Journal articles on the topic 'Brazilian drumming'
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Kirschner, Sebastian, and Beatriz Ilari. "Joint Drumming in Brazilian and German Preschool Children." Journal of Cross-Cultural Psychology 45, no. 1 (July 5, 2013): 137–66. http://dx.doi.org/10.1177/0022022113493139.
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Lorenz, Shanna. "Kinesonic Repertoire and Racial Discourse in Japanese Brazilian Taiko Practice." Asian Diasporic Visual Cultures and the Americas 2, no. 1-2 (March 2, 2016): 68–97. http://dx.doi.org/10.1163/23523085-00202003.
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Over the past decade there has been an unprecedented surge of interest in taiko ensemble drumming (kumi-daiko) in Brazil, with more than 150 ensembles currently performing in states all across the country. This paper focuses on the performance and pedagogy of Setsuo Kinoshita, a second-generation Japanese Brazilian taiko musician and composer who maintains a successful taiko academy in São Paulo, Brazil and directs two ensembles, Wadaiko Sho and Setsuo Kinoshita Taiko Group. Based on class and performance observation, as well as interviews conducted with Kinoshita and his students between 2003 and 2013, this study argues that Brazilian styles of taiko practice, which work to heal the traumas of ethnic exclusion from the Brazilian nation state, emerge at the crossroads of Japanese and Brazilian kinesonic repertoires.
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Gohn, Daniel Marcondes. "‘Feeling Brazilian’: The search for authenticity in drum kit playing." Journal of Popular Music Education 5, no. 2 (July 1, 2021): 211–26. http://dx.doi.org/10.1386/jpme_00058_1.
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The influence of Brazilian rhythms is pervasive in modern drum kit practices. Information about them can be accessed through drumming books or online searches, with ostinatos for the feet and sticking combinations for the hands, which usually are adaptations from patterns traditionally played with hand percussion instruments. Those patterns instruct drummers on what to play; however, the discussion on how to play them to sound authentic is scarce. This article explores this topic and suggests that timing nuances and performance gestures are fundamental for its comprehension. In that sense, an exclusively analytical approach to the rhythmic nuances, in which grooves are described in terms of milliseconds, is not considered sufficient. In order to fully grasp the ‘Brazilian feel’, it is suggested that a broader spectrum of elements of expression should be observed, as dancing, religion, spoken language and other aspects of everyday life might have effects on musical outcomes.
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de A. G. de Mello, Francisco, Júlio Cezar dos Reis, and Julio Cezar dos Reis. "Substrate Drumming and Wing Stridulation Performed during Courtship by a New Brazilian Cricket (Orthoptera: Grylloidea: Phalangopsidae)." Journal of Orthoptera Research, no. 2 (February 1994): 21. http://dx.doi.org/10.2307/3503603.
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Straubhaar, Joe, and Stuart Davis. "Drumming and digital inclusion: music, identity formation, and transformative empowerment in Afro-Brazilian community development NGOs." Development in Practice 28, no. 3 (April 3, 2018): 374–87. http://dx.doi.org/10.1080/09614524.2018.1435628.
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Amakye-Boateng, Benjamin. "Music of the Tabom: An Emblem of Identity." Humanities 8, no. 2 (May 15, 2019): 95. http://dx.doi.org/10.3390/h8020095.
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This paper discusses how music functions as an emblem of identity for the Afro-Brazilian community in Accra, Ghana, known as the Tabom. The paper provides a contextual and analytical study of the complete musical enactment as practiced by this community, and argues, that the Tabom musical genre, known as Agbe, serves the purpose of creating and negotiating identity as found in their use of music within Tabom socio-cultural, religious, and political ceremonies. In this paper, I argue that Agbe is not only an organized sound in Tabom culture, but rather, it is one of the strongest cultural elements that serves as an emblem of identity relating to the life and culture of the Tabom community in Accra. Relying on ethnographic research design, Agbe is presented as the focus of study, subjecting the context in which it is performed to study and analysis. Moreover, the relationships between the Agbe ensemble and their performance context, as well as live events are discussed with the intent of conveying meanings of singing, drumming, dancing, and other related artistic expressions as they all contribute to help the Tabom to negotiate their identity.
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Said, Roberto. "Nonada: Filosofia, Memória e Identidade em Drummond." Aletria: Revista de Estudos de Literatura 18, no. 2 (December 31, 2008): 231–43. http://dx.doi.org/10.17851/2317-2096.18.2.231-243.
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Resumo: O trabalho examina a “incessante busca identitária” e a “obsessão autobiográfica” na poesia de Carlos Drummond de Andrade.Palavras-chave: Carlos Drummond de Andrade; poesia brasileira; memória.Abstract: This paper examines the “incessant search for identity” and the “autobiographical obsession” in the poetry of Carlos Drummond de Andrade.Keywords: Carlos Drummond de Andrade; Brazilian poetry; memory.
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Machado, Lino. "Notas sobre um hermético “Jardim”: (ou a poesia como mistério programado)." Aletria: Revista de Estudos de Literatura 13, no. 1 (June 30, 2005): 105–11. http://dx.doi.org/10.17851/2317-2096.13.1.105-111.
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Resumo: Discussão do hermetismo do poema “Jardim”, de Carlos Drummond de Andrade. Enfoque do texto por meio da estética do Simbolismo.Palavras-chave: poesia modernista brasileira; hermetismo; Carlos Drummond de Andrade.Abstract: A discussion of hermeticism in the poem “Jardim”, by Carlos Drummond de Andrade, undertaken in terms of Symbolist aesthetics.Keywords: Brazilian modernist poetry; hermeticism; Carlos Drummond de Andrade.
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Gagliardi, Laura Rivas. "Amor e modernidade na lírica de Drummond." Romanistisches Jahrbuch 69, no. 1 (November 1, 2018): 357–82. http://dx.doi.org/10.1515/roja-2018-0020.
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Abstract The analysis of four poems written by the Brazilian poet Carlos Drummond de Andrade allows different approaches to the love theme in the initial phase of his poetry. The poet’s oscillations between the collective and the individual perspectives also appear in the love poems: at first, traditional forms of relationships are confronted with the new experiences that the big city and the newly established industry in Brazilian society provide. In this context, the amorous incompleteness, a thoughtful subject to the universal literary tradition, gains new contours, and the mismatched love becomes the only possible love experience. In a second move, Drummond leaves aside these proper individual conflicts and dilutes his longings of completeness in a project of social transformation, whose presupposition is the love in the form of friendship, called philia.
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Camilo, Vagner. "Nota sobre a recepção de Rilke na lírica brasileira do segundo pós-guerra." Navegações 10, no. 1 (September 5, 2017): 71. http://dx.doi.org/10.15448/1983-4276.2017.1.28357.
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O presente artigo integra um estudo mais longo (CAMILO, 2013) sobre a conversãoneoclássica que marcou tanto a lírica de nomes representativos do Modernismo brasileiro (como Drummond, Jorge de Lima, Murilo Mendes e Augusto Meyer) nos anos 1940 e 1950, quanto a poesia da então emergente geração de 45. Para essa conversão, muito contribuiu as concepções sobre o poético de nomes como Eliot, Valéry e Rilke. Interessa aqui discutir alguns aspectos da recepção deste último apenas, partindo do que já inventariou a crítica a esse respeito.********************************************************************Note about the reception of Rilke in the Brazilian lyric of the second post-warAbstract: This article is part of a longer study (CAMILO, 2013) on the neoclassical conversion that marked both the lyric poetry of representative poets of Brazilian Modernism (such as Drummond, Jorge de Lima, Murilo Mendes, and Augusto Meyer) in the 1940s and 1950s, and the poetry of the emerging geração de 45 (generation of 45). The works and poetic conceptions of Eliot, Valéry, and Rilke contributed decisively for this conversion. Here, it is important to discuss only a few aspects of the reception of Rilke’s poetry and ideas from what critics have already cataloged.Keywords: Rilke; Neoclassicismo; Modern Brazilian lyric; Geração de 45 (Generation of 45)
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Bortoloti, Marcelo. "Drummond e o Neorrealismo Português: confluências de uma literatura engajada." e-Letras com Vida: Revista de Estudos Globais — Humanidades, Ciências e Artes 06 (2121): 131–42. http://dx.doi.org/10.53943/elcv.0121_11.
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Between the 1930s and 1940s, the Brazilian poet Carlos Drummond de Andrade (1902-1987) produced a type of engaged literature, under the strong influence of socialist ideas, in a political key that would mark his verses until the end of the Second World War. This position, rare among Brazilian poets, seems to reflect the ideological climate of the time, converging with the position of many European authors linked to international communism. In this article we explore the points of contact between Drummond’s production in this period and the engaged literature that emerged in Spain and Portugal at the same time, influenced by the Spanish Civil War and the Portuguese neorealist movement. The convergence of themes, jargon and images invites us to reflect on the ideological conflict that Europe was experiencing at the time and the extent of its influence in the countries of Latin America.
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Castro, Thaís Isabel. "Drummond: uma conversão gradual ao Modernismo." Revista do Centro de Estudos Portugueses 26, no. 36 (December 31, 2006): 271. http://dx.doi.org/10.17851/2359-0076.26.36.271-299.
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<p>Esse artigo apresenta alguns textos inéditos do poeta Carlos Drummond de Andrade, escritos nos anos 20, e que atestam seu diálogo com a tradição poética, revelando-o não como um autor típico dos anos 30 da poesia brasileira, como muitas vezes insiste a historiografia literária, mas como um poeta bastante envolvido nos combates literários e experimentações estéticas dos anos 20.</p> <p>This article presents some unpublished texts of the poet Carlos Drummond de Andrade, written in 1920’s, that certify its dialogue with the poetical tradition, disclosing him not as a typical author of the 1930’s of brazilian poetry, as many times insists the literary historiography, but as a really involved poet in the literary combats and aesthetic experimentations of the 1920’s.</p>
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Salla, Thiago Mio. "Carlos Drummond de Andrade e José Osório de Oliveira: a divulgação da poesia drummondiana na revista luso-brasileira Atlântico / Carlos Drummond de Andrade and José Osório de Oliveira: The Disclosure of Drummond’s Poetry in the Luso-Brazilian Magazine Atlântico." O Eixo e a Roda: Revista de Literatura Brasileira 29, no. 3 (September 30, 2020): 111. http://dx.doi.org/10.17851/2358-9787.29.3.111-137.
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Resumo: Tomando como objeto os dois poemas publicados por Carlos Drummond de Andrade na revista luso-brasileira Atlântico (“O voo sobre as igrejas” e “Versos à boca da noite”), o presente artigo visa a apresentar estudo sobre os efeitos de sentido produzidos por tal colaboração, considerando a materialidade do veículo em questão e a ambiência discursiva por ele conferida aos textos. Nesse processo, de início, procura-se recuperar as correspondências inéditas enviadas ao poeta mineiro por José Osório de Oliveira, secretário da publicação e reconhecido homem de letras português dedicado à literatura brasileira. Em seguida, apresentam-se a estrutura, as particularidades e as diretrizes da política editorial do periódico, uma espécie de álbum luxuoso considerado o mais importante elo editorial do intercâmbio literário e intelectual pactuado pelas ditaduras de Salazar e Vargas a partir do Acordo Cultural de 1941. Por fim, examina-se o direcionamento interpretativo de ambos os poemas operado pelo suporte, quer no sentido de valorizar uma figura mítica da dita “civilização lusíada”, algo caro à proposta de recuperação interessada do passado efetuada pela revista, quer de circunscrever e atenuar o lirismo crítico do autor de Sentimento do mundo.Palavras-chave: Carlos Drummond de Andrade; José Osório de Oliveira; Atlântico: Revista Luso-Brasileira; Estado Novo brasileiro e português.Abstract: Considering two poems published by Carlos Drummond de Andrade in the Portuguese-Brazilian magazine Atlântico (“O voo sobre as igrejas” e “Versos à boca da noite”), this article aims to present the results of an investigation into the effects of meaning produced by such collaboration, considering the materiality of the publication in question and the discursive ambience impacting on those texts. Firstly, we seek to recover the unpublished letters sent to Drummond by José Osório de Oliveira, secretary of the publication and recognized Portuguese intellectual devoted to the Brazilian literature. Then, the structure and guidelines of the journal’s editorial policy are presented. More specifically, Atlântico was a kind of luxurious album which was considered the most important editorial link in the literary and intellectual exchange agreed upon by the Salazar and Vargas dictatorships since the signing of the Cultural Agreement in 1941. Finally, we examine the interpretative framework of both poems operated by the support, which, in the first text, values a mythical figure of the so-called “Portuguese civilization”, something dear to the magazine’s interested proposal to recover the past, and in the second it intends to circumscribe and attenuate the critical lyricism of the author of Sentimento do mundo.Keywords: Carlos Drummond de Andrade; José Osório de Oliveira; Atlântico: Revista Luso-Brasileira; Brazilian and Portuguese Estado Novo.
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Pesché, Luísa Assunção. "Les héroïnes (fatales) brésiliennes : archétypes et métamorphoses." Caietele Echinox 43 (December 1, 2022): 291–308. http://dx.doi.org/10.24193/cechinox.2022.43.20.
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"This work proposes to observe the appropriation of the myth of the femme fatale, the great guiding myth of French decadence and its system of symbols in the Brazilian imaginary. Three Brazilian heroines, which fall under the theme of fatality in women, constitute the main corpus of this research: the oblique Capitu, the heroine of Machado de Assis in the novel Dom Casmurro (1900); Gabriela, la mulâtresse de Gabriela, cravo e canela (1958) by Jorge Amado, and Hilda Furacão, the prostitute from the homonymous novel by Roberto Drummond (1991). The echoes of the myth allow us to see that these heroines are fatal women par excellence, their figures moving within an evolving patriarchal society in Brazil."
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Coelho, Marcelo. "Lugares de Quintana." Revista do Centro de Estudos Portugueses 26, no. 36 (December 31, 2006): 39. http://dx.doi.org/10.17851/2359-0076.26.36.39-55.
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<p>Em contraste com a poesia de Mario de Andrade e Carlos Drummond de Andrade, a experiência da vida urbana na obra de Mário Quintana é menos um motivo de euforia e desalento que de ambigüidade: neste artigo, relaciona-se essa ambigüidade com o caráter ambíguo da própria poesia de Quintana, entre o erudito e o popular, o moderno e o convencional, a prosa e o verso.</p> <p>The experience of urban life assumes, in Mário Quintana’ poetry, a different character in comparison to the works of other brazilian modernist poets, such as Mario de Andrade and Carlos Drummond de Andrade. Not an expression of enthusiasm or hindrance, Quintana’s verses reveal an ambiguity that can be related to the author’s own oscillation between prose and poetry, modernism and conventionalism, sophistication and directness.</p>
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Athayde, Manaíra Aires. "Influências de Manuel Bandeira, Carlos Drummond de Andrade e João Cabral de Melo Neto na poesia de Ruy Belo." Revista do Centro de Estudos Portugueses 33, no. 50 (December 31, 2013): 11. http://dx.doi.org/10.17851/2359-0076.33.50.11-56.
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<p>Este ensaio tem o objetivo de reconhecer influências de três dos principais poetas brasileiros do século XX na poesia de Ruy Belo, tentando perceber de que forma as produções de Manuel Bandeira, Carlos Drummond de Andrade e João Cabral de Melo Neto foram assimiladas nos mecanismos de criação do poeta português. Reflete-se sobre várias dinâmicas de intertextualidade, voluntárias e não voluntárias, desde relações de ordem temática, ecfrástica ou de transposição poética, contextualizando-as no discurso poético de Ruy Belo.</p><p>This essay aims to recognize influences of three major Brazilian poets of the twentieth century in the poetry of Ruy Belo, trying to understand how the production of Manuel Bandeira, Carlos Drummond de Andrade and João Cabral de Melo Neto was assimilated into mechanisms of creation of the Portuguese poet. It is reflected on various dynamics of intertextuality, voluntary and non-voluntary, as thematic relations, ekphrastic or poetic transposition, contextualizing them in the poetic discourse of Ruy Belo.</p>
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Todeschi, Pedro Rena, and Sérgio Alcides Pereira do Amaral. "As máquinas do Brasil / The Machines of Brazil." Cadernos Benjaminianos 15, no. 1 (October 8, 2019): 171. http://dx.doi.org/10.17851/2179-8478.15.1.171-199.
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Resumo: Este ensaio se propõe a esboçar uma montagem de obras de arte que se relacionam com as máquinas do Brasil: a máquina do Mundo colonial (Vera Cruz, de Rosângela Rennó e Os Lusíadas, Luís de Camões); a máquina do mundo mineradora (A máquina do mundo, Carlos Drummond de Andrade); a máquina de controle do Google Maps (Nunca é noite no mapa, de Ernesto Carvalho); a Grande Máquina do capitalismo contemporâneo (Brasil S/A, de Marcelo Pedroso e Arábia, de Affonso Uchoa e João Dumans); a máquina do golpe midiático (Lígia, de Nuno Ramos) e judiciário (O processo, de Maria Augusta Ramos); e a re-existência na máquina (Action Lekking, de Negro Leo). Nosso objetivo não é o de fazer uma análise em profundidade das obras, mas de traçar um panorama de como a arte revela, interpreta e resiste às diversas máquinas do Brasil. Uma questão central que guiou nosso texto é o modo como a arte se relaciona e intervém esteticamente, no calor do momento, com a política e a história de nosso país. Quando não tratamos de obras contemporâneas, tentamos extrair de obras do passado, como as de Camões, Drummond e Leon Hirszman, reflexões que nos fornecem elementos para a interpretação de nosso presente.Palavras-chave: a máquina do mundo; literatura brasileira; cinema brasileiro contemporâneo.Abstract: This essay proposes to outline an assemblage of works of art that are related to the machines of Brazil: the colonialist world machine (Vera Cruz, Rosângela Rennó and Os Lusíadas, Luís de Camões); the mining world machine (A máquina do mundo, Carlos Drummond de Andrade); the control machine of Google Maps (Nunca é noite no mapa, Ernesto Carvalho); the Great Machine of the contemporary capitalism (Break S/A, Marcelo Pedroso and Arabia, Affonso Uchoa and João Dumans); the coup machine of the media (Lígia, Nuno Ramos) and the judiciary (O processo, Maria Augusta Ramos); and the re-existance in the machine (Action Lekking, Negro Leo). Our goal is not to analyse in thoroughness the works, but to draw a panorama of how art brings about, interprets and resists to the different machines of Brazil. One of the pivotal matters that has guided our text is the way art relates to itself and interferes aesthetically in the heat of the moment to the politics and history of our country. When we do not talk about contemporary works, we try to extract from works of the past such as Camões, Drummond and Leon Hirszman reflections that provide us elements to the interpretation of our present.Keywords: the world machine; Brazilian literature; contemporary Brazilian cinema.
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Assunção, Sandra. "Representações do passado traumático em obras de Roberto Drummond e Bernardo Kucinski." Cadernos de Literatura Comparada 45 (2021): 115–40. http://dx.doi.org/10.21747/21832242/litcomp45a7.
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The Brazilian civil-military dictatorship was revisited by many contemporary novelists, being the literature of that period considered as a form of "dictatorship file" (Figueiredo 2017). The writers Roberto Drummond, in Hitler manda lembranças (1984), and Bernardo Kucinski, in K.Relato de uma busca (2011), put on stage characters who, inserted in the dictatorial period, are tormented by memories of The Second World War. As in an untraceable puzzle, the memory of the Jews persecution during Nazism re-emerges by establishing connections with the military regime in Brazil. Self-fiction or pastiche-like, the two novels propose particular analogies between non-competitive memories and possible traumatic intersections (Rothberg 2018). The narratives’ testimonial character also allows to establish relations between an exogenous past (the immigrant’s) and the national memory. The traumatic past fictionalization seems to contribute to the building of relations between different historical moments and the transference of an intergenerational and affiliative memory (Hirsch 2012)
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Palmeiro, Tito Marques. "Os nossos corpos e o legado da pandemia. Uma leitura de Heidegger e Drummond de Andrade." Revista Portuguesa de Filosofia 78, no. 3 (August 12, 2022): 1115–32. http://dx.doi.org/10.17990/rpf/2022_78_3_1115.
