Papers by Adriano Scandolara
Terra Roxa e Outras Terras: Revista de Estudos Literários, Dec 30, 2022
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O foco deste trabalho e a nocao de escala apresentada a partir de duas diferentes teorias: uma se... more O foco deste trabalho e a nocao de escala apresentada a partir de duas diferentes teorias: uma semântica, que a propoe como uma propriedade do item lexical (MCNALLY; KENNEDY, 1999; 2005), e outra pragmatica, na qual ela e inferida a partir do contexto (FAUCONNIER 1975). Aplicando-se as nocoes de Mcnally e Kennedy (2005) para o Portugues Brasileiro e isolando-se os verbos deadjetivais, constatamos que, apesar de parecer ser possivel classificar esses verbos dentro das categorias propostas pelos autores, essa sistematizacao e problematica na medida em que os criterios de categorizacao se confundem entre os propriamente semânticos e os pragmaticos, comprometendo a analise. Atraves deste estudo, diferenciamos os dois tipos de criterios, explicitando, assim, as limitacoes de ambas as analises, alem de propormos medidas para um modelo mais refinado, que retoma as ideias iniciais de Rappaport (2008).
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Belas Infiéis, 2020
The present paper intends on presenting an excerpt of an unpublished poetical translation into Po... more The present paper intends on presenting an excerpt of an unpublished poetical translation into Portuguese of English poet John Milton’s tragedy Samson Agonistes.
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Bravos Companheiros e Fantasmas V: estudos críticos sobre o autor capixaba, 2014
Capítulo de livro publicado em Bravos Companheiros e Fantasmas V: estudos críticos sobre o autor ... more Capítulo de livro publicado em Bravos Companheiros e Fantasmas V: estudos críticos sobre o autor capixaba, sobre a trajetória do poeta Sérgio Blank entre seu livro de estreia Estilo de ser assim, tampouco (1984) e Vírgula (1996).
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Travessias Interativas, 2020
RESUMO: O presente artigo tem como seu objeto de pesquisa o mito moderno de Fausto, analisando co... more RESUMO: O presente artigo tem como seu objeto de pesquisa o mito moderno de Fausto, analisando comparativamente três obras, de diferentes épocas, que se baseiam nele: a peça Dr. Faustus, de Marlowe, o longo poema dramático Faust: Eine Tragödie, de Goethe, e o filme Lekce Faust, de Jan Švankmajer. Tendo em mente as mudanças sociais que inauguraram a era moderna e o que se compreende como modernidade, no século XIX, fomentada pelo capitalismo, pretende-se demonstrar como, dentro desse recorte, cada autor trabalhou com o tema das tensões do individualismo incorporadas pelo mito do pacto diabólico. Da tragédia do individualismo para a comédia macabra do desenvolvimento para a farsa da manipulação, é possível observar algumas transformações significativas de Fausto do século XVI ao XX.
PALAVRAS-CHAVE: Cinema. Individualismo. Poesia. Teatro. Modernidade.
ABSTRACT: The present paper’s theme is the modern myth of Faust, comparatively analyzing three works, from different times, based on it: Marlowe’s play Dr. Faustus, Goethe’s long dramatic poem Faust: Eine Tragödie and Jan Švankmajer’s movie Lekce Faust. Keeping in mind the social changes that inaugurated the modern era and what’s understood as modernity in the 19th century, fostered by capitalism, it intends to show how, within this corpus, each author has worked with the theme of individualism and its tensions embodied by the myth of the pact with the devil. From the tragedy of individualism and the grim comedy of development to the farce of manipulation, it’s possible to observe some of Faust’s significant transformations from the 16th to the 20th century.
KEYWORDS: Cinema. Individualism. Poetry. Theater. Modernity.
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Eutomia, 2015
Resumo: Este artigo se apresenta como uma introducao a nossa traducao coletiva, realizada em 2011... more Resumo: Este artigo se apresenta como uma introducao a nossa traducao coletiva, realizada em 2011, porem ainda nao publicada, do poema Paraiso Reconquistado, de John Milton. Em sua estrutura tripartida, ele aborda, primeiramente, as relacoes entre o Paraiso Reconquistado e o poema que o antecede, o influente epico sobre a queda do homem que e o Paraiso Perdido; depois, na sequencia, o trabalho minucioso de Milton com a linguagem de modo a dobrar o genero epico ao tema do combate, nao mais fisico e grandiloquente, mas humilde, retorico e espiritual; e, por fim, explicamos o processo tecnico e psicologico pelo qual se deu a traducao poetica coletiva dos seus 2.070 versos em portugues. Ressaltamos, assim, questoes acerca de sua composicao, interpretacao e genero para apresentar um poema largamente desconhecido a um publico brasileiro. Palavras-chave : epica, literatura inglesa, barroco, traducao poetica. Abstract: This paper presents itself as an introduction to our collective translat...
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Tradução do ensaio "The Four Ages of Poetry", de Thomas Peacock.
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Resumo: O presente trabalho tem como objetivo realizar uma leitura do poema dramático Prometheus ... more Resumo: O presente trabalho tem como objetivo realizar uma leitura do poema dramático Prometheus Unbound (1820), de Percy Bysshe Shelley, e apresentar uma tradução poética completa da peca, ainda inédita em português. Descrevendo minuciosamente, ato por ato, o curso de ação do poema e os moldes míticos e dramáticos sobre os quais ele se baseia, procuramos explicitar o modo como algumas das questões mais recorrentes da obra poética de Shelley se manifestam na peca, encontrando nela sua expressão definitiva. Mais do que um exercício de releitura de Esquilo, como queremos demonstrar, Prometheus Unbound representa uma visão do reconhecimento e da superação humana dos conflitos referentes ao poder politico, que tem como base as falhas inerentes da própria linguagem humana (e que dão vazão ao discurso ideológico "morto e mortificante"), tais como reconhecidas por Shelley - bem como por pensadores posteriores como Nietzsche, Freud, Mallarme e Saussure, além de outros poetas dos séculos XX e XXI. Com isso em mente, justificando a relevância continuada do poeta através da exploração dessa temática moderna persistente, foi elaborado e realizado o projeto de tradução do poema, visando recriar, em português, não apenas os mecanismos linguísticos que elucidam essas questões conceituais, como também o virtuosismo formal do poeta.
Abstract: The objectives of the present work are to perform a reading of Percy Bysshe Shelley's dramatic poem Prometheus Unbound (1820) and present a complete poetic translation of the poem, still unavailable in Portuguese. By thoroughly describing, act by act, the poem's course of action and the mythical and dramatic molds on which it is based, we sought to make explicit the way some recurrent questions in Shelley's poetic work are manifest in the drama, finding in it their definitive expression. More than an exercise in rereading Aeschylus, as we seek to show, Prometheus Unbound represents a vision of the human recognition and overcoming of conflicts referring to political power, based on the inherent flaws of human language itself (which allow the "dead and deadening" ideological discourse), as recognized by Shelley - as well as by later thinkers such as Nietzsche, Freud, Mallarme and Saussure, besides other XX and XXI century poets. With that in mind, justifying the poet's continued relevance through the exploration of this persistent modern theme, we carried out the project of translating the poem, aiming at recreating, in Portuguese, not only the linguistic mechanisms that elucidate these conceptual questions, but also the poet's formal virtuosity.
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Signo, Jun 20, 2012
O presente trabalho tem como objetivo pôr em discussão a linguagem da obra Finnegans Wake (1939) ... more O presente trabalho tem como objetivo pôr em discussão a linguagem da obra Finnegans Wake (1939) do autor irlandês James Joyce, pensando-a através do conceito da “palavra faltante” (“lacking word”), expresso por George Steiner em Depois de Babel, como definidor da produção poética ocidental a partir da década de 1870, evidente a princípio sobretudo nos poemas de Rimbaud e Mallarmé, em que a dificuldade que o texto apresenta ao leitor é de uma ordem diferente da suscitada por toda a literatura produzida anteriormente. A essa noção articulamos a de “obra aberta” de Umberto Eco e os contrastes entre linguagem poética e linguagem ideológica, conforme definidos por George Steiner, Terry Eagleton e Stewart Curran, presentes em germe desde o segundo momento do romantismo inglês em Percy Bysshe Shelley (Prometeu Desacorrentado, 1820) e seu “apocalipse humanista”. Joyce, como romancista, com frequência é visto em oposição a Mallarmé, poeta, proferidor da máxima do dever de se “purificar as palavras da tribo”, tornadas desgastadas e esvaziadas de seu sentido pelo uso do cotidiano. No entanto, comparado aos outros romancistas do período, como William Faulkner (O Som e a Fúria, 1929, Enquanto Agonizo, 1930), e mesmo com sua própria produção anterior (O Retrato do Artista Quando Jovem, 1916, Ulisses, 1922), em muitos aspectos, Joyce, no trabalho com a linguagem do Wake, vai além da prosa romanesca e da adaptação da técnica literária à representação mimética. Assim, ele se aproxima da linguagem poética, valendo-se de técnicas chamadas já de “palavras-valise”, “trocadilhos” ou “ideogramas” e de chaves de leitura fornecidas pelo próprio texto para gerar significados a partir dessas palavras, numa liberdade de atribuição de sentidos por parte do leitor fundamentada na comunicação incompleta e limitada quase que unicamente pela rígida estrutura do texto.
