Repositório RCAAP

This article focuses on the lexic ographic and terminographic practice and their development, analysing the concepts of ‘dictionary’ and ‘definition’.

A simples ideia de uma paisagem deserta de referências culturais, despida de testemunhos do Passado e, por isso mesmo, sem perspectivas de Futuro é, naturalmente, insuportável, mesmo aos espíritos menos exigentes na matéria. Inversamente, a vontade de proteger, indiscriminadamente, todos e quaisquer vestígios desse mesmo Passado, levaria, igualmente, a realidade inviável para as gerações presentes, tornando o Presente eivado de escolhos desprovidos de significado relevante.

The Jesuit priest Pedro Perpinhão performed an important teaching activity in Portugal, in the 16th century. Considering his pedagogic performance, he was invited, by a companion, to put it on writing. He wrote, then, the opuscule De ratione liberorum instituendorum litteris Graecis et Latinis. The information contained on that small literary work should be used on the composition of the official pedagogic code of the Jesuits, the Ratio Studiorum.. This article aims to show some of the similarities between the two texts.

 The figure of Marquês de Fontes, D. Rodrigo Anes de Sá Meneses e Meneses, had a significant national and international projection in the first half of the 18th century at the service of D. Pedro II and above all of D. João V. While representative of the king in the court of Rome, and afterwards in the court of Madrid, his action deserved a number of panegyric speeches capable of perpetuating the events which he took part in, the excellence of his character and the virtue of his actions. In this paper, we intend to reveal the narrative of his extraordinary embassy in Rome (1712-1718), with the presentation of the Diário da jornada de Roma, characterized by the narration and by the description of the bizarre, the ostentation and the protagonism.

A realidade de termos um povoado pré-histórico como o de Leceia, vedado, escavado e devidamente preparado para ser visitado pelo público, deve-se, em grande parte, à exemplar colaboração desde cedo estabelecida entre o arqueólogo responsável, a autarquia e o órgão do Estado que tutela a realização deste tipo de trabalhos. Com efeito, a Câmara Municipal de Oeiras empenhou-se ao longo dos anos, de forma crescente neste processo; a criação, com o estatuto de Unidade Orgânica, do Centro de Estudos Arqueológicos do Concelho de Oeiras, por iniciativa do Presidente da Câmara Municipal, em 1988, foi motivada e justificada, em grande medida, pelos excelentes resultados obtidos, nos anos antecedentes, nas escavações em Leceia. Desta forma, a redacção e manutenção da estação arqueológica, de inteira iniciativa da Câmara Municipal de Oeiras redundou, em primeiro lugar, em benefício dos próprios munícipes, que passaram a dispôr de um vasto espaço natural protegido, com cerca de cinco hectares, de invejável interesse para actividades escolares, de animação cultural, ou simplesmente de lazer.

O povoado fortificado pré-histórico de Leceia (Oeiras) é, até ao presente, o único, no território português onde se encontra conservado um registo contínuo (ou quase) de ocupações humanas sucessivas, desde o Neolítico final (2ª metade do IV milénio A.C.) ao final do Calcolítico (cerca 2300/2200 A.C.). No decurso do Calcolítico Inicial, a que corresponde a edificação da imponente fortificação e aos sucessivos rearranjos nela observados entre cerca de 2800 A.C. e 2600 A.C., o cobre não era conhecido ou, pelo menos, utilizado no local, facto que vem definitivamente provar a inexistência de qualquer relação causal entre a prática da sua metalurgia e a construção dos imponentes dispositivos defensivos calcolíticos tão bem conhecidos na Estremadura do III milénio A.C. Ao contrário, quando o seu uso se vulgarizou, no decurso do Calcolítico Pleno, já a fortificação de Leceia se encontrava em grande parte arrasada e incapaz de oferecer qualquer protecção à comunidade que então ocupava o sítio, a qual, não obstante, detinha um razoável poder aquisitivo: assim se explicam os cerca de 130 objectos de cobre exumados na camada 2 no decurso das quinze campanhas de escavação ali efectuadas desde 1983.

The poetry of Eugénio de Andrade (1923-2005) is rich in references to certain trees, fruits, flowers, and leaves of grass. In this article, I examine these interesting recurrent elements in Eugenian poetry, emphasizing: a) the symbolic meaning and mythic resonance of several plants; b) the association of these to the ages of the human being; c) the intertextual connection with plants mentioned in books written by other authors. My main objective is to prove that the vegetal elements in the work of the Portuguese writer not only reflect a passion towards nature, but also present an endoliterary, exoliterary and cultural significance.

To inhabit is to stay in a place. It’s to interact with space, landscape, nature and men. The result of those actions is marked in the territory and it’s transmitted to future generations by the succession of times. By this way the heritage concept appears, associated to the inhabiting of the places, that could be as well a house, a Convent, a city, a built landscape, etc. The heritage places are the physical support of social memory witch is transmitted by human existence, itself. The human memory is funded in the way the man inhabits the places. By subtracting them this life characteristic, the function of inhabiting, the sense of heritage will be drastically decreased. Aiming to keep monuments alive in their multiple valences is the main task of modern society, on conservation issues of built cultural heritage. One could say that nowadays there’s a large array of technical solutions in order to conserve monuments and old buildings. However, in our modern world, we don't yet have the social solutions for maintaining them alive and dynamic. The Convent of Christ case is a paradigm of this struggle, for a new conservation figure focused in the living of places, the inhabiting of the cultural heritage.