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The pandemic made room for a series of denialist behaviors and speeches that sought to deny the need for social distancing. For this reason, its legacy amounts to the thousands of deaths that could have been avoided. Based on the analysis of texts by Heidegger, excerpts from the tradition and poems by the Brazilian poet Carlos Drummond de Andrade, this study will show that denialism takes root in profound tendencies of our tradition, and shows that its criteria are not adequate to the event of pandemic. Its main objective is to propose a new measure through which we can come to think, together, about this terrible legacy that lies ahead for all of us.
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Correia, Éverton Barbosa. "O engenheiro Joaquim Cardozo dentro do livro O engenheiro de João Cabral The Engineer Joaquim Cardozo on the Book / O engenheiro of João Cabral." Caligrama: Revista de Estudos Românicos 26, no. 2 (September 17, 2021): 181. http://dx.doi.org/10.17851/2238-3824.26.2.181-197.
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Resumo: Em meio às composições coligidas no livro O engenheiro (1945), muita ênfase foi dada ao poema “A Carlos Drummond de Andrade”, ladeado pelo outro “A Joaquim Cardozo”, que quase não teve repercussão alguma. A partir do cotejo entre as duas homenagens poéticas, será feito o acompanhamento editorial do poema dedicado ao engenheiro profissional e poeta, para conferir o valor comunicativo de sua representação naquele contexto de pronunciamento específico. De igual modo, a análise deste poema será desenvolvida de acordo com suas variações ao longo da produção autoral de João Cabral de Melo Neto por meio das reedições do livro que o coligiu. Para tanto, serão acionadas a edição princeps do volume, sua reedição em Duas águas (1956) e a fixação do poema na década seguinte, quando as Poesias completas (1968) foram publicadas. Como contraponto ao perfil literário de Joaquim Cardozo esboçado pelo autor, será acionado o depoimento de Oscar Niemeyer em Minha experiência em Brasília (1961) sobre a atuação de seu amigo e engenheiro dileto no ofício comum a ambos.Palavras-chave: poesia brasileira moderna; crítica textual; João Cabral de Melo Neto; Joaquim Cardozo.Abstract: Among the poems collected in the book O engenheiro (1945), much emphasis was given to the poem “A Carlos Drummond de Andrade”, published by side of “A Joaquim Cardozo”, which had not almost any repercussion. From the comparison between the two poetic tributes, the editorial accompaniment of the poem dedicated to the engineer and poet will be made, to assign the communicative value of their representation in that context of specific pronouncement. Likewise, the analysis of this poem will be developed according to their variations throughout the authorial production of João Cabral de Melo Neto through the reissues of the book that collated it. To this end, the princeps edition of the volume, its reissue in Duas águas (1956) and the fixation of the poem in the following decade, when the Poesias completas (1968) was published. As a counterpoint to Joaquim Cardozo’s literary profile outlined by the author, Oscar Niemeyer’s testimony will be triggered in Minha experiência em Brasília (1961) about the performance of his friend and favorite engineer in the craft common to both.Keywords: modern Brazilian poetry; textual criticism; João Cabral de Melo Neto; Joaquim Cardozo.
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Menezes, Roniere Silva. "A lâmina da letra: Luiz Costa Lima, a escrita oralizada e a poética de João Cabral / The Blade of Letter: Luiz Costa Lima, A Spoken-Writing and the Poetics of João Cabral." O Eixo e a Roda: Revista de Literatura Brasileira 29, no. 4 (December 23, 2020): 98. http://dx.doi.org/10.17851/2358-9787.29.4.98-117.
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Resumo: Este trabalho visa refletir sobre ensaios críticos de Luiz Costa Lima em que o autor analisa o estranho lugar do intelectual brasileiro e latino-americano. Exercendo suas atividades em território pouco afeito ao cuidado detido com a escrita, com o esforço analítico e muito influenciado por expressões ligadas à oralidade e ao exagero retórico, o intelectual e o escritor que habitam os trópicos, muito comumente, situam-se como estrangeiros diante de seu objeto de trabalho e de seu próprio país. Muitas vezes assumem uma escrita relacionada à fala cotidiana visando à comunicação mais direta com o público. Iremos estabelecer análises relativas ao posicionamento de Costa Lima frente a essa questão, enfatizando os conceitos – tratados pelo autor – de improviso e auditividade. Trataremos dos livros Dispersa demanda: ensaios sobre literatura e teoria (1981), Pensando nos trópicos (1991) e Frestas: a teorização em país periférico (2013). Ao final, demonstraremos como as ideias de Costa Lima transitam entre textos sobre o pensamento brasileiro e críticas literárias. Tomaremos como exemplo análises do autor relativas à obra do poeta João Cabral de Melo Neto presentes nos ensaios “A traição consequente ou a poesia de Cabral”, do livro Lira e antilira: Mário, Drummond e Cabral (1968) e Dispersa demanda: ensaios sobre literatura e teoria (1981). Buscaremos mostrar que os estudos sobre improviso e auditividade configuram-se como importantes modelos analíticos. Os textos apresentam ricas ferramentas que nos ajudam a entender melhor a cultura e a produção literária do país.Palavras-chave: Luiz Costa Lima; crítica; oralidade; João Cabral.Abstract: This paper aims to reflect upon the critical essays by Luiz Costa Lima in which the author analyzes the strange place of a Brazilian or Latin-American intellectual. Working from a place that is not auspicious to the demands of writing or to the analytical efforts and being highly influenced by spoken language and overstated rhetorics, the intellectual or writer from the tropics usually feel as foreigners facing their work in their own land. They often choose to write similarly to spoken language in order to establish a more effective communication with their audience. We are going to analyze Costa Lima’s positioning towards this topic, emphasizing the author’s concepts of improvisation and auditivity. We are going to work with the books Dispersa demanda: ensaios sobre literatura e teoria (1981), Pensando nos trópicos (1991) and Frestas: a teorização em país periférico (2013). As a conclusion, we are going to demonstrate how Costa Lima’s ideas shift from the texts when considering the Brazilian thinking and literary criticism. We are going to take as an example his analyses of poems by João Cabral de Melo Neto presented in the essay “A traição consequente ou a poesia de Cabral”, from the book Lira e antilira: Mário, Drummond e Cabral (1968) and Dispersa Demanda: ensaios sobre literatuar e teoria (1981). We aim to show that studies on improvisation and auditivity are important analytical models. The texts present useful tools that help us better understand the culture and the literary production of the country.Keywords: Luís Costa Lima; criticism; spoken language; João Cabral.
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Franco Diniz, Telma, Marina Della Valle, John Milton, and Álvaro Faleiros. "Entrevista com Nelson Ascher." Cadernos de Literatura em Tradução, no. 11 (May 1, 2010): 317–51. http://dx.doi.org/10.11606/issn.2359-5388.i11p317-351.
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A trajetória da juventude de Nelson Ascher (1958), com passagem por faculdades direcionadas ao mercado profissionalizante, não sugeria que ele tomaria o rumo que afinal tomou. Mas desde os dez anos de idade ele já sabia o que queria ser: escritor. Desde os catorze, o que viria a ser: poeta. Na entrevista a seguir, Ascher fala do gosto pela leitura adquirido em menino com as histórias contadas pela mãe, pai e avós, húngaros de nascimento. Tradutor prolífico e poeta renomado, ele já se viu várias vezes envolvido em polêmicas de alto teor literário-ideológico. Com bom humor e erudição, nosso entrevistado revisita estes e vários outros temas, além de revelar como seu processo de criação e tradução poética envolve a passagem por um estágio de obsessão. Como poeta Ascher lançou, entre outros, Algo de Sol (1996) e Parte Alguma (2005). Suas traduções estão reunidas em O lado obscuro (1996) e Poesia Alheia (1998). Organizou com Régis Bonvicino e Michael Palmer a antologia Nothing the Sun could not explain: 20 Contemporary Brazilian Poets (1997). Transitando com fluência por Horácio, Yeats, Ginsberg, Apollinaire, Pessoa, Vinícius, Drummond e Caetano, entre outros, Nelson Ascher conta que o que ele mais gostaria de fazer hoje seria trabalhar, em parceria com poetas de língua inglesa, numa grande antologia de poesia brasileira. Nosso aparente monumento de papel crepom e prata seria, então, mais duradouro que o bronze, menos biodegradável que o plutônio, imune à chuva ácida.
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Yokozawa, Solange Fiuza Cardoso. "Notas sobre poesia e leitor em João Cabral." Caligrama: Revista de Estudos Românicos 19, no. 1 (September 21, 2014): 187. http://dx.doi.org/10.17851/2238-3824.19.1.187-203.
