, in the first and second chapters, essential concepts that will allow reflection on both the complex nature of the concept of literature and the issue of literariness, with the literary text being understood as the privileged form for being able to equip young people with instruments of analysis, capacity for interpretation and understanding, development of a critical attitude, among other skills that create and define the personal and inner dimension of each reader. Bearing also in mind that comparative literature has become a very effective field of study in the challenge it poses to the dilution of literary frontiers, we intend to likewise highlight the importance of literary and cultural diversification, in the training of our young students in Portugal, and, in this sense, we will present the ideals associated with the comparative methodology, which we consider the privileged means of establishing 'bridges' between texts and other forms of artistic expression, which, in addition to raising greater reflection and investigation on the part of the reader, consequently, leads him to a greater understanding, both individually and collectively. It is due to the growing evolution and importance that the female figure assumes in literature in general, appearing in this dissertation, that, in the third and fourth chapters, through a personal and interpretative reading, we will try to assign a prominent place to the woman who assumes a of revolt against the society in which he is inserted, markedly phallocratic and hostile by male dominance, in order to be able to express his sensations and emotions from a point of view and a subject of enunciation of his own, which will constitute, in our understanding, the look of the difference. This construction of identities, which the literary text makes possible, will allow bringing into the classroom a language with new tones, revealing other worldviews at the same time that it makes it possible to establish a 'crossed look' with other forms of artistic expression, even leading the readers to become aware of the different existing forms of expression and, above all, to identify literature itself as a privileged and efficient way of understanding the surrounding world. Finally, we will present some conclusions that will reinforce the idea that literature, despite its fictional character, has a strong referentiality in the way it appropriates everyday life and reality, enabling the revisitation of memory, history and culture of humanity, inviting young readers to participate in decoding the meanings of the text and educating them towards full citizenship that implies rights, duties and actions, always based on knowledge. more...

Moreto, Poet in the Society of His Time.This is a study of Moreto’s lyrical production set in the context of its time. It aims not only to bring to light poems that have gone unpublished until now or were edited only in old imprints, but also to note the presence of Moreto’s poetic work in some of the important poetry collections from the late 1630s to the 1660s. This new review combining several research perspectives is intended to illuminate some of the social networks in which Moreto and other poets collaborated, and which may be key to explaining other phenomena of the seventeenth century, such as collaborative playwriting Esta aportación se dedica a la producción lírica de Moreto incardinada en su tiempo. Tiene como objetivo no solo dar a conocer poemas que hasta el momento permanecían inéditos o editados en impresos antiguos, sino también observar la presencia de obra poética de Moreto en algunos de los principales volúmenes colectivos de finales de los años 1630 y de las décadas de 1640, 1650 y 1660. Con esta nueva mirada que conjuga varios ejes de investigación se pretende recuperar algunas de las redes de sociabilidad en las que Moreto y otros poetas colaboraron y que pueden ser claves para explicar otros fenómenos del siglo XVII, como es el de la escritura de teatro de consuno more...

Este ensayo examina de modo sucinto la relación entre la obra de Miguel de Cervantes, en especial el Quijote, y la poesía de Garcilaso de la Vega en el horizonte de los valores consagrados en el canon literario de los Siglos de Oro. Para ello, primeramente se ofrece una breve semblanza biográfica e intelectual que busca establecer similitudes entre ambos autores; en segundo lugar, el texto registra diversas apariciones o “señales” garcilasianas en las páginas de la novela en sus dos partes (1605 y 1615) y las comenta con una visión al mismo tiempo crítica e histórica. El trabajo procura hacer una contribución sobre modos nuevos de analizar la tradición literaria y presta la mayor atención a las ideas cervantinas sobre la poesía.This essay examines in a succinct manner the relationship between the work of Miguel de Cervantes, especially the Quixote, and the verses of Garcilaso de la Vega in the context of the main values consecrated in the literary canon of the Spanish Golden Age. For that purpose, first we offer a brief biographical and intellectual note aiming to establish some similarities between both authors, and then we record different “signals” or quotations in the pages of both parts of the novel (1605 and 1615) and comment on them both from a historical and a critical viewpoint. This work tries to contribute on new ways of analyzing the literary tradition, paying the utmost attention to Cervantes’ ideas regarding poetry. more...

Склонится толпа,лебезяща,суетна. Даже не узнаете —я не я:облысевшую голову разрисует онав рога или в сияния.The crowd will bow, fawning, fussing. You won’t ever know if it’s me or not: as it will paint over my balding head maybe with horns or maybe with a halo. Russians study the works of the Soviet poet Vladimir Maiakovskii throughout their time at school. In this chapter I examine the national school curriculum, focsing on the material covered in the final grade of school education. While t... more...

Прославленный не по программеИ вечный вне школ и систем,Он не изготовлен рукамиИ нам не навязан никем.Eternal and not manufactured,Renown not according to plan,Outside schools and systems,he has not Been foisted upon us by man. The turn of the twentieth century has always been regarded as a period of extreme dynamism in Russian culture — a time when many traditional values were questioned and transformed. During this period the genuine creative power in verse and prose came from the symbolist... more...

Osip Mandel′shtam’s recognition as a premier Russian poet developed posthumously and largely outside the Soviet Union. The creation of a canonical Mandel′shtam in world poetry is a case study in trans-cultural and trans-linguistic literary history and politics. This position stands in striking contrast to the history of his reputation in the Soviet Union where the period of his deletion from about 1934 lasted in effect well beyond his official rehabilitation in 1956 until the early 1970s. Fro... more...

This chapter examines the popularity of Elena Shvarts (1948–2010) in the 1990s and 2000s. Shvarts began her poetic career in the literary underground that flourished in Leningrad in the 1970s and 1980s. Experimentally minded poets, many of whom had made their first steps inside official structures designed to promote the evolution of Soviet poetry, were then largely excluded from the official cultural process. Their creativity found an outlet in the underground, variously known as second or u... more...

The aim of this collection is to investigate the state of the Russian twentieth-century poetic canon in the context of socio-political changes triggered by the collapse of the Soviet Union in 1991. This introductory essay sets out the larger context of cultural evolution in which the alterations to the poetry canon, to be discussed in the chapters that follow, took place. It explores developments in Russian culture during a period which has seen both the dramatic disruption of links with the ... more...

Following the collapse of the Soviet Union in 1991, the re-assessment of Soviet literature’s role in disseminating national identity and promoting socialist ethics became a part of the widespread re-evaluation of cultural elites, including writers, responsible for the formation of national identity constructs. In the early 1990s the inflated political value of literature in the Soviet Union became significantly discredited by numerous philological wars in Russian literary journals. Sadly, the... more...

Assessing a poetic canon, as it is emerging, is probably impossible, but provisional judgements can offer valuable insights and the poetry of the present has important lessons to teach about how canons form. Coming to judgements about the present sheds new light on earlier moments of canonisation. The instability and variability of the contemporary canon can act as a cautionary tale, slowing down our confident glance of retrospection at the past. Our judgements can and should change, as the m... more...

Reclaiming Diasporic Voices: Unity or Difference? The canonical shifts that defined Russian literary history in the late twentieth century entailed not only a massive reassessment of Sovietera verse and the reintegration into the canon of previously silenced voices and texts, but also the recovery of diaspora poets. The rhetoric of a unified literature and canon that emerged in Russian criticism then and which prevails to this day constructs émigrés as prodigal sons, finally readmitte... more...

Since 1991, revisions to the canon of post-Soviet literature have occurred, and poetry written during the course of the twentieth century has not escaped this process of re-assessment. Some writers have endured the re-evaluation of what it means to be canonical and they have succeeded in retaining the canonical status that they held prior to the collapse of the Soviet Union. The reverse of this is also true; some writers have been admitted to the canon of Russian poetry for the first time. Ho... more...

The canon of Russian poetry has been reshaped since the fall of the Soviet Union. A multi-authored study of changing cultural memory and identity, this revisionary work charts Russia's shifting relationship to its own literature in the face of social upheaval. Literary canon and national identity are inextricably tied together, the composition of a canon being the attempt to single out those literary works that best express a nation's culture. This process is, of course, fluid and subject to significant shifts, particularly at times of epochal change. This volume explores changes in the canon of twentieth-century Russian poetry from the 1991 collapse of the Soviet Union to the end of Putin's second term as Russian President in 2008. In the wake of major institutional changes, such as the abolition of state censorship and the introduction of a market economy, the way was open for wholesale reinterpretation of twentieth-century poets such as Iosif Brodskii, Anna Akhmatova and Osip Mandel'shtam, their works and their lives. In the last twenty years many critics have discussed the possibility of various coexisting canons rooted in official and non-official literature and suggested replacing the term “Soviet literature” with a new definition - “Russian literature of the Soviet period”. Contributions to this volume explore the multiple factors involved in reshaping the canon, understood as a body of literary texts given exemplary or representative status as “classics”. Among factors which may influence the composition of the canon are educational institutions, competing views of scholars and critics, including figures outside Russia, and the self-canonising activity of poets themselves. Canon revision further reflects contemporary concerns with the destabilising effects of emigration and the internet, and the desire to reconnect with pre-revolutionary cultural traditions through a narrative of the past which foregrounds continuity. Despite persistent nostalgic yearnings in some quarters for a single canon, the current situation is defiantly diverse, balancing both the Soviet literary tradition and the parallel contemporaneous literary worlds of the emigration and the underground. Required reading for students, teachers and lovers of Russian literature, Twentieth-Century Russian Poetry brings our understanding of post-Soviet Russia up to date. more...

Boris Slutskii lived his entire life (1919–1986) in the Soviet era. Many of the significant events of Soviet history played an important role in his life and creative development, especially his experiences as a soldier between 1941 and 1945, his rise to fame as a poet of the post-Stalin Thaw, and his efforts to understand the phenomenon that was Stalinism. Slutskii was intimately bound up with his times. His role as a chronicler of the Soviet experience was underlined by the publication of m... more...

During the Khrushchev Thaw, poetry became a popular means of expressing ideas of renewal, hope, optimism and sincerity associated with de-Stalinisation and the USSR’s increasing openness to the West. The establishment of the ‘Day of Poetry’ in 1956 is indicative of the prominent place that poetry came to occupy in culture and arts during the Thaw that was, in many ways, launched at the Twentieth Party Congress that year. A group of poets who came to prominence at this time identified strongly... more...

The biography of Iosif Brodskii is at once completely unique and yet simultaneously representative of the Soviet experience for many writers. Born in Leningrad in 1940, by the time he was twenty-four he had already been attacked in the press, arrested and tried for social parasitism, and then sent into internal exile in the Arkhangelsk region of Russia. Although his sentence was commuted in 1965 following protests by various Russian and Western cultural figures, harassment by the KGB continue... more...

The widespread worship of her memory […], both as an artist and as an unsurrendering human being, has […] no parallel. The legend of her life and her unyielding passive resistance to what she regarded as unworthy of her country and herself, transformed her into a figure […] not merely in Russian literature, but in Russian history in our century.Isaiah Berlin In theoretical discussions of the canon, there is perceptible slippage between canonical authors and canonical works. Anna Akhmatova (18... more...

Writing Kurdish literary history, that is a historical account of the development of Kurdish literature, is a fairly new project. Literary critics have strived to construct a comprehensive narrative of the evolution of poetry and prose and to classify individual works into certain schools and movements. Doing so, however, has proved to be a challenging task for Kurdish literature predominantly due to the lack of adequate knowledge of classical, and even contemporary, literature as a consequence of sizeable unpublished or lost manuscripts. In fact, the scarcity of knowledge on classical literature has left critics with a fragmented and episodic picture of Kurdish literary history. In this article I evaluate Kurdish literary historiography in the light of the scarcity of information and examine its ideological foundation and methodological problems. I discuss the significance of collecting, editing and publishing documents and manuscripts as a crucial step in rewriting Kurdish literary history and the way this might change our understanding of Kurdish literature.Keywords: Kurdish literature; literary history; literary canon; manuscript; classification; periodisation.Astengên li ber nivîsîna tarîxa edebiyata kurdî: Pêşkeşkirin, tesnîfkirin, û qonaxbendîNivîsîna tarîxa edebiyata kurdî, anku nivîsîna tarîxa werar û geşeya edebiyata kurdî, hewldaneke nû ye. Rexnegirên edebî hewla wê yekê dane ku wêneyekî giştgîr ê şi’r û pexşana kurdî bikêşin û berhemên nivîseran jî di nav rewt û hereketên edebî de bisenifînin. Lê belê, ev yek kar û erkekî zehmet e di çarçoveya edebiyata kurdî de, lewre windabûn an belavnebûna gelek ji destnivîsan nahêle ku zanyariyên saxlem û berfireh bi dest bikevin li ser edebiyata klasîk û hevçerx. Lewma bi tenê zanyariyên belawela hene li ber destê me sebaret bi tarîxa edebiyata kurdî. Ev gotar binemayên îdeolojîk/hizrî yên tarîxnivîsiya edebiyata kurdî û kêşeyên wê yên mêtodolojîk rave dike û balê dikêşe ser girîngiya berhevkirin, amadekirin û belavkirina belge û destnivîsaran wek pêngaveke esasî di jinûve-nivîsîna tarîxa edebiyata kurdî de, hewldanek ku dikare têgihiştina me li ser edebiyata kurdî biguhere. more...

At his time Lope de Vega, in spite of his private scandals, his low social status and the lack of patronage, is a legendary man, is the «Nature Monster», is the prolific poetic genius par excellence, both in poetry and drama; is the absolute protagonist of all literary wars; is admired and criticized at the same time; everything good is «Lope’s». He personally creates his own image of well-educated poet and tries to autopromote himself with all kind of strategies, even if most of them produce the opposite effect. When he dies, Fama Póstuma, collected and edited by Pérez de Montalbán, represents the top of his contemporary celebration. Nevertheless, his fame starts declining quite soon, and posterity finds it hard to recognize him a relative popularity even in Spain for many and complex historical and cultural reasons that have nothing to do with his talent, huge production and marvellous lyricism., Para sus contemporáneos Lope de Vega, pese a los escándalos, a su condición social preburguesa y a la falta de un duradero mecenazgo nobiliario o monárquico, es un hombre legendario, es el Monstruo de la Naturaleza, es el ingenio poético y dramático más prolífico y genial; es el protagonista de las principales contiendas literarias, es admirado y criticado; todo lo bueno que hay en el Seicientos es de Lope. Él mismo cuida con esmero su imagen de poeta laureado y se autopromueve de mil maneras, a veces incluso de forma contraproducente. Cuando muere, la Fama póstuma, recogida por Pérez de Montalbán, representa el broche de oro de su celebración coetánea. No obstante, su fama empieza a declinar en seguida y la posteridad le reconoce a duras penas una relativa popularidad en los reducidos confines nacionales por múltiples y complejas razones histórico-culturales que nada tienen que ver con su talla de proteico escritor y de sublime poeta lírico. more...

The aim of this paper is to re-visit literary canon, focussing on some of the most relevant texts and books that have been published within the corpus od Anglo-American studies. Subsequently, our attention is shifted to the works of American women authors and their views on the literary canon. Different generations of Montenegrin women poets and their reflections on their status in the literary canon, as well as the advantages of applying Feminist Literary Theory and Criticism in improving their position in the aforementioned literary tradition have also been discussed., This is the Journal Article published in the Journal "Armenian Folia Anglistika", Vol.11, No. 1, pp. 135-146, 2015. more...

The article describes the conception and editing process of an anthology of Johannes Becher’s poems ( Unistades taiusest , 1962) in Estonian, and discusses its status in the Soviet and contemporary literary canon. The work on the Becher anthology was led by an already outstanding literary scholar Nigol Andresen and a young poet and translator Ain Kaalep, who later became one of the most prolific and wellknown poetry translators in Estonia. An important part was also played by another poet-translator, August Sang, who already had achieved such a standing in the Estonian literary field. Several other translators contributed to the anthology, making it a common project for intellectuals otherwise very differently positioned vis-a-vis the Soviet political authorities and cultural agendas. Becher’s work was strongly promoted by these instances, but his poetry was also read with genuine enthusiasm by the main contributors to the anthology (whose own poetry has certain parallels to some aspects of Becher’s), as well as the general public, at that time. After the fall of the Soviet regime it has been forgotten, mostly for the same contextual reasons that once granted its success. The case of his poetry in Estonian explores the question of this new invisibility of now politically irrelevant, but still voluminous and aesthetically intriguing literary works in the post-Soviet canon. more...