Papers by Francesca Degli Atti
Global journal of human social science, Dec 9, 2023
Introduction-This contribution analyzes the poetic writing of Ondjaki (born Ndalu de Almeida) fol... more Introduction-This contribution analyzes the poetic writing of Ondjaki (born Ndalu de Almeida) following the approach developed in Degli Atti (2023). In the context of the perspective we adopt, the meaningful learning of foreign languages is seen as exploiting the dynamics of interrelation between linguistic, literary and (inter)cultural education (
Lingue e Linguaggi, 2023
This contribution is aimed at analyzing the poetic production of Manoel de Barros from the perspe... more This contribution is aimed at analyzing the poetic production of Manoel de Barros from the perspective of the interrelationship between language, literature and culture, with particular regard to the integration between linguistic education and literary education. The poetic discourse configured by Barros rests on the close interdependence between the manipulation of language and the elaboration of poetics. Applying his personal vision of the world and of the word, Barros outlines a set of principles and rules that regulate an alternative system to the linguistic code trivialized by common use. This peculiar language, defined by the poet as "agramática", is based on the systematic alteration of lexicon and syntax through procedures of neology creation and syntactic deviations, generating semantic distortions that enhance the poet's discourse. By means of language, the author imposes the reversal of the hierarchies of dominant values in society and proposes a new order. The linguistic characteristics of Manoel de Barros's texts force the reader to actively intervene in the construction of possible meanings, undertaking an intense journey of experience.
Guavira Letras, Apr 1, 2017
Este trabalho tem como objetivo analisar o livro Concerto a céu aberto para solos de ave (1991), ... more Este trabalho tem como objetivo analisar o livro Concerto a céu aberto para solos de ave (1991), que representa o momento de maior expressão da força criativa da poesia de Manoel de Barros. Tal obra, para nós, encerra a densa fase criativa do poeta, que se inicia com a publicação de Arranjos para assobio (1982) e se desenvolve cerca de uma década. Os fundamentos construídos nas obras anteriores a 1982 constituem apoio e estímulo para a pesquisa ontológica realizada por Barros, de modo que permitem a obtenção de resultados que gradualmente ganham força e autoridade. São obras que se caracterizam por uma extrema coesão linguística e testemunham o domínio da linguagem poética do poeta, que o permitem trabalhar com confiança a palavra, moldá-la e dobrá-la à vontade, de modo que alcance convergências semânticas que aumentam e ampliam o universo poético de Manoel de Barros, configurando novos eixos de suporte e referência constante para as obras posteriores. A produção literária de Manoel de Barros constrói uma poesia como um meio de conhecer a realidade como uma ferramenta demiúrgica, por meio da qual o poeta propõe uma cosmogonia pessoal, que localiza o Pantanal como locus e que gira em torno da palavra e do signo gráfico.
PALAVRAS-CHAVE: Poética. Cosmogonia. Ontologia. Manoel de Barros.
This work aims to analyze the book Concerto a céu aberto para solos de ave (1991), which represents the moment of greatest expression of the creative force of Manoel de Barros' poetry. This work, for us, finishes the strongest creative period in the poet’s work, which begins with the publication of Arranjos para assobio (1982) and develops for about a decade. The foundations built in the works prior to 1982 constitute support and encouragement for the ontological research carried out by Barros, so that they allow the achievement of results that gradually gain strength and authority. These works are characterized by an extreme linguistic cohesion and testify to the mastery of the author’s poetic language tools, which allow him to manipulate the word confidentially. Besides that to mold it and to bend it at will, so that it reaches semantic convergences that increase and amplify the poetic universe of Manoel de Barros, setting new axes of support and constant reference for the later works. The literary production of Manoel de Barros constructs a poetry as a means of knowing reality as a demiurgic tool, through which the poet proposes a personal cosmogony, which locates the Pantanal as locus and that revolves around the word and the graphic sign.
KEYWORDS: Poetic. Cosmogony. Ontological. Manoel de Barros.
Esta entrevista narra o encontro dos entrevistadores Francesca Degli Atti (Universita del Salento... more Esta entrevista narra o encontro dos entrevistadores Francesca Degli Atti (Universita del Salento), Kelcilene Gracia-Rodrigues (Universidade Federal de Mato Grosso do Sul/ Campus de Tres Lagoas) e Rauer Ribeiro Rodrigues (Universidade Federal de Mato Grosso do Sul/ Campus do Pantanal) com o poeta, na residencia de Barros, em Campo Grande, em 21 de setembro de 2006. Entrevista publicada originalmente na coletânea Nas trilhas de Barros : Rastros de Manoel. Campo Grande: Editora UFMS, 2009. p. 161-166. O livro e composto por uma serie de artigos que focalizam, em diversas perspectivas, a poesia de Manoel de Barros.
Lingue e Linguaggi, 2019
– This paper proposes an analysis of Livro de pre-coisas (1985) by Manoel de Barros, focusing its... more – This paper proposes an analysis of Livro de pre-coisas (1985) by Manoel de Barros, focusing its relevance in the wider context of the works of the Brazilian poet. The presence of elements coming from the landscape of the Pantanal is investigated so as to demonstrate the deep influence of the region of origin of Barros on the genesis and development of his poetic diction. The process of deterioration and subsequent regeneration observed in nature shapes the style and personality of the pages of this book and results in a unique perspective on life and existence.
Todas as Letras Revista de Língua e Literatura, 2019
Riassunto: Agenor Barbosa, attualmente quasi del tutto sconosciuto, è stato uno dei membri del gr... more Riassunto: Agenor Barbosa, attualmente quasi del tutto sconosciuto, è stato uno dei membri del gruppo che organizzò la Settimana d'Arte Moderna del 1922. Con l'appoggio di personalità come Menotti del Picchia e Oswald de Andrade, visse un folgorante quanto fugace momento di celebrità ed è oggi principalmente ricordato per la poesia "Os pássaros de aço", nei cui versi riverberano gli echi del futurismo italiano. Questo studio indaga il contributo di Barbosa al modernismo paulista del 1921-1922 mettendo in luce le contraddizioni che emergono dai suoi versi più noti.
Babilónia: Revista Lusófona de Línguas, Culturas e Tradução, 2013
O fenomeno do “Portunhol selvagem”, criatura do poeta-editor-blogueiro Douglas Diegues, represent... more O fenomeno do “Portunhol selvagem”, criatura do poeta-editor-blogueiro Douglas Diegues, representa um interessante estimulo a reflexao acerca do nexo entre lingua e identidade cultural dentro da multifacetada lusofonia brasileira. Nascido como lingua literaria, desenvolveu-se rapidamente num movimento cultural e ideologico que desde seu inicio tem apaixonando um numero cada vez maior de escritores, poetas, intelectuais e ate mesmo meros simpatizantes. As peculiaridades desta lingua se fundamentam na hibridacao linguistica que se encontra no espaco fronteirico da autobiografia de seu inventor. No entanto, o portunhol de Diegues nasce a partir de um processo criativo original que envolve elementos de varias linguas num consciente projeto estetico de “vanguarda primitiva”, que visa a formacao de um espaco cultural osmotico que incorpora e recupera a componente india guarani num idioma “neo antiguo”. De fato, a regra do portunhol selvagem e o desregramento, a metamorfose, a continua mud...
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Papers by Francesca Degli Atti
PALAVRAS-CHAVE: Poética. Cosmogonia. Ontologia. Manoel de Barros.
This work aims to analyze the book Concerto a céu aberto para solos de ave (1991), which represents the moment of greatest expression of the creative force of Manoel de Barros' poetry. This work, for us, finishes the strongest creative period in the poet’s work, which begins with the publication of Arranjos para assobio (1982) and develops for about a decade. The foundations built in the works prior to 1982 constitute support and encouragement for the ontological research carried out by Barros, so that they allow the achievement of results that gradually gain strength and authority. These works are characterized by an extreme linguistic cohesion and testify to the mastery of the author’s poetic language tools, which allow him to manipulate the word confidentially. Besides that to mold it and to bend it at will, so that it reaches semantic convergences that increase and amplify the poetic universe of Manoel de Barros, setting new axes of support and constant reference for the later works. The literary production of Manoel de Barros constructs a poetry as a means of knowing reality as a demiurgic tool, through which the poet proposes a personal cosmogony, which locates the Pantanal as locus and that revolves around the word and the graphic sign.
KEYWORDS: Poetic. Cosmogony. Ontological. Manoel de Barros.
PALAVRAS-CHAVE: Poética. Cosmogonia. Ontologia. Manoel de Barros.
This work aims to analyze the book Concerto a céu aberto para solos de ave (1991), which represents the moment of greatest expression of the creative force of Manoel de Barros' poetry. This work, for us, finishes the strongest creative period in the poet’s work, which begins with the publication of Arranjos para assobio (1982) and develops for about a decade. The foundations built in the works prior to 1982 constitute support and encouragement for the ontological research carried out by Barros, so that they allow the achievement of results that gradually gain strength and authority. These works are characterized by an extreme linguistic cohesion and testify to the mastery of the author’s poetic language tools, which allow him to manipulate the word confidentially. Besides that to mold it and to bend it at will, so that it reaches semantic convergences that increase and amplify the poetic universe of Manoel de Barros, setting new axes of support and constant reference for the later works. The literary production of Manoel de Barros constructs a poetry as a means of knowing reality as a demiurgic tool, through which the poet proposes a personal cosmogony, which locates the Pantanal as locus and that revolves around the word and the graphic sign.
KEYWORDS: Poetic. Cosmogony. Ontological. Manoel de Barros.