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<span></span><span><p><strong>Resumo: </strong>No ano seguinte ao lançamento de <em>Pedra do sono </em>(1942), de João Cabral de Melo Neto, Antonio Candido publica uma resenha sobre esse livro, na qual, além de pressentir acertadamente a grande promessa representada pelo poeta estreante e perceber as linhas mestras do livro, não deixa de lhe censurar o hermetismo e de chamar a atenção do autor para a necessidade de “elevar a pureza da sua emoção a valor corrente entre os homens” (CANDIDO, 2002, p. 141). Antes de Candido, Drummond, em janeiro de 1942, numa carta ao jovem poeta, já havia feito restrição semelhante à poesia do pernambucano, considerando-a muito hermética para o leitor comum. Cabral parece ter internalizado as censuras e as sugestões de seus primeiros leitores quanto à recepção da palavra poética e a elas “respondeu” em sua obra crítica e criativa. Neste trabalho, proponho acompanhar as soluções e tensões que estão na base das “respostas” cabralinas para o binômio poesia e leitor.</p> <p><strong>Palavras-chave: </strong>João Cabral; poesia moderna; poesia brasileira; leitor.</p> <p class="Pa2"><strong> </strong></p> <p class="Pa2"><strong>Abstract: </strong>In the year after the release of João Cabral de Melo Neto’s <em>Pedra do sono </em>(1942), Antonio Candido published a review of it in which he correctly perceived the great promise represented by the new poet and the guidelines of the book, as well as criticizing the hermeticism and calling the poet’s attention to the need of “bringing the purity of his emotion up to the current values of mankind” (CANDIDO, 2002, p. 141). Before Candido, Drummond in a letter to João Cabral written in January 1942 had already voiced similar restrictions to his poetry, considering it very hermetical for the common reader. Cabral seems to have taken in these criticisms and the suggestions from his first readers as to the reception of his poetry and “answered” them in his critical and creative work. In this paper, I intend to follow the solutions and tensions which are the basis of his “answers” to the pair constituted by poetry and the reader.</p> <p><strong>Keywords: </strong>João Cabral; modern poetry; Brazilian poetry; reader.</p></span>
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Pirouzi Júnior, Ailton, and Mariana Daminato. "Entre epígrafes e uma didascália: reflexões em torno de Dias úteis, de Patrícia Portela / Between epigraphs and a didascaly: reflections about Dias úteis, by Patrícia Portela." Revista do Centro de Estudos Portugueses 41, no. 65 (December 27, 2021): 217. http://dx.doi.org/10.17851/2359-0076.41.65.217-237.
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Resumo: O presente trabalho consiste em uma leitura da obra Dias úteis (2019), da escritora portuguesa Patrícia Portella, sob a perspectiva das epígrafes e de uma particular didascália. A proposta é entender a construção narrativa e temática dos “contos” dessa “novela”, através dos paratextos que os antecedem. Com a utilização de autores predominantemente de língua portuguesa, Portella recorre a Machado de Assis, Carlos Drummond de Andrade, Clarice Lispector, Érico Veríssimo e Adélia Prado (literatura brasileira) e completa seu repertório com Maria José – o heterônimo de Fernando Pessoa – e Herberto Helder (literatura portuguesa). Por meio de uma visão geral, percebe-se que as epígrafes de Dias úteis (2019) não fazem papel de “borda da obra”, como rotulado por Genette (2009). Tanto quanto as epígrafes, a didascália carrega um significado particular dentro do texto e, mais do que orientações de como ler a obra, ela apresenta uma perspectiva da autora a respeito de algumas ideias que serão exploradas ao longo da trama. Ademais, destaca-se o fato de a obra estar inserida no cenário da novíssima ficção portuguesa. Em suma, a ideia é compreender não só a funcionalidade das epígrafes e da didascália, mas também a maneira como esses paratextos são articulados em Dias úteis (2019), entrelaçando, assim, excertos citados, textos e enredos.Palavras-chave: epígrafes; didascália; paratextos; novíssima ficção portuguesa; Patrícia Portela. Abstract: The present work consists of a reading of the work Dias úteis (2019), by the Portuguese writer Patrícia Portella, from the perspective of the epigraphs and a particular didascalia. The proposal is to understand the narrative and the thematic construction of the “short stories” of this “novel”, through the paratexts that precede them. Using predominantly Portuguese language authors, Portella calls Machado de Assis, Carlos Drummond de Andrade, Clarice Lispector, Érico Veríssimo and Adélia Prado (Brazilian literature) and completes his repertoire with Maria José – the heteronym of Fernando Pessoa – and Herberto Helder (Portuguese literature). Through an overview, it is clear that the epigraphs of Dias úteis (2019) do not play the role of “edge of the work”, as labeled by Genette (2009). As much as the epigraphs, the didascalia carries a particular meaning within the text and, more than guidelines on how to read the work, it presents the author’s perspective on some ideas that will be explored throughout the plot. Furthermore, the fact that the work is inserted in the scenario of the newest Portuguese fiction stands out. In short, the idea is to understand not only the functionality of the epigraphs and didascalia, but also the way in which these paratexts are articulated in Dias úteis (2019), thus interweaving quoted excerpts, texts and plots.Keywords: epigraphs; didascalia; paratexts; brand new Portuguese fiction; Patricia Portela.
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Pessoa, Marcelo. "A crônica-canção de Chico Buarque." Revista AKEDIA - Versões, Negligências e Outros Mundos 897 (2010): 1–271. http://dx.doi.org/10.33726/bdtdibictakdvtls000162039a2010p400.
