Professor of Brazilian Literature, EFLCH-UNIFESP. Bachelor and Licentiate (2001) in Letters, Master (2003) and Doctor (2007) in Theory and Literary History, IEL-UNICAMP. Postdoctoral (2016) in Brazilian Cultures and Identities, IEB-USP. Collaborating Researcher at NICS-UNICAMP (2022-2023). Actions aimed at the study, criticism, composition and appreciation of poetry. Editor of the poetry magazines Salamandra (2001), Camaleoa (2002) and Lagartixa (2003). Editor of Poesia à Mão and Crítica&Companhia websites. Curator of the Caravelas Collection, by Editacuja Editora. Member of the Investigations of the Poetic Group (Gripho/CNPq) and the GT Theory of the Poetic Text (ANPOLL). Coordinator of the Brazilian Literature in the XXI project, a partnership between UNIFESP and SP Readings. He participated in the volume Palavra Cantada: Essays on Poetry, Music and Voice (2008). Compositions on albums such as: SM, XLS (Juliana Amaral, 2012), Vias de Encontro (Rodrigo Duarte, 2014), A long jump is better than a mortal (Zezé Freitas, 2015), Outro (Sá Pedro, 2019) and Eu I play badly (Martina Marana, 2019). Poems for classical music: Margens Plácidas (Gustavo Bonin, 2016), Work and Social Security Card (Gustavo Bonin, 2017). Some books: Anthology of Brazilian Romantic Poetry (criticism and organization, 2007), Anthology of Parnassian Brazilian Poetry (criticism and organization, 2007), Manuel Bandeira ea Música (essay, 2008), Clusters (poetry, 2010), Olegário Mariano - ABL Essential Series (criticism and organization, 2012), Interdisciplinary Teacher Training (co-organization, 2013), Absurd Scene (poetry, 2016), Encurralada (poetry, 2020), Saques & Sacanagens (poetic essay, 2021) and Assbook (poetry, 2022).
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Papers by Pedro Marques
Brazilian literature, even without having ever organized a theory for his poetry. Bandeira reverberates in artists, moderates and radicals, starting with the generation that promoted modernism in the 1920s, after the 1930 and 1940 elegiacs, concretists and new concretists in the 1950s and 1960s, up to the present's copious production. His reflections on the poetic labor are scattered in chronicles, essays, memories, letters, and poems; in truth, they record the search for an organic artistic identity, always connected to the central concepts for the lyrical genre in the twentieth century. What guides these meditations of the poet and of the literary scholars is a basic tension between rapture and reasoning in the poetic invention, which, from the Romantic period, enters in the agenda of a large number of poets. The main purpose of this article is this impasse between a certain poetry, more inspired, and a strong focus on formalism. Bandeira is connected to some poetical theoretical postulates of Stéphane Mallarmé, Paul Valéry and Mário de Andrade. Additionally, some relevant interpreters of the poet will be mobilized throughout this discussion, such as Álvaro Lins, Davi Arrigucci Jr, Sérgio Buarque de Holanda and Gilberto Mendonça Telles.
emphasis on some the poetic-rhetorical conventions that helped to form the
seventeenth-century style. In this analysis, the use of such figures is not
considered baroque eccentricity, or product of the language closed in its own
conceptual and constructive tournaments, something between the
obscurantism and the exhibitionism. The purpose is to inquire how these three
typical figures (sowing and collection, anadiplosis and anaphora) increase the
sonority of the lyric genre defined in terms of musical poetry from its origin.
listening and reading poetry, guides the article.
concretist experiment follows some literary organization. The rectangle
of the page frames the way in which the linguistic and typographic
contents play with the absent or missing voice. The rules of printed
language submit poetry, which came and still resists orally, to the
aesthetic and material limits of books, for example. This article
discusses how Wilberth Salgueiro (O jogo, Micha e outros sonetos ,
2019), Alckmar Santos (Circenses , 2008), Marcos Siscar (Manual de
flutuação para amadores , 2015) and Pablo Simpson (Mitologias , 2003)
work with poetic forms that seem to test the limits of the page.
Brazilian literature, even without having ever organized a theory for his poetry. Bandeira reverberates in artists, moderates and radicals, starting with the generation that promoted modernism in the 1920s, after the 1930 and 1940 elegiacs, concretists and new concretists in the 1950s and 1960s, up to the present's copious production. His reflections on the poetic labor are scattered in chronicles, essays, memories, letters, and poems; in truth, they record the search for an organic artistic identity, always connected to the central concepts for the lyrical genre in the twentieth century. What guides these meditations of the poet and of the literary scholars is a basic tension between rapture and reasoning in the poetic invention, which, from the Romantic period, enters in the agenda of a large number of poets. The main purpose of this article is this impasse between a certain poetry, more inspired, and a strong focus on formalism. Bandeira is connected to some poetical theoretical postulates of Stéphane Mallarmé, Paul Valéry and Mário de Andrade. Additionally, some relevant interpreters of the poet will be mobilized throughout this discussion, such as Álvaro Lins, Davi Arrigucci Jr, Sérgio Buarque de Holanda and Gilberto Mendonça Telles.
emphasis on some the poetic-rhetorical conventions that helped to form the
seventeenth-century style. In this analysis, the use of such figures is not
considered baroque eccentricity, or product of the language closed in its own
conceptual and constructive tournaments, something between the
obscurantism and the exhibitionism. The purpose is to inquire how these three
typical figures (sowing and collection, anadiplosis and anaphora) increase the
sonority of the lyric genre defined in terms of musical poetry from its origin.
listening and reading poetry, guides the article.
concretist experiment follows some literary organization. The rectangle
of the page frames the way in which the linguistic and typographic
contents play with the absent or missing voice. The rules of printed
language submit poetry, which came and still resists orally, to the
aesthetic and material limits of books, for example. This article
discusses how Wilberth Salgueiro (O jogo, Micha e outros sonetos ,
2019), Alckmar Santos (Circenses , 2008), Marcos Siscar (Manual de
flutuação para amadores , 2015) and Pablo Simpson (Mitologias , 2003)
work with poetic forms that seem to test the limits of the page.
Is Part of:
Pessoa Plural―A Journal of Fernando Pessoa Studies, Issue 8
Jennings on the Trail of Pessoa, or dimensions of poetical music
[Jennings na Pegada de Pessoa, ou dimensões da música poética]
https://doi.org/10.7301/Z0X34VP9
ABSTRACT
Here we present two unpublished essays by Hubert Jennings about the challenges of translating the poetry of Fernando Pessoa: the first one of them, brief and fragmentary, is analyzed in the introduction; the second, longer and also covering issues besides translation, is presented in the postscript. Having as a starting point the Pessoan poem "O que me doe" and three translations compared by Hubert Jennings, this presentation examines some aspects of poetic musicality in the Portuguese language: verse measurement, stress dynamics, rhymes, anaphors, and parallelisms. The introduction also discusses how much the English versions of the poem, which are presented by Jennings, recreate (or not) the musical-poetic dimensions of the original text.
RESUMO
Reproduzem-se aqui dois ensaios inéditos de Hubert Jennings sobre os desafios de se traduzir a poesia de Fernando Pessoa: o primeiro deles, breve e fragmentário, é analisado numa introdução; o segundo, mais longo e versando também sobre questões alheias à tradução, é apresentado em postscriptum. A partir do poema pessoano "O que me dói" e de três traduções comparadas por Hubert Jennings, esta apresentação enfoca alguns aspectos da música poética em língua portuguesa: medida do verso, dinâmica dos acentos, rimas, anáforas e paralelismos. A introdução também discute o quanto as versões do poema em língua inglesa, apresentadas por Jennings, refazem (ou não) os níveis músico-poéticos do texto original.
BIBLIOGRAPHY
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