Sussex, U. Graham, S. The structural relationship between writing attitude and writing achievement in first and third grade students. Contemporary Educational Psychology, 32, An introduction to functional grammar 2 ed. London: Arnold. An Introduction to functional grammar 3 ed. London and New York: Arnold. Hayes, J. Identifying the organization of writing processes. Lee, G. Erwin Eds. Cognitive processes in writing pp. Hsu, S. Computer-supported freewriting: Improving writing attitude and idea generation.
Proceedings of the 18th International Conference on Computers in Education. Hyland, K. Teaching and researching writing. Harlow, Essex: Pearson Education, Longman. Izard, C. Emotion theory and research: Highlights, unanswered questions, and emerging issues. Annual Review of Psychology, 60, Kear, D. Measuring attitude toward writing: A new tool for teachers. The Reading Teacher, 54, 10— Knudson, R.
Development and use of a writing attitude survey in grades 4 to 8. Psychological Reports, 68, Development and application of a writing attitude survey for grades 1 to 3. Psychological Reports, 70, Effects of ethnicity in attitudes toward writing. Psychological Reports, 72, Development of a writing wttitude survey for grades 9 to Effects of gender, grade, and ethnicity.
Psychological Reports, 73, Writing experiences, attitudes, and achievement of first to sixth graders. Journal of Educational Research, 89, 90— Li, X. Florence: Pixel. Power, M. The structure of emotion: An empirical comparison of six models. Roseburg, E. Levels of analysis and the organization of affect.
Review of General Psychology, 2, Santana, I. Sardinha, M. Scherer, K. Toward a dynamic theory of emotion: The component process model of affective states. Geneva Studies in Emotion and Communication, 1, What are emotions? And how can they be measured? Social Science Information, 44, Strauss, G. Emotional intensity and categorisation ratings for emotional and nonemotional words. Abstract The traditional teaching method contributed to the motivation on the study of the Portuguese language and also to the fragility of teaching, since reading and writing are essential in the development of all programs.
These facts have motivated the search for new pedagogical perspectives that valued the knowledge acquired by the child, the implicit knowledge, which leads to a learning of discoveries where students take the lead in their own learning. For this end, it was produced a dramatic text that served as motivation for this study and culminated in its representation to the school community. The objectives meant to lead students to discover, recognize and identify the conjunctions "and," "or" and "but", and to differentiate text of a dramatic narrative, based on Active Approach to Discovery.
As a result, students have gained wisdom, team spirit, sharing of knowledge and teachers discovered the benefits of using a practical and playful discovery, as a teaching method. Keywords: education, conjunctions, discovery, playfulness. Quantas vezes? Para que serve? Deste modo, delineou-se o seguinte plano de trabalho, o qual teria subjacente a abordagem pela Descoberta, o ludismo, num clima de interdisciplinaridade.
O Coelhinho olha espantado e questiona. Nem - Eu sou o Nem. Mas - Eu sou o Mas. E, Mas, Nem em coro - Ah! Aprofundamento de conhecimentos A turma nesta etapa continua dividida nos mesmos grupos, que passam a ter novas tarefas: 3 — Aprofundando conhecimentos: 3. Elas podem ser coordenativas ou subordinativas. Os ensaios eram levados a efeito na hora de biblioteca de que a turma dispunha semanalmente. Paulo: Loyola. Bruner, Jerome The Process of Education. Piaget, J. Paulo: Martins Fontes.
Nem - nem… Felpudo - …nem de gritos. E - Sim. Agora basta que nos apresentemos e que te tornes nosso amigo. Mas - Tornamos frases simples em frases complexas. Mas… vamos rezar?! E - Por exemplo, ainda te lembras do que disseste quando entraste aqui?! Felpudo - Lembro. E - Isso mesmo! Felpudo - Ah! A minha frase ficou maior e mais completa! Mas - Isso! E cada vez que ela aparecia tu… Felpudo - Completava ainda mais a minha frase; tornava-a mais complexa. Mas… Mas — Diz! O coelhinho, por momentos, fica calado, pensativo e triste E — Que se passa coelhinho? Coelho — Acho que sim!
Mas… E tu? Para que serves? Mas — de sorriso aberto Para o que acabaste de fazer! Felpudo — Como?! Felpudo — AH! Mas — Eu sirvo para isso… para marcar algo duvidoso, algo pouco seguro, adverso. Eu advirto, sou Adversativa. Tenho um apelido diferente. Felpudo — Que nomes mais complicados! E — Com o tempo, tu vais conhecer-nos melhor! Felpudo —Talvez! E — Claro que sim! Felpudo — Quero, quero! Alice Cardoso. Abstract This paper intends to analyse the written production of deaf students considering linguistic interference from Portuguese Sign Language.
We aim to consider the notion of error and mistake, suggesting some activities that may help deaf students to learn Portuguese easily Key-words: Portuguese Sign Language; Deaf Students; Written Portuguese. Todavia, como afirmam Sandra Nascimento e Margarita Correia,. Importa atentar um pouco nestas condicionantes antes de prosseguirmos. Veja-se um exemplo que concretize a metodologia contrastiva que referimos. Variante de um morfema determinado pelo contexto. Eu tenho bastante dificuldade de conjugar os verbos.
Esta pergunta fornece-nos a resposta. No bolo temos farinha, ovos, leite, entre outros. Veja-se uma frase sem cimento: vou casa. E outra quase a desmoronarse: casa porco amigo ir. Vamos por o cimento? Veja-se como exemplo um texto de um surdo:. Lisboa, Caminho. O papel do outro na escrita de sujeitos surdos. Cambridge: University Press. Abstract This paper intends to suggest some activities centred on phonological awareness during primary school. Our proposal is based on a continuous and systematic practice of this dominium articulated with other contents taught in class.
We propose some exercises based on various textual genre in order to make phonological awareness significant to teachers and students. Lisboa: Universidade Aberta. Mexer bem. Receita retirada de Petiscos. PPEB; , p. Gillon, Gail, Phonological Awareness. Andrade, M. Viana e A. Reis, Carlos coord. Viana, F. Therefore, we begin with contrasting the notions of gender and sex and with the processes of marking name gender in Portuguese coming from Latin and Romance languages. Later, we will review the processes that the authors mentioned above consider to indicate the gender of words, by distinguishing morphological, morphosyntactic and lexical strategies.
We will present, at last, several proposals for activities aimed at different teaching levels, in order to systematize this information and make it meaningful for teachers and students. Key words: Grammatical gender; morphosyntactic and lexical processes; explicit teaching. Este contraste acaba por gerar nomes de subclasses diferentes: nome comum e nome coletivo. Veja-se a agramaticalidade dos exemplos 24 e O morfema derivacional pode ser afixado ao feminino 26 , a ambas as formas 27 ou apenas ao masculino Entre estes nomes temos os ilustrados em Entendemos que, num primeiro momento, se podem agrupar os nomes em dois grupos, sendo abordados no ensino-aprendizagem de forma gradual e pela ordem aqui apresentados.
Identifique, agora, o processo que permitiu formar a palavra dama. Proposta 2. Complete o esquema com palavras presentes no texto. Proposta 3. Uma companhia. Proposta 4. Rio de Janeiro: Editora Lucerna. Botelho, J. Rio de Janeiro: Botelho. Teoria da Linguagem.
Meaning of "silepse" in the Portuguese dictionary
Coimbra: Coimbra Editora. Corbett, G. Costa, J. Cunha, C. De La Grasserie, R. Hockett , C. A course in modern linguistics. New York: Macmillan. Huber, Joseph. Lucchesi, D. Lisboa: Imprensa Nacional — Casa da Moeda pp. Luft, C. Neves, M. M , Nunes, J. Villalva, A. Eram livros maus, eram livros bons — era o que havia. Eram os livros que as minhas tias liam, romances de amor, grandes dramas que faziam chorar muito mas acabavam sempre em casamento.
Foram esses maus livros que me criaram o gosto pela leitura. Que me deram vontade de ler sempre mais. Tenho o retrato de ambos na minha mesa de trabalho. Abstract The reading activities in the classroom are ruled by the national program which, besides prescribing the corpora of the text that is object of study, determines the way it should enhance different reading skills and convey historical, cultural and literary identity marks.
In the specific case of. However, the learning materials that support the development of reading skills put into play other texts that transcend the boundaries of literature. The reflection that we propose focuses exactly on two aspects: Are all texts equally significant for the development of skills in this area, or should we resort to rigorous screening, since each one plays a specific role within the learning process? The next question is also relevant, and it is related with the differences between the readings done in school and those practiced by students outside the educational field, in a personal sphere.
Should this recreational reading be oriented as well or should we give the students, especially the ones in the 2nd and 3rd cycles of teaching, an unrestricted freedom of choice? Since each text provides students with their own and singular horizon of expectations, giving them, therefore, distinct opportunities to develop knowledge, skills and to form a vision of the world, must all texts be reading subjects? Are all texts, therefore, good ones? Calvino, Certamente que sim. Quasi Editora. Castelo Branco, Camilo, Garrett, Almeida, Pessoa, Fernando, Vicente, Gil, Herculano, Alexandre, Assim sendo, a leitura enquanto atividade nuclear de aprendizagem coloca-nos hoje novos desafios dentro e fora da escola.
No fundo, de modo mais ou menos indireto, solicita-se-lhes o estatuto de canonicidade. A triagem dos textos deve atender ao. De facto, o. O tipo de texto, as metas de leitura, os contextos em que ela ocorre e as diretrizes do professor constituem, pois, fatores que condicionam a grande variabilidade das atividades realizadas pelo leitor. Na verdade, o NPP acentua a ideia de que.
Quais os mais adequados? O que devo comprar para que ele aprenda a gostar de ler? Ler mais. Por isso se acentua a necessidade de ler, como uma das formas para ler bem. Eles, melhor do que qualquer outra pessoa, conhecem os alunos, as suas dificuldades e podem, com maior rigor e propriedade, adequar a escolha do texto ao leitor.
Todos estes autores possuem obras capazes de disponibilizar textos adequados a alunos com esta maturidade leitora. Seco mostra que. NPP, p. Substituindo-se aos professores? Uma Teoria da Poesia. Bloom, Harold, Lisboa: Temas e Debates. El canon literario. Yale University Press. Genius: A mosaic of one hundred exemplary creative minds. NY: Warner Books. Buckingham, D. Media education: Literacy, learning and contemporary culture. Cambridge: Polity Press Calvino, Italo, Barcelona: Tusquets Editores.
Calvino, Italo, Lisboa: Teorema. Costa, P. FLUC: Coimbra. Acedido em 17 de junho de Ferry, Luc Paris: Odile Jacob Fowler, Alaistair, Fowler, Alaistair, Kinds of Literature. An Introduction to the theory of genres and modes. Oxford: Clarendon. E: Lisboa. Nogueira, Carlos. Potts, John. Lisboa: Livros Horizonte. Kermode, Frank, Pinto, Manuel, In Comunicar Huelva: Espana. Acedido a 12 de julho de Reis, Carlos, O Conhecimento da Literatura. Coimbra: Almedina. Reis, Carlos Actas. Seco, Eduarda, Um estudo de caso num agrupamento de escolas de Coimbra. Coimbra: ESEC. Este levantamento foi implementado com um grupo de alunos, do 4.
Abstract The basic aim of this work consisted in make a brief theoretical approach to the importance of illustration in the education of visual literacy of children, emphasizing the materiality of children's books. More specifically, it has been made a comparative analysis of the materiality of the book A Flor Vai Pescar Num Bote, from Alves Redol, based on the illustrations of the first edition , compared with the most recent edition of the same title This survey was implemented with a group of students, of the 4 level, from the Basic Education Schools of Penacova, focusing, thus, on the work fulfilled by them, in a comparative analysis of the materiality of the two books concerned.
Key-words: Literature for children, visual literacy, illustration, materiality of a book. Recentemente, em , a editora A quem pertence o livro, ao autor ou ao ilustrador? Scott, Carole How Picturebooks work? London: Garland Publishing. Ainda a este respeito, ao. O leitor entra no mundo do nonsense, o que lhe permite um maior entusiasmo na sua leitura. Nas estampas de LP a linguagem visual dialoga, de forma ajustada, com a linguagem verbal. Contudo, torna-se bastante revelador o facto de na.
A ideia tradicional de que o texto era para ser lido … e as imagens para serem vistas … foi questionada. O Veado Florido. Viana, Marta Martins, Eduarda Coquet. Figueiredo, Anabela de Oliveira Maia, Gil Abstract Translating and interpreting idioms or proverbs into sign language raises several issues of linguistic and cultural nature that the interpreter must be aware of and apply in order to guarantee a good interpreting performance. This paper analyses different contexts where we can find this type of expressions and the different translation and interpretation alternatives we can choose from to render their content.
Several examples will allow us to establish a parallel, or not, between idioms and proverbs belonging to Portuguese language and Portuguese Sign language. Finally there is a report of a study on whether we can find proverbs in Portuguese Sign language LGP and about the way deaf people relate themselves with this form of expression. Keywords: Portuguese Sign Language; idiom; proverb; translation; interpretation. Interpreting an Introduction. Describing Language. Lisboa: Editorial Caminho Lyons, J.
Lisboa: Litexa Editora Ulmann, S. Idioms Organiser. Boston: Thomson Heinle. Neste sentido, foram envolvidos, no estudo, todos os professores do 1. Efectivamente, os alunos declaram maioritariamente gostar de ler, sendo que o livro faz parte do seu universo de bens afetivos. Parece evidente que para este lugar de sombra podemos encontrar alguma luz explicativa nos pontos que a seguir apresentamos.
Silva, Pereira, Que objectivos de aprendizagem nos permite ele perseguir? Dispy e Dumortier, Palavras, 25, Elley, Warwick, B. Anstey Eds. Paris, OCDE. Castro, R. Almedina: Coimbra. O Jogo do Livro Infantil e Juvenil pp. Tauveron, C. De la GS au CM. Paris, Hatiers. En muchos casos, los maestros se muestran reticentes —por desconocimiento o por actitud refractaria- a los cambios. Y los cambios que se introducen en las aulas son, muchas veces, simples cambios superficiales. Aunque este sea un Palou, J. Fons, M.
En Aula de Infantil. Maestra A. Hay un grupo que va a estar pensando cosas relacionadas con las palabras y con las letras. Maestra B. Y entonces, nos quedan fijadas mal y cuando las decimos, las decimos mal. Por eso es importante que ahora que ha salido esta palabra, pues recordemos que no es Aguineu y que tenemos que decir zorro guineu. Irene: Si M: y lo puedes escribir Irene: si Maestra B: 1r curso. M: porque cuando tenga un ratito y la pregunte, no quiero sorpresas eh? La ordenaremos en la carpeta verde. Ahora lo que nos interesa es que no suene.
Vale, buscamos palabras con gui. Aina: abierto! Alba: una uve y una o M: es una uve y una o. Gerard, sal a la pizarra y escribe farola M: muy bien, chico. No levanten la mano, sale el que yo diga. Judith: una cedilla M: borra la ese y escribe una cedilla. Pero la forma de concebir el lenguaje escrito y su aprendizaje puede ser radicalmente distinta.
En el lado opuesto, el producido con la maestra del taller de escritura. El comentario de la tutora al ver el texto realizado en el taller ha sido: -si pueden realizar estos textos es porque en clase han aprendido muy bien las letras, su sonido y su escritura. No hay duda que ambas maestras tienen concepciones bien distintas. Ello facilita y promueve interpretaciones y aplicaciones de naturaleza muy diversa, tal como hemos visto. Aprender se considera un proceso y este proceso es tan importante como el punto de llegada final, el resultado.
Se fomenta un aprendizaje significativo y funcional de los contenidos. David Woods , citado en Palou, Juli El pensamiento del profesor. Camps coord. The nature of growth of knowledge in student teaching. Teaching and Teacher Education, 7, Instituto Fronesis. Pasado y presente de los verbos leer y escribir. Aprendizaje del lenguaje escrito. Barcelona: Anthropos.
SILEPSE - Definition and synonyms of silepse in the Portuguese dictionary
Buenos Aires: Santillana. Abstract Rejecting the perspective that sees them as disabled, the deaf communities consider themselves linguistic minorities. Under that vision, they claim equal opportunities in education, through the recognition of sign languages as their first languages and as curricular areas.
Legislation in Portugal has accomplished these claims. The publishing of the Portuguese Sign Language Syllabus gave the necessary orientations to its implementation. In this article, we aim to analyse the discourses of actors that participated in the elaboration of this syllabus and discourses of school professionals coordinators of reference schools for the deaf and Portuguese Sign Language teachers. Neste artigo, procuramos dar conta de alguns dos resultados obtidos.
Para este artigo, mobilizamos dados obtidos de quatro entrevistas. Para este fim, os Estados Partes adoptam as medidas apropriadas, incluindo: a … ;. Na altura sim, fomos logo convidados. Normalmente ia eu e alguns colegas Entrevistada A. E punham os meninos todos misturados, do primeiro, segundo, terceiro e quarto anos, mas tinham todos necessidades diferentes.
Era quase como se fosse um apoio aos gestos. Este programa curricular constitui por isso um marco nas conquistas da comunidade surda portuguesa. Algumas escolas continuam a utilizar os professores surdos para apoiar prioritariamente os professores ouvintes. A escola disse que sim. Eu continuo a questionar a escola.
Alguns alunos tiveram mais sorte do que outros, depende das escolas. Uns entraram para a escola tarde, com sete e oito anos. Entrevistado C. Os professores surdos quando concorrem para as escolas geralmente concorrem mais tarde.
(Português) Einstein e Freud: Guerra e Paz Num Diálogo Interdisciplinar
Porto: Tese de doutoramento, F. Ball, S. The policy processes and the processes of policy. Bowe, S. Gold orgs. Cavaca, F. Martins, M. Fernandes, D. Noesis, 18, Stoer, S. Wieviorka, M. To that effect, we will contextualize it by having in mind some key-concepts pertaining to this field, namely in what regards deafness and its developmental and social-cultural implications, as well as PSL linguistic specificities and professional interpretation activity.
The problem is that the hearing world does not listen. Jesse Jackson. Como referem Schlesinger and Meadow , cit. Neste sentido, e segundo Skliar , cit. Neste sentido, estamos de acordo com Jokinen Leroi-Gourhan, , cit. Tal preconceito. Ora neste sentido, tudo aponta para que o CODA licenciado, inserido desde sempre num ambiente bilingue, envolvido e mesclado na comunidade surda, entre tantos outros, esteja. Bibliografia Afonso, C.
Alferes, Valentim R. Coimbra: F. Amaral, M. Bell, J. Lisboa: Editorial Caminho. Centro Hospitalar de Coimbra sd. Perscrutar e Escutar a Surdez. Correia, I. Gallardo, B. La Comunidad Sorda. Grosjean, F. Life as a bilingual, the reality of living with two or more languages - Those incredible interpreters. Sign Language: The study of deaf people and their language.
United Kingdom: Cambridge University Press. Laborit, E. Lisboa: Portugal. Ladd, P. Understanding Deaf culture: In Search of Deafhood. Multilingual Matters Ltd. Reino Unido. Lane, H. Lisboa: Instituto Piaget. A Journey into the Deaf-World. Dawn Sign Press. Preston, P. Harvard University Press. Sacks, O. Vejo uma Voz: Uma viagem ao mundo dos surdos. Sousa, J. Stokoe, W. Why sign came before speech.
Washington, DC. Sussams, John E. Abstract Intertextuality is one of the most commonly used terms in contemporary literary theory. According to Kristeva, Barthes, Riffaterre, and other pioneers of the field, every text has its meaning only in relation to other texts; texts as viewed by modern literary theory are lacking in any kind of independent meaning.
The act of reading plunges us into a web of textual relations, a network of other texts. According to contemporary didactics, teachers should offer to their pupils the opportunity to understand that a literary text is not an autonomous entity and it could be considered more thoroughly in the basis of its intertextual relations. This paper offers some insight into what may be possible for directions in bringing texts together. We illustrate ways in which pupils can effectively read literary texts in parallel, compare them and gather its intertextual links and connections.
By doing this, children, can increase their critical thinking and robust their interpretive ability. Using evidence for literary theory we offer examples of teaching resources and good instructional practices. Key words: Intertextuality, interpretation, textual web, comparative reading, Modern Greek poetry, literature teaching. Introduction Intertextuality is not only one of the most commonly used terms in contemporary literary theory; it is also a crucial element in the attempt to understand literature and culture in general.
According to the theories of intertextuality, works of literature, after all, are built from systems, codes and traditions established by previous works of literature. Texts as viewed by modern literary theory are lacking in any kind of independent meaning. They are what theorists now called intertextual. The act of reading plunges the reader into a web of textual relations, a network of other texts. To interpret a text, to discover its potential meanings is to trace those relations. Reading becomes a process of moving between texts. Meaning becomes something that exists between a text and all the other texts to which it refers and relates see Allen, as well as Worton and Still, , for an excellent outline of the history of intertextuality.
The text is a tissue of quotations drawn from the innumerable centers of culture As highlighted by Worton and Still , we should look at the notion of intertextuality in its two axes. First, the concept is based on the idea that the text does not function as a hermetically closed and self-sufficient system as far as its author himself as a reader, consciously or unconsciously draws upon his readings as part of the writing act. The second axe of intertextuality approaches the text from the point of view of its reader who during the act of reading establishes links between the text he is reading and other texts he has read in the past.
It is obvious that such links enrich the text and open it. In the present paper we illustrate ways in which students can effectively read literary texts in parallel, compare them on the basis of its intertextual links and connections. We are going to limit ourselves to some illustrative cases of intertextuality available for students in a secondary classroom. By doing this kind of text-to text reading, students develop a fuller and more articulate awareness of literature and they can also expand their literary uptake through detailed critical analysis.
The intertextual text-to text reading suggests that interpretation depends on how a text fits within the larger body of literature Wolf, This particular kind of text-to-text criticism depends on comparisons of texts by the same or by different authors, in the same genre, using similar conceits or stylistic devices, etc. Companion texts that intended by the author to be read together as a collection.
Complementary texts that explore various aspects of a topic or theme. Cavafy and G. Seferis, that explore as we shall see the vast theme of the symbolic journey. Synoptic texts that allow the reader to select a single kernel story, an idea or an easily recognizable plot pattern and read across the various adaptations, versions, and variations of it. We should notice here that literary pieces of an archetypal quality, such as fairy tales, myths, legends, etc. This kind of texts and stories has a universal appeal and they usually lend themselves to an enormous amount of storytelling.
The theme has inspired innumerable stories of all kind right up to many popular modern examples in literature 59 and media. Disruptive texts that present conflicting or alternative perspectives on the same topic or theme. Rereading texts that generate rereading and they are prolific in revisions and reinterpretations. The teacher can simply invite students to reread and revisit the same text. As far as students adopt this intertextual and comparative stance in the classroom, they can be focused on comparisons and contrasts between texts in order to reiterate and emphasize their potential links.
They can also investigate the vast array of potential connections among written as well as media texts such as pictures, music etc. As we indicated before literary texts can be connected as complementary texts assembled to explore various aspects of a topic or as conflicting texts that present alternative perspectives on the same topic. According to Barthes, the very idea of the text, and thus of intertextuality, depends on the figure of web. The figure of spider web reminds us not only the World Wide Web but also the web-like diagrams 2 used in classroom as tools for learning Tompkins, Students can implement the notion of intertextuality in the classroom by making web clusters to brainstorm a topic, or organize and demonstrate their learning.
Cavafy and the poem number 12 from the Mythistorema poetic sequence by the Nobel laureate poet, George Seferis. These two poems establish a very intriguing intertextual-dialogic relationship as far as both of them convey and extend in a quite antithetical manner the symbolism of the journey and its various associations with human life. As representative exponents of modernist aesthetics and key figures of Modernism in Greece, the two poets, make extensive use of intertextual strategies as far as their poetry depend on significant intertextual influences and borrowings.
Their poems are engaged in complex transformations of their intertexts, transformations made all the more necessary by their desire for novelty and radical innovation. As a result, they foreground the active role of the reader, in a way that earlier texts do not. The poem works on two levels: on the most immediate, Cavafy. He declares that the final destination of the journey is not important; what is important is that the journey should be full of joy, adventure and delights.
He implies that personal experience is of great importance and that life is its own justification. Hope the voyage is a long one. May there be many a summer morning when, with what pleasure, what joy, you come into harbors seen for the first time; may you stop at Phoenician trading stations to buy fine things, mother of pearl and coral, amber and ebony, sensual perfume of every kind— as many sensual perfumes as you can; and may you visit many Egyptian cities to gather stores of knowledge from their scholars.
Keep Ithaka always in your mind. Arriving there is what you are destined for. But do not hurry the journey at all. Better if it lasts for years, so you are old by the time you reach the island, wealthy with all you have gained on the way, not expecting Ithaka to make you rich. Ithaka gave you the marvelous journey.
Without her you would not have set out. She has nothing left to give you now. Wise as you will have become, so full of experience, you will have understood by then what these Ithakas mean. The Alexandrian poet advises the modern Odysseus to hope for a long voyage full of wonderful adventures. The protagonist travels from one place to another; Ithaka provides the motive. Would you attribute more intellectual motives to the marvelous journey of life?
Would you agree with the poet that the journey not the destination is what constitutes our reward? What is the role of sensuality and voluptuousness in the poem? In most of the twenty-four poems of Mythistorema , the journey, literal and symbolic, is indeed presented as an endless voyage, an aimless voyage, that means an endless wandering through an almost wasteland. When reading this poem students address the despair of the unfinished journey.
In Mythistorema Seferis interweaves several ancient myths, such as the myth of the dead god Adonis, the myth of the Argonauts, the Odyssey and the Iliad, etc. The contemporary element of the poem concerns the history of modern Creece and the national despair that followed the Asia Minor disaster with the expatriation of Greeks from the ancient land of Ionia in Here we moored the ship to splice the broken oars, to drink water and to sleep.
The sea that embittered us is deep and unexplored and unfolds a boundless calm. Here among the pebbles we found a coin and threw dice for it. The youngest won it and disappeared. We put to sea again with our broken oars. Poem 12 portrays a typical wasteland; a landscape where, among rusted rocks and houses buried in whitewash, life is stifled and sterile, the symbolic voyage does not end to Homeric nostos the Greek word means return to home as far as it is fragmented and endless.
The broken oars convey a feeling of discouragement and pessimism about the end of the journey. The depression of the unfinished journey is reflected also in the land. The landscape builds up a certain psychological climate. In trying to interpret the last part of the poem students should have in mind two intertextual references. Thus it seems that this cryptic passage of the poem contains a paradox: for Elpenor, winning the dice game was equivalent to losing his life. Students gain deeper insight into the vast symbolism of the journey and its association with life if they read together and comparatively the two poems finding similarities but also differences between them.
Both poets employ Homeric references but also both of them undermine, each in his own unique way, the comforting and wish-filling notion of nostos as the end of the voyage in life. What might possibly be the meaning of this denial of nostos in the context of our era? The plurality of texts generates a plurality of meanings and perspectives available for the reader. By reading texts intertextually and comparatively students have more opportunities to extend their reading abilities and be engaged in rich and powerful readings of literature.
Reading and reflecting on different, even distant and disparate literary texts, students come to realize that literature empowers us in being who we are and makes possible for us to think of being more than we are. Literature is a unique way of understanding the human condition in its entirety. It provides us with various views, insights and perceptions into life, helping us to envision how better can be the world. We are going to close our paper by giving another example of bringing different texts together and engaging students to make meaning through reading texts comparatively.
This particular example of teaching resources is based on the inspiring idea of making a teaching tool-kit by bringing together literature pieces in an unexpected way. The latter involve instances in which many potential inter-texts can be found for a specific text. All the above texts or mediatexts are inspired by the unfettered beauty of wild ducks or geese such as widgeon, mallard, shovellers, etc.
Pupils can participate in grand conversations to talk about the featured texts and then they can be involved in projects, write in their own reading logs and use the writing process as they create reports, stories or poems inspired by the featured texts, illustration and music as well. Conclusion The teacher must be familiar with the wide range of literary texts available in order to make wise choices in bringing together intertextually related pieces.
As teachers are aware of the ideas their selection patterns convey they become more reflective about the literary texts they choose for classroom use. References Allen, G. London and New York: Routledge. Bande Originale du film Le Peuple Migrateur Musique Originale de Bruno Coulais. Barthes, R.
Translated by Stephen Heath. Klobucka Abstract. I he rigorously inventive lyric of Luiza Neto Jorge , one of the most distinctive voices in Portuguese poetry since the s, cultivates as its substantive and instrumental lulcrum a consistent emphasis on gendered corporeality. One of the most distinctive voices in Portuguese poetry since the s, at the time of her death in Luiza Neto Jorge left behind a body of work as compact as it is intensely and rigorously inventive.
Bern, eti acho que, acima de tudo, ha entre nos afinidades que so indirectamente tern a ver com a poesia! Depois sera talvez mais facil, mais possiVel, a total reconstriigao, formas e ideias novas. Concomitantly, her inaugural volume of poetry, A Noite Vertebrada, adopted as its leading motif the rhetoric of spatial and temporal immobility destabilized by breaking loose into a freer, more fluid and unpredictable time and space.
Voii correr mundo, vou matar-me. Emancipada da noite, livre indoloridamente, minha angustia despediu-se, lambeu-me as maos. This predilection may help explain her success both in assimilating the surrealist legacy and in escaping the peril of perpetuating some of its more cliched formulas and facile venues of expression. Nao desces aquela cave onde estao os oceanos c os jLiramentos Hquidos.
Se o atomo e divisiVel so o poeta o diz. A divisibilidade da luz aclara os misterios. A mulher tern filhos. ANNA M. As Grosz comments, [Body fluids] affront a subjects aspiration toward autonomy and self-identity. Body fluids flow, they seep, they infiltrate; their control is a matter of vigilance, never guaranteed. Whether by the force of a religious exorcism or by the magic of a love philter, tears and pus become distinct substances, but, as the poem has already implied, both religion and love also provide ample ground for the confusion of these and other efflu- ences of bodily matter.
Taken jointly, how- ever, they do seem to indicate a more comprehensive change of perspective in Portuguese cul- tural discourse, from a generalized denial ol any meaningful symbiosis between feminist com- mitment and literary value to an at least partial recognition that a specifically female perspective and identifiably feminist concerns occupy an important place not only in Western literary tra- dition at large, but also — and particularly — in the twentieth- and twenty-first-century Portuguese modernity.
It is significant that such remarks have tended to appear in reviews of new collections published by women poets writing in Portugal today, most notably those, such as Ana Luiza Amaral, who openly signal their aesthetic and ideological indebtedness to femi- nism. Private jokP. Recurso ao sfmbolo? Works Cited Bachelard, Gaston. Paris: Quadrige, Battersby, Christine. Gender and Genius. Towards a Feminist Aesthetics. Bloomington: Indiana UP, Baudelaire, Charles. Oeuvres completes.
Paris: Robert Lafont, Cixous, Helene. Douglas, Mary. London: Routledge and Kegan Paul, Gatens, Moira. Feminism and Philosophy. Perspectives on Dijference and Equality. The Madwoman in the Attic. New Haven: Yale UP, Grosz, Elizabeth. Volatile Bodies: Toward a Corporeal Teminism. Guerreiro, AnttSnio. Gusmao, Manuel. Horta, Maria deresa. O Independente 29 Junho : Irigaray, Luce. Catherine Porter. Ithaca: Cornell UP, Jorge, Luiza Neto. A Lame. Lisboa: Assirio e Alvim, Kristeva, Julia. Os Dois Crepusculos.
Marinho, Maria de Latima. O Surrealismo em Portugal. Lisboa: IN-CM, Martins, Lernando Cabral. Moi, Toril. London and New York: Routledge, Nava, Luis Miguel. Alguns aspectos da poesia de Luiza Neto Jorge. Riffaterre, Michael. Semiotics of Poetry. Bloomington: U Indiana P, Rosemont, Penelope, ed. Surrealist Women: An International Anthology. Austin: U Texas P, Spivak, Gayatri Chakravorty.
Mark Krupnick. Anna M.
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- Synonyms and antonyms of silepse in the Portuguese dictionary of synonyms.
E-mail: aklobucka umassd. Son of man. You cannot say, or guess, for you know only A heap of broken images, where the sun beats, T. Eliot, The Waste Land Escrever sobre Antonio Franco Alexandre, poeta portugues, nascido em Viseu em , e professor de Filosofia na Universidade de Fisboa, e certamente uma tarefa difkil por tres motivos de relevancia desigual. Por exemplo, Americo A. Em segLindo lugar, Antonio Franco Alexandre cria alguma instabilidade em describees de indole periodologica, assentes geralmente em criterios que registam homologias de interesses tematicos e de procedimentos literarios.
Felizmente, tais discordancias so podem suscitar um alargamento da extensao conceptual da expressao regresso ao sentido. Concordo que esta e certamente uma boa describao do muito que se passa em muitos poemas de Antonio Franco Alexandre, mas so com alguma flexibilidade teorica e que a percebo como uma describao visivelmente complementar e contigua das primeiras definiboes de regresso ao sentido.
Esta recusa do cepticismo e proporcional a qualidade da experiencia epifanica que resultou da leitura do texto e que as nossas teorias poeticas mais disponiveis enquadram conceptLialmente ou resolvem nos casos mais dramaticos. Inversamente, quando nao conseguimos perceber nada ou quase nada de urn texto, esta recusa infrutifera do cepticismo, que, paradoxalmente, nao encontra sequer um objecto conceptualmente estavel acerca do qual possa duvidar, tern como sintoma uma angiistia e desanimo extremos e o SLibsequente desespero semantico resulta numa especie de lesao da nossa integridade ontologica.
O interesse e originalidade da poesia de Antonio Franco Alexandre nao se situam apenas no problema ontologico que acabo de referir, sendo esse problema apenas um efeito colateral desta poesia. Antes se afigura, desde logo, como essencial o modo como se contesta a ideia segundo a qual a importancia.
Este e, penso eu, um aspecto essencial porque transfere a discussao do poema de topicos que habitualmente relacionamos com a mimese e o modo como o texto se relaciona com a realidade ou com outros textos, indiciando de forma mais ou menos evidente a sua propria leitLira, para a questao, aparentemente previa, da natureza da propria linguagem, enquanto suporte fisico de uma coisa chamada poesia e do sentido. Denuncia-se uma concepgao do poema e da leitura como espa 90 s de uma viagem erratica, sem destino definido nem protagonistas identificaveis, por imagens aparentemente aleatorias e convocadas por esti'mulos varios e imponderaveis.
A mera sugestao desta hipotese deve pelo menos colocar o leitor de sobreaviso relativamente a um entendimento glorioso do valor da poesia, como alternativa epistemologica. Mais do que uma recusa, diria que se trata de uma especie de trabalho de Penelope em que, no entanto, a qtiantidade de tecido que se desfaz e superior a que se elabora, como se o unico fundamento do pouco que se tece fosse o muito que, depois ou no mesmo instante, se pode destecer. O SLijeito que duvida e elidido por uma especie de autonomia nao deliberativa e precipitada que as diividas adquirem, mas que as esgota.
A pornografia e um medium que dilui os corpos e os sentidos, uma vez que opera por sinedoque e localiza numa parte a irrelevancia do todo, amputando? As coisas parecem ser, assim, mais resistentes e recalcitrances do que o atitismo e o cepticismo de que, aparentemente, o poeta se protege relativamente a elas, a sua existencia e ao que, por prosopopeia, Ihe ditam. O fim ultimo e, como sustentarei, a dissolu 9 ao pela e na linguagem quer do poeta quer das coisas. Pelo exercicio da poesia, descobre-se que a linguagem existe enquanto evidencia material cega e muda.
Como contraprova do cepticismo, a linguagem remete, no entanto, para uma recusa e um vazio. Hies sao principals sobretudo no sentido de primeiros, i. Sao principals na medida em que sao absolutamente incaracten'sticos, do ponto de vista do valor, e portanto assumem Lima autonomia colectiva indistinta que os faz presentes e principals de um modo absokito, nao sujeitos a hierarquias e igualmente dispomVeis a linguagem.
Mais do que sujeito de preferencias, o poeta e, entao, o que recebe, e nao o qtie incorpora, de forma qtiase indiscriminada. Recebe-se portanto tambem o que nao se pediu, aqtiilo em que nao se ere e considera-se interrogativamente a possibilidade de serem conjugados os elementos de uma realidade tao disseminada e pulverizada pela linguagem. Abrindo com uma epfgrafe de Wittgenstein nas Investigagoes Filosdficas, paragrafo 38, em qtie se associa o acto de nomear ao do baptismo de um objecto. De facto, reconhecendo-se como um recipience informe e universal de coisas imprevisiVeis, como armazem nao mensLiravel, elide-se a possibilidade de reunir um con junto identificavel de interesses que confira uma forma defimVel a voz de Os Objectos Principals no entanto, acumula referencias, metom'micas ou nao, a fantasmas, a memoria, a um passado e a outras vozes.
E o que parece acontecer no poema que passo a citar e onde metaforicamente julgo poder ler-se aquilo que Harold Bloom designou por anxiety of influence. Ibdas as frases vinham do passado, o sujo biiraco da inemoria. E ja por prova sc Hxe no papel a garatuja.
A Parte III deste livro e composta por vinte e sete poemas que supostamente evocam uma viagem ao Brasil. Qiier dizer, o texto constitui-se como lugar em qtie visitar e ver se desencontram. Se nenhuma memoria nos basta. Se estamos chamando, clamando, E em nossas maos te levamos; tu nos levas. Nao e tambem facil determinar, no contexto deste poema, a quern se pede e a quern se promete, tal como nao e transparence quer o conteudo do pedido quer a materia da promessa, dada a extensao hiperbolica do pedido e da promessa.
E como se o que fosse realmente importance fosse abstractamente pedir e prometer que, no entanto e deste ponto de vista, parecem ser actos falsos e infelizes de pedir e prometer e transformam o texto num exerdcio ilimitado de retorica. Consideremos o acto de pedir, os seus eventuais destinatarios e o que possivelmente se pede.
Em primeiro lugar, em Oasis, ha essencialmente dois tipos de pedido: o de se ser recebido e o de que ao eu seja dada qualquer coisa. Interessantemente, em Oasis, a alternancia entre pedidos e promessas de natureza tao abstracta, antitetica e paradoxal e quebrada por versos que SLigerem um emitico percurso por Lisboa, sem qualquer sentido ou conexao logica.
Em certos momentos, referem-se tambem outros lugares, percorridos heroicamente por Whitman nas folhas de Leaves Of Grass — Arizona, California, Mississippi, Louisiana — e a propensao e interpreta-los como destinos alternativos de uma existencia poetica. Mas que viagem e realmente esta e que mundo e este? Ja percebemos que o mundo e, num certo sentido, o mundo da poesia, o mundo enquanto poesia e a poesia enquanto mundo.
Se assim for, entao o percurso, que em Oasis se sugere, e um percurso por imagens poeticas dispomVeis, existentes, num certo sentido, fora do sujeito e as quais o mesmo pretende aceder. E um percurso por folhas. Quer dizer. Quern pode ser este sata que visita o en de Oasis, que o trata por igual e partilha o seu destino? Em Oasis, Franco Ale- xandre parece, ecoando Cesario, lamentar o destino de pedestal, de petrificada mudez e sustentagao dos outros, do sata, que o visita e tern pelo menos dois nomes, Camoes e Cesario Verde, e dele proprio, enquanto entidade poetica que ja pode ser tratada como igual.
Percebe-se entao que esta viagem caotica e alucinada, realizada em Oasis, e talvez uma viagem epica de confronto e identifica ;ao com dois poetas maiores da literatura portuguesa. Na impossibilidade obvia de comentar minuciosamente cada Lima destas historias, torna-se, no entanto, imperativa a referenda a um aspecto essencial que julgo nao so constituir um micleo de sentido comum aos poemas de Qiiatro Caprichos como tambem aos poemas de Uma Fdbiila, o Liltimo livro de Franco Alexandre. De facto, o mundo das historias de Qiiatro Caprichos e composto por seres CLija existencia intermitente se manifesta em sistematicas descontintiidades ontologicas, nao necessariamente morfologicas.
O signo linguistico e uma especie de prosopopeia ilimitada, qtie suplementa a morte e revela o aparecimento do mundo, sucessivos e qtiase simultaneos. Justamente G. Estas virtualidades de G. Se tivesse f voltado a direita, diz A. Encontraria B. Encontraria, outra vez, o homem suiq:o menos jovem, teologo, sem me reconhecer. Encontraria A. Encontraria o corpo de B. Aos olhos de A. Quer dizer, embora, como diz Americo A. Na indecisao que se joga entre ser este urn amor narcisico, que nao se da porque nao ha ninguem a quern se dar, oil urn sacriHcio e artificio do desejo para preservar a existencia do outro, que cria dentro de si mesmo, intocada do sentimento, localiza-se a angtistia e a solidao do s amante s.
Rapidamente percebemos que os objectivos de Pa nao correspondem as respostas do produto e as expectativas deste. Desejo men, em tua sede habito; meu mestre, escravo, amante, pois servimos no mesmo chao o mesmo antigo lume. Para Franco Alexandre, metamorfosear-se, transformar-se e reconhecer-se multiplo nao correspondem necessariamente, penso eu, a uma ilusao de omnisciencia por parte do poeta, a uma progressao para um posicionamento mais dramatico do que lirico ou a uma especie de osmose cosmica, em nome da poesia. O que se passa e a silenciosa consciencia de uma solidao e de um cepticismo qtie irrompe da sistematica tentativa do SLijeito querer acreditar que nao esta so e que os outros existem e Ihe devolvem Lima consciencia da sua propria existencia.
Que certeza posso ter de mim se a cada momento sinto que sou outro? Como se pode amar, realizar a vontade de amar, se o objecto do amor se reduz e apenas se deixa traduzir nas palavras de desejo de quern ama, nao possuindo identidade ou sequer as marcas de um rosto? Ninguem melhor conhece o amor, e o desprezo do amor. Riffaterre considera que a passagem da mimese a semiotica se opera por uma necessaria suspensao das consideragoes referenciais relativamente a poesia, em virtude das agramaticalidades referenciais que o texto manifesta e que perturbam a nossa presunqao de referencia.
Perante uma agramaticalidade, do ponto de vista mimetico, verifica-se um esclarecedor impasse interpretativo que implica o abandono da convieqao de que, no poema, se assiste a uma relagao entre as palavras e um estado de coisas e permite a descoberta de que afinal o que se observa e uma rede semiotica de relates entre signos. O poema e, ultima analisc, urn continuum de tautologias, paradoxos e parafrases. Este e um argumento que D. Sem Palavras Neni Coisas. Lisboa: Iniciativas F. Os Objectos Prindpais.
Coimbra: C'entelha, Forro: Cora de Agua, A Peqiiena Face. Qaatro Caprichos. Urna Fdbula. Amaral, Fernando Pinto Do. Bloom, Harold. Miguel 'Famen. Lisboa: Cotovia, Cavell, Stanley. Cambridge: Cambridge UP, Cruz, Gastao. A Poesia Portuguesa De Hoje. Lisboa: Relogio de Agua, L'lerrida, Jacques. Paris: Minuit, Diogo, Americo Antonio Lindeza. Modernismos, Pos-Modernismos, Anacronismos. De Antonio Franco Alexandre. Lopes, Oscar. As Cifras do Tempo. Lisboa: Caminho, Man, Paul De.
The Rhetoric Of Romanticism. Rillaterre, Michael. Semiotique De La Poesie. Trans, par Jean-Jacques Thomas. Paris: Editions du Seuil, Trabalha regularmente na dramaturgia de espectaculos. Email: nevesnanet netcabo. The poetry of Joao Miguel Fernandes Jorge is a continuous attempt to grasp the spirit of the place: a poem is what is retained by the poet after his travels around the world. Avoiding the trap of simply describing his journeys, the poet creates images that reshape historical and geographic realities, that is to say, in his own poems he goes beyond his mere physical presence in a place to find the mysterious laws of poetry.
In his poems, he builds homes for the gods so that they will strengthen his words and images. Since the gods know the mysteries that poets want to translate into poetry, the poet follows them, enters the deep sea, searches among ruins, overhears enigmatic dialogues, and travels around the world like an ancient oarsman.
Sometimes we read a poem and are astonished by its clarity, its familiar tone, by the straightforward logic that pervades it. Is death something we choose, like we choose a poet from the book- case to read at night? The singularity of this poem is that a place is the place of poetry and that the death of Pound enhances Venice as a place. Who is supposed to be the chronicler of such a trivial wish?
An anonymous passerby who aspires to be eternally connected to Venice and poetry?
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ITe answer most certainly is: the poet himself The poet is the ghostlike being whose function it is to overhear the dialogues hov- ering about him. Sometimes we have the impression, as we have in this case, that the inquiry coincides with the poem — what is the point of knowing how to start a poem when the poem is already written? The poem is half-written as soon as the poet eavesdrops on a conversation, or when he has a conversa- tion with someone he does not bother to identify.
Antonello, a famous Italian painter , was not from Venice. Neither was Pound. Antonello, however, did not die in Venice. One thing is certain: the mystery of the title matches the subject matter of the poem. For now we have to divine the spirit that connects these bodies or parts. Antonello was from Massina, in Sicily. Pound was from Hailey, Idaho. Fernandes Jorge is from Bombarral, Portugal. Pound died in that Italian city, adding his poetic persona to that already mythical place. As for the Portuguese poet, he tries to overcome his belatedness by uniting his name and poetry both with those two monumental figures and with the history of Venice.
Antonello impressed the Venetians with his artistic virtuosity, by creating forms with color rather than with the usual lines. Fernandes Jorge tries to grasp or evoke the place enriched by the painter and the American poet. His virtue lies in his poem and the fact that he seemed to be in the right place at the right time. Like Eliot, he was there to capture the dialogue or invent more or less frivolous characters, that is to say, to impress by means of his poetic virtuosity.
If Eliot imitated Laforgue, Fernandes Jorge imitates the spirit of the place. More properly, a poem Is made of names and places that acquire a particular meaning because they are evoked by the poet, because it is the poet who sees everything. It is his point of view that exerts a pull on the images and reshapes historical and geographic realities. A poem is, therefore, an overlapping of figures and places; it is what is retained by the poet after his travels around the world, after avoiding the trap of simply describing his journeys.
The work of the poet consists in going beyond his mere physical presence in a place. We are condemned as it would be useless to put up doors to contain the sea. We have a body and we are not body a soul a Ireedom and we are not soul or freedom. All of this is body soul Ireedom and what we invent discover defend. Although Pound died in Venice, even there he too was condemned to live beyond his existence, that is to say, in poetry. The poet travels and by doing that he establishes his own place.
Between what is hidden to him and what he exposes, there is the place of poetry. He was con- demned to create his own place. From coffee shop to cof- fee shop, the poet intertwines the reality of his inner nature, always in motion, always creating news and unexpected paths, with the reality he sees in front of him.
Seated on a chair, he broods over his youth while he flips through a newspaper or plays with a piece of lemon peel in his fingers as he observes other customers. His dreams, his inventions are, conseqtiently, the point of view of his spirit, although it is important to point out that the oneiric part of his poetry is nothing but the amalgamation of chunks of reality. It goes without saying that both this reconfiguration and the revisitation of the cul- tural past only occur when the poet asks himself how he can write a poem with this material. There is a daydream-like atmosphere that makes him jump from one place to another, stranger place, but the dream, the mental wandering, is deeply rooted in reality.
The poem may take us to winding roads and African nights, to impossible dreams, but it always brings us back to our daily reality. It brings together geographically, cultur- ally, and historically shadowy regions; yet, those experiences are used to test the reality of the place that the poet uses as a point of departure.
In the morning, some of those sentences may form a poem. It Is an enigmatic dia- logue between the poet and someone else, an interlocutor who frequently appears in his poems. That time was abandoned but can be revisited, was forgotten but still sends echoes that permit the poet to wander over the sea of ruins. After all, he is the dreamer who is attracted by the melancholy sight of autumn leaves and ends up identifying himself with someone whose only and final destiny is to sing love songs.
He was saved from a shipwreck only to become a component of the landscape of the poem, that is, he is another ruin in the sea, living there beyond his existence. The poet chroni- cles what he sees and hears and by doing this he is, at the same time, telling the reader the way he wanted the poem to be. And we have good reasons to believe that the way he wants the poem to be is the way the poem is actually written. Its lines are conceived in remote and anonymous hotel rooms; they bring to light experiences and voices with which we are not familiar, but the clear will of the poet helps them to reach us, or, more properly, lets us know that he was in a specific place at a precise moment.
Put differently, the poet wants us to see him as a witness of a particular state of mind and also to note that the mental and physical landscapes he has taken hold of can be described with a certain splendor. His ambition is to reach all places and all times and we, his readers, are included in these categories — we are the place and the time of the poem. Be that as it may, this outlandish world of poetry seems to be built upon doubts. Trivial doubts, for they are the doubts that emerge from daily experience, which is the most fantastic of the ruins.
And each moment of the future is a repetition of the past. Hence, the poet is the voice of the past, hut his voice is subtlety covered with a shadowy aura, precisely because it materializes from his memory — it is his memory that gives shape to the memories of his characters. As a result, the figures of the past, when seized by the memory of the poet, become a combination of nos- talgia and dislocated historic vigor; consequently, memory is also the silence and the shadow of the place where the past is evoked as a sea of forgetting, as we can see in this short poem included in By the Sea in June.
This year the summer crossed Lisbon. The summer was invisible. It crossed the city and the others it took from my body memories ol your name. What the poetry of Joao Miguel Fernandes Jorge tells us about the past is that it is a time we remember but also forget. In many of his poems, we do not precisely feel the effort to recuperate the time forgotten; instead, we expe- rience the attempt to seize the act of forgetting.
What we see here is the poet assuming the role of the mental chron- icler of the past, in which History is inhabited by ghosts that dwell in aban- doned castles. For this reason, the past is not a whole entity but only allusions lying amidst the slender, flimsy sand of History. The past is brought to the present by the act of writing the poem, but only birds, small lizards, and beetles subsist in the rocks that were once its glory. This brings to mind an idea the Italian essayist Roberto Calasso has recently stated, according to which this sort of debt to the ancient world is like a spell that frustrates our ambition to seize the whole of the past.
What really oppresses us, something that also especially oppressed Holderlin, is the notion that the past will never belong to us in its entirety. That is the spell of the past that keeps haunting our relation with kings, angels, and gods. They cross it with the trail of their names and are soon gone. Every time the writer sets down a word, he must fight to win them back. How can we be certain that the gods are still among us? How can we recognize them?
This god or ensemble of gods is coming, as is noticed by Calasso and by those who read modern poetry. No, now they are multitudes, a teaming crowd in an endless metropolis. Up to a certain point, the plasticity of the poem coincides with the nature of god to the extent that in both there is a mystery, a dramatic igno- rance of the circumstances of human and divine existence.
God provides the poet with a destiny and the willingness to live the stories of the dreams. The poet lives between the laws of the earth and the order of the gods. A poem may be the earthly sign that confirms that the nature of the poet will never be similar to the gods, but it is also, without any doubt, a robe in which the gods can wrap themselves. I he father cradles the son and we can almost hear their conversation in a church near the sea — immense is the light in the Jewish Port, the blue of its narrow bay, those who travel far from their homeland disappear.
In the houses, fires are lit. The ancient place, its rocks so beloved that the eye always comes to rest on them — those who travel afar return no more. Death deserves the son, transmitted by the father: this is the life that leads to the other life. The ash deserves the opposite, the reward for a much tattered body: the spirit is absent, it was stolen. I see no difference between that and other hand that holds, not the punished hand of the son, but a mighty glove. Humiliated and distraught; martyrdom and blood are not worth the brief hour of his time; light, not blood among wounds and pain and the lost eyes of human suffering; see the plurality of the world; light, not fire is the keeper of the heart of nature.
The holy ghost is absent and this fact cripples the Trinity — the ghost may be missing from the sculpture seen in the Museum in Angra do Herofsmo, in the Azores, but the spirit is undoubtedly present throughout not only the poem but also in the passionate expression of the Nazarene.
Again, the poet himself is another kind of spirit that almost hears this most private of con- versations, the one the father holds with the son in a Catholic church near the sea the poets strongest ally, as we know , close to the Jewish port — it is from this place that those who have to leave depart, those who will not return.
As the father transmits death to the son, which puts him beyond death, those who head off are going to die only to live a different life. I hat is the reward for his dispersed, lacerated body. Although the spirit is not present, its function is performed by the soul, which is a ritualized belief in blood and martyrdom. Hence, the hand that links this life with the other world beyond life breaks through an intense and prodigious blend of gold and green. Yet, that hand also merges with the myriads of hands that are both humiliated and distressed. Their light is always accidental: [ Then they killed the king — and the king let himself be killed, Ibmorrow what will happen to the blue of the sky and the blue of the sea?
There will be always someone who sings someone who dies in a different manner. When someone disappears, the blue of the sky becomes brighter, the angels radiate with light, and at night the golden flames of the can- dles accentuate the bleak color of dead things. After the death of God and the king, the poet acquires an absolute freedom to bring them back in different forms. His ideal is to give meaning to the exact place where his trip begins.
This is, indeed, a very significant feature in Fernandes Jorges poetry — the assimilation of the poet to a different body, with a new form, always trying to find a privileged interlocutor. But times have changed and so the forms of the gods have also been modified. One thing is certain: now, more than ever, the gods are closer to men, at least to poets, than they have ever been. It is as if the spirits that used to exist in statues and sculptures are now free to run wild in the world. Dressed in this way by Battista Moroni he left. He was short, broadshouldered. I did not hesitate. For him I drank my hurried, much too burnt coffee; and I smoked what remained of my cigar.
I was also in a hurry because I had quickly burnt the days of my fire. That man, whoever he was, I saw him at the forbidden limits of this land upon the ruins of authority and throne. Without greeting anyone as he walked he was the dark shadow that looks much like the solitary bull that runs away through the mountains of the city.
Again, the site of the apparition is a coffee shop, an anonymous place along a famous avenue in Lisbon. This time, the figure that is the origin and the end of the poem is portrayed with all the details available to the poet face, hair, suit, shirt, tie. If anything, the poet wants us to be quite familiar with the physical traits of the man. There is, however, something that separates the poet from the individual he describes: while the man reads aimlessly, the poet admits that he is in a hurry, that throughout his entire life he has been running.
Fdis life is running out. Ironically, the one who is in a hurry is the one who stays there brooding over his life. Why was he at the forbidden lim- its of the earth, assuming a human form, upon the ruins of an unspecified throne? As a black shadow, absolutely indifferent to human beings, he was the mythical bull whose spirit dwells in the highest and darkest paths of the polis. For a brief moment, though, the poem was able to describe him, to outline his bodily form, probably because he was allowed or allowed him- self to go beyond his outward appearance and place himself above the high- est shadow.
In the poem above, the poet tried to be worthy of the greatness of the moment that soon would vanish from his eyes. Be that as it may, the poem is written so that the image of these semi-physical, semi-ethereal beings can be preserved. Yet, the poem also aims to preserve the physical image of the poet and his body that lies in a hotel room and begins a sort of movement or expedition towards his memory and his past. Fie does not hes- itate to imagine himself looking at his former self FFe sees himself in the reflection of a window in a train, although he is fully aware of the passing of time, and that the flame of his life is quickly vanishing.
And that gave me pleasure In this poem, a true self-portrait with a mirror, or a double self-portrait, soul and body are a single entity. The poet is incapable of portraying himself without resorting to a negative kind of pleasure, noting that his image can- not he contemplated forever in the mirror.
It is as if, for only a short moment, the soul allowed the body to be seen, which his heart experienced as a calm, subtle reward. What this and other incomplete self-portraits make clear is the absolute inexistence of a perfect image. There is always a kind of noise that impedes the image from being shown in its full splendor. Like the gods, the poet can- not be totally seen, his existence goes beyond the image reflected in the mir- ror. What the poet observes when he sees himself for an ephemeral moment in the mirror are intimations of his own death, visions of death.
For him, death is a slow business; it is the condition of History, of heroes — the death of the latter is the death of the poet, although the death of heroes, brought by oarsmen from distant regions, fuels the poems the poet is willing to devote to the mythical past. Above all, death is for him being alone, among tourists, in a plaza, seated at a silent table, sipping coffee, looking at a blind musician without actually seeing him, mentally wandering from flower to flower in the nearby garden.
This is the way his body is reminiscent of ancient monuments covered with sand. This empower- ment of the body allows it to be loaded with a cargo of thousands of images and dreams that will transform it into a succession of new and distant bod- ies, that is to say, of new and different poems. The symbiosis of the body of the poet or the body of poetry with the images he grasps is sometimes so intense and vivid that the poet looks at him- self and what he sees is a boat, a beach, a sea.
These are indeed aspects extremely crucial for the movement of the poet between different temporal and geographic categories. The sea is like an incommensurable plastic object sustained by ruins, and the blue of the water is the ideal mirror for the poet. With one foot on the ground and the other in the sea, the poet can configure the poem as a mirage of forts, boats, and kingdoms.
His temporal dimension coincides with the existence of the myth- ical boat, the boat he relies on to show him the way: I cannot think but about the boat that is going to take me away. It is necessary that it leaves quickly white, crossing the Tagus. I Seated here, a bottle and a glass on the marble, iron table, I drink to a quay, a sun, a river to the white ship that is going to take me away. The mythical sea, with birds, sun, boats, and beaches, is an archetype of a real or invented childhood spent in the southern seas. This archetype evolved and is now the solitary place of the poet.
The sea is now a sea of images, an attempt to redeem the present time but also to comfort the navi- gator who once built his kingdom in the middle of undulating dunes. The whiteness of memory is counterbalanced by the blue of the present time, and June seems to be the bluest month for the poet, when his sight can reach the vastness of the blue horizon. The sea provides the poet with the intimate light that breeds his silence and soli- tude so that he can imagine the noise and bewilderment of some legendary quay, with white smoke and the smell of fish.
Blueness is what makes him pay special attention, in his imagination, to the hands and arms of the oarsmen, who, with their instruments, plough the seas, following the invisible path that leads them to the time of the poet, bringing to him the sea of Herodotus. Most of all, blue is the color of his dreams — in this indeterminate space, the poet is able to go on with his obscure kind of existence, adding more mystery to his mysterious journeys.
By and large, the aim of the trips is to give the poet the opportunity to confirm his dreams, it is a kind of repetition of his experience inside the labyrinth of images. He crossed the woods. I he foggy weather allowed him to wander. He did not need to go to any place. He walked aimlessly he lost himself in the fields in the water of the night.
What mysterious appeal lies in the water of the night, what kind of fog is this that impels the poet to travel to its heart? To feel them is to live through the mysterious laws of poetry, or the sacred nature of beauty. When the poet shows us his own place of creation, when he admits that poetry is the inter- pretation of the past and the future, when he intertwines several strata of time, when he goes beyond himself to reunite his being with the prophets of History, when he describes the new forms of the gods, when he looks at the sea and realizes that what he sees in the blue immensity is his own dreamt-of image, when he does all of this, the poet lets us have a glimpse of the magni- fied image of his mysterious laws.
Each poem is a palimpsest of epochs, fig- ures, states of mind, and other displaced elements. It goes without saying that this person who inquired about the meaning of the visual scenery is not identified, adding, thus, one more ingre- dient to the puzzle and the mystery of the poem. The future of the poet is unpredictable, and that is his best legacy to poetry.
Holy and blessed mystery. We need only a small light in the distance to see where wt are going. They may even revolve around us in the guise of artists. I'he luminosity Fernandes Jorge sees in Mark Rothko, for example, puts the painter on the same level as other divine entities. It was i Feldman who said that in order to experience Rothko, one has to find a way j out of his abstraction.
But, to create the. I envisioned an immobile procession not unlike the friezes on Greek j temples. What trivial doubts can you do? The poet hesitates, he cannot decide what he should do, he is torn between action and inaction, between his inner motion and the weather outside. Fdis mind is filled with doubts: he lives among them, sees them in his own face, in the coffee cup, scattered among the books and newspapers. As for the painter, the poet is absolutely certain he must remain silent. Words are for poets, and we know that Antonello and Rothko, and also Clyfford Still and Vieira da Silva, among the many others that turn up in Fernandes Jorges poetry, do not speak in this poetry, because the poet speaks for them — he is the one who is qualified to expand on their doubts.
Painters and musicians, as well as princes and seamen, cannot be confounded with the voice of the poet, the one who puts them into his subjectivity. According to this account, the trivial doubts associated with the objects of our daily life only lead to other doubts, to many more doubts. But I know that what I am saying is not an explanation for the photographs of Jorge Molder. What about the poet? Does he explain?
Probably not, because a poem only amplifies the act of seeing, not the actual object. Knowing that the perfect image is an ideal, the poet inter- rogates the image he sees, and this becomes his own evidence, his own real- ity, his own doubts. To come to the point, his own myth.
Permeated by doubts, poetry is for Fernandes Jorge what mythology was for the ancients. This new mythology comes forward from the ruins that sus- tain the poets atemporal sea, from the stories and legends that he overhears in his journey to the daily dreams that help him to divine the point of view of the gods. The remote past is alive again and is mixed up with the chaotic remains of present time, with books and pajamas in an obscure room. Besides, the past is a kind of oracle that shows the poet multiple paths to happiness.
That is the reason he writes poems based on legends, avoiding putting them into an emotional nutshell, because the sublime quality of this mythology cannot be contained in emotional glass- cases. If his poems do not have gods and heroes, if there is noth- ing to mediate between his mysterious imagination and what simply is in the world, then the poet is nothing more than the guardian of a mere discrepancy, of the same void that used to lock the gods within decrepit libraries and onto disintegrating pedestals.
Occasionally, these three entities are so entangled that the triangulation of the 1, the Self, and the Divine cannot be understood except as a manifestation of the immortality of the poet. His body, as well as his spirit, incessantly shifts from poem to places and mental attitudes. Many were no more than guard houses; small forts, batteries, watch-posts, most of them are now piles of stones. Next follows the list of commanders-in-chief, captains and sergeants, and a bit of the tale that connected them to the islands.
In Fajanzinha, before we arrive at the church, just after the small plaza, there is an ochre-painted house, with a window hovering about the floor, the exterior stairs made of stone. At Faja Grande. The streams tumble down the cliffs. They form with the land of Faja and the sea a circular body. Families follow the natural movement, creating and destroying themselves: variation, instant, mobility: along the hazy path and the green darkness, in another centtiry and in this one, a fleet boy is the messenger.
He ran along the difficult foot-path, bringing from the port the news of someone who managed to return from the not-so-distant America. He receives a silver piece for the good news, the messenger who seems constant and eternal in his agile run between time and heaven. His callused hand accepts the steaming mug of coffee, poorly made from toasted fava beans.
The poem begins with the ruins, so old that some of the fortresses now only exist in history books. I here are also the military men who served there, and the poet almost yields to a narration of their stories, their tales. He fiees over the old village, Fajanzinha, and sees a church, a plaza, and a house. Surrounding the old village, mountains, the sea, and brooks form a circular body.
So far, the voice of the poet is indistinguishable from the voice of the divine being who knows anci sees everything. Fhe mythological voice suci- denly breaks through, enlightening us about the biological movement of fam- ilies that are like poems — some are built over the ruins of others, and that constitutes the history of their existence, their ephemeral life. But out of the darkness comes the herald who, like the poet when he tells tis the story of this poem, brings the news from one century to the other. Between the Azores and the mythic American lands there is the sea, the privileged element of the poet.
And the courier is paid twice for being what he is: a silver coin for his mythical journey and a cup of coffee made from fava beans for his earthly task. Both the rewards and the poem invigorate him, encouraging him to continue on as the eternal, light-heeled messenger between time and heaven. After all, he is a being surrounded by a type of wall that will not perish, and his story is not going to be told by any Francisco Pimentel Gomes simply because his story is the poem, which includes both the past and the historian.
In his ceaseless journeys between time and heaven, the poet also commu- nicates with dead heroes, thus bringing them to the life that is poetry. He has his own dead people to remember, and he sees them in the streets and in the churches, as well as in his memory. His relation with the literary dead is somehow painful on account of the bliss he once shared with them. These are the literary myths of the poet, which will acquire a new form, for they are part of the life of this poem. What is remarkably important is the idea that, in reality, some of these writers are still alive e.
This literary heritage cannot but be a painful, heavy weight — when the poem trav- els from place to place, from poem to poem, some of the literary relics are left behind while others are carried in his baggage. History, as well as poetry, has many actors, many witnesses, and Fernandes Jorge uses them to conjure up a certain theatricality, which is another name for the ordered delirium of his memory. When he visits shadovyy regions, establish- ing dialogues with sacred beings half-hidden in the past and behind artistic masks, assuming his role of messenger between sea and myth, time and heaven, the poet crafts poems as eternal miscellany of different eras.
The sight of an ordi- nary person evokes mythical activities and places, and memories of remote, mythological beings are transposed to the present time. There are commonplace activities that endure for centuries, without being lost or forgotten, and this poetry is a physical process that permeates the mystery that bridges different times and different heroes.
Each place reminds the poet of another place, each face brings hack the memory of another person, real or imagined, who, at a certain moment, came across the poet. Above all, each seascape is a reminiscence of the dreamt life of the poet on his distant, imaginary Olympus. And we are here, traveling with him, following his random itinerary, dreaming his dream within a dream, seeing him weaving his immortal plots.
His mysteries will be illuminated by the same gods that con- ceived them: the always absent and always present spirits of poetry. Ohras Completas. Calasso, Roberto. Literature and the Gods. Tim Parks. New York: Knopf, Feldman, Morton. Cambridge: Exact Change, Fernandes Jorge, Joao Miguel. Direito de Mentir [ The Right to Lie]. Lisbon: Regra do Jogo, Lisbon: Assirio e Alvim, 1 Beilis Azorica. Proust, Marcel. John Sturrock.