Em 1978, por ocasião da construção dos primeiros edifícios do "Campus" da Faculdade de Ciências e Tecnologia (F.C.T.) da Universidade Nova de Lisboa, na antiga Quinta da Torre, Monte de Caparica, uma equipa do Centro de Arqueologia de Almada, em prospecção no local, identificou à superfície numeroso conjunto cerâmico de diversas épocas, posto à vista em consequência da abertura das fundações dos referidos edifícios. Com efeito, a tipologia dos materiais recolhidos indica uma ocupação reiterada do local do Neolítico antigo ao período Tardo-Romano, com especial incidência na Idade do Ferro, época a que corresponde o espólio agora apresentado, até ao presente apenas sumariamente referido na bibliografia. Por tal motivo, o primeiro dos signatários solicitou e obteve, da Direcção do Centro de Arqueologia de Almada, autorização para o estudo dos materiais ali depositados, na sequência imediata de pequena nota onde se publicaram outros, resultantes da abertura de valas executadas na mesma zona em 1995.

Portuguese, as a living language, is changing and evolving. Usualy that evolution is towards simplification. It’s an involution, according to the purists, and a confusing one for the most attentive speakers but not for the experts in Linguistics. The concept of error is especially important in a language from a normative perspective and the importance of it is primarily social. We know that the speakers’ competence is not always visible in the linguistic performance. However, this performance gradually becomes (in)competence and an often repeated linguistic error becomes a rule, even if the change is difficult to explain in a diachronic level. Language is updated in society, hence the importance of the contact between language and society. The coexistence of several parallel forms exemplifies the relevance of Coseriu’s “polissincronia”. Some of the examples used in here show that from evolutions to involutions, the Portuguese language is changing, keeping, however, its identity.

A comemoração do 4º centenário da edição romana das Antiquitates de Resende seria pretexto para longa dissertação. Entenda-se este comentário, que hoje publicamos, como uma homenagem a André de Resende.

 The Jesuit priest Sebastião Vieira developed intense activity as a missionary in Asia, mostly in Japan, between 1602 and 1634, where he died as a martyr. The circumstances of his last incursion to Japan, where Christianism was forbidden since Hideyoshi’s edict, at 1587, are described by himself on a report sent to his superiors, where his missionary spirit is recognized. Though he knows he needs to survive, to accomplish his task,he desires to die for his faith.

Portuguese culture is dominated by two times: Middle Ages where Portugal has largely integrated troubadours poetry and the Breton romances and the 18th-century. It is this last one which we will consider in our essay. Relationships between Portuguese and French Culture can be set when we consider two texts of different centuries but where the historic context plays an important role. After the Portuguese autonomy restoration in 1640, our country became closer to France and its culture. French theatre entered in the Portuguese society and originated a ―querelle‖ between authors who prefered this one and those who prefered Spanish influence.O Hissope (1774) from António Dinis da Cruz e Silva is inspired by Le Lutrin(1683) from Nicolas Boileau, as its author avoided. Our article deals with the similarities between these two dramas concerning their genre and the costumes satire.

Published in 1894, in strong line with a time of crisis and questioning of new paradigms of theatrical representation (Mallarmé, Maeterlinck), the dramatic poem Belkiss, Rainha de Sabá D’Axum e do Hymiar of Eugénio de Castro was not noticed in the field of dramatic Literature of the 19th century and had not the critical attention it deserves. Starting from the contextualization of the work, this article aims to show how the aesthetic project that underlies it establishes a dialogue and interacts both with contemporary texts embedded in a symbolist aesthetics valorising mystery (Maeterlinck and D. João da Câmara), and with other attempts to invade a theatre of the soul, valorising the word (Pessoa and Sá-Carneiro). The analysis of the poetic and metaphysical substance of Belkiss will lead us to discover some aspects of its “disturbing strangeness”, in relation to realistic illusion and to the theatre of pure entertainment that dominated the stages in the 19th century.

With Billy Budd, Sailor: An Inside Narrative, Herman Melville rewrites the eternal and universal tragedy of good and evil at fight, recovering, in the 19th century America, the likewise eternal and universal spirit of classical tragedy. Billy Budd‟splot is staged inside a HMS man-of-war and, simultaneously, inside human soul, sailing through the seas and through the contradictions and incompatible instincts of mankind. Melville founds his tragedy on a new myth, recycled from the Ancients. A myth expresses the rules of conduct of a certain social or religious group. Among the Greeks, the laws of destiny, honour, moderation and obedience to the Gods. In Billy Budd, not only the laws of war and institutions, but also the laws of nature and purest human feelings.

Beauty that perpetually vanishes and returns, beauty terrible and beauty as tragic art; these are the three main tenets informing the reading of W.B. Yeats and Sylvia Plath‘s poetry in this paper. The impossibility of perfection is represented in their work through the multi-layered entity of the mirror, a barrier and a medium to reconstructions or reflections of beauty, itself divided in the struggle between two selves, masculine and feminine.

Portuguese poet Eugénio de Andrade (1923-2005) was a connoisseur of painting, culpture, cinema and photgraphy. In this article, following an ekphrasic perspective, I analyze texts where the authormentions and pays tribute to artists like Vincent van Gogh (1853-1890), Álvaro Siza Vieira (1933), Luchino Visconti (1906-1976) and Eduardo Gageiro (1935). I will also mention the labor of painters and the similarities Eugénio sees between this and the art of writing.

O poder evocativo das ruínas manifesta-se como um dado da sensibilidade e da percepção do ser humano. E nesse universo de marcos e referências, de indícios e de sinais, a ruína é, enquanto testemunho priviligiado do efémero, espelho da cumplicidade do homem e reflexo da transitoriedade dos seres e das coisas.

No decurso das escavações realizadas, em continuidade, desde 1983 no povoado pré-histórico fortificado de Leceia (concelho de Oeiras), têm sido recolhidos diversos materