Academic literature on the topic 'Poesia neoclassica'

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)

This essay examines Pablo Avecilla’s Hamlet, an ‘imitation’ of Shakespeare’s tragedy of the prince of Denmark published in 1856, both in its own terms and in the historical context of its publication. This Shakespearean adaptation has been negatively judged as preposterous and unworthy of comment, but it deserves to be approached as what it claimed to be, a free handling of the Shakespearean model, and as responding to its own cultural moment. Avecilla turns the Shakespearean sacrificial prince into a righteous sovereign that has kept the love of a lower-ranked lady and, by pursuing revenge, has successfully overthrown a dishonourable and corrupt ruler. This re-focusing of the Shakespearean plot and politics recalls the French neoclassical adaptation by J-F. Ducis in 1769. In fact, Avecilla seems to combine neoclassical form, which he advocated in his 1834 treatise Poesía trágica, with more Romantic traits at a time when playgoers demanded stronger sensations. As with Ducis’s Hamlet and its earliest translation-adaptations in Spanish at the turn of the century, the alterations from the Shakespearean model may be seen to have political resonances. Seen in the historical context of the so-called Progressive Biennium of 1854-1856, Avecilla’s emphasis on virtue and implicit approval of popular uprising led by an idolized authority is in tune with contemporary concerns for the right of the people and their leaders to rise up against immoral rule, with the Progressives’ support for both monarchy and national sovereignty, with their criticism of the corruption of conservative governments prior to the 1854 revolution, and with the role of ‘revolutionary’ generals such as O’Donnell and Espartero. This political interpretation is strengthened when Avecilla’s own political involvement in the Progressive programme is taken into account.

Resumo: Nascido no Piauí, o poeta neoclássico Ovídio Saraiva de Carvalho e Silva (1787-1852) ainda é um nome pouco conhecido no Brasil. Desde meados do século XX, a historiografia literária piauiense e alguns estudos acadêmicos regionais têm se dedicado à sua obra, sobretudo ao livro Poemas, publicado em 1808. A abordagem desses trabalhos, geralmente, desconsidera informações importantes sobre o contexto das relações socioculturais entre o Brasil-colônia e sua Metrópole, Portugal, e sobre as codificações e convenções da poética neoclássica. Este artigo se propõe a compreender o livro Poemas à luz dessas duas dimensões – histórica e estética – conforme o entendimento hoje dominante acerca da poesia luso-brasileira no Setecentos e no início do Oitocentos.Palavras-chave: Ovídio Saraiva; Poemas; Neoclassicismo; Literatura colonial lusófona.Abstract: Ovídio Saraiva de Carvalho e Silva (1787-1852), neoclassical poet born in the Captaincy of Piauí (today state of Piauí), is a relatively unknown author in Brazil. Since the mid-20th century, literary critics, scholars and researchers in Piauí have devoted their time to studying his poetic works, especially the book Poemas, published in 1808. Most of these studies, however, disregard important information about either the context of sociocultural relations between colonial Brazil and Portugal, or neoclassicism’s normative and prescriptive doctrine. This essay seeks to understand Poemas in light of the historical and esthetic dimensions, based on current perspectives about the Luso-Brazilian poetry in 17th and early 18th century.Keywords: Ovídio Saraiva; Poemas; Neoclassicism; Lusophone Colonial Literature.