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Our work investigates Brazilian songwriter Chico Buarque’s appropriation of elements found in columns or chronicles by writers such as Rubem Braga, Carlos Drummond de Andrade, João do Rio, Carlos Heitor Cony, Machado de Assis, in his songwriting process. In order to do so, this present work focuses on cultural and literary studies, which predict the interconnection among media, literature and society, based on symbolic correlations between the literary genre chronicle and the verses sung by Chico Buarque. Chico Buarque, when appropriating specific elements from prose production in his songwriting, resembles the literary procedures of our greatest chronicle writers. That approach can be easily seen at times when Buarque performs in his lyrics the work that would be typically considered to be that one of a newspaper column writer. After a brief discussion about Music, song and lyrics, the following chapter “Chronicle: facets and dialogues” brings a brief history of the twentieth century critique, emphasizing the idea of the chronicle as a literary genre. At another moment, we’ll be dealing with the novel Estorvo, considered to be an extended chronicle. In the chapter “The Chronicle-Song of Chico Buarque”, we’ll be analyzing some of his songs. To guide the analysis of the conflicts between chronicle and song, we’ll be using chronicle genre classifications as presented by José Marques de Melo, comparing them with the ideas conceived by other critics such as Antônio Cândido, Davi Arrigucci Jr. and Massaud Moisés. In the chapter “Analyzing the Corpus”, we’ll be studying Buarque’s lyrics referring to the literary chronicle genre. Finally, we realize that the songs created by Chico Buarque can be seen as song chronicles, once they represent a sub product of people’s social and cultural experiences on a daily basis.
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Diego, Marcelo. "'Conversações do Papel e Para o Papel': Ressonâncias Machadianas na Obra de Carlos Drummond de Andrade." Journal of Lusophone Studies 1, no. 2 (November 27, 2016). http://dx.doi.org/10.21471/jls.v1i2.63.
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I this essay, I discuss the place of Machado de Assis within the Brazilian literary system by comparing and contrasting his work with that of Carlos Drummond de Andrade. In order to do so, I outline four types of dialogue between the two authors. The first is the profession of faith—the poem in which Drummond reveals Machado to be his literary addressee. The second is poetico-existential identification; that is, a commonality between the two regarding worldview, which gains form through an aesthetic conception. The third is a "resumption of paradigms," or the reoccurrence of images, techniques, and themes from Machado's fiction within Drummond's poetics. The fourth, finally, is the "resumption of syntagmata," the reoccurrence of textual quotations of or direct allusion to Machado's fiction in Drummond's poetics.
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Jahn, Lívia Petry. "A ANGÚSTIA DA INFLUÊNCIA NAS OBRAS DE DRUMMOND, ALICE RUIZ E JUAN PABLO RIBEIRO: INTERTEXTUALIDADE, DIÁLOGO E PARÁFRASE NA BUSCA DA POESIA." Nau Literária 12, no. 1 (June 19, 2016). http://dx.doi.org/10.22456/1981-4526.75352.
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Resumo: Este ensaio busca elucidar, como os poetas contemporâneos brasileiros, de forma bastante gritante, influenciaram uns aos outros tanto no século XX quanto no século XXI. A partir das obras de Drummond, analisaremos as obras de Alice Ruiz e Juan Pablo Ribeiro, este último, um jovem poeta do século XXI. Através de teóricos como Kristeva, Harold Bloom e T. S. Eliot, iremos discutir as noções de intertextualidade, diálogo, paráfrase, influência e a função da poesia na sociedade atual.
Palavras-chave: Influência; Intertextualidade; Paráfrase; Poesia; Diálogo.
Abstract: This essay aims to elucidate how the contemporary Brazilian poets, quite strikingly, have influenced one another in both 20th and 21st centuries. From the works by Drummond, we will analyze the works by Alice Ruiz and Juan Pablo Ribeiro, the latter, a young poet of the 21st century. Being based on theorists such as Kristeva, Harold Bloom, and T. Eliot, we will discuss the notions of intertextuality, dialogue, paraphrase, influence, and the function of poetry in today's society.
Keywords: Influence; Intertextuality; Paraphrase; Poetry; Dialogue.
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Alves, Ednéia De Oliveira. "TRADUÇÃO DO POEMA “NO MEIO DO CAMINHO” DE CARLOS DRUMMOND DE ANDRADE PARA A LINGUA LÍNGUA BRASILEIRA DE SINAIS EM ESCRITA DE SINAIS NO SISTEMA SIGNWRITING TRANSLATION OF THE POEM "IN THE MIDDLE OF THE WAY" OF CARLOS DRUMMOND DE ANDRADE TO THE BRAZILIAN LANGUAGE OF SIGNS IN WRITING OF SIGNALS (SIGNWRITING SYSTEM)." Acta Semiótica et Lingvistica 22, no. 2 (February 3, 2018). http://dx.doi.org/10.22478/ufpb.2446-7006.2017v22n2.38008.
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A ASEL buscando implementar cada vez mais a inclusão social, solicitou à Profa. Dra. Ednéia Alves — experiente docente da UFPB na área da Cultura surda — a tradução de um texto literário para a Língua Brasileira de Sinais - LIBRAS, visando, com essa ação, proporcionar à comunidade surda o acesso a textos dessa natureza.ASEL seeking to implement more and more social inclusion, requested Prof. Dr. Ednéia Alves - an experienced UFPB professor in the area of Deaf Culture - the translation of a literary text into the Brazilian Sign Language - LIBRAS, aiming, with this action, to provide the deaf community with access to texts of this nature.