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A poesia de recusa de Augusto de Campos, na tradição do manifesto de 1914 de Huidobro, non serviam, rege o universo poético da recusa. Define uma posição de independência estética, contra a comercialização, contra a retórica tradicional e contra a poesia discursiva. Alia-se aos poetas independentes e insólitos de qualquer época que respeitam o rigor da composição. O livro mini NÃO de Augusto é expressivo de uma tensão criativa que percorre toda a obra, um negativo positivo que apoia a inovação, como as correntes de demolição praticadas pelas vanguardas históricas. Uma tensão verbivocovisual percorre a sua obra. A poesia da recusa abrange um programa estético e também social, que justifica o “anti”, a “anti-poesia” e a escrita “à margem da margem,” encontrado no cerne da consciência poética e social das vanguardas poéticas.

Estudo do desenvolvimento literário e estético do escritor português Jorge de Sena (1919-1978), antes e durante o seu prolongado exílio. Com notável versatilidade artística e intelectual, meditava sobre o destino humano na sua poesia, enquanto se nutria de sonhos de liberdade, apoiados pela lição universal de obras mestres de arquitetura, arte e música. Como exilado político, nunca parou de dirigir duras críticas e sátiras à sociedade e política salazarista. Vivia sempre com a consciência de uma condição permanente fora de Portugal, redimida pela grandeza de sua obra e seu pensamento.

With the rebelliousness characteristic of his self-description as an “experimental youth,” Murilo Mendes creates a critical distance between his poetic consciousness and his liberty of action. With the term, he retrospectively characterizes his entire literary production, from the poetry of the 1930s to the 1960s and 70s. To be indisciplined is to challenge norms and introduce thematic and graphic innovations, such as linguistic play, kitsch, graffiti, miniaturization and new tendencies of visual arts and electronic communications. Murilo is always attentive to the independence of the word and the musicality of poetry. Indiscipline is his self-described source of expression and method, thus a discipline in reverse that motives his poetic imagination

Vanguard movements in the arts and literature from mid-20th century Brazil are termed neo-vanguard to distinguish them from the historical vanguard movements of the century’s early decades, even though the neo-vanguards share common features with them. These include an open spirit of internationalism, experimentation with form and language, and the use of fragmentation, simultaneity, minimalism, and graphic display. When they first appeared in the 1950s and 1960s, the neo-vanguards were differentiated by a rationalist, materialist, and functional approach to language, letters and art, visible in geometrical abstraction and based on research. The São Paulo poets Haroldo de Campos, Augusto de Campos, and Décio Pignatari formed the most prominent and influential literary group, known as “Poesia concreta” [Concrete Poetry]. Poesia concreta continues to shape and influence vanguard art, literature, and design in São Paulo. Their 1958 manifesto, “Plano-piloto para poesia concreta” [Pilot-Plan for Concrete Poetry], reshaped national poetics while adding an international aesthetic dimension. In Rio de Janeiro, the “Grupo Frente” led by artists Hélio Oiticica, Lygia Clark, and Lygia Pape supported the 1959 Neoconcrete movement and manifesto, defending the position that concrete poetry and art should be less mechanical and more expressive of human realities. Bossa nova introduced a syncopated, polished style that gained international fame through João Gilberto and Antônio Carlos Jobim, and it turned attention toward Brazilian arts. In the 1950s and 1960s, individual authors worked within their own neo-vanguard styles outside of any movement, the most important being João Guimarães Rosa, whose reworkings of language and orality produced the major novel of the century, Grande sertão: veredas (1956), and Clarice Lispector, creator of dense existential consciousness in prose, mainly involving women in crisis. The 1964 military coup changed the disposition of vanguard art into one of resistance, reflected in Cinema Novo, Tropicália, theater, music, popular periodicals, mass culture, and marginal literature. Popular vanguard movements effectively ended, went underground, or adopted more unconventional formats in the 1970s because of political tension. The end of an effusive period of creativity in the 1950s and 1960s was marked by the publication of the collected works of the concrete poets, their inclusion in international anthologies, and a national atmosphere of increased political repression and violence.

In João Almino’s novel The Five Seasons of Love, the construction of prose accompanies the material construction of modernity. Characters must find and re-define themselves in a space of strangeness and estrangement. Their stories are allegories of transformation in a place without history.---Original in English. In João Almino’s novel The Five Seasons of Love, the construction of prose accompanies the material construction of modernity. Characters must find and re-define themselves in a space of strangeness and estrangement. Their stories are allegories of transformation in a place without history.------------------------------------------------------------------------------------------------------AS CINCO ESTAÇÕES DE BRASÍLIA No romance de João Almino, As cinco estações do amor, a construção da prosa acompanha a construção material da modernidade. Os personagens precisam redefinir-se e encontrar-se num espaço de estranhamen­to e alienação. As suas histórias são alegorias de transformação num espaço sem história.--- Original em inglês.

By the late 1890s Eça de Queirós had certainly read Machado’s two major novels to date, the Posthumous Memoirs of Brás Cubas (1880-81) and Quincas Borba (1890), after acknowledging Machado’s critiques of Cousin Bazilio, published in O Cruzeiro in April, 1878. A novel form of indirect communication between the two authors can be located in their fiction. In The City and the Mountains (1901) Eça replies indirectly to Machado with a satire of several of Machado’s main themes in the two novels, from the philosophy of “Humanitism” to the useful work of worms.

Apresentação à Gragoatá 43. ---DOI: http://dx.doi.org/10.22409/gragoata.2017n43a1027.

Resumo O presente estudo tem como objeto a influência da ópera e da música no método de composição do escritor. Para tanto, examina motivos ligados à música que serão desenvolvidos nos romances. Ao fim, propõe encontrar na ficção a encenação de uma cidade-teatro, na tradição barroca do grande teatro do mundo. Abstract This study addresses the influence of opera and music on the creative method of the author by examining the motifs associated with music that are developed throughout the novels. The essay proposes that the author stages a city-theater, in the tradition of the baroque theater of the world.

As Machado de Assis's The Posthumous Memoirs of Brás Cubas (1881) reflects on the life of a single man, two dominant forces emerge within the narrative: Brás Cubas's desire for a family and his quest for political office. These parallel efforts coincide in the form of the political wife, the woman who enables both domestic and public glory. Using the encounter of public and private spaces as a point of departure, this essay considers female forms as circumscribed by their private and public duties. Evaluating Virgília and Marcela, we explore the significance of materiality and promiscuity in the reading of women's bodies within the text.

Um estudo das conferências acadêmicas que pronunciou Joaquim Nabuco, embaixador do Brasil em Washington, D.C., na Universidade de Yale e mais cinco universidades americanas durante o período 1908-1909. Nabuco volta a Camões como exemplo do amor a uma língua e uma cultura, das quais o Brasil seria a maior realização, e aproxima o espírito do nacionalismo das duas grandes nações como exemplos para a política do pan-americanismo da época. A study of the academic discourses of Joaquim Nabuco, Brazil’s ambassador in Washington, D.C., at Yale and five more universities from 1908-1909. Nabuco returns to Camões as the example of great love for a language and a culture, nobly represented by Brazil. Nabuco compares the two great nations as examples for the then current politics of pan-americanism.

Em edição paga por Oswald de Andrade, romance de Patrícia Galvão passou quase despercebido em seu lançamento, mas hoje vem recebendo cada vez mais atenção da crítica como obra-prima do romance social urbano e um dos grandes textos perdidos do modernismo. Apoiado numa montagem visual e cinematográfica, combina, numa prosa sintética e concisa, o retrato da vida paulistana de cinco trabalhadoras do Brás com a denúncia social.

The journalism of Patricia Galvao - a vast output that spans thirty turbulent years (1931-61) -, offers the reader a portrait of the time of an intelligent youth, aware of the flaws and the cultural and political possibilities of a nation in the throes of modernization. It reveals a powerful writer beyond her comfort zone of the novel, possessed of a deep and very often personal knowledge of authors and artists, registered in hundreds of comments and critical reviews. Through her consistent journalism, Patricia helped us accompany a whole lifetime with particular vivacity.

1. Preface 2. Discovering South Asian Portuguese 3. 1. Portuguese Language and Culture in Sri Lanka 4. 2. Portuguese Creoles on the West Coast of India 5. 3. The Nevill Manuscript 6. 4. Unity of Indo-Portuguese Creole Verse in the Oral Tradition 7. 5. Portuguese Creole Folklore 8. 6. Kaffirs and Kaferingha: Music and Verse Out of Africa 9. 7. Valentine and Orson: A European Folk Narrative in Sri Lankan Portuguese 10. 8. Bela Infanta: Ballad Fragments in Creole Verse 11. 9. Cantha Sen Vargonya: Indo-Portuguese Creole Verse 12. Bibliography 13. Appendix

This study analyzes the oral traditions of Sri Lanka Creole Portuguese as a syncretism of European, African, and Asian sources, evidenced in literary themes, linguistic practice, and cultural traditions. Resulting musical, dramatic, and textual practices play a central role in defining tradition and maintaining group identity in the creole communities. Both the co-existence and the interrelationship of oral texts establish traditions which contribute to a system of creole culture that spread throughout Asia. References are primarily to Sri Lankan and Indian materials collected by scholars in the late nineteenth century and during my field work in the 1970s and 1980s. Sri Lankan verses refer to the east coast Burghers of Bat-ticaloa and Trincomalee and to the Kaffirs of Puttalam. This study also presents for the first time a unique source for data and comparative analysis from the H. Nevill collection at the British Library, which is an extensive manuscript of Sri Lankan Creole texts from the 1870s or 1880s written in Dutch orthography and including material subsequently published by Schuchardt, Dalgado, and others. The theoretical focus concerns the translation of European, African, and Asian materials into a Eurasian discourse that displaces the originals, creating a new textual system of Portuguese Creole oral materials in Asia. The texts that give definition to creole culture have proved remarkably persistent, surviving in Sri Lanka from the seventeenth century to the present.

Esta tese discute o ensaio Literatura e Subdesenvolvimento (1970) de Antonio Candido, demonstrando se tratar de um texto de grande pertinência na medida em que percebe, em importantes romances latino-americanos dos anos 1950 e 1960, uma consciência catastrófica cujos sentidos sociais permanecem relevantes. Procura-se também demonstrar como essa consciência se manifesta em obras-chave examinadas pelo crítico, e como ela, em seu caráter periférico, requer soluções formais complexas que, quando encontradas, elevam a voltagem estética das obras a um patamar universalmente significativo. Nesse sentido, sugere-se que Candido compreende a narrativa latino-americana como simultaneamente local e universal, atrelando seu destino a uma mobilização real para a superação da dependência econômica. Ao mesmo tempo, argumenta-se que o crítico capta - em romances de Alejo Carpentier, Guimarães Rosa, Juan Rulfo, Vargas Llosa, Julio Cortázar, Gabriel García Márquez e José María Arguedas - aspectos sociais que seguem catastróficos no presente quadro de não-superação daquela mesma dependência This thesis discusses the essay Literature and Underdevelopment (1970) by Antonio Candido, demonstrating that it is a text of great pertinence as it perceives, in important Latin American novels of the 1950s and 1960s, a catastrophic conscience whose social meanings remain relevant. It also seeks to demonstrate how this consciousness manifests itself in key works examined by the critic, and how its peripheral character requires complex formal solutions which raise the aesthetic voltage of the works to a universally relevant level. In this sense, it is suggested that Candido understands the Latin American narrative as simultaneously local and universal, relating its destiny to a real mobilization to overcome economic dependence. At the same time, it is argued that the critic captures - in novels by Alejo Carpentier, Guimarães Rosa, Juan Rulfo, Vargas Llosa, Julio Cortázar, Gabriel García Márquez and José María Arguedas - social aspects that remain catastrophic in the present framework of that same remaining dependency