RESUMENDesde la segunda mitad del XVII hasta mediados del siglo siguiente se extiende una línea poética que trabaja con elementos persistentes desde la primera fase del barroco, pero con una articulación y un significado en el que se perciben las huellas del cambio. Una de las líneas de esta estética bajobarroca representa un paso en la dirección adoptada después por la poética neoclásica e ilustrada, y puede concretarse en la reordenación de las relaciones entre sentimiento y razón. Este estudio toma como punto de partida el poemario anónimo Fragmentos del ocio (1668, reeditado en 1683), reconocido como de Juan Gaspar Enríquez de Cabrera, y, a partir de un análisis del empleo del término «razón» y su concepto, se apoya en las variantes de una diacronía que lo acerca al siglo XVIII para abordar una proyección de los rasgos observados en la caracterización de la poética bajobarroca. Se destacan como elementos distintivos un novedoso sentido de la inmanencia, la redefinición del lugar social de la poesía y de la posición de su autor y, finalmente, la tendencia a la poesía de circunstancias. Con ellas la sentimentalidad abandona su condición de componente definitorio de la lírica y abre paso a una racionalidad ligada a los nuevos modelos de sociabilidad e ideales expresivos.PALABRAS CLAVEEnríquez de Cabrera, Fragmentos del ocio, razón, bajo barroco, poética, campo literario. ABSTRACTSince the second half of the seventeenth century a poetic current is developed until the middle of the next century, working with persistent elements from the first phase of the Baroque, but with a joint and a meaning where the traces of change are perceived. One line of this bajobarroca aesthetic represents a step in the direction that the neoclassical and illustrated poetry take after, and it may be materialized in the reconstructing of the relationship between feeling and reason. This study takes as its starting point the anonymous book of poetry Fragmentos del ocio (1668, reprinted 1683), whose author was Juan Gaspar Enriquez de Cabrera. From an analysis of the use “reason” and its concept, the study is based in the variants in a diachrony that brings the work near the eighteenth century. So, it is possible to map out the features observed in the characterization of the low baroque poetic. They are outstanding categories a new sense of immanence, the redefinition of the social place of poetry and of position of the author, and, finally, the tendency to the poetry of circumstances. With them, the sentimentality leaves his condition of essential component of lyric and gives way to rationality linked to models of sociability and expressive ideals.KEYWORDSEnríquez de Cabrera, Fragmentos del ocio, reason, low baroque, poetics, literary field

Resumo: Este trabalho procura traçar alguns aspectos das relações entre a tradição mítica greco-romana e a tradição literária europeia na poesia de Cláudio Manuel da Costa, verificando as funções particulares exercidas pelo mito e pela literatura na convenção neoclássica universalizante que reveste a poesia do autor mineiro.Palavras-Chave: mito; tradição; neoclassicismo.Abstract: The present paper examines some of the relations between the Greek-Roman mythical tradition and the European literary tradition in the poetry of Cláudio Manuel da Costa, pointing out the specific functions of myth and literature in the context of the neoclassical convention that characterizes the poetry of the author from Minas Gerais.Keywords: myth; tradition; neoclassicismo.

La tesi consiste nell'edizione critica delle due edizioni della traduzione montiana delle satire di Persio (1803 e 1826), del commento critico-erudito della prima edizione e della trascrizione del Manoscritto autografo.

This chapter surveys all printed Portuguese translations of Paradise Lost. The translational journey begins in the late eighteenth century, at a time when epic poetry was still the literary genre that, most of all, represented and identified a nation, and blank verse had become, once more, a major means of poetic imitation and expression in Portuguese. The translational journey from neoclassical standards to Portuguese and Brazilian Romanticism through its last instantiation in 2014 courses through the various attempts at translating Paradise Lost and the influence of such attempts on the development of later literature, especially long poems. This chapter examines questions raised by Portuguese translators and their collaborators about epic poetry, blank verse, and the closely linked issues of religion, literary politics, and art.

This book is an examination of neoclassical ballet initially in the French context before and after World War I (circa 1905–1944) with close attention to dancer and choreographer Serge Lifar. Since the critical discourses analyzed indulged in flights of poetic fancy a distinction is made between the Lifar-image (the dancer on stage and object of discussion by critics), the Lifar-discourse (the writings on Lifar as well as his own discourse), and the Lifar-person (the historical actor). This topic is further developed in the final chapter into a discussion of the so-called baroque dance both as a historical object and as a motif of contemporary experimentation as it emerged in the aftermath of World War II (circa 1947–1991) in France. Using Lifar as a through-line, the book explores the development of critical ideas of neoclassicism in relation to his work and his drift toward a fascist position that can be traced to the influence of Nietzsche on his critical reception. Lifar’s collaborationism during the Occupation confirms this analysis. The discussion of neoclassicism begins in the final years of the nineteenth-century and carries us through the Occupation; then track the baroque in its gradual development from the early 1950s through the end of the 1980s and early 1990s.

This chapter continues the argument begun in the Introduction, proposing a revised, reparative approach to the earliest bourgeois tragedies. It focuses especially on George Lillo’s landmark drama, The London Merchant (1731), and examines its unique re-interpretation of neoclassical theories of tragedy and poetic decorum. This chapter narrates its debut alongside burlesques and satires on the middle and lower sorts by Edward Ravenscroft, John Gay, William Hogarth, Henry Fielding, and John Kelly, making a case for Lillo’s radical valorization of ordinary life and a new aesthetic of identification. Its argument thereby describes the beginnings of a new appreciation for the trials of these social ranks in the era’s art, and offers a substantive reading of the text and its paratextual apparatus in light of this shift.

