Suchergebnisse

A acusação de que o jovem aluno do século XXI não se forma leitor tornou-se senso comum em sala de professores e em conversas de adultos. Despertar no aluno o prazer do texto também tem sido tarefa árdua para muitos docentes que se veem entre os muros de uma escola ainda tão tradicional como a brasileira. Sem descartar a importância da leitura dos clássicos, é imprescindível, contudo, que a escola – e, metonimicamente, o professor – atraia o aluno-leitor para a nova era da ciberliteratura. Esta promoveu uma revolução na história da leitura – do códex ao hipertexto – e ascendeu a função do leitor, o qual se tornou mais ativo, um hiperleitor, apagando assim a função de autor, outrora merecedor de status. Seja através da hiperficção, da hiperpoesia ou do metalivro, a ciberliteratura resgata e dá continuidade ao experimentalismo universal na escrita, no som e na imagem, inaugurado pelas vanguardas europeias e pela poesia concreta – embrião da poesia virtual. Promover a interação do aluno com a poesia animada pelo computador – eis um novo desafio para a educação.

This paper examines the relationship between poetry and philosophy in the sophists, asking what role earlier traditions of poetry and song played in their work. The sophists' influence on various genres of literature and philosophy is widely acknowledged, but, as this paper shows, the influence of earlier traditions of poetry and myth on their work was no less important. The paper demonstrates too how the sophists' engagement with the poetic tradition, like that of the Presocratics, was geared primarily to serve their philosophical or didactic goals, even if the aesthetic benefits of poetic language and style were also appreciated and exploited. Moreover, the sophists recognized poetry's important role in education, and their varied use of poetic language, style, and content in their own teaching was a continuation of this traditional aspect of poetry. In conclusion, the sophists' work on rhetorical, political, and ethical issues engaged with, and was enriched by, the shared poetic culture of their time.

From an analytical standpoint, we are interested in revising the first critical neo-baroque-framed responses to Néstor Perlongher's politics and poetry so as to propose an updated reading of his work even more attentive to the current theoretical and critical debates. It is thought to conclude on an interpretation of the political violence in Perlongher's poetry as a literary assimilation of the surrounding historical reality in its intricate relationship with sexual violence. Finally, some hypotheses about the Argentinean poetic traditions and the non-normative sexuality cultures upon which to consider Néstor Perlongher's poetry will be outlined. Keywords: Néstor Perlongher; Argentine Poetry; Neo-baroque; Sexual politics; Non-normative sexualities ; Partiendo de la interrogación acerca del modo en que puede leerse la política en la poesía de Néstor Perlongher, realizamos un recorrido por las primeras recepciones críticas de dicha poesía, entendida básicamente desde el marco neobarroco, para proponer una lectura en otra dirección, más atenta a los debates teórico-críticos actuales. Arribaremos, de este modo, a una lectura de la violencia política en la poesía perlongheriana como captación in-mediata de su realidad histórica circundante en su indisociabilidad con la violencia sexual. Se esbozan, finalmente, hipótesis en torno a las tradiciones poéticas argentinas y a las culturas de sexualidades no normativas en las que puede pensarse la poesía de Néstor Perlongher. Palabras clave: Néstor Perlongher; poesía argentina; Neobarroco; Sexopolítica; Sexualidades no normativas

El ensayo parte del análisis de la novela "Leviatán" de Paul Auster para reconstruir un contrapunto entre dos formas de concebir una práctica literaria crítica, políticamente comprometida, ligada a diferentes presupuestos acerca del autor, el lenguaje y el lector. A partir del análisis de esas concepciones, se formulan algunos interrogantes que permiten elucidar críticamente las implicaciones de cada posición. ; The essay starts with the analysis of the novel "Leviatán" by Paul Auster to reconstruct a counterpoint between two ways of conceiving a critical and politically committed literary practice, linked to different assumptions about the author, the language and the reader. From the analysis of these conceptions, some questions are formulated that allow to critically elucidate the implications of each position.

Taking by guiding the essay of Jean-Paul Sartre about Francis Ponge "Man and Things", published in "Situations I", this article aims to discuss the place of poetry as "voice of things", as an attempt to neutralize the Being-for-itself in favor of the benefit of the Being-in-itself. Founded in the metaphor of "petrifaction" poetic, the effect of images aims at the renewal of the language from the original contact between words and things. Among the poetic initiatives that deserve relief, there is the valuation of the antilírical and the poetic substantiation centered in the nominative power of language. The poetic exercise, however, although the "return to things themselves" and the "materialistic phenomenology", has its limits in the human condition. By the action of projecting on the things, man aims to liberate the language of pragmatic use and at the same time think the objects without parti pris idealist.

The present paper explores the interpretative divergence between the readings of Jacques Derrida and Maurice Blanchot in regards to the work of Antonin Artaud. Artaud's work shows the problematic about the writing proccess as a place of absence, that is, the relationship traced between the thought and it's representation on the spoken and written language. For Blanchot, the question about the impower, inherent to the writing proccess, is experienced by Artaud as the coming of the literary/poetical work, such as the works of other authors. In this sense, besides making your work the speaking place about the emptiness of language itself, Artaud, for Blanchot, also bases his search for the representative totality as a essentially poetic problem. In contrast, Derrida points that Artaud's blanchotian comprehension, in order to theorize the being of writing, reduces the singularity and the oneness of the artaudian work by comparing it with the work of other authors. In this sense, it creates a paradox in regards to Artaud's work: Derrida affirms the singularity of the artaudian work and the theater as the foundation to a metaphysical resignification of language; Blanchot defends that Artaud's problem is a poetical/literary problem, insofar that the search for a total expression extends in every moment of the artaudian work, including, the theatrical.

In this article, we introduce the need of rethinking the writing style of Philosophy from a change in the conceptual paradigm. What matters to Philosophy and to the "form treatise of ontology" is to find a way of saying the Truth, to say which is invariable. When finding this form, it seeks to create a hierarchy of styles, beginning from whom says the Truth, which, in fact, would be the only way to write about the Being and the existence, to the styles that occupy a political and rhetorical function and to poetry, at last, the discourse with less commitment to the truth and the common good. If we no longer advocate the existence of a single truth and we no longer think of language as an instrument to achieve this Truth, that would be Out of the World, but instead of that, we think of existence as singular-plural and all "truth" as a construct of relations in the interior of a world, that will always be a world among other worlds, then philosophy itself must rethink its style and form. Starting from this ineluctable demand for a thought of difference, we will present the arguments of Jean-Luc Nancy (but also those of Jacques Derrida) that support this need of rethinking the writing.

The persona of Raúl Zurita, the 20th century Chilean poet, practically means an artistic manifestation which survived through the dictatorship of Pinochet. His work appears as a vivid memory of that period. Despite of being known principally as a poet, his accomplishments are actualized in different artistical fields. His poetry touches the stones of the Atacama Desert and creates cloud-letters in the sky, while attaching to the photographical and musical areas. This paper proposes the question of what was the role of all the artistic-poetic activity of Raúl Zurita in the cultural, political and social context of Chile. To draw any inference, it is needed to retrace the importance of the fusion of different artistical fields along with the enquiry of how naturally art incorporates into the everyday life. In a certain sense, Zurita's art is not less totalitarist (or totalitarian) than the military regime itself which is the context have generated it, even if they represent two completely opposite poles. ; La persona de Raúl Zurita, poeta chileno del siglo XX, significa, prácticamente, una manifestación artística que sobrevivió la dictadura de Pinochet. Su obra parece ser una memoria viva y presente de aquella época. A pesar de ser conocido principalmente como poeta, sus actos se realizan en el campo de diferentes ramas artísticas. Su poesía toca las piedras del desierto de Atacama y crea letras de nube en el cielo, mientras se conecta con las ramas de la fotografía y de la música también. El presente trabajo formula la cuestión de qué papel desempeñó toda la actividad artístico-poética de Raúl Zurita en el contexto cultural y políticos-social chileno. Para llegar a sacar conclusiones hace falta meditar en la importancia de la fusión de las diferentes ramas del arte, pero también en la naturalidad con la que el arte se incorpora en la vida cotidiana. El arte de Zurita, en cierto sentido, no es menos totalitarista (o totalitaria) que el régimen militar, el contexto que lo generó, aunque representan dos polos completamente opuestos.

This paper examines how the question of the Tragic is defined according to Hölderlin, an important German poet from the XVIII century. In 1804, Hölderlin translates and comments the plays Oedipus the Kingand Antigone, by Sophocles. This paper focuses on the investigation about the Tragic undertaken by Hölderlin in the third part of his Remarks on Oedipus; in this part, some elements which are singular to his thought come up, such as the Caesura, the Mutual Unfaithfulness and the Categorical Reversal. These elements allowed Hölderlin to address the question of the Tragic from an entirely new perspective for his time and provided the emergence of important further debates both in Literature and Philosophy. There are two main questions which guide the argumentation of this paper: the first one refers to Hölderlin's singular conception of the paradoxes that commonly constitute the Tragic, such as the one between the human and the divine; and the second one, the analysis of the poetic task of Modernity as a possible task to every single poem.

La compilación de ensayos Un discurso republicano. Ensayos sobre poesía recoge una selección de incursiones críticas del autor español Miguel Casado en distintas áreas del quehacer poético. Partiendo de la afirmación de que la poesía consiste en un acto de reflexión con sentido político que se pronuncia sobre lo que se piensa o siente, libre y autosuficiente, Casado nos invita a viajar con él a través de sus lecturas de Antonio Machado, Luigi Nono, Roberto Bolaño, César Vallejo, Paul Celan, Leopoldo María Panero, Mahmud Darwish, Bernard Noël y Francis Ponge. Asimismo, el libro incluye algunas disertaciones sobre la labor del crítico de poesía que, como confirma la presente reseña, hacen del volumen una lupa para un acercamiento a la poesía moderna. ; The compilation of essays A republican speech. Essays on poetry brings together a selection of critical approaches to poetry and poetics written by the Spanish author Miguel Casado. The claim that poetry consists of an act of reflection with a political sense, that freely manifests what it is thought or felt, sets the starting point for a travel across his readings: Antonio Machado, Luigi Nono, Roberto Bolaño, César Vallejo, Paul Celan, Leopoldo María Panero, Mahmud Darwish, Bernard Noël and Francis Ponge. This book also tries to expand some aspects of literary theory that make the volume an instrument for an understanding of modern poetry, as the present review confirms.

En este estudio se han investigado algunas líneas poéticas de la poesía chilena desde la vanguardia hasta los Ochenta. La perspectiva asumida ha dado relevancia a algunas de las obras que más claramente han instaurado una relación profunda con su propio tiempo y que han incorporado en su enunciación y retórica fenómenos vinculados con los eventos socio-culturales y con los procesos histórico-políticos. Se han analizado algunas obras poéticas y de carácter crítico de Vicente Huidobro, Nicanor Parra, Enrique Lihn, Juan Luis Martínez y Raúl Zurita. En su corpus textual se ha podido verificar la formulación de actos lingüísticos que connotan el sentido de la poesía como vehículo privilegiado para la producción de significantes y contenidos. La concepción de la poesía como testimonio y memoria escritural de una comunidad hablante, así como de desafío a la memoria del lector, son las premisas que articulan el trabajo: la relación entre escritura y realidad, entre escritura e ideología y entre las distintas declinaciones de la cuestión en torno al binomio arte-vida. La componente ética que caracteriza en particular las obras de Lihn y Zurita, surge de la urgencia de elaborar el trauma del golpe de Estado, de la violencia, de la pérdida y la marginación social. ; This study sets out to investigate some of the poetical features characterizing Chilean poetry spanning from the vanguard to the 80s. Focus has been placed on a few of the works which have established a particularly profound relation with their time, incorporating socio-cultural events as well as historical and political processes. A corpus has been assembled with some poetical and critical works by Vicente Huidobro, Nicanor Parra, Enrique Lihn, Juan Luis Martínez and Raúl Zurita, to identify the enunciation of speech acts which connote poetry as a privileged vehicle for the production of signifiers and content. The conception of poetry as a testimonial and a written memory of the community of speakers together with a challenge to the reader's memory are the underlying assertions onto which this thesis rests in deploying its analysis of the relation between writing and reality, between writing an ideology and between art and life. The ethical component peculiar to the works of Lihn and Zurita is urged by the need to overcome the bereavement associated with the golpe, violence, loss and social exclusion.

Venancio Fortunato fue un vir italus, nacido cerca de Treviso (ca. 530-540), que se convirtió en un modelo de comportamiento para las élites del siglo VI. En su travesía como poeta "itinerante" por los territorios merovingios, contó con su formación retórico-literaria para relacionarse con soberanos, aristócratas, hombres y mujeres de la Iglesia.De los carmina dedicados a numerosos clérigos, analizaremos algunos compuestos a Leoncio de Bordeaux, Félix de Nantes y Gregorio de Tours, que demuestran la capacidad de Fortunato para forjar relaciones de amicitia en diversos planos políticos, a la vez que se exhiben como un "observatorio" privilegiado de la transición entre el Tardoantiguo y el Medioevo. ; Venantius Fortunatus was a vir italus, born near in Treviso (ca. 530-540 AD), who became a model of behavior for the elites of the sixth century. In his journey as an "itinerant" poet through the Merovingian territories, he counted on his rhetorical-literary training to relate with sovereigns, aristocrats, men and women of the Church.About the Carmina dedicated to numerous clerics, we will analyze some compounds to Leontius of Bordeaux, Felix of Nantes and Gregorius of Tours, they which demonstrate the ability of Fortunatus to forge amicitia' relations at various political levels, while being exhibited as an "observatory" privileged of the transition between the Late Antiquity and the Middle Ages.

Venancio Fortunato fue un vir italus, nacido cerca de Treviso (ca. 530-540), que se convirtió en un modelo de comportamiento para las élites del siglo VI. En su travesía como poeta "itinerante" por los territorios merovingios, contó con su formación retórico-literaria para relacionarse con soberanos, aristócratas, hombres y mujeres de la Iglesia. De los carmina dedicados a numerosos clérigos, analizaremos algunos compuestos a Leoncio de Bordeaux, Félix de Nantes y Gregorio de Tours, que demuestran la capacidad de Fortunato para forjar relaciones de amicitia en diversos planos políticos, a la vez que se exhiben como un "observatorio" privilegiado de la transición entre el Tardoantiguo y el Medioevo. ; Venantius Fortunatus was a vir italus, born near in Treviso (ca. 530-540 AD), who became a model of behavior for the elites of the sixth century. In his journey as an "itinerant" poet through the Merovingian territories, he counted on his rhetorical-literary training to relate with sovereigns, aristocrats, men and women of the Church. About the Carmina dedicated to numerous clerics, we will analyze some compounds to Leontius of Bordeaux, Felix of Nantes and Gregorius of Tours, they which demonstrate the ability of Fortunatus to forge amicitia' relations at various political levels, while being exhibited as an "observatory" privileged of the transition between the Late Antiquity and the Middle Ages.

The Spanish poetry of the 1960s focuses on a fundamental issue: the maintenance of political and social commitment and the search for new poetics forms through a new promotion of authors, who were born after the Civil War. Nevertheless, there is a common topic for all of them: the Vietnam War. Poets of differents ages, ideologies and aesthetics, who write in the various peninsular languages, were implicated in the denunciation of the atrocities commited during that imperialist war. The Vietnam War shocked all Western societies and especially the Spanish country, as the Spanish population conceived the protest as another form of struggle against the dictatorship of General Franco, supported by the United States of America. This paper collects a significant number of poems dealing with this topic. ; A mediados de la década de 1960, en pleno debate dentro de la lírica española entre el mantenimiento del compromiso político y social de la poesía y la búsqueda de nuevas poéticas por parte de una nueva promoción de autores nacidos después de la guerra civil, un tema concita la unanimidad de todo el ámbito poético: la guerra de Vietnam. Poetas de todas las edades, ideologías, estéticas y lenguas peninsulares se implicaron en la denuncia de las atrocidades de aquella guerra imperialista que conmocionó a todas las sociedades occidentales y muy especialmente la española, que concibió la protesta como una forma más de lucha contra la dictadura del general Franco, firmemente apoyada por los Estados Unidos de América. En el presente artículo se reúne un abundante corpus de poemas que abordaron esa temática.