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Revista Desenredo, 2020
O presente artigo tem como ponto de partida considerações sobre a poesia ocidental moderna como u... more O presente artigo tem como ponto de partida considerações sobre a poesia ocidental moderna como uma arte marcada pela intensidade da experiência singular e pelo ágon contra os limites da linguagem que impõem obstáculos à transmissibilidade dessa experiência. Por meio da aproximação com o discurso místico, sendo o místico o personagem prototípico do contato com o inefável, e com o pensamento de Kierkegaard e Nietzsche sobre o conceito da vida autêntica, pretende-se demonstrar como as dificuldades, obscuridades e complexidades dessa poesia, muitas vezes lacônica, fragmentada, enigmática, se alinham, mesmo que não declaradamente, a um discurso que promove a autenticidade através da experiência linguística.
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Thesis Chapters by Adriano Scandolara
Resumo: A presente tese pretende explorar o conceito da "insuficiência" ou "impotência" da lingua... more Resumo: A presente tese pretende explorar o conceito da "insuficiência" ou "impotência" da linguagem, acompanhando a forma que ele assume ao longo do século XIX, como um elemento constituinte da poesia moderna ocidental. Compreendendo, com George Steiner, que há uma ruptura entre uma poesia clássica, "confortável com a linguagem", e uma poesia moderna, "para a qual a linguagem tomou-se uma prisão", será observado como esse conceito parece surgir, em meio aos textos de Shelley, Nietzsche, Rimbaud e Mallarmé, como ele se propaga para além dos meios poéticos, tendo uma penetração inclusive na cultura pop, e como justifica o que, nas descrições de Steiner, seria uma mudança de ordem de dificuldade dessa poesia, além de criar a mitologia do poeta como aquele que "dá um sentido mais puro às palavras da tribo", nos termos de Mallarmé. No mais, esse conceito será tomado como ponto de partida para reflexões sobre concepções de poder da palavra e seu "desgaste", promovido pelo que Weber chamou de "desencantamento do mundo", concomitante com o advento da modernidade. Como a emergência desse fenômeno na literatura se dá ao mesmo tempo que outros fenômenos linguísticos e sociais semelhantes, ele deve ser compreendido como parte de mudanças mais amplas na sociedade ocidental - tema sobre o qual a tese também virá a se debruçar, na medida em que algumas dessas mudanças, como a disseminação da escrita tipográfica, que originou ojornalismo e a publicidade, e o predomínio da razão instrumental, motivam os poetas a seguir um éthos de autenticidade, como definido por Lionel Trilling e Jacob Golomb, segundo os escritos de Kierkegaard e Nietzsche. Por fim, o conceito da insuficiência da linguagem é refutado, acompanhando o pensamento de Mikhail Bakhtin, conforme essa perspectiva sobre a linguagem, entendida e descrita como uma visão poética, é contraposta à sua visão prosaica, que, no entanto, também se revela útil para descrever certas possibilidades da poesia moderna não contempladas pelo modelo de Steiner. Como a discussão com frequência se aproxima do misticismo, sobretudo no discurso dos poetas do século XIX, influenciados pelas correntes esotéricas que floresceram no mesmo período e ocuparam os mesmos espaços sociais, serão aproveitados os estudos de sociólogos e historiadores da religião, bem como também da gramatologia, por conta do que foi percebida como a relevância da transição de uma sociedade lecto-oral para uma sociedade tipográfica. Palavras-chave: Poesia. Modernidade. Filosofia da linguagem. Metalinguística. Misticismo.
Abstract: The present thesis intends to explore the concept of 'insufficiency' or 'powerlessness' of language following the form it takes throughout the 19th century, as an element that constitutes Western modem poetry. Understanding, along with George Steiner, that there is a break between classical poetry, 'at home with language,' and modern poetry, 'for which language has become a prison,' it will study the way this concept appears to emerge, among texts by Shelley, Nietzsche, Rimbaud, and Mallarmé, how it spreads beyond the poetic milieu, penetrating even pop culture, how it justifies what, in Steiner's descriptions, would be a change in the order of difficulty in that poetry, besides creating the poet's mythology as the one who 'gives a purer sense to the words of the tribe,' in Mallarmé's terms. Besides, this concept will be taken as a starting point for reflections on the conceptions of the power of the word and its 'wearing out,' promoted by what Weber called the 'disenchantment of the world,' concurrent with the advent of modernity. As the emergence of such phenomenon in literature takes place at the same time as other similar linguistic and social phenomena, it must be understood as part of wider changes in Western society - a theme with which this thesis will also concern itself, as some of these changes, such as the widespread use of typographic writing, which gave birth tojournalism and publicity, and the triumph of instrumental reason, motivate poets to follow an éthos of authenticity, as defined by Lionel Trilling and Jacob Golomb and put forth by Kierkegaard and Nietzsche. At last, the concept of the insufficiency of language is refuted, following Mikhail Bakhtin's thought, as this perspective of language, understood and described as a poetic view, is opposed to his prosaic view, which also reveals itself as useful, however, to describe certain possibilities of modern poetry not considered by Steiner. As the discussion often borders on mysticism, especially on the speech of 19th century poets, under the influence of certain esoteric currents which flourished at the same period and occupied their same milieu, the studies of sociologists and historians of religion will also be employed, as well as those of grammatology, due to what was perceived as the relevance of the transition from a lecto-oral society into a typographic one. Key-words: Poetry. Modernity. Philosophy oflanguage. Metalinguistics. Mysticism.
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Papers by Adriano Scandolara
PALAVRAS-CHAVE: Cinema. Individualismo. Poesia. Teatro. Modernidade.
ABSTRACT: The present paper’s theme is the modern myth of Faust, comparatively analyzing three works, from different times, based on it: Marlowe’s play Dr. Faustus, Goethe’s long dramatic poem Faust: Eine Tragödie and Jan Švankmajer’s movie Lekce Faust. Keeping in mind the social changes that inaugurated the modern era and what’s understood as modernity in the 19th century, fostered by capitalism, it intends to show how, within this corpus, each author has worked with the theme of individualism and its tensions embodied by the myth of the pact with the devil. From the tragedy of individualism and the grim comedy of development to the farce of manipulation, it’s possible to observe some of Faust’s significant transformations from the 16th to the 20th century.
KEYWORDS: Cinema. Individualism. Poetry. Theater. Modernity.
Abstract: The objectives of the present work are to perform a reading of Percy Bysshe Shelley's dramatic poem Prometheus Unbound (1820) and present a complete poetic translation of the poem, still unavailable in Portuguese. By thoroughly describing, act by act, the poem's course of action and the mythical and dramatic molds on which it is based, we sought to make explicit the way some recurrent questions in Shelley's poetic work are manifest in the drama, finding in it their definitive expression. More than an exercise in rereading Aeschylus, as we seek to show, Prometheus Unbound represents a vision of the human recognition and overcoming of conflicts referring to political power, based on the inherent flaws of human language itself (which allow the "dead and deadening" ideological discourse), as recognized by Shelley - as well as by later thinkers such as Nietzsche, Freud, Mallarme and Saussure, besides other XX and XXI century poets. With that in mind, justifying the poet's continued relevance through the exploration of this persistent modern theme, we carried out the project of translating the poem, aiming at recreating, in Portuguese, not only the linguistic mechanisms that elucidate these conceptual questions, but also the poet's formal virtuosity.
Thesis Chapters by Adriano Scandolara
Abstract: The present thesis intends to explore the concept of 'insufficiency' or 'powerlessness' of language following the form it takes throughout the 19th century, as an element that constitutes Western modem poetry. Understanding, along with George Steiner, that there is a break between classical poetry, 'at home with language,' and modern poetry, 'for which language has become a prison,' it will study the way this concept appears to emerge, among texts by Shelley, Nietzsche, Rimbaud, and Mallarmé, how it spreads beyond the poetic milieu, penetrating even pop culture, how it justifies what, in Steiner's descriptions, would be a change in the order of difficulty in that poetry, besides creating the poet's mythology as the one who 'gives a purer sense to the words of the tribe,' in Mallarmé's terms. Besides, this concept will be taken as a starting point for reflections on the conceptions of the power of the word and its 'wearing out,' promoted by what Weber called the 'disenchantment of the world,' concurrent with the advent of modernity. As the emergence of such phenomenon in literature takes place at the same time as other similar linguistic and social phenomena, it must be understood as part of wider changes in Western society - a theme with which this thesis will also concern itself, as some of these changes, such as the widespread use of typographic writing, which gave birth tojournalism and publicity, and the triumph of instrumental reason, motivate poets to follow an éthos of authenticity, as defined by Lionel Trilling and Jacob Golomb and put forth by Kierkegaard and Nietzsche. At last, the concept of the insufficiency of language is refuted, following Mikhail Bakhtin's thought, as this perspective of language, understood and described as a poetic view, is opposed to his prosaic view, which also reveals itself as useful, however, to describe certain possibilities of modern poetry not considered by Steiner. As the discussion often borders on mysticism, especially on the speech of 19th century poets, under the influence of certain esoteric currents which flourished at the same period and occupied their same milieu, the studies of sociologists and historians of religion will also be employed, as well as those of grammatology, due to what was perceived as the relevance of the transition from a lecto-oral society into a typographic one. Key-words: Poetry. Modernity. Philosophy oflanguage. Metalinguistics. Mysticism.
PALAVRAS-CHAVE: Cinema. Individualismo. Poesia. Teatro. Modernidade.
ABSTRACT: The present paper’s theme is the modern myth of Faust, comparatively analyzing three works, from different times, based on it: Marlowe’s play Dr. Faustus, Goethe’s long dramatic poem Faust: Eine Tragödie and Jan Švankmajer’s movie Lekce Faust. Keeping in mind the social changes that inaugurated the modern era and what’s understood as modernity in the 19th century, fostered by capitalism, it intends to show how, within this corpus, each author has worked with the theme of individualism and its tensions embodied by the myth of the pact with the devil. From the tragedy of individualism and the grim comedy of development to the farce of manipulation, it’s possible to observe some of Faust’s significant transformations from the 16th to the 20th century.
KEYWORDS: Cinema. Individualism. Poetry. Theater. Modernity.
Abstract: The objectives of the present work are to perform a reading of Percy Bysshe Shelley's dramatic poem Prometheus Unbound (1820) and present a complete poetic translation of the poem, still unavailable in Portuguese. By thoroughly describing, act by act, the poem's course of action and the mythical and dramatic molds on which it is based, we sought to make explicit the way some recurrent questions in Shelley's poetic work are manifest in the drama, finding in it their definitive expression. More than an exercise in rereading Aeschylus, as we seek to show, Prometheus Unbound represents a vision of the human recognition and overcoming of conflicts referring to political power, based on the inherent flaws of human language itself (which allow the "dead and deadening" ideological discourse), as recognized by Shelley - as well as by later thinkers such as Nietzsche, Freud, Mallarme and Saussure, besides other XX and XXI century poets. With that in mind, justifying the poet's continued relevance through the exploration of this persistent modern theme, we carried out the project of translating the poem, aiming at recreating, in Portuguese, not only the linguistic mechanisms that elucidate these conceptual questions, but also the poet's formal virtuosity.
Abstract: The present thesis intends to explore the concept of 'insufficiency' or 'powerlessness' of language following the form it takes throughout the 19th century, as an element that constitutes Western modem poetry. Understanding, along with George Steiner, that there is a break between classical poetry, 'at home with language,' and modern poetry, 'for which language has become a prison,' it will study the way this concept appears to emerge, among texts by Shelley, Nietzsche, Rimbaud, and Mallarmé, how it spreads beyond the poetic milieu, penetrating even pop culture, how it justifies what, in Steiner's descriptions, would be a change in the order of difficulty in that poetry, besides creating the poet's mythology as the one who 'gives a purer sense to the words of the tribe,' in Mallarmé's terms. Besides, this concept will be taken as a starting point for reflections on the conceptions of the power of the word and its 'wearing out,' promoted by what Weber called the 'disenchantment of the world,' concurrent with the advent of modernity. As the emergence of such phenomenon in literature takes place at the same time as other similar linguistic and social phenomena, it must be understood as part of wider changes in Western society - a theme with which this thesis will also concern itself, as some of these changes, such as the widespread use of typographic writing, which gave birth tojournalism and publicity, and the triumph of instrumental reason, motivate poets to follow an éthos of authenticity, as defined by Lionel Trilling and Jacob Golomb and put forth by Kierkegaard and Nietzsche. At last, the concept of the insufficiency of language is refuted, following Mikhail Bakhtin's thought, as this perspective of language, understood and described as a poetic view, is opposed to his prosaic view, which also reveals itself as useful, however, to describe certain possibilities of modern poetry not considered by Steiner. As the discussion often borders on mysticism, especially on the speech of 19th century poets, under the influence of certain esoteric currents which flourished at the same period and occupied their same milieu, the studies of sociologists and historians of religion will also be employed, as well as those of grammatology, due to what was perceived as the relevance of the transition from a lecto-oral society into a typographic one. Key-words: Poetry. Modernity. Philosophy oflanguage. Metalinguistics. Mysticism.