Abstract Samuel Johnson wrote verse from his adolescence in the 1720s to weeks before he died in December 1784, his poetic reputation secured early by his imitations of Juvenal: London (1738) and The Vanity of Human Wishes (1749). Johnson was a versatile poet, at home in many genres. Besides the political London and religious and philosophical Vanity, he wrote outstanding theater prologues and an epilogue, poignant elegies and epitaphs, and playful and satiric drawing-room verse. Johnson became the foremost British critic of verse of his time, editing the Works of Shakespeare (1765) and concluding his career with the fifty-two biographical and critical essays now known as The Lives of the Poets (1779–81). Although often regarded as an “Augustan” or “neoclassical” poet, the directness and simplicity, as well as the expressive intimacy of his later poetry, make Johnson a surprising forebear of Blake, Wordsworth, and Coleridge.

This chapter argues that Horace made the solitary sphere into a way of life. Against models of Horace’s persona and work that emphasize the contrast between public bard and coterie poet, it shows how the slip to solitude represented a pervasive gesture across his corpus. Proceeding chronologically, close reading of satires, Odes, and the relationship between the tale of the ostensibly mad man at Argos in the Epistle to Florus and the conclusion of the Ars poetica shows how the poet construed the solitary sphere in different ways in various genres, and how its representations formed an interconnected, self-encircling corpus. Throughout, review of the history of scholarship, including Richard Heinze’s theory of Horatian lyric, shows how Horatian poems have been re-socialized, how self-address works in a variety of Horatian genres, and how recovering Horace’s solitary sphere suggests a poet who had more in common with a Romantic than with a neoclassical spirit.

The article reveals the conceptual, semantic and procedural aspects of the application of pedagogical technologies in the process of forming the reading competence of students of philology in classes on the history of Ukrainian literature during the study of Ukrainian neoclassicists. The notion of pedagogical technologies, reading competence of future linguists, neoclassicism is specified and their explanation in the field of methods of teaching Ukrainian literature is given. Thus, the interpretation of reading competence is based on establishing relationships between similar concepts of competencies and competencies, according to which reading competence is interpreted as a social norm alienated from the subject to the student’s educational training necessary for his quality productive activity in reading. Instead, it is proposed to call reading competence the acquired ability of a student acquired in the process of teaching literature, consisting of knowledge, skills, experience, values and attitudes, which are fully realized in the process of practice. In addition, the interpretation of reading competence as a subject and as a component of the professional competence of the future vocabulary allowed to outline a number of important for future vocabulary reading competencies. Modeling the development of students’ reading competence by means of a work of art is proposed to be carried out on the basis of problem-based learning technologies, group work and local technology of problem-style analysis. The peculiarities of integrated teaching of literary, psychological, pedagogical and methodological disciplines are revealed, in particular the importance of purposeful formation of innovative consciousness of students during their mastering of literary courses by detailed description of step - by - step procedure of achievement of planned didactic goal is emphasized. A notable feature of the procedural part of the technologicalization of the pedagogical process is the optimal interaction of forms of traditional and innovative learning. Theoretical provisions are illustrated by the example of designing pedagogical tools for organizing independent reading of poetry by students of M. Dry-Khmara in order to determine the bright constants and thematic-semantic paradigms of individual poetics of the famous representative of neoclassical literary style. For this purpose, the formation of student creative groups is envisaged, the number of which is determined by the number of discussed dominants of M. Dry-Khmara’s individual style, which have become peculiar carriers of the integrity of lyrical works: 1) antinomy «freedom – slavery»; 2) the dominant «blood»; 3) the dominant motive «dream» – «death» – «life». The specificity of this work is to develop an algorithm for an approximate system of tasks for problem-style analysis of works by each of the creative groups, the solution of which brings students closer to understanding the author’s style of neoclassical poet and prepares for analytical-synthetic conversation in the audience. The result of the work carried out by means of technologicalization of the educational process is an approximate report of one of the creative groups of students during the practical lesson. As a result, the leading features of technologicalization of the formation of reading competence of students of philology in the course of their study of the poetic works of Ukrainian neoclassicists are formulated.