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O romantismo na poesia portuguesa : (de Garrett a Antero) (Book, ) [theranchhands.com]
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Please enter your name. The E-mail message field is required. Please enter the message. Please verify that you are not a robot. Would you also like to submit a review for this item? You already recently rated this item. And so there is a growing rift between the body of poetry being written over the past decades in Brazil and an important sector of the academic discourse on poetry.
This sense of urgency, of living in heady times that call for constructive action on the part of writers, can already be detected in the poetry of the colonial period, but it becomes more evident after , with the coming of independence and, soon later, of the Romantic movement. Brazilian artists and intellectuals felt they had a moral obligation to affirm the existence of a Brazilian nation that was more than just an outgrowth of Portugal; in order to affirm such a nation, they would first have to create it.
The quality of the art produced in the country was always evaluated in function of whether, and how, it contributed to the ever-unfinished project of building Brazil. No matter that this idealized vision of Indians came originally from Chateaubriand: In the last quarter of the 19th century, Realism, Symbolism, Parnassianism, and Naturalism all had followers, and literary quarrels particularly between the Parnassian establishment and the Symbolist underground were frequent. In this Frenchified atmosphere, however, a handful of writers were able to create works of literature that had genuine merit and were also unmistakably Brazilian, such as the poetry of Cruz e Sousa, by far our best Symbolist, and the fiction of the greatest writer in our canon, Machado de Assis.
Contrary to the official discourse, Brazil is and has always been a racist country, but certainly not where our literary canon is concerned.
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Though there had been stirrings of modernity in the previous generation, it all began — according to the standard history learned by schoolchildren throughout the country — with the mythical Modern Art Week of , the Brazilian equivalent of the Armory Show. Some of the participants were Cariocas — the composer Villa-Lobos and the painter Di Cavalcanti — but most were Paulistas, as were the two writers who would eventually become the most influential intellectuals of Brazilian Modernism: The Modern Art Week marked the beginning of a half-century characterized by various isms, movements, defections and counter-movements.
During this revolutionary period, literary prizes and official recognition were often shunned, scathing reviews from established critics were flaunted like battle scars, and a disproportional share of the best poetry in Brazilian literary history got written. The mood of much of the great poetry of the period was frankly contrarian. To be a poet often implied being against a number of things.
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The Concretist poets did more than abolish meter and rhyme: Concrete poetry was all about form-follows-function, about writing today the poetry of the future. The Concretists were fiercely attacked by a number of enemies: What Concretists and Praxists had in common was a rather dour, almost puritanical poetics, which saw subjectivism as the unforgivable sin: This lively cultural scene was destroyed by AI The phenomenon soon spread to other cities.
What they mostly had in common was the fact that their poetry was in direct opposition to the dogmas of Concretism and other formalist movements: In its most lighthearted moments, it showed a countercultural streak reminiscent of North American flower power, but the prevailing oppressive political climate left deep marks on it. Also, the Marginals, unlike the Concretists and the Praxists, were not trying to create the poetry of the future; their focus was on the here and now.
My cokehead girlfriend seeks me out in the wee hours to say she loves me I gaze at the dark rings under her eyes as dark as the night out there. They did not believe there was a single formula for poetry to the exclusion of all others. From the Marginal period up to now, poets have been experimenting with a wide array of poetic devices; none is taboo, none is obligatory. The choppy, highly enjambed free verse pioneered in English by William Carlos Williams is the form favored by most younger poets, but there is no longer any sense that free verse is de rigueur , that traditional metrical and stanzaic forms often used in creative, nonstandard ways necessarily imply a reactionary rejection of modernity.
I was one of the The diversity in the collection was much greater than anything to be found in the 26 poetas hoje anthology: And in some of the volumes, such as the one by Rubens Rodrigues Torres Filho, high and low diction, free verse and sonnets, philosophical musings and scatological humor, appeared side by side. Some sense of the diversity may perhaps be given by two brief examples. And this state of affairs was downright alarming to those who saw poetry in terms of such categories as progress, modernity, and evolution of forms, as well as to those who still believed that the chief task of Brazilian poets was to criticize capitalism and its attendant ills.
Some of the poets and critics associated with Concretism gave the new poetry short shrift, dismissing it with the dirtiest word in their vocabulary: Iumna Maria Simon and Vinicius Dantas have been the most aggressive critics of nearly all the poetry produced in Brazil in recent decades.
Their take on Marginal poetry is rather simple: More recently, a piece by Simon ends on a hopeful note:. Right now there are signs that the cultural complex of neoliberalism has been shaken in its hegemony, that the exclusiveness of a form of thinking has lost its authority to impose on us an inevitable model of society, although relevant alternatives to capitalism are not to be seen, even after such a systemic crisis, whose magnitude has not yet been fully disclosed, as the one we have been going through since In Brazil, it is true that reactions to this situation that are truly artistic, in the sphere of poetry, have been few so far.
But they do exist, and they will be based on dissatisfaction with the retraditionalizing paradigm, which, as we have seen, is no more than parasitism upon the canon. But not all critics have been hostile. In this same text, Moriconi coined an apt phrase to describe the new period in Brazilian poetry: Of course, every culture is a work in progress, not a static construct; in that sense Brazilian culture still is, and will always be, an ongoing process. What I mean is that there comes a time in the history of a nation when its artists and intellectuals no longer feel a need to assert at all times that it really is a nation, with a culture of its own.
For long-established European nations such as Portugal or Britain, this is a sort of concern that simply does not occur to anyone though Germans experienced similar insecurities throughout much of the 19th century ; but in the New World the problem has been particularly acute — even, during the Romantic period, in the US: