Papers by Márcio José Coutinho
Literatura e Autoritarismo
Este artigo radica em torno da importância da formação histórica e do sentido da constituição nac... more Este artigo radica em torno da importância da formação histórica e do sentido da constituição nacional, em termos de cultura, de tradição e de patrimônio simbólico, para a composição do drama A Batalha de Armínio, do dramaturgo alemão Heinrich von Kleist. Visa-se assim a verificar o modo alegórico pelo qual as referidas instâncias se inserem na elaboração estética, bem como o papel da dialética para o sentido de superação intrínseco à obra.
life. He addresses the Derwent River, the stream that runs behind the Wordsworth's House, where W... more life. He addresses the Derwent River, the stream that runs behind the Wordsworth's House, where Wordsworth had his birth at Cockermouth, asking: Was it for this That one, the fairest of all rivers, loved To blend his murmurs with my nurse's song, And, from his alder shades and rocky falls, And from his fords and shallows, sent a voice That flowed along my dreams? (Book I, ll. 269-274). Yet this question might be rephrased in general terms that orientate Wordsworth's arguments along the whole narrative: Was it for this result that Nature dispensed such a high education for the poet? The answer should be "No". Nature's instruction can only lead to the formation of a powerful mind and to the execution of a glorious and durable work. The river provides such elements to young Wordsworth's sensibility ready to be addressed by the faculty of imagination, bringing him: Amid the fretful dwellings of mankind A foretaste, a dim earnest, of the calm That Nature breathes among the hills and groves. (Book I, ll. 279-281). Wordsworth created the poetic model for a naïve belief in the power of Nature's forms to provide for the formation of the human spirit. As he conceives, Nature informs and feeds the faculty of imagination, whose fitting presence can be recognized spontaneously through the emotions, thoughts and dreams. The correspondence between the external influence of Nature and the internal activity of the imagination may be aknowledged through a parallel syntax describing the course of a stream from the remotest places into the most accessible sites: We have traced the stream From the blind cavern whence is faintly heard Its natal murmur; followed it to light And open day; accompanied its course Among the ways of Nature, (Book XIV, ll. 198-194). Imagination grows because of the interfusion of sensory, emotional, spiritual and intellectual affections from Nature's elements. Nevertheless, it is through imagination that the poet is able to converse with Nature, to interpret and understand her language.
life. He addresses the Derwent River, the stream that runs behind the Wordsworth's House, where W... more life. He addresses the Derwent River, the stream that runs behind the Wordsworth's House, where Wordsworth had his birth at Cockermouth, asking: Was it for this That one, the fairest of all rivers, loved To blend his murmurs with my nurse's song, And, from his alder shades and rocky falls, And from his fords and shallows, sent a voice That flowed along my dreams? (Book I, ll. 269-274). Yet this question might be rephrased in general terms that orientate Wordsworth's arguments along the whole narrative: Was it for this result that Nature dispensed such a high education for the poet? The answer should be "No". Nature's instruction can only lead to the formation of a powerful mind and to the execution of a glorious and durable work. The river provides such elements to young Wordsworth's sensibility ready to be addressed by the faculty of imagination, bringing him: Amid the fretful dwellings of mankind A foretaste, a dim earnest, of the calm That Nature breathes among the hills and groves. (Book I, ll. 279-281). Wordsworth created the poetic model for a naïve belief in the power of Nature's forms to provide for the formation of the human spirit. As he conceives, Nature informs and feeds the faculty of imagination, whose fitting presence can be recognized spontaneously through the emotions, thoughts and dreams. The correspondence between the external influence of Nature and the internal activity of the imagination may be aknowledged through a parallel syntax describing the course of a stream from the remotest places into the most accessible sites: We have traced the stream From the blind cavern whence is faintly heard Its natal murmur; followed it to light And open day; accompanied its course Among the ways of Nature, (Book XIV, ll. 198-194). Imagination grows because of the interfusion of sensory, emotional, spiritual and intellectual affections from Nature's elements. Nevertheless, it is through imagination that the poet is able to converse with Nature, to interpret and understand her language.
Nau Literaria, Jun 17, 2008
Resumo: Este trabalho tem o objetivo de analisar o modo como a transformação do personagem Gregor... more Resumo: Este trabalho tem o objetivo de analisar o modo como a transformação do personagem Gregor Samsa em barata pode simbolizar a perda da dimensão humana. Para tanto, parte-se da hipótese de que esse aspecto reflete um elemento de premonição em relação ao horror causado pela guerra, elemento este que está associado ao engajamento do autor com a situação política e social de sua época.
RESUMO Este trabalho visa a interpretar o romance Desonra, de J. M. Coetzee, quanto à referência ... more RESUMO Este trabalho visa a interpretar o romance Desonra, de J. M. Coetzee, quanto à referência aos poetas românticos Wordsworth e Byron no decorrer da narrativa. A alusão a obras, temas e figuras do Romantismo nos leva a perguntar que sentido haveria em retomar assuntos daquele período no contexto cultural atual. Poder-se-ia afirmar que Coetzee traz para a discussão algumas das principais questões que envolvem a estética no sentido da apreciação da obra de arte e da relação da arte com a vida no mundo de hoje. Em outros termos, na realidade desencantada da sociedade moderna, em que o utilitarismo, o racionalismo e o tecnicismo dominam as relações políticas e sociais, Coetzee mostra a necessidade e ensaia a possibilidade de se retomar valores, ideais, sentimentos, símbolos e uma visão de mundo que permitam ao homem conectar-se de uma forma mais afetiva e essencial com o universo que o rodeia, tendo como base as idéias de Bildung, crescimento orgânico e eu unitário. Ao mesmo tempo, o caráter ambíguo do protagonista revela a ironia que leva a considerar a possível obsolescência de tais elementos, para os quais talvez não haja lugar na sociedade atual. ABSTRACT This work aims at interpreting the novel Disgrace, by J. M. Coetzee, regarding the reference to the Romantic poets Wordsworth and Byron during the narrative. The allusion to works, themes and tropes of Romanticism lead to inquiry what sense might exist in bringing forth subjects of that period to nowadays cultural context. It might be asserted that Coetzee brings into discussion some of the main issues involving the aesthetics in terms of the appreciation of the work of art and the relation between art and life in our world. In other terms, in the disenchanted reality of the modern society where the utilitarianism, the rationalism and the technicism rule the political and social relations, Coetzee shows the necessity and rehearses the possibility of retaking those values, ideals, sentiments, symbols and a worldview that allow man to connect with the universe around him in a more affective and essential mode based on the ideas of Bildung, organic growth and unitary self. At the same time, the protagonist's ambiguous character reveals the irony that leads to consider the possible obsolescence of those elements, to which maybe there is no room in this society.
Reading The Prelude we are surprised by a religious cast in which we recognize a biblical backgro... more Reading The Prelude we are surprised by a religious cast in which we recognize a biblical background which results from the aesthetical transformation of ideas borrowed from the Christian tradition. As Wordsworth speaks of Nature we detect in his poetry an emotional attitude which goes beyond the sensible charms of the natural scenery, a religious feeling similar to that of a devout man before a holy image. He looks for that Holy Spirit which animates the whole matter of the world.
Drafts by Márcio José Coutinho
Márcio José Coutinho, 2021
This is a brief review of Meril Borato's paper on George Herbert's poetry.
Márcio José Coutinho, 2021
This is a brief review of Meril Borato paper on George Herbert's poemsThe Collar and Love.
Current images leading to The Prelude and The Excursion Márcio José Coutinho The images already r... more Current images leading to The Prelude and The Excursion Márcio José Coutinho The images already rendered concrete in The Excursion are recurrently advanced in poems such as Resolution and Independence, Mathew, The Wagonner, and The Old Cumberland Beggar. The images created in The Prelude are recurrences that appear in Wordsworth's earlier poems An Evening Walk and Descriptive Sketches, returning in Lines Written a Few Miles above Tintern Abbey and Home at Grasmere, so revealing the sources and the origin of his poetry. What really calls my interest in this research is that it is possible to recognize a similarity of nature and even a continuity of the two most characteristic kinds in Wordsworth's poetry: the descriptive pieces of personal contact with nature and the domestic tales, with the two parts of his great project: the autobiographic Nature Poetry The Prelude and The Recluse (Home at Grasmere), and the more fictitious and symbolical poem The Excursion. What I intend to demonstrate is that these two kinds of early poetry serve as basic model for the major project. The evolution from The Prelude to The Excursion marks the passage from a more biographical oriented attempt to a more symbolical oriented design. When asking the reason why to select Wordsworth among the romantic poets, the chief answer is that I chose to work on Wordsworth's poetry because he is much concerned with the process of writing poetry so as presents a craving for scrutinizing the mysteries of imagination and creation. Even in his Preface he utters a body of poetic precepts based on the poet's experience of the world and on how he expresses and conveys such experience into the poem. Wordsworth's poetical experience presents " a good deal of material and circumstantial detail " , as Hough (1976: 46) points out. Wordsworth's main compositions gravitate around the themes of life and nature. By examining this experience the poet brings near the figures of the young and the old man in symbolic manner in the figure of the wanderer, be it the one who without fixed abode roves through distant places, be it the one who takes leisure time to spend in the middle of the nature in the surroundings where he lives. This is a constant theme in the author's poetry, present since poems written in the beginning of his career to those written in maturity. It is crucial to note that Wordsworth's own poetic notions lead to focus on issues often discussed by the Romantics in terms of poetic function: inspiration, imagination, fantasy, affections, defamiliarization (which includes the views of children and old characters), considering that Wordsworth himself groups his works in " The question of experience presents a double character that points to two directions as to what is essential in the poetry of Wordsworth. This essence comes from the ambiguity of the term experience, which means on one hand desire to experiment, to satisfy oneself, to enjoy all kinds of possible feelings and sensations, inward and outward, to apply to the most diverse and intense pleasures and sufferings which the world and life can provide. On the other hand, it means the knowledge gathered along the years through the experiences of the individual, referring to the human condition, and at the same time, the knowledge gained refers to the memory of a given community, to the stories of its development and of its men, to the traditions of this community, including customs and practices they maintain, giving the man experienced in life the character of a depositary of such wisdom. The first of these senses of experience connects to the ardor and enthusiasm of childhood and youth, setting up the desire to capture and enjoy the sensory impressions of the world in its most diverse details: this can be found in and leads to Wordsworth's long poems.
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Papers by Márcio José Coutinho
Drafts by Márcio José Coutinho