New York: Penguin, Quental, Antero de. Dublin: Mermaid Turbulence, Schlegel, Friedrich. Ernst Behler and Roman Struc. Carlos Veloso received his B. He is now doing research in the fields of aesthetics, the history of architecture, and contemporary literature. E-mail: cvl4 is8. A melancolia em sua escrita como resultado do questionamento sobre o sujeito, a linguagem, o mundo e o lugar da poesia na sociedade contemporanea, num tempo reconhecido como pos-rnoderno. Tais transformaqoes incidem diretamente sobre as culturas nacionais e as formas de recepqao, compreensao e debate dos temas que circunscrevem a nossa existencia cotidiana.
A discussao, desde meados da decada de setenta, sobre uma pos-modernidade se fortalece, sob essa perspectiva, a partir do questionamento sobre a contemporaneidade globalizada, sem utopias, num mal-estar existencial que advem da contraposiqao entre desejos diversos e a impossibilidade de realiza- los tanto no niVel coletivo nas areas politico-economica e sociocultural quanto no niVel pessoal em relaqao as experiencias diversas do sujeito. Isso, muitas vezes, significou a produgao de obras pouco preocupadas com o mVel estetico e mais interessadas em atingir uma parcela significativa de publico, com a defesa de que o fundamental e comunicard Tambem a escrita poetica refletiu essa crise e essa demanda, questionando de forma cada vez mais critica suas possibilidades de existencia e interferencia sociocultural.
Números em texto integral
Sempre desafiadoramente nos limites, ou contra eles, considerada freqiientemente escrita da subjetividade, sem utilidade especifica, a poesia parece estar, neste tempo tao visivelmente pragmatico, condenada ao desaparecimento. Como a palavra poetica pode competir com a mass-media e o poderio tecnologico? Como enfrentar os sistemas politico-economicos que vem redefmindo as fronteiras do mundo atual num movimento de indiferenciagao das culturas?
No entanto, os poetas continuam a produzir e a encontrar os sens leitores entre aqueles que nao seguem as regras de mercado. Entre esses nomes, destacamos Nuno Judice como uma das mais representativas vozes poeticas da contemporaneidade, com uma escrita que tensiona os limites limites? Em , publicou Obra Poetica, reunindo sens livros I de poesia editados de a Em voltou a publicar o conjunto S de sua obra poetica, Poesia Reunida , incluindo um poema de e um texto de prosa poetica, de Tambem as reflexoes esteticas que Nuno Judice desenvolve, como ensaista e critico literario, confirmam a imagem do poeta que logo se configura para o leitor de sua poesia: um teorizador da linguagem poetica e um pesquisador dos seus limites e processos imageticos.
O poetico torna-se igualmente um lugar I'mpar ii da linguagem, pois e nele que todos os discursos sobre o ser, o mundo e a j' propria linguagem estao em tensao crftica. A arqueologia de que falamos se organiza para re-significar o que se encontra sem sentido. O poema, no entanro, nao tern obrigatoriamente de dizer tudo. A sua essencia reside no fragmento de um absoluto que algum deus levou consigo.
De que eternidade me esque ;o, entao, no hindo da estrofe? O Movimento do Mundo 7 Ao longo dos seculos o homem foi construindo uma historia coletiva que estabeleceu como as grandes unidades Deus, o Sujeito e o Mundo. Na poetica de Judice, tais unidades estao fragmentadas e o que se encontram sao seus vestigios espalhados pelos poemas. O mundo fragmentado que se recolhe na poesia de Judice e exatamente esse mundo cheio de lacunas, com os sujeitos vivendo a tensao entre o natural e o artificial, o isolamento e a multidao, a cultura e a massifica ;ao.
Assim, tambem se oferece como lugar de acolhimento no meio de ruinas. O homem de munique nao me pediu nada, nem tinha o ar de quern precisasse de alguma coisa, isto e, tinha aquele ar de quern chegou ao ultimo estado que e o de quern nao precisa nem de si proprio. No entanto, falou-me: numa lingua sem correspondencia com linguagem alguma de entre as possiVeis de exprimirem emogao ou sentimento, limitando-se a uma sequencia de sons cuja logica a noite contrariava. Perguntar-me-ia se eu compreendia acaso a sua lingua? Ou queria dizer-me o seu nome e de onde vinha — aquela hora em que nao estava nenhum comboio nem para chegar nem para partir?
E que, a certas horas da noite, ninguem pode garantir a sua propria realidade, nem quando outro como eu proprio, testemunhou toda a solidao do mundo arrastada num deambular de frases sem sentido numa estaQo morta. O que desejamos dizer e que a escrita do poeta se vale de vestigios, sinais e indicios de OLitros textos ou sistemas de significagao como a miisica, a pintura. Por todos os livros, os poemas apontam as marcas de outros textos que foram lidos pelo poeta ou que estao presentes no imaginario do leitor ocidental contemporaneo.
Os proprios indices de seus livros apontam a superfkie da obra poetica de que a escrita se faz de leituras e que o poeta habita tambem a linguagem alheia. Como exemplos, citemos alguns titulos entre os muitos que poderiam ser destacados: Stephane Mallarme; Holderlin; WB. R; Quadras com citagdes de Sartre e Shakespeare; Imitagao de Propercio; Se, numa noite de Natal, a prostituta; Arte poetica com citagao de Holderlin; Romance de cordel do banqueiro suicida e da comoda D. Nao havia nada a ligar a opera inglesa, o poeta portugues e a portuguesa de pisa, a nao ser a que as proprias circunstancias de um acaso de tarde estabeleceram; e no entanto uma imagem unica se sobrepunha a essas, a que se poderia dar o nome de poesia se a poesia nao fosse algo de abstracto numa paisagem que nada tinha a ver com um sentimento preciso — a melancolia de uma breve primavera entre campos e predios, susceptiVel de trazer ate mim a tao vaga imagem da mulher antiga com a musica de purcell.
Sei, no entanto, que nao e so o motivo pessoal da memoria de um poeta, nem a tentativa de reconstituir a figura de uma portuguesa morta em italia, nem o canto sacrificial de dido na opera de purcell, que me levaram a escrever, agora, este poema. Assim, o soldado de Giorgione sai do quadro onde o pintor o fixou e, trazendo atras de si o cao que, seculos depois, afugentOLi as vacas do pasto de wittigkofen, pergunta-me pelo ruy belo — sem que eu possa responder, ocupado a escrever este poema e a tentar explicar a portuguesa enterrada em pisa por que e que, precisamente, foi a aria de dido numa opera de purcell que a trouxe ate junto de mim.
Esse desejo contrasta fortemente com o tom elegi'aco e descrente que atravessa sens versos pontuados de ruinas, escolhos, restos do mundo e do sujeito, naufragados numa realidade sem sentido. A arte poetica de Nuno Judice acentua a solidao do leitor e do poeta, personagem deambulador na cidade, mas tambem aponta formas de reencontrar sentidos no cotidiano por meio do exercicio e da experiencia poetica. Nao e, afinal, o que faz o poeta ao partilhar imagens, ao buscar nossa perdida memoria?
Lisboa: Averno, Para onde vai a literatura? In: O livro por Vir. Maria Regina Louro. Sua obra literaria somava entao 31 titulos. Inquerito realizado pela revista portugtiesa Relampago 2, abril de , com a publicaq:ao de depoimentos de oito poetas portugueses contemporaneos. Obras Citadas Amaral, Fernando Pinto do. O mosaico fluido — modernidade e p6s-modernidade na poesia portuguesa mais recente.
A palavra transversal — literatura c itleias no seculo XX. Blanchot, Maurice. O livro por vir. Compagnon, Antoine. Os cinco paradoxos da modernidade. Guerreiro, Fernando. Harvey, David. Sao Paulo: Loyola, 1 Judice, Nuno.
- Proceedings of the 4th IPLeiria’s International Health Congress.
- Dalla cura alla scienza: Malattia, salute e società nel mondo occidentale (Saggi) (Italian Edition).
- The Engaging Child: Raising Children to Speak, Write, and Have Relationship Skills Beyond Technolog.
- The Seven Principles of Man.
- Thunder One (What Does the World Behold Book 16).
- Account Options.
As regras da perspectiva. Lisboa: Quetzal, Ohm pokica 1 1 Lisboa: Quetzal, 1 99 1. Um canto na espessura do tempo. Lisboa: Quetzal, 1 O processo poetico. Lisboa: Imprensa Nacional — Casa da Moeda, 1 O rnovimento do niundo. As mascaras do poema. Lisboa: An'on, Poesia reunida Lisboa: 14om Quixote, Porto: FundaQo Eugenio de Andrade.
Tem-se ocupado sobretudo de estudos sobre a poesia portuguesa do seculo XX. E-mail: alberto. A cena do museu na obra de VGM oscila entre a visitagao individual, marca da sua origem setecentista, e a saturagao turistica actual. A narrativa historica que sustenta o museu fez-se com os mesmos argumentos do progresso que levou o Renascimenio ao mundo pos-industrial. O museu esta, pois, especialmente habilitado para despir os objectos da sua contingencia historica, tornando-os aptos para o sequestro estetico.
Apesar do protesto, deve notar-se que a visita e aqui ja feita sob a influencia protocolar da promenade a dois. Enquanto lugar de afectividades, o museu do poeta permite-lhe assim a entrada de mao dada com a mulher. Submetidos ao olhar do visitante, apenas certos quadros se propoem inesgotaveis, resistentes ao esgotamento provocado pelo interminavel circulo hermeneutico. O momento auratico do visitante tern como pre-condito o encontro i individual do sujeito com a obra. A intimidade da Kimstkammer seria algo proximo de tal situato.
O titulo e por si so um programa diversamente cifrado.