Os Irmãos das Almas (Literatura Língua Portuguesa) (Portuguese Edition)

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The following article is presented in both English and Portuguese.

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The Portuguese edition can be found below the English translation. Over the past few decades, a number of promising new poets have appeared on the Brazilian literary scene, each pursuing his or her own approach to the craft, starting with little magazines or weblogs , graduating to chapbooks and then, finally, full published collections. As in most literary scenes, some of these poets get prizes and grants, perhaps teach creative literature classes, and autograph their works at book launches. They tend to assume that their major goal as poets is not to reinvent poetic language, or determine the course of the evolution of poetic discourse for the next years, or to help bring about the ultimate destruction of capitalism and imperialism — but simply to write good poetry.

They actually want their work to be read and discussed by the reading public which, in the case of poetry, consists mostly of critics, academics, and other poets. And some of them write — in addition to the free verse that has become the lingua franca of contemporary poetry — metrical verse, not excluding sonnets. All quite unexceptional, right? Well, not to a number of critics and academics who formed their taste and forged their ideological axes back in the s.

According to them, the business of any Brazilian poet worth his or her salt should be to find a poetic language that will express the contradictions of capitalism in the third world, or to advance the achievements of one particular avant-garde poetic movement of 50 or 60 years ago — or maybe a combination of the two. 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: all Brazilian intellectual fashions were French imports.

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.

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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.

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. 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. 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: the diehard defenders of traditional pre-Modernist poetry, for sure, but also by more than one rival tribe of avant-gardists, who believed that poetry should be revolutionary both in form and in ideological content.

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What Concretists and Praxists had in common was a rather dour, almost puritanical poetics, which saw subjectivism as the unforgivable sin: true poetry should be objectivist, cold, cerebral, and goal-oriented. This lively cultural scene was destroyed by AI He would use this gift of talk to visit the elderly and sick.

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He would love to visit and talk with them for hours. He was definitely in his element and would treasure each of these visits. At the age of 16 he purchased his red 59 Olds. In from the urging of my brother, Dan, and the help ofRick Wallenberg they restored his red Olds. At his first car show, he won "Best of Show".

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It was at Pismo Beach on Father's Day. My dad was definitely beaming! Car shows were a great opportunity for him to visit with others and check all the neat cars. No matter how they played, you could find him at the games as a season ticket holder. He loved tailgating with his family and friends as he cheered on the silver and black. My dad even had the opportunity to attend the Superbowl in when the Raiders played in San Diego.

For many years, my dad enjoyed bowling. He loved his different bowling leagues. His bowling hobby gave him the reason to travel across the country with friends. He even received the nickname "Tony Bag of Doughnuts" by his. While speaking about doughnuts, my dad loved food. He enjoyed all kinds of food and drink and would always clean his plate as well as ours. My wife Nelia would say it's easy to keep Tony happy by making him a good home cooked meal. He definitely had a passion for family.

This past July, my parents celebrated their 45th wedding anniversary'. Just a few months ago he mentioned his family as his greatest achievement in life. My dad was an only child, but he left this world with a legacy of 20 people. He loved being surrounded by family, and his eyes would always light up when a grandchild would come by and say, "Hi Poppy. He was always so proud of his grandkids! Through all these passions in life, he had a passion for God and his faith.

No matter where he was or what he was doing, my dad would always attend mass on Sundays. He pulled his strength from God, and this was very evident in the last nine years of his life as he fought his disease. He never once complained or said "why me? He took it all in stride and would still take every opportunity to get out and enjoy life. My dad enjoyed his life to the fullest.

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He packed a lot in his 69 years of life. He will definitely be missed! Falecimento October 25, February 24, Antonio Tony Alamo passed way peacefully into the arms of our Lord on February 24, at the age of He immigrated to the United States at seven years old to Artesia. In he moved to Salida and started his own dairy. He married Florinda Machado in Tony had a passion for life. He was a hard-working man who loved talking to people and traveling with family and friends. He especially enjoyed visiting the Azores every year.

He enjoyed a variety of activities including participating in car shows with his newly restored Olds, bowling, golfing, water and snow skiing, going to the lake and spending time at Pismo Beach. He had an unwavering faith in God and treasured spending time with his family above all things. Nos subsequentes 15 anos. As equi. Perspectivas Fernando M.

Soares Silva fmssilvaazor yahoo. Por sua vez, Guilherme S. E Manuel B. Ver o no. Os termos do respectivo regulamento podem ser consultados em: www. San Francisco, 24 de Fevereiro de Grande noite europeia. Ferreira 13V. Liga Orangina 1Estoril 2Moreirense 3Desp. J 1Varzim 22 2Desp. Reguengos 22 13Monsanto 22 14Tourizense 22 15Moura 22 16Caldas Mateus18 6Guadalupe 18 7Sp. Ideal 18 8U. Em desvantagem no marcador, os. Moreno colocou os madeirenses em vantagem aos 12 minutos, mas Lima restabeleceu a igualdade aos Com tal em. E os toiros? Queremo-los bravos, nobres e com bonita morfologia.

Aos nossos cavaleiros locais, pediria que continuassem a mostrar a seriedade de sempre, a mostrar o que aprenderam de novo, o saber estar numa arena, o respeitar o toiro e os aficionados. As trovoadas, as florestas e os grandes rios atravessados em jangadas escondiam-lhe a realidade colonial. Frequentou o Liceu Nacional D. Pela mesma altura grava o seu primeiro disco, Fados de Coimbra.

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Chardron, 2 vols, pref. Sardinha, A. Severo, R. I, Lisboa, Imprensa Nacional : 2 Vasconcelos, J. Bethencourt F. Buescu, A.