European Modernism

Partindo das ideias de inacabamento e incompletude, são feitas aproximações entre Mon cœur mis à nu, de Charles Baudelaire, e o Livro do desassossego, de Fernando Pessoa. Ambos os livros (se assim podemos nomeá-los) são, na verdade, projetos de obra: nem Baudelaire nem Pessoa chegaram a dar um contorno de acabamento a seus respectivos projetos. O que lemos hoje sob o título Mon cœur mis à nu e Livro do desassossego são conjuntos de notas, planos de trabalho, fragmentos de textos por vir, passagens mais ou menos concluídas. Se é possível uma construção de aproximações (e a história dos manuscritos de ambos os textos o comprova), também é possível, e mesmo necessário, identificar e esclarecer pontos de afastamento, na tentativa de delinear elementos de comunhão e de especificidade que possam existir entre essas duas escrituras tão (des)semelhantes. Como conclusão, propomos olhar para esse tipo de escritura não a partir de categorias estanques (texto ou não texto; obra ou não obra), mas exatamente no intervalo, na latência, na dobra: Mon cœur mis à nu e o Livro do desassossego são e não são texto “concluído”; são projeto de texto, mas também texto em processo; movimento de pura abertura, mas também necessário apelo ao contingenciamento.

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The main objective of the Modern Greek Studies Yearbook is the dissemination of scholarly information in the field of modern Greek studies. The field is broadly defined to include the social sciences and the humanities, indeed any body of knowledge that touches on the modem Greek experience. Topics dealing with earlier periods, the Byzantine and even the Classical, will be considered provided they relate, in some way, to aspects of later Greek history and culture. Geographically, the field extends to any place where modern Hellenism flourished and made significant contributions, whether in the "Helladic space" proper or in the Diaspora. More importantly, in comparative and contextual terms, the Mediterranean basin and Europe fall within the province of the Yearbook's objectives. Special attention will be paid to subjects dealing with Greek-Slavic relations and Eastern Orthodox history and culture in general. Manuscripts, books for review, bibliographical information, and correspondence should be sent to the above address. Manuscripts should be submitted in four double-spaced copies. For technical matters, contributors should consult the Chicago Manual of Style. Upon acceptance, the editors will forward comments and suggestions to the author(s) along with guidelines for the submission of corrected manuscripts on computer disk. A succinct biographical sketch indicating professional affiliation, field of interest, publications, and current research of contributors should accompany submitted material.

Стаття присвячена розглядові художнього вираження проблеми жіночої «я» як домінантної риси модерністичної жіночої літератури початку ХХ ст. Порівняльний аналіз малої прози польської і української письменниць С. Налковської (зб. оповідань «Кішечка, або Білі тюльпани») і Д. Віконської (зб. оповідань «Райська яблінка») здійснено крізь призму ключової бінарної опозиції «тіло» / «дух», що становить стрижневу категорію репрезентації жіночого єства протагоністок.
Ключові слова: жіноча модерністична проза, ідентифікація, жіночість, тілесність, духовність, природа.

Partindo da releitura de algumas passagens das duas cartas escritas por Fernando Pessoa e dirigidas a Adolfo Casais Monteiro, em 13 de janeiro e 20 de janeiro de 1935, o ensaio percorre os sinais de uma ideia pessoana de autor profundamente associada à noção de génio e de uma ordem superior, em que a escrita e a publicação de livros obedecem a um desígnio histórico e transcendental que os livros realizam. O "autor de autores", ou criador da invenção heteronímica, também qualificada como "drama em gente", surge, assim, como resultado, não de uma desagregação ou de uma crítica, mas de uma exacerbação hiperbólica da noção moderna de autor, ou seja, de uma visão da escrita literária que, de acordo com um fragmento com data provável de 1913, seria "a auto-expressão esforçandose por ser absoluta". Defende-se, a concluir, que à luta de Pessoa pelo lugar de "poeta supremo" da Europa faltou sempre, no entanto, a existência de uma cultura europeia para a qual tal lugar tivesse, no século XX, qualquer espécie de importância.

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This article investigates the role of Greek émigré writers in the early ‘Cold War of the ether’ against the backdrop of the increasing youth mobility prompted by the Greek civil war (1946–49). It traces the itineraries of émigré writers in their 20s who contributed to the Greek-language programmes of the Overseas Service of the British Broadcasting Corporation (BBC). Through the study of unpublished broadcast scripts kept in the BBC Written Archives Centre (WAC), the following questions are explored: how was life in the West depicted in the radio features and plays transmitted to Greek-speaking listeners? To what extent do the transmitted texts betray the influence of literary modernism, on the one hand, and formal experiments in radio writing, on the other? In contrast to the literary productions of the Greek state radio (EIR), which excluded modernist works until as late as the mid-1950s, the BBC Greek broadcasts mirror the fresh outlook and modernist aesthetics of their creators, contributing to the belated modernization of Greek radio culture.

It shouldn't come as a surprise to any student of English literature that most textbooks, from elementary to advanced, find themselves at a loss for definitions to aptly define what is ‘modern,’ what constitutes ‘modernity,’ and what must be underscored to mark what strange anomaly 'modernism' is. These terms float in reference materials as loose islands of moss floating in a desolate water body, drifting further and further away from each other only to meet at once around the bends. The greatest defining feature of Modernism is certainly industrialisation, alienation, and warfare. But there are other players in this game as well, which contribute majorly, if not equally, to this pellucid period. In this study, we must highlight these aspects, which filled all sorts of vibrancy in the air of Modernism. From lifelike cinemagraphs to robust metal carriages speeding against space and time to deliver an industrious promise of mankind, and finally, the discovery that made remote communication very likely and adopted a timeless motif of trouble or tranquillity.

In this article I analyze a series of performances, developed since the 1950s by Mane Bernardo and Sarah Bianchi, that uses the puppeteer’s bare hand, which led to the creation of a technique called pantomime of hands. [1] I will examine the limits of the traditional definition of puppet and the practices it encompasses, along with the notion of experimentation proposed by Bernardo, an idea marked by the tensions between traditional and modern puppet theatre. I aim to place this new technique among others that contributed to the modernization of the puppet theatre in Argentina.

Mestre dos heterônimos de Fernando Pessoa, Alberto Caeiro foi referenciado por seus discípulos – Ricardo Reis, António Mora e Álvaro de Campos – como “mais grego que os gregos”, “reconstrutor do paganismo” e portador de um “estranho ar grego”. Este estudo visa compreender as razões de Caeiro ser considerado (por seus outros eus) o poeta pessoano mais próximo dos antigos, a partir de uma análise da relação de usos do passado greco-romano em sua poética. Tal literatura, proveniente de um contexto posterior e distinto, recorre a temas da Antiguidade como forma de crítica à modernidade e de (re)composição da estética, conferindo novos significados à cultura dita “clássica”. A partir da teoria da recepção, oriunda sobretudo do comparatista Charles Martindale e da classicista Lorna Hardwick, buscamos discutir a utilização do passado tocante à Antiguidade Clássica no contexto histórico-literário caeiriano, compreendendo nele a materialização de um diálogo ativo entre antigos e modernos.

N o presente artigo iremos analisar duas importantes narrativas de The Poisoned Kiss and Other Stories From the Portuguese (1975) de Joyce Carol Oates, "Letters to Fernandes from a Young American Poet" e "Plagiarized Material", para compreender como Portugal foi utilizado como pretexto para Oates marcar uma posição no meio literário norte-americano da época. E, por outro lado, como a apropriação (ao estilo pessoano?) do pseudónimo Fernandes de Briao terá permitido a Oates libertar uma faceta porventura mais recalcada e, desse modo, enriquecer a sua persona artística. Em inícios dos anos setenta, no princípio da retirada das tropas na Guerra do Vietname, o movimento hippie culminava no Festival de Woodstock (Agosto 1969), desacreditava-se no sistema político norte-americano e as filosofias orientais, como o Budismo e o Hinduísmo, tornavam-se moda nos Estados Unidos. Joyce Carol Oates (n. 1938), ainda no princípio da sua vida literária, tendo publicado apenas cerca de uma dúzia de livros (contando hoje com quase duas centenas), escreveu, em Novembro 1970, a obra em que se relaciona com Portugal. Publicada nos Estados Unidos, um ano após a Revolução dos Cravos, em 1975, a colectânea contém uma série de contos,

O presente estudo centra-se na teoria estética de Fernando Pessoa e na posição dos Apontamentos para uma estética não aristotélica do heterónimo Álvaro de Campos no sistema estético do autor português. Partindo da questão da diversidade do pensamento estético de Pessoa, procura-se, por primeiro situar o texto no corpus pessoano de reflexões teóricas sobre a arte, para depois apresentar como é que o curto ensaio entra em contato tanto com o ideal estético de Nietzsche, como com a estética de choque das vanguardas, subvertendo as categorias principais da Poética. Apontamentos para uma estética não aristotélica, sem qualquer dúvida, constitui um dos textos axiais do pensamento estético de Fernando Pessoa que, nas palavras de Jacinto do Prado Coelho, nos enfrenta com uma «excecional individualidade» (1994: xvii), tendo em conta não só a complexidade e a diversidade do ideário estético pessoano, mas também as suas ambiguidades e incongruências inerentes. O presente estudo, partindo da questão da ambivalência das reflexões pessoanas sobre a arte e a literatura, procura, em primeiro lugar, situar o ensaio Apontamentos para uma estética não aristotélica no discurso do pensamento estético do poeta português para depois analisar a genealogia das filiações literário-filosóficas do texto e comparar a sua argumentação com os princípios básicos da Poética.

Évora, Fernando, "O homem dos sonhos" (2024). Pessoa Plural—A Journal of Fernando Pessoa Studies. Brown Digital Repository. Brown University Library. https://doi.org/10.26300/99ra-1p86

Is Part of:

Pessoa Plural―A Journal of Fernando Pessoa Studies, Issue 25

Fernando Évora
O homem dos sonhos
[The man of dreams]

https://doi.org/10.26300/99ra-1p86

MOYA, Manuel (2023). Pessoa, el hombre de los sueños. Barcelona: Ediciones de subsuelo, 702 pp. [ISBN: 9788412275490].

A proposta do presente trabalho é, em primeiro lugar, compreender de que forma a
obra do poeta português Fernando Pessoa se introduz historicamente na tradição de
um tema clássico nas artes: a relação entre genialidade e a loucura. Para isso
realizaremos um breve panorama, social e cultural, identificando as formas de
apreensão do tema por artistas de diferentes períodos da história humana. Em
seguida estenderemos nosso olhar para a época de Fernando Pessoa, para que,
então, possamos realizar uma análise de sete poemas selecionados, cuja autoria é
atribuída ao heterônimo Álvaro de Campos. Nesses textos buscaremos avaliar como
a genialidade e a loucura se configuram e se apresentam na criação da obra poética
inicial de Campos, produzida, segundo relatos de Fernando Pessoa, entre os anos
de 1913 e 1914. Utilizaremos, entre outras referências teóricas e críticas, o livro
Escritos sobre génio e loucura, composto por fragmentos do espólio de Fernando
Pessoa e organizados pelo estudioso Jerónimo Pizarro. Nele, iremos nos ater aos
trechos em que o poeta português reflete sobre o que é o gênio, sua relação com a
loucura e de que forma esse relacionamento se expressa no meio social,
principalmente na arte.

Tomando como ponto de partida alguns textos que formam os dois tomos da obra Escritos
Sobre Génio e Loucura (2006), organizada pelo estudioso da obra de Fernando Pessoa (1888 —
1935), Jerónimo Pizarro, o presente artigo pretende revisitar um poema da fase inicial do
heterônimo Álvaro de Campos, levando em conta algumas reflexões críticas, feitas pelo próprio
Pessoa, acerca dos temas genialidade e loucura. Dessa forma, buscamos contribuir com o
enriquecimento das possibilidades interpretativas da obra do poeta português.

The phenomenon of Prague Dada -- of which Melchior Vischer's 1920 "Dada novel," SECOND THROUGH BRAIN, is a major exemplar -- has been obscured by the consequences of WW2, Soviet domination & the nationalist agenda of post-Velvet Revolution cultural historians. While the belated publication of Tristan Tzara's DADAGLOBE anthology has put to rest any doubts about the significance of Vischer & others in the Dada "pantheon," the purpose of this paper is to bring into clearer view the phenomenon of Prague Dada at large, as a crucial element within the Zurich-Paris-Berlin constellation.

O presente artigo propõe a exposição e compreensão do quadro metafísico patente nos escritos e nas perspetivas pessoais do célebre escritor lusitano Fernando Pessoa. O seu conto “No Jardim de Epíteto” (1922), servirá de base para a contemplação das intervenções científicas e filosóficas que o autor fez questão de referir, não só na narrativa em questão, bem como ao longo do seu percurso existencial. Destarte, este documento pretende submergir o leitor na psique Pessoana, de modo a consolidar alguma da sua filosofia de vida. Esta, por sua vez, encontra-se fortemente abarcada pela admiração e exaltação da natureza, pela valorização sensorial e pela dança universal de interdependência patente em todos os seres, atomicamente conectados e eternamente embalados por meios naturais de expressão: a natureza, a ciência e a arte.

Resumo: Leitura do poema "Feminina", de Mário de Sá-Carneiro (1916). Por que razão a perda de um guarda-chuva desperta no sujeito o desejo de se tornar uma mulher? O que é devir mulher na poesia de Sá-Carneiro, e o que espera o sujeito desta inverosímil metamorfose? Palavras-chave: Mário de Sá-Carneiro, "Feminina", queer, poder. Résumé : Lecture du poème "Feminina", de Mário de Sá-Carneiro (1916). Pourquoi la perte de son parapluie provoque chez le sujet le désir de devenir une femme ? Qu'est-ce que devenir une femme dans la poésie de Sá-Carneiro, et qu'attend le sujet de cette invraisemblable métamorphose ? Mots-clé : Mário de Sá-Carneiro, "Feminina", queer, pouvoir. Pedro Eiras Eu queria ser mulher pra me poder estender Ao lado dos meus amigos, nas banquettes dos cafés. Eu queria ser mulher para poder estender Pó de arroz pelo meu rosto, diante de todos, nos cafés. Eu queria ser mulher pra não ter que pensar na vida E conhecer muitos velhos a quem pedisse dinheiro-Eu queria ser mulher para passar o dia inteiro A falar de modas e a fazer "potins"-muito entretida. Eu queria ser mulher para mexer nos meus seios E aguçá-los ao espelho, antes de me deitar-Eu queria ser mulher pra que me fossem bem estes enleios, Que num homem, francamente, não se podem desculpar. Eu queria ser mulher para ter muitos amantes E enganá-los a todos-mesmo ao predilecto-Como eu gostava de enganar o meu amante loiro, o mais esbelto, Com um rapaz gordo e feio, de modos extravagantes… Eu queria ser mulher para excitar quem me olhasse, Eu queria ser mulher pra me poder recusar 1 … ……………………………………………………………………… Por muito forte que seja a tentação de analisar já este enigmático poema, não posso deixar de citar ainda as linhas da carta que o apresentam e depois o comentam. Sá-Carneiro começa por escrever a Pessoa: Agora porém o que estou é muito interessado na confecção de um poema irritantíssimo, "Feminina"-que comecei ontem à noite, quando me roubaram o chapéu-de-chuva. Pano de amostra 2 : Segue-se o poema. E, após a linha pontilhada que explicita o seu carácter fragmentário, Sá-Carneiro comenta ainda: Como você vê-isto promete, hein? Quando arranjar por completo o poema enviar-lho-ei 3. Antes de analisar "Feminina", é preciso, portanto, analisar a carta que inclui "Feminina", ou seja, o cotexto (que é também, pelo menos, um contexto, um paratexto e um metatexto). Claro, o poema pode ser lido isoladamente, como faríamos se, por exemplo, Sá-Carneiro o publicasse numa revista. Mas conhecemo-lo através de uma carta, num jogo entre versos e prosa, texto e comentário.

Museums and cultural institutions are more and more using a type of exhibition that presents objects from one period in comparative constellations with exhibits from other periods or cultures. The potential of these ’transcultural’ or ’transhistorical’ exhibitions lies in the possibility to reflect on or suspend traditional categorizations of museum displays such as period, genre or chronology and to experiment with new relationships between objects. This article studies the Berlin exhibition “Unvergleichlich. Kunst aus Afrika im Bode-Museum” (2017–2019) and examines to which extent the increasing interest in transcultural/transhistorical exhibitions can be seen as symptom of a crisis concerning the loss of authority and plausibility of traditional museum classifications. With a close view of this exhibition the article discusses whether and how it is possible to create evidence through comparative display strategies, letting emerge new orders of knowledge.

Die Entwicklung zur Abstrakten Kunst Hans Arps, die Kubistische Plastik und der Züricher Dadaismus Die Werke Hans Arps sind nicht eindeutig einzuordnen, sie sind sowohl mit dem Dadaismus, Surrealismus, Kubismus als auch mit späteren Kunststilen wie Konstruktivismus, Minimal Art Weg weisend verbunden. Es kommt auf seine jeweilige biographische Schaffensphase an, welchem Stil es näher kommt. Er hat auch einen Persönlichkeitsstil des Dadaismus, der in der Kunstgeschichte einmalig ist.

Sheila Hetis autofiktionale Erzählerin kämpft im 2018 in den USA und in Kanada erschienenen Buch "Mutterschaft" ("Motherhood" 1) mit ihrem Entschluss, kein Kind bekommen zu wollen, obwohl sie, wie sie selbst sagt, schon sehr früh wusste, "dass das nicht geschehen konnte und würde" (301). Sie lässt die Leserschaft an diesem-zuweilen mühevollen und von Wiederholungen geprägten-Entscheidungsprozess teilhaben, hin-und hergerissen zwischen ihren jüdischen Wurzeln und ihren Vorstellungen als moderne Frau. Da der Aufbau des Buches komplex ist und damit die Entscheidungsfindung der Autorin selbst widerspiegelt, stelle ich für das Werk vier zentrale Aspekte vor. Erstens geht es um das Ringen mit gefühlten Verpflichtungen in Bezug auf die Mutterschaft (1); zweitens spielt das Ringen zwischen Müttern und Töchtern eine Rolle (2); drittens befasst sich Sheila mit dem natürlichen Ruf zur Mutterschaft (3); viertens erfolgt ein Aufruf zur Koexistenz von Frauen mit unterschiedlichen Erfahrungen und Lebensentwürfen (4). 1 Ringen mit Verpflichtungen: Obschon die Entscheidung von Sheila, keine Kinder zu wollen, von Anfang an festzustehen scheint, fühlt sie sich verpflichtet, darüber nachzudenken-"bis zur letzten Sekunde" (300), vielleicht weil ihre Freundinnen sie fragen, wann sie Mutter wird, oder weil ihr Partner Miles ihr alleine die Wahl überlässt. Eine zentrale Rolle spielt außerdem eine tief in ihr verwurzelte Verpflichtung gegenüber ihren jüdischen Vorfahren, den "durch den Holocaust erlittenen Verlust aus[zu]gleichen" (187). Dementsprechend vergleicht sie ihr Ringen mit der Aussicht, Mutter zu werden, mit Jakobs Kampf am Jabbok in Gen 32, 23-33. Hierzu passen auch die Kampfesmetaphern, mit denen sie ihre Entscheidung beschreibt. Sie vergleicht diese mit einem Bürgerkrieg, in dem frau sich für eine Seite-Kinder oder keine Kinder-festlegen muss (110), setzt sich mit ihrem Gefühl auseinander, "den Dienst in einer Truppe" (156) zu verweigern. Es handelt sich darüber hinaus zugleich um einen Kampf, dem sich gemäß Sheila keine Frau entziehen kann. Sie ist diesem Kampf aber nicht völlig hilflos ausgeliefert, sondern greift zu Hilfsmitteln, z. B. auf Münzenwürfe (7−9), auf Deutungen von Wahrsagerinnen (67−70; 165−174), auf Träume und deren Interpretation (152; 194; 207 f.) etc. Es geht jedoch nicht nur um die Verpflichtung, sich zwischen den Fronten "Mutterschaft" oder "Nicht-Mutterschaft" zu entscheiden, wobei die Seite der Mutterschaft mit Diensterfüllung und die Seite der Nicht-Mutterschaft mit Feigheit und Faulheit in Verbindung gebracht wird (156). Sheila, die ihre Chance auf Mutterschaft trotz reichlicher Überlegung schließlich "verpassen wollte" (300), macht sich immer wieder Gedanken über einen Ausgleich. Sie fragt sich, ob "das Universum eine Frau, die Bücher macht, aus der Verantwortung dafür entlassen [kann], dass sie nicht dieses lebendige Etwas erschafft, das wir Babys nennen" (41). Mit ihren Büchern will sie "ein Kind zeugen, das nicht sterben wird" (228). Es ist ihr wichtig zu betonen, dass Frauen,

This major exhibition--with three stations and over 450 objects--reassesses the relationship of the Bauhaus to Nazism, demonstrating that it was far from a movement exclusively in exile. Will be accompanied by an exhibition catalogue (Hirmer Verlag) and a volume of scholarly essays (Wallstein).

This exhibition from the permanent collection of the Housatonic Museum of Art features works by Victor Vasarely, Josef Albers, Richard Anuszkiewicz, Josef Levi, and Henry Pearson. The catalogue includes a curatorial essay as well as several object labels.

Em tratados clássicos a troca epistolar é definida como o diálogo entre pessoas ausentes que, por meio das cartas, tornam‑se presentes. Nesse sentido, este artigo propõe revisitar a tão explorada noção de heteronímia que se notabiliza na obra de Fernando Pessoa nos debruçando em um ponto bem específico: sua efetiva aparição epistolar e seu desdobramento “cartográfico”. Pois é em cartas (a Casais Monteiro) que Pessoa explica a gênese dos heterônimos como um processo que começou justamente como troca de cartas com personagens inexistentes. Assim, nos interessa cartografar nestas mesmas entrelinhas o jogo próprio do poeta de construir ali também, enquanto quem escreve e explica, as relações ao mesmo tempo entre autobiografia e “história direta” das suas despersonalizações. Para tanto avançamos também em direção a algumas considerações feitas sobre suas cartas de amor (trocadas com Ofélia Queiroz, nas quais chegam a se intrometer concretamente alguns heterônimos) e suas cartas astrais (que envolvem, além de epístolas, as cartas que ele fez para si e para cada um dos seus heterônimos).

Transplanting the surrealist movement and literature in Greece and feedback from the critics and philological and journalistic circles of the time is of special importance in the history of Modern Greek Literature. The Greek critics and readers who were used to a traditional, patriotic and strictly rule-conforming literature would find it hard to accept such a kind of literature. The modern Greek surrealist writers, in close cooperation mainly with French surrealist writers, would be subject to harsh criticism for their surrealist, absurd, weird and abstract productivity. All this reaction against the transplanting of surrealism in Greece caused the so called "surrealist scandal", one of the biggest scandals in Greek letters.

Understanding Displacement Aesthetics reframes the way refugees and the conditions of displacement are seen. Through a blend of historical research, and long-term collaborative curatorship, it aims to challenge the limitations that contexts of displacement present for artists, art galleries and institutions addressing refugeedom and its legacies.

The exhibition contains a work by Lyndell Brown and Charles Green

Quero agradecer, em primeiro lugar, a oportunidade que me foi dada de ingressar no Programa em Teoria da Literatura, que me permitiu reflectir e escrever sobre autores e questões que preenchem, agora, constantemente, grande parte dos meus pensamentos. Agradeço, então, ao professor António M. Feijó, pela sua orientação ao longo destes meses, por me ter ajudado a compreender melhor os dois autores em que se baseia a minha tese e os assuntos que os envolvem e aproximam, pelo tempo gasto com burocracias e pelos conselhos concedidos sobre o presente e o futuro. Um agradecimento especial ao professor João Figueiredo, pelos seus conselhos, pelas suas preocupações, pelos seus incentivos e, em particular, por todas as conversas mais ou menos triviais que tive o prazer de manter ao longo deste ano. Agradeço, ainda, ao professor Miguel Tamen, pelo interesse e disponibilidade demonstrados em tudo o que se referisse quer ao meu trabalho, quer aos meus projectos futuros. Agradeço, em segundo lugar, aos meus colegas e estimados pessoanos, Nuno Amado e Jorge Uribe, pelos seus múltiplos préstimos, por todas as informações facultadas e pelo ânimo partilhado, assim como ao meu caro colaborador Tiago Silva, pelo auxílio na luta contra as instituições burocráticas. Agradeço, também, a todos meus queridos colegas de orientação, em particular à Ana Cláudia, à Sílvia Alberto, ao Jorge Almeida e ao Henrique Mourão, assim como a Maria Rita, Cátia Barroso, Inês Guerreiro, David Seixas, Gustavo Rebelo e Diogo Canavarro-pela sua atenção, pela sua ajuda e pelos seus conselhos, pelas noites passadas ao relento ou em frente ao computador partilhando histórias de confusão e desalento e, principalmente, por me obrigarem a sair do quarto naqueles meses em que a luz do sol parecia tão soturna. Agradeço, por fim, às criaturas brancas do meu quarto e a todos os que tiveram a paciência de me vir ajudar a colocar estante sobre estante, pedra sobre pedra, ou aos que vieram simplesmente ajudar-me a usufruir delas. 6 Resumo A influência que o poeta John Keats exerceu sobre Fernando Pessoa começou ainda durante a sua juventude, mas a sua importância veio a sobressair durante a escrita de Mensagem e de textos teórico-filosóficos com ecoos de William Hazlitt e de outros escritores românticos. Faz parte do objectivo desta tese demonstrar os pontos de ligação dos dois poetas e das suas poesias, nomeadamente nos poemas Mensagem, Hyperion e The Fall of Hyperion (os quais Pessoa comunicara, previamente, terem sido uma fonte de inspiração para o seu poema). Após o estudo destas e de outras obras, assim como do pensamento destes autores, é previsto que esta tese consiga convencer o leitor que ambos os poetas fizeram um elogio (quer activo, quer passivo) do poder e da arte, em detrimento da conquista e da acção, sendo estes tópicos o fundamento dos poemas referidos.

O movimento Modernista surgiu como uma rutura com o passado; veio multiplicar todos os sentidos da arte, trazer à tona a liberta imaginação do Artista… Em Portugal, o Modernismo mostrou-se principalmente em duas revistas literárias: Orpheu, de Fernando Pessoa, Mário de Sá-Carneiro, Almada Negreiros (como maiores vultos), e Presença, de Miguel Torga, José Régio e João Gaspar Simões.

Based on Bernardo Soares’ Book of Disquiet , I will reflect on several issues that I consider central to this work by this semi-heteronymous person: the problem of referentiality; the sense of freedom he finds in the literary sphere; the dialogue (central to this semi-heteronomous person) between the biographical self and the fictional self, taking into account above all the possibilities of reading that they imply on this relationship; the way in which the narrator Bernardo Soares fixes the (re)constitution of a self in the “autobiography without facts” as he himself identifies his Book ; the deconstruction of the autobiographical; the daily complexion that ends up partially determining the process of representation of the Book - not identifiable, however, unilaterally with the indexed record of the empirical reality; its critical positioning in relation to a civilized context "emptied" of respect for each individual; the narrator's search for identity, which seeks to...

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The years 1935 and 1936 were pivotal for George Seferis, Nobel Laureate poet (1963) from Greece. In 1935, Seferis published Mythistorema, the collection of 24 poems that launched his mature style, as well as his reputation as a force to be reckoned with in Greece; and in 1936, he published his translation of The Waste Land, prefaced by his first essay to appear in print, "Introduction to T. S. Eliot," itself a major event in the history of Greek letters. For Seferis, born in 1900, the mid-1930s was a time of self-discovery as he searched within himself, within the Greek tradition (extending from Homer to the twentieth century), and equally important, within the works of contemporary poets to find his authentic voice. 1 Seferis, who in 1935 was also devoting himself to a systematic study of Dante, was certainly nel mezzo del camin: seeking and finding artistic/spiritual teachers. And supreme among them was T. S. Eliot, about whom Seferis had written the following in his diary of 1933: "I should start an essay on Eliot. .. . I know things which nobody else in Greece knows, and this man interests me. Last year I thought he was the only poet whom I have influenced! I could not explain this similarity in our inclinations and quests in any other way." 2 (Perhaps Seferis was thinking of Baudelaire, who, as he notes in the essay that follows, found in the works of Poe "entire sentences expressed precisely as he himself had conceived them.") Seferis dates his acquaintance with Eliot to Christmas of 1931, when he happened upon a copy of the poem, "Marina," in a bookshop on Oxford Street and was struck by its Mediterranean feeling: "[F]or many of us," he recalled, "the bows of ships have a special place in the imagery of our childhood." 3 A few months M O D E R N I S M / m o d e r n i t y 144 earlier, in May 1931, Seferis had published in Athens his first poetry collection, Turning Point, highly personal rhymed poems which show the influence of French symbolism and for which he was accused of writing "poésie pure." 4 A sea change in his approach seems to have occurred some time in the early 1930s, for Seferis began to experiment with his own brand of "mythical method." His collection Mythistorema, which he was composing while translating The Waste Land, is dramatic rather than personal in tone, perhaps inspired by Eliot's dictum in "Tradition and the Individual Talent" (which he quotes in this essay) that "the progress of an artist is a continual self-sacrifice, a continual extinction of personality." 5 Indeed, to many, Mythistorema conveys what Seferis himself called the "feeling 'Waste Land'" common to much postwar art. 6 And he achieves this through techniques he also found in Eliot: citations from literary texts, as well as historical personages (including, in Seferis's case, Odysseus, Orestes, Astyanax, Jason and the Argonauts) who appear as living presences in the poems of Mythistorema. But Seferis was a Greek, firmly rooted in his heritage, so that his own allusive method relies primarily on Greek sources (e.g., the Greek national poet Dionysios Solomos), even though he clearly acknowledges European influences (e.g., the epigraph by Arthur Rimbaud). Furthermore, the Seferis work recalls shattered dreams after the Asia Minor Catastrophe of 1922 destroyed hopes of a great Greek nation, extending as far as Constantinople. As Seferis writes in the essay-as much about himself as about Eliot: "[H]istory is not whatever has died, but whatever is still living. Living. Present. Contemporary." It is as if the work of Eliot gave Seferis permission to publish a certain kind of poetry, a new kind of poetry, a poetry that ultimately would be enhanced by notes-in short, as Seferis puts it, a "difficult" poetry: "The difficulty inherent in poetry of this kind is that behind the drama which seems to unfold there is another drama unfolding, parallel to the first but on a deeper level." For Seferis, as for Eliot, poetry would have to pick up the slack left by the drying up of myth: "I suppose that Eliot sought above all, from the verses that he either translates or paraphrases, that they provide him with the common carrier which the psychological functioning of mythology offered to the poet in bygone times." Yet for Seferis, observing the ultimate impact of a poem like The Waste Land (and no doubt writing about Mythistorema, as well), art offers some kind of redemption. No matter how barren the landscape, no matter how pervasive the despair, at the end there is catharsis: "[P]oetry always rescues us, in some way, from the turbulence of passion." The first edition of Seferis's translation of The Waste Land also included translations of "The Hollow Men," "Difficulties of a Statesman," "Marina," and the choral passages from Murder in the Cathedral (although the latter were removed after Seferis published his complete translation of Eliot's play in 1963). The "Introduction to T. S. Eliot" is more like a meditation on the state of the European soul (through the example of European poetry and that of Eliot as embodying this soul) than a traditional translator's introduction. It is now included as the first essay in volume I of Seferis's three-volume Dokimes, which documents Seferis's own lifelong critical project. 7 The term, dokimes, had special significance for Seferis and may help explain the style of

The years 1935 and 1936 were pivotal for George Seferis, Nobel Laureate poet (1963) from Greece. In 1935, Seferis published Mythistorema, the collection of 24 poems that launched his mature style, as well as his reputation as a force to be reckoned with in Greece; and in 1936, he published his translation of The Waste Land, prefaced by his first essay to appear in print, "Introduction to T. S. Eliot," itself a major event in the history of Greek letters. For Seferis, born in 1900, the mid-1930s was a time of self-discovery as he searched within himself, within the Greek tradition (extending from Homer to the twentieth century), and equally important, within the works of contemporary poets to find his authentic voice. 1 Seferis, who in 1935 was also devoting himself to a systematic study of Dante, was certainly nel mezzo del camin: seeking and finding artistic/spiritual teachers. And supreme among them was T. S. Eliot, about whom Seferis had written the following in his diary of 1933: "I should start an essay on Eliot. .. . I know things which nobody else in Greece knows, and this man interests me. Last year I thought he was the only poet whom I have influenced! I could not explain this similarity in our inclinations and quests in any other way." 2 (Perhaps Seferis was thinking of Baudelaire, who, as he notes in the essay that follows, found in the works of Poe "entire sentences expressed precisely as he himself had conceived them.") Seferis dates his acquaintance with Eliot to Christmas of 1931, when he happened upon a copy of the poem, "Marina," in a bookshop on Oxford Street and was struck by its Mediterranean feeling: "[F]or many of us," he recalled, "the bows of ships have a special place in the imagery of our childhood." 3 A few months M O D E R N I S M / m o d e r n i t y 144 earlier, in May 1931, Seferis had published in Athens his first poetry collection, Turning Point, highly personal rhymed poems which show the influence of French symbolism and for which he was accused of writing "poésie pure." 4 A sea change in his approach seems to have occurred some time in the early 1930s, for Seferis began to experiment with his own brand of "mythical method." His collection Mythistorema, which he was composing while translating The Waste Land, is dramatic rather than personal in tone, perhaps inspired by Eliot's dictum in "Tradition and the Individual Talent" (which he quotes in this essay) that "the progress of an artist is a continual self-sacrifice, a continual extinction of personality." 5 Indeed, to many, Mythistorema conveys what Seferis himself called the "feeling 'Waste Land'" common to much postwar art. 6 And he achieves this through techniques he also found in Eliot: citations from literary texts, as well as historical personages (including, in Seferis's case, Odysseus, Orestes, Astyanax, Jason and the Argonauts) who appear as living presences in the poems of Mythistorema. But Seferis was a Greek, firmly rooted in his heritage, so that his own allusive method relies primarily on Greek sources (e.g., the Greek national poet Dionysios Solomos), even though he clearly acknowledges European influences (e.g., the epigraph by Arthur Rimbaud). Furthermore, the Seferis work recalls shattered dreams after the Asia Minor Catastrophe of 1922 destroyed hopes of a great Greek nation, extending as far as Constantinople. As Seferis writes in the essay-as much about himself as about Eliot: "[H]istory is not whatever has died, but whatever is still living. Living. Present. Contemporary." It is as if the work of Eliot gave Seferis permission to publish a certain kind of poetry, a new kind of poetry, a poetry that ultimately would be enhanced by notes-in short, as Seferis puts it, a "difficult" poetry: "The difficulty inherent in poetry of this kind is that behind the drama which seems to unfold there is another drama unfolding, parallel to the first but on a deeper level." For Seferis, as for Eliot, poetry would have to pick up the slack left by the drying up of myth: "I suppose that Eliot sought above all, from the verses that he either translates or paraphrases, that they provide him with the common carrier which the psychological functioning of mythology offered to the poet in bygone times." Yet for Seferis, observing the ultimate impact of a poem like The Waste Land (and no doubt writing about Mythistorema, as well), art offers some kind of redemption. No matter how barren the landscape, no matter how pervasive the despair, at the end there is catharsis: "[P]oetry always rescues us, in some way, from the turbulence of passion." The first edition of Seferis's translation of The Waste Land also included translations of "The Hollow Men," "Difficulties of a Statesman," "Marina," and the choral passages from Murder in the Cathedral (although the latter were removed after Seferis published his complete translation of Eliot's play in 1963). The "Introduction to T. S. Eliot" is more like a meditation on the state of the European soul (through the example of European poetry and that of Eliot as embodying this soul) than a traditional translator's introduction. It is now included as the first essay in volume I of Seferis's three-volume Dokimes, which documents Seferis's own lifelong critical project. 7 The term, dokimes, had special significance for Seferis and may help explain the style of

die Kunstrezeption beeinflusst und welche Herausforderungen dies für die kuratorische praxis mit sich bringt 1 martIn tröndle, StépHanIe wIntZerItH, roland wäSpe, wolfgang tScHacHer 1 Dieser Beitrag wird auf Englisch im Journal Museum Mangement and Curatorship 2012 unter dem Titel A Museion for the 21st Century: The Influence of ‚Sociality' on Art Reception in Museum Space veröffentlicht. Ein Wiederabdruck auf Deutsch erscheint uns mehrfach begründet. Zum einen gibt es kaum Überschneidungen zwischen den Lesern der beiden Periodika, zum anderen stoßen die Ergebnisse dieser Studie im deutschsprachigen Raum auf ein umfangreiches mediales Interesse, weshalb auch den deutschsprachigen Lesern die originalstudie zur Verfügung gestellt werden sollte.

PatMcla Soares Martlns pessoa como já fizera Hõlderlin. Perante o suicídio do Bara•o '. numa a duplos em que a si próprio se combate, o espectador somos nó '.ena, nu 111. para esse lugar inóspito e desolado, e deve ocupar o seu lugar n s. bo leitor é transp 1090 de. .. as ancad 0 riact sangrenta e sacriflc1al. as de urn °. a cena Referências Bibliográficas 1. Obras de Fernando Pessoa Pessoa Fernando (1999).A Educação do Estóico, ed. Richard Zenith. 2.• ed. lisbo. A .

z ficam. O pior que nos pode acontecer é ficarem sem eco as nossas palavras, 1 os nossos nomes reverterem ao esquecimento, do qual, nesse caso, mal teriam alguma vez saído. (Pessoa 2002: 269) Mas nem os deuses foram verdadeiramente esquecidos, nem Caeiro, que não morreu em defesa dos deuses, nem mesmo Juliano. que a condição dos mitos é a da permanência e a nossa, como no poema de Sophia, é a de sermos bebidos pela sua ausência.

, respectively, contain the poems that launched the career of Yoshioka Minoru, one of Japan's most important and singular poets of the post-World War Two period. Still Life drew the attention and admiration of other poets of his generation, while Monks brought him a major prize for younger poets and the recognition of critics. Yoshioka went on to become the most influential poet of the avantgarde, embraced by countercultural circles in the 1960s, such as the Butoh dance group of Hijikata Tatsumi and figures in the underground theater such as Kara Jūrō and Terayama Shūji; virtually all of the major poets of the following generation were profoundly influenced by both his work and friendship, including Shiraishi Kazuko, Yoshimasu Gōzō, Kawata Ayane, and Hiraide Takashi. Yoshioka was born in 1919 in the Shitamachi District of Tokyo. Self-taught, he began during his teens by writing in traditional forms of Japanese verse, such as tanka and haiku, then was inspired after reading experimental haiku by Tomisawa Kakio. Later, Yoshioka would be greatly influenced by the early Japanese modernists, and was introduced to Surrealist writing and art through the work of Kitasono Katue and Sagawa Chika. When drafted into the Imperial Army, he carried a number of books with him to the induction center, including a translation of Rilke's writings on Rodin. (The books were promptly confiscated by the military officer in charge, as all foreign literature by this time had been banned by the militarist government.) Yoshioka was sent to Manchuria during the war, and only by chance avoided the fate of other Japanese soldiers sent to prison camps in Siberia after the Imperial Army's surrender. He was transferred to another unit on a small island off the coast of North Korea as punishment for putting on a humorous play for the other soldiers with some friends, a parody of Cyrano de Bergerac with mildly erotic themes, involving word play and cross-dressing. In Monks, a barely muted violence lies just below the surface absurdity of the poems-the senseless violence of war and the Kafkaesque madness of the society that produces such violence. When Yoshioka's first book, Still Life,

Modest, and fitted into the sloping landscape, the Italian pavilion at Brussels Expo 58 did not leave fairgoers indifferent. A contemporary translation of a Mediterranean cittadina or small town, it covered an expansive 17,800 m² (of which 6,500 m² was built), and had strong appeal for some visitors because of its seeming authenticity; many who roamed the pavilion felt as if they had spent a few relaxing hours in Italy amidst the bustle of the fair. 1 Others, however, including many international architecture critics, expressed dismay and confusion over what they perceived to be a rejection of contemporary modern architecture. In the words of British editor and critic J. M. Richards, the pavilion was truly "one of the puzzles of the exhibition." 2 Ironically, the quiet architectural presence of the cittadina sat at the center of a heated transnational discussion on style and progress in architecture, one that raged on even after the fair closed. The pavilion featured five low volumes clad in white stucco, together mimicking groups of houses arranged around patios and alleyways. The main courtyard or piazza was dominated by the pavilion or castello, three levels high, establishing the project center. The streets had the look of century-old patchworked alleys, freely covered with brick and cobblestones and enlivened with sculptures, both modern and historicized. However, in its celebration of the vernacular, the project was more than a nod to a bygone era. It was a subtle demonstration of the Neoliberty style, a style identified in 1958 by young architect and historian Paolo Portoghesi and used by historians and critics in the years to follow. 3 As a style, Neoliberty emphasized fine detailing and the building crafts in order to underline the local specificities of modern building and the human, personal input of designers and craftsmen in the building process. While members of the architectural team of the Italian pavilion were in the process of developing a language combining 1 See reports in the Belgian and Italian popular press, reprinted in "Testimonianze. Témoignages" in L'Italie présente.

Think, Pig!" In Beckett's Waiting for Godot, Pozzo fires this command at Lucky, his tethered slave, who responds with an outburst of logorrhea that reduces Western philosophy to gobbledygook. 1 Pozzo's command raises many of the questions that Jean-Michel Rabaté investigates in this learned and inventive study of Beckett among the philosophers. Thinking, as enshrined in the Cartesian cogito, is usually regarded as the faculty that distinguishes the human from the animal. But what if thinking is a Circean enchantress that turns men into swine? Does thinking humanize the pig or piggify the thinker? Lucky's peroration actually bears less resemblance to thinking than to vomiting, which is characteristic of Beckett's work, where utterance is never far from outer-ance, excretion. In any case, to think aloud is something of an oxymoron, given that thinking in silence epitomizes the idea of selfhood as interiority. The thinker is she who, like Hamlet, lays claim to having "that within that passeth show," to possessing a private and inviolable world of thought. To be forced to speak invokes the specter of torture that haunts Beckett's work; to be forced to think, however, takes torture to a new horizon, where what is at stake is not the subject's secrets but the capacity for secrecy itself. Like Lucky, the Unnamable is forced to think-and think aloud-by an unidentifiable torturer. His response to this mysterious injunction is a blizzard of words that blurs the boundary between inside and outside, self and other, human and beast.

Artykuł poświęcony jest czterem narracyjnym książkom obrazkowym obecnym na polskim rynku wydawniczym, które uznać można za przedstawiające wojnę w ujęciu uniwersalnym: Wrogowi D.Caliego i S. Blocha, Bajce o Wojnie J. Rudniańskiej i P. Fąfrowicza, Wojnie, która zmieniła Rondo R. Romanyszyn i A. Łesiwa oraz Wojnie J. J. Letrii i A. Letrii. Celem jest sprawdzenie, w jakim stopniu zagadnienie to omawiane jest w aspekcie emocjonalnym, intelektualnym oraz historycznym. Analiza elementów wizualnych i słownych prowadzi do wniosku, że książki te oddziaływają przede wszystkim afektywnie, a dominującą przedstawianą emocją jest lęk. Większość analizowanych książek dąży do jego łagodzenia, przede wszystkim przez wprowadzenie pozytywnego zakończenia. Jedynie Wojna wyłamuje się z tej konwencji, każąc pytać o granice pedagogiki grozy. Komponent intelektualny najsilniej reprezentowany jest we Wrogu, przynosząc refleksje na temat odpowiedzialności za wojnę oraz mechanizmy angażowania w nią jednostek....