- Poetry, Poetry Composition, Verse Theory, Lyrics, Verse Form & Metre, Teorías de la lírica, and 12 moreFree Verse, Poesia Brasileira, Lyric Form, Canção Popular Brasileira, Poesia Lirica, Prosody, Versification, Linguistic approaches to literature, Theories of Free Verse, Intonational Phonology, Literature, and Latin Literatureedit
- Professor of Brazilian Literature, EFLCH-UNIFESP. Bachelor and Licentiate (2001) in Letters, Master (2003) and Doctor... moreProfessor of Brazilian Literature, EFLCH-UNIFESP. Bachelor and Licentiate (2001) in Letters, Master (2003) and Doctor (2007) in Theory and Literary History, IEL-UNICAMP. Postdoctoral (2016) in Brazilian Cultures and Identities, IEB-USP. Collaborating Researcher at NICS-UNICAMP (2022-2023). Actions aimed at the study, criticism, composition and appreciation of poetry. Editor of the poetry magazines Salamandra (2001), Camaleoa (2002) and Lagartixa (2003). Editor of Poesia à Mão and Crítica&Companhia websites. Curator of the Caravelas Collection, by Editacuja Editora. Member of the Investigations of the Poetic Group (Gripho/CNPq) and the GT Theory of the Poetic Text (ANPOLL). Coordinator of the Brazilian Literature in the XXI project, a partnership between UNIFESP and SP Readings. He participated in the volume Palavra Cantada: Essays on Poetry, Music and Voice (2008). Compositions on albums such as: SM, XLS (Juliana Amaral, 2012), Vias de Encontro (Rodrigo Duarte, 2014), A long jump is better than a mortal (Zezé Freitas, 2015), Outro (Sá Pedro, 2019) and Eu I play badly (Martina Marana, 2019). Poems for classical music: Margens Plácidas (Gustavo Bonin, 2016), Work and Social Security Card (Gustavo Bonin, 2017). Some books: Anthology of Brazilian Romantic Poetry (criticism and organization, 2007), Anthology of Parnassian Brazilian Poetry (criticism and organization, 2007), Manuel Bandeira ea Música (essay, 2008), Clusters (poetry, 2010), Olegário Mariano - ABL Essential Series (criticism and organization, 2012), Interdisciplinary Teacher Training (co-organization, 2013), Absurd Scene (poetry, 2016), Encurralada (poetry, 2020), Saques & Sacanagens (poetic essay, 2021) and Assbook (poetry, 2022).edit
“About Moon’s Influence” helps to understand the short and powerfull work by António Nobre. The poem provides readers to think about the specifics components that this poetry admits on the simbolist aesthetic. Its verses still develop... more
“About Moon’s Influence” helps to understand the short and powerfull work by António Nobre. The poem provides readers to think about the specifics components that this poetry admits on the simbolist aesthetic. Its verses still develop with originality a large cliché of occidental lyric: the Moon. The poet uses it to codify the poetic creation, more than a personal look about the natural satellite of Earth. In this way, he operates some typhical technics of Mallarmé and Cruz e Souza styles, to propose several possibilities of readings that don’t need to be harmonious among themselves.
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This article discusses two notions that have guided the critical debate about Manuel Bandeira: the trajectory in search of the free verse and common life as poetic material.
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The poetic insight is one of the strong features of Brazilian poetry in decades. Even those poets who are not of this lineage, sometimes propose alternatives to it. An insight, as invention of thought or language, arises from any... more
The poetic insight is one of the strong features of Brazilian poetry in decades. Even those poets who are not of this lineage, sometimes propose alternatives to it. An insight, as invention of thought or language, arises from any rhetorical figure that causes some change in current language.As a radical action, with value itself, it connects to breaks conducted by the vanguards, in the Brazilian case, modernists and concretists.In quantity and variety of publications, from the funnier to the more philosophical, the poetic insightis the dominant line, their rigorous or facilitators practices prefer the insight as an unit-poetic in place of the poem or book. So here, I try to distinguish the procedure, as cogs in a techniques machine and meanings, from de simple trick, in fact, “idea in mind, keyboard in hands”.
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Artur Azevedo (1855-1908) is not only a big name in the history of Brazilian theater but also a protagonist who plays in other literature fields such as poetry. Surprisingly enough, a very few researchers have demonstrated a real interest... more
Artur Azevedo (1855-1908) is not only a big name in the history of Brazilian theater but also a protagonist who plays in other literature fields such as poetry. Surprisingly enough, a very few researchers have demonstrated a real interest in his verses which were extensively published in the press, even so he was a frequent writer of the chapters of our parnasianism history. How, however, this poetry interacts with the poetical particularities of the Brazilian parnasianism? It is exactly that this article begins to answer, emphasizing what I called art of dramatic sonnet.
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The main inflection of the twentieth century Brazilian poetry took place in the 1920s, when the traditional model, a result of the Romantic age, is countered by trends that sought to destroy the past to build the present. In practice, of... more
The main inflection of the twentieth century Brazilian poetry took place in the 1920s, when the traditional model, a result of the Romantic age, is countered by trends that sought to destroy the past to build the present. In practice, of course, the writers moved between the two positions, with different procedures but instead of a single statement: nationalism. This essay confronts three poets – Olegário Mariano (1889-1958), Jorge de Lima (1895-1958) and Ascenso Ferreira (1895-1965) – who have proposed solutions that dialogue within this nationalist conflict.
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Research Interests:
O ensaio discute algumas fontes clássicas e orais do poema médio-longo O rio (1954), de João Cabral de Melo Neto (1920-1999).
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In discussing and practicing traditional versification, Manuel Bandeira (1886-1968) conceives the verse as an artifact of writing which is frank to the conversation. Through the free verse, on the contrary, it looks for remnants of... more
In discussing and practicing traditional versification, Manuel Bandeira (1886-1968) conceives the verse as an artifact of writing which is frank to the conversation. Through the free verse, on the contrary, it looks for remnants of intonation that can support the other poetic expedients, be they rhythmic, imagery or graphical. There is, in a manner of speaking, a pendulum movement between the literary and the verbal pole, each established through from the other. This tenseness between letter and sound, navigating first by the cultured variants rather than the language of the masses, unfurls a series of consequences in the poetry and in the poetic consideration of the poet, hence, being one of its paramount questions
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Manuel Bandeira emerges as one of the most influential poets in the context of the Brazilian literature, even without having ever organized a theory for his poetry. Bandeira reverberates in artists, moderates and radicals, starting with... more
Manuel Bandeira emerges as one of the most influential poets in the context of the
Brazilian literature, even without having ever organized a theory for his poetry. Bandeira reverberates in artists, moderates and radicals, starting with the generation that promoted modernism in the 1920s, after the 1930 and 1940 elegiacs, concretists and new concretists in the 1950s and 1960s, up to the present's copious production. His reflections on the poetic labor are scattered in chronicles, essays, memories, letters, and poems; in truth, they record the search for an organic artistic identity, always connected to the central concepts for the lyrical genre in the twentieth century. What guides these meditations of the poet and of the literary scholars is a basic tension between rapture and reasoning in the poetic invention, which, from the Romantic period, enters in the agenda of a large number of poets. The main purpose of this article is this impasse between a certain poetry, more inspired, and a strong focus on formalism. Bandeira is connected to some poetical theoretical postulates of Stéphane Mallarmé, Paul Valéry and Mário de Andrade. Additionally, some relevant interpreters of the poet will be mobilized throughout this discussion, such as Álvaro Lins, Davi Arrigucci Jr, Sérgio Buarque de Holanda and Gilberto Mendonça Telles.
Brazilian literature, even without having ever organized a theory for his poetry. Bandeira reverberates in artists, moderates and radicals, starting with the generation that promoted modernism in the 1920s, after the 1930 and 1940 elegiacs, concretists and new concretists in the 1950s and 1960s, up to the present's copious production. His reflections on the poetic labor are scattered in chronicles, essays, memories, letters, and poems; in truth, they record the search for an organic artistic identity, always connected to the central concepts for the lyrical genre in the twentieth century. What guides these meditations of the poet and of the literary scholars is a basic tension between rapture and reasoning in the poetic invention, which, from the Romantic period, enters in the agenda of a large number of poets. The main purpose of this article is this impasse between a certain poetry, more inspired, and a strong focus on formalism. Bandeira is connected to some poetical theoretical postulates of Stéphane Mallarmé, Paul Valéry and Mário de Andrade. Additionally, some relevant interpreters of the poet will be mobilized throughout this discussion, such as Álvaro Lins, Davi Arrigucci Jr, Sérgio Buarque de Holanda and Gilberto Mendonça Telles.
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Um comentário sobre como o romance "Caminhos Cruzados" (1935), de Érico Veríssimo (1905-1975), solicita uma leitura com sobreposições, simulando aspectos do contraponto musical.
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Here we present two unpublished essays by Hubert Jennings about the challenges of translating the poetry of Fernando Pessoa: the first one of them, brief and fragmentary, is analyzed in the introduction; the second, longer and also... more
Here we present two unpublished essays by Hubert Jennings about the challenges of translating the poetry of Fernando Pessoa: the first one of them, brief and fragmentary, is analyzed in the introduction; the second, longer and also covering issues besides translation, is presented in the postscript. Having as a starting point the Pessoan poem “O que me doe” and three translations compared by Hubert Jennings, this presentation examines some aspects of poetic musicality in the Portuguese language: verse measurement, stress dynamics, rhymes, anaphors, and parallelisms. The introduction also discusses how much the English versions of the poem, which are presented by Jennings, recreate (or not) the musical-‐‑poetic dimensions of the original text.
Research Interests:
This article treats the lyrical invention of colonial Brazil with emphasis on some the poetic-rhetorical conventions that helped to form the seventeenth-century style. In this analysis, the use of such figures is not considered baroque... more
This article treats the lyrical invention of colonial Brazil with
emphasis on some the poetic-rhetorical conventions that helped to form the
seventeenth-century style. In this analysis, the use of such figures is not
considered baroque eccentricity, or product of the language closed in its own
conceptual and constructive tournaments, something between the
obscurantism and the exhibitionism. The purpose is to inquire how these three
typical figures (sowing and collection, anadiplosis and anaphora) increase the
sonority of the lyric genre defined in terms of musical poetry from its origin.
emphasis on some the poetic-rhetorical conventions that helped to form the
seventeenth-century style. In this analysis, the use of such figures is not
considered baroque eccentricity, or product of the language closed in its own
conceptual and constructive tournaments, something between the
obscurantism and the exhibitionism. The purpose is to inquire how these three
typical figures (sowing and collection, anadiplosis and anaphora) increase the
sonority of the lyric genre defined in terms of musical poetry from its origin.
Research Interests:
The arcadia lyric mitigates several classical agreements. In the XVIII century, the machinery poetic-rhetorical developed from the XVI is reloaded as didactic stylization. There is a covenant among poets and medium public about... more
The arcadia lyric mitigates several classical agreements. In the XVIII century, the machinery poetic-rhetorical developed from the XVI is reloaded as didactic stylization. There is a covenant among poets and medium public about mythological and intertextual allusions, semantic and constructive figures, rhythms and forms. In another words, the speech pleasant is shared by all those of polite spirit, neither scholar nor silly. Horace’s lesson about blending grace and utility directs the compositions, values the delightful illustration of the listener/reader. Sonnet, canzonet, lira, rondo or madrigal become clear forms of reasoning and scenes, all in a metric language that, chiseled in the writing, work as melody in the oral locution. Therefore the volumes of verses must have unity of speech, argument and matter. The books discussed in this article – Obras by Claudio Manuel da Costa (1768), Marília de Dirceu by Tomás Antônio Gonzaga (1792) and Glaura: poems Erotic by Manuel Inácio da Silva Alvarenga (1799) – cannot be read as collections of poems, but as supports that specify the poetic-musical machine of that time.
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Luiz Gama turns to oratory and the collective performance of verse. It is the interlocutory theater, the voice projected into thin air to convince (movere) the audience. Machado de Assis prefers reading and intimate contact with text. It... more
Luiz Gama turns to oratory and the collective performance of verse. It is the interlocutory theater, the voice projected into thin air to convince (movere) the audience. Machado de Assis prefers reading and intimate contact with text. It is the personal experience, the message that echoes within the reader for subjective satisfaction ( delectare). Accordingly, versification gains rhetorical plasticity in Gam a and literary stylization in Machado. The former "celebrates with a marimba", the latter takes from the "wind harp the exalted melody". This technical opposition of
listening and reading poetry, guides the article.
listening and reading poetry, guides the article.
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Uma Novena de Saques is a poetic experiment in tragicomic language reverberating the ancestral poverty of the State of Brazil. This set connects colonial huts to contemporary shacks. On the one hand, I update the past ruin; on the other,... more
Uma Novena de Saques is a poetic experiment in tragicomic language reverberating the ancestral poverty of the State of Brazil. This set connects colonial huts to contemporary shacks. On the one hand, I update the past ruin; on the other, I make the current disease something anachronistic. Nine plunders from sixteenth, seventeenth, and eighteenth-century oratory texts, all under the protection of the King, the Faith, and the Law.
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Sonantes repugnetos: uma croa roída is at a crossroads of references, as a call for the satirical genre. The crown of sonnets is a composition of fifteen sonnets numbered, being the final verse of one, the opening verse of the next. The... more
Sonantes repugnetos: uma croa roída is at a crossroads of references, as a call for the satirical genre. The crown of sonnets is a composition of fifteen sonnets numbered, being the final verse of one, the opening verse of the next. The last sonnet is formed by the golden keys of the others, provided that the first one turns its first verse and so on. I subverted part of the rule, the conclusion of a sonnet is not the opening of the other. Here the series link is the titles within the field of the parasites. Parodying, further, the renaissance dialogue and the conventional mirroring between degradation of the human body and the republican body, I added a dramatic rule absent in my predecessors: the civile conversazione, sometimes cooperative, sometimes bellicose, between the Poet figure, whose sermo communis unfolds by the odd quartets and triplets, and the Republic, whose colloquial speech flows by peers. Action and stile, revealed by the conversation, echo, lastly, the intonation of the improvisator challenge, the rapper’s cock, the samba circle. So, I soiled the urban debate to the battle of those who survive to the ancient machine of eating bodies called Brazil.
Research Interests:
Este artigo pretende observar algumas confluências entre a canção popular e a canção literária, mediante a análise e comparação do poema “Motivo” (1939), de Cecília Meireles, e sua adaptação para a canção “Eu Canto” (1978), por Raimundo... more
Este artigo pretende observar algumas confluências entre a canção popular e a canção literária, mediante a análise e comparação do poema “Motivo” (1939), de Cecília Meireles, e sua adaptação para a canção “Eu Canto” (1978), por Raimundo Fagner. A proposta é refletir sobre os elementos necessários para que um poema, originalmente literário, seja musicado e soe como canção popular. Além disso, também será abordado o tema da metapoesia, seus impactos na leitura do poema e na audição da canção.
Research Interests:
Everyone who writes, reads or listens to a trova, sonnet or concretist experiment follows some literary organization. The rectangle of the page frames the way in which the linguistic and typographic contents play with the absent or... more
Everyone who writes, reads or listens to a trova, sonnet or
concretist experiment follows some literary organization. The rectangle
of the page frames the way in which the linguistic and typographic
contents play with the absent or missing voice. The rules of printed
language submit poetry, which came and still resists orally, to the
aesthetic and material limits of books, for example. This article
discusses how Wilberth Salgueiro (O jogo, Micha e outros sonetos ,
2019), Alckmar Santos (Circenses , 2008), Marcos Siscar (Manual de
flutuação para amadores , 2015) and Pablo Simpson (Mitologias , 2003)
work with poetic forms that seem to test the limits of the page.
concretist experiment follows some literary organization. The rectangle
of the page frames the way in which the linguistic and typographic
contents play with the absent or missing voice. The rules of printed
language submit poetry, which came and still resists orally, to the
aesthetic and material limits of books, for example. This article
discusses how Wilberth Salgueiro (O jogo, Micha e outros sonetos ,
2019), Alckmar Santos (Circenses , 2008), Marcos Siscar (Manual de
flutuação para amadores , 2015) and Pablo Simpson (Mitologias , 2003)
work with poetic forms that seem to test the limits of the page.
Research Interests:
Research Interests:
MARQUES, Pedro, "Jennings on the Trail of Pessoa, or dimensions of poetical music" (2015). Pessoa Plural―A Journal of Fernando Pessoa Studies, No. 8, Fall, pp. 327-364. Brown Digital Repository. Brown University Library.... more
MARQUES, Pedro, "Jennings on the Trail of Pessoa, or dimensions of poetical music" (2015). Pessoa Plural―A Journal of Fernando Pessoa Studies, No. 8, Fall, pp. 327-364. Brown Digital Repository. Brown University Library. https://doi.org/10.7301/Z0X34VP9
Is Part of:
Pessoa Plural―A Journal of Fernando Pessoa Studies, Issue 8
Jennings on the Trail of Pessoa, or dimensions of poetical music
[Jennings na Pegada de Pessoa, ou dimensões da música poética]
https://doi.org/10.7301/Z0X34VP9
ABSTRACT
Here we present two unpublished essays by Hubert Jennings about the challenges of translating the poetry of Fernando Pessoa: the first one of them, brief and fragmentary, is analyzed in the introduction; the second, longer and also covering issues besides translation, is presented in the postscript. Having as a starting point the Pessoan poem "O que me doe" and three translations compared by Hubert Jennings, this presentation examines some aspects of poetic musicality in the Portuguese language: verse measurement, stress dynamics, rhymes, anaphors, and parallelisms. The introduction also discusses how much the English versions of the poem, which are presented by Jennings, recreate (or not) the musical-poetic dimensions of the original text.
RESUMO
Reproduzem-se aqui dois ensaios inéditos de Hubert Jennings sobre os desafios de se traduzir a poesia de Fernando Pessoa: o primeiro deles, breve e fragmentário, é analisado numa introdução; o segundo, mais longo e versando também sobre questões alheias à tradução, é apresentado em postscriptum. A partir do poema pessoano "O que me dói" e de três traduções comparadas por Hubert Jennings, esta apresentação enfoca alguns aspectos da música poética em língua portuguesa: medida do verso, dinâmica dos acentos, rimas, anáforas e paralelismos. A introdução também discute o quanto as versões do poema em língua inglesa, apresentadas por Jennings, refazem (ou não) os níveis músico-poéticos do texto original.
BIBLIOGRAPHY
AZEVEDO, Ricardo (2008). “Região Sudeste”. In: Cultura da terra. São Paulo: Moderna.
BRITTO, Paulo Henriques (2012). “A Tradução de Poesia”. In: A Tradução Literária. Rio de Janeiro: Civilização Brasileira.
CARVALHO, Amorim de (1991). Tratado de Versificação Portuguesa. Coimbra: Livraria Almedina.
ELIOT, T. S. (2004). Obra Completa – Poesia, Vol. I. Edição bilíngue. Tradução, introdução e notas de Ivan Junqueira. São Paulo: Arx.
FERRARI, Patricio & PITTELLA-‐‑LEITE, Carlos (2015). “Four Unpublished English Sonnets (and the Editorial Status of Pessoa'ʹs English Poetry),” in Portuguese Literary & Cultural Studies (PLCS) n. 28, Fernando Pessoa as English Reader and Writer. Dartmouth: Tagus Press, Spring 2015, pp. 227-‐‑246.
FREUD, Sigmund (1987). A Interpretação dos Sonhos, Vol. I [1900]. Tradução da edição inglesa com notas e comentários do editor inglês James Strachey. Rio de Janeiro: Imago.
GAGLIARDI, Caio (2010). “O Problema da Autoria na Teoria Literária: Apagamentos, Retomadas e Revisões”. São Paulo: Estudos Avançados, vol. 24, no. 69.
HUYSMANS, J.-‐‑K. (1987). Às Avessas [1884]. Tradução e estudo crítico de José Paulo Paes. São Paulo: Companhia das Letras.
JENNINGS, Hubert D. (1986). Fernando Pessoa in Durban. Durban: Durban Corporation.
____ (1984). Os Dois Exílios: Fernando Pessoa na África Do Sul. Porto: Centro de Estudos Pessoanos.
MALLARMÉ, Stéphane (2002). Poesias [1972]. Edição bilíngue. Tradução e estudos de Augusto de Campos, Décio Pignatari e Haroldo de Campos. São Paulo: Editora Perspectiva.
MONTEIRO, George (1994). “Fernando Pessoa: an Unfinished Manuscript by Roy Campbell,” in Portuguese Studies, Vol. 10. Cambridge: MHRA, pp. 122-‐‑154.
PESSANHA, Camilo (1994). Clepsydra: Poemas de Camilo Pessanha. Estabelecimento de texto, introdução crítica, notas e comentários de Paulo Franchetti. Campinas, SP: Editora da UNICAMP.
PESSOA, Fernando (1942). Poesias. Lisboa: Ática.
RAMOS, Péricles Eugênio da Silva (1959). “Os Princípios Silábico e Silábico-‐‑Acentual”. In: O Verso Romântico e Outros Ensaios. São Paulo: Conselho Estadual de Cultura.
SOUSA, Cruz e (1961). Obra Completa. Organização geral, introdução, notas, cronologia e bibliografia de Andrade Muricy. Rio de Janeiro: Editora José Aguilar.
SPINA, Segismundo (2002). Na Madrugada das Formas Poéticas [1982]. Cotia, SP: Ateliê Editorial.
Is Part of:
Pessoa Plural―A Journal of Fernando Pessoa Studies, Issue 8
Jennings on the Trail of Pessoa, or dimensions of poetical music
[Jennings na Pegada de Pessoa, ou dimensões da música poética]
https://doi.org/10.7301/Z0X34VP9
ABSTRACT
Here we present two unpublished essays by Hubert Jennings about the challenges of translating the poetry of Fernando Pessoa: the first one of them, brief and fragmentary, is analyzed in the introduction; the second, longer and also covering issues besides translation, is presented in the postscript. Having as a starting point the Pessoan poem "O que me doe" and three translations compared by Hubert Jennings, this presentation examines some aspects of poetic musicality in the Portuguese language: verse measurement, stress dynamics, rhymes, anaphors, and parallelisms. The introduction also discusses how much the English versions of the poem, which are presented by Jennings, recreate (or not) the musical-poetic dimensions of the original text.
RESUMO
Reproduzem-se aqui dois ensaios inéditos de Hubert Jennings sobre os desafios de se traduzir a poesia de Fernando Pessoa: o primeiro deles, breve e fragmentário, é analisado numa introdução; o segundo, mais longo e versando também sobre questões alheias à tradução, é apresentado em postscriptum. A partir do poema pessoano "O que me dói" e de três traduções comparadas por Hubert Jennings, esta apresentação enfoca alguns aspectos da música poética em língua portuguesa: medida do verso, dinâmica dos acentos, rimas, anáforas e paralelismos. A introdução também discute o quanto as versões do poema em língua inglesa, apresentadas por Jennings, refazem (ou não) os níveis músico-poéticos do texto original.
BIBLIOGRAPHY
AZEVEDO, Ricardo (2008). “Região Sudeste”. In: Cultura da terra. São Paulo: Moderna.
BRITTO, Paulo Henriques (2012). “A Tradução de Poesia”. In: A Tradução Literária. Rio de Janeiro: Civilização Brasileira.
CARVALHO, Amorim de (1991). Tratado de Versificação Portuguesa. Coimbra: Livraria Almedina.
ELIOT, T. S. (2004). Obra Completa – Poesia, Vol. I. Edição bilíngue. Tradução, introdução e notas de Ivan Junqueira. São Paulo: Arx.
FERRARI, Patricio & PITTELLA-‐‑LEITE, Carlos (2015). “Four Unpublished English Sonnets (and the Editorial Status of Pessoa'ʹs English Poetry),” in Portuguese Literary & Cultural Studies (PLCS) n. 28, Fernando Pessoa as English Reader and Writer. Dartmouth: Tagus Press, Spring 2015, pp. 227-‐‑246.
FREUD, Sigmund (1987). A Interpretação dos Sonhos, Vol. I [1900]. Tradução da edição inglesa com notas e comentários do editor inglês James Strachey. Rio de Janeiro: Imago.
GAGLIARDI, Caio (2010). “O Problema da Autoria na Teoria Literária: Apagamentos, Retomadas e Revisões”. São Paulo: Estudos Avançados, vol. 24, no. 69.
HUYSMANS, J.-‐‑K. (1987). Às Avessas [1884]. Tradução e estudo crítico de José Paulo Paes. São Paulo: Companhia das Letras.
JENNINGS, Hubert D. (1986). Fernando Pessoa in Durban. Durban: Durban Corporation.
____ (1984). Os Dois Exílios: Fernando Pessoa na África Do Sul. Porto: Centro de Estudos Pessoanos.
MALLARMÉ, Stéphane (2002). Poesias [1972]. Edição bilíngue. Tradução e estudos de Augusto de Campos, Décio Pignatari e Haroldo de Campos. São Paulo: Editora Perspectiva.
MONTEIRO, George (1994). “Fernando Pessoa: an Unfinished Manuscript by Roy Campbell,” in Portuguese Studies, Vol. 10. Cambridge: MHRA, pp. 122-‐‑154.
PESSANHA, Camilo (1994). Clepsydra: Poemas de Camilo Pessanha. Estabelecimento de texto, introdução crítica, notas e comentários de Paulo Franchetti. Campinas, SP: Editora da UNICAMP.
PESSOA, Fernando (1942). Poesias. Lisboa: Ática.
RAMOS, Péricles Eugênio da Silva (1959). “Os Princípios Silábico e Silábico-‐‑Acentual”. In: O Verso Romântico e Outros Ensaios. São Paulo: Conselho Estadual de Cultura.
SOUSA, Cruz e (1961). Obra Completa. Organização geral, introdução, notas, cronologia e bibliografia de Andrade Muricy. Rio de Janeiro: Editora José Aguilar.
SPINA, Segismundo (2002). Na Madrugada das Formas Poéticas [1982]. Cotia, SP: Ateliê Editorial.
Research Interests: Literature, Poetry, Versification, Fernando Pessoa, Portuguese Literature, and 15 moreTranslation, Literatura, Roy Campbell, Literatura Portuguesa, Poesia, Musicality, Musicalidade, Hubert Jennings, Versificação, Peter Rickart, The thing that hurts and wrings, What grieves me is not, What saddens me is not, O que me dói, and O que me doe
Em “Mallarmé vs. Mário de Andrade: dois assaltos à música”, parto da suposição de que a música pode auxiliar a significação e a reinvenção da poesia. Confronto, nesse sentido, dois poetas seduzidos pela arte musical: Stéphane Mallarmé e... more
Em “Mallarmé vs. Mário de Andrade: dois assaltos à música”, parto da suposição de que a música pode auxiliar a significação e a reinvenção da poesia. Confronto, nesse sentido, dois poetas seduzidos pela arte musical: Stéphane Mallarmé e Mario de Andrade. Pensadores engenhosos da poética, assediam a música para renovar, cada qual a seu contento, a composição de versos em propostas que, ainda hoje, trazem ganhos para a teoria, percepção e apreciação de poesia.
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Gregório de Matos operou gêneros poéticos sob os rigores do século XVII, distante, portanto, dos atuais critérios de valoração que só começam a ser idealizados a partir do final do XVIII. A tradição crítico-historiográfica brasileira, no... more
Gregório de Matos operou gêneros poéticos sob os rigores do século XVII, distante, portanto, dos atuais critérios de valoração que só começam a ser idealizados a partir do final do XVIII. A tradição crítico-historiográfica brasileira, no entanto, desde o século XIX, tende a ler a poesia colonial segundo os propósitos das análises e não os dos objetos em si. Praticando uma projeção hermenêutica, arremessa nas letras clássicas categorias alienígenas como nacionalismo e individualismo. A tese de João Adolfo Hansen – A Sátira e o engenho: Gregório de Matos e a Bahia do século XVII – defendida em 1988, rompe tal linha interpretativa ao propor a restituição hermenêutica, isto é, a reconstrução da poética seiscentista dentro de categorias históricas e retóricas da própria época. Embora o estudo tenha influenciado de pronto a pesquisa de ponta, trinta anos depois as praticas docentes em níveis superior e médio ainda novelam, por exemplo, um Gregório de Matos de psicologia brasílica avant la lettre. Proponho aqui analisar um único soneto do poeta a partir de preceitos recolocados por João Adolfo Hansen, tais como imitação, engenho, decoro, discrição e discurso retórico. Um exercício para mostrar como seu trabalho inovador pode impactar, em sala de aula, os modos de ler a poesia do período.
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O livro Identidades, territórios e deslocamentos: a perspectiva brasileira consiste no terceiro de um total de dez volumes da coleção intitulada Literaturas de Língua Portuguesa: Identidades, Territórios e Deslocamentos: Brasil,... more
O livro Identidades, territórios e deslocamentos: a perspectiva brasileira consiste no terceiro de um total de dez volumes da coleção intitulada Literaturas de Língua Portuguesa: Identidades, Territórios e Deslocamentos: Brasil, Moçambique e Portugal, diferentes olhares, publicação adaptada do material didático do curso de pós-graduação lato sensu homônimo, ofertado pela UAB/UNIFESP. O livro é composto por cinco capítulos, no primeiro capítulo discute-se como a língua portuguesa foi um dos fatores decisivos para a implantação do império lusitano ao redor do mundo. No segundo, aborda-se a cultura letrada no Brasil colônia, traçando-se algumas categorias políticas e retóricas fundamentais para se entender esse longo período de produção literária no Brasil. No terceiro capítulo, os autores partem da condição colonial do Brasil e chegam até o país independente, destacando a importância do século XIX para a consolidação do conceito de nacional na literatura. O quarto capítulo aborda a cultura literária no Brasil república, já o quinto e último capítulo convida a pensar a oralidade como fonte da cultura literária brasileira.
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Algumas chaves poéticas, retóricas e históricas para se ler sátiras dos séculos XVII e XVIII no Brasil Colônia.
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O projeto Literatura Brasileira no XXI, parceria do curso de Letras da Unifesp com a SP Leituras, desde o início teve um alvo: encantar leitores para a literatura, principalmente aquela que impacta ou se publica neste século. Que os... more
O projeto Literatura Brasileira no XXI, parceria do curso de Letras da Unifesp com a SP Leituras, desde o início teve um alvo: encantar leitores para a literatura, principalmente aquela que impacta ou se publica neste século. Que os textos constitutivos do nosso tempo encontrassem os olhos curiosos de toda gente. Dentre as ações imaginadas, a principal a construção de um portal com identidade e dinamismo, começamos a arquitetar oficinas que funcionassem como diálogos entre escritores, professores, pesquisadores, alunos de variados níveis, leitores, enfim, curiosos ou iniciantes na leitura literária.
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Os limites estético-materiais do livro impresso submetem a poesia à padrões diversos das práticas orais e coletivas. O retângulo da página é um espaço de escrita, leitura e escuta em que a forma poética joga com seus dados linguísticos e... more
Os limites estético-materiais do livro impresso submetem a poesia à padrões diversos das práticas orais e coletivas. O retângulo da página é um espaço de escrita, leitura e escuta em que a forma poética joga com seus dados linguísticos e imagéticos. Assim, discuto como Wilberth Salgueiro e Alckmar dos Santos trabalham a página enquanto jogo poético. Testando formas como sonetos e décimas, eles pressionam o cercadinho gráfico mimetizando o futebol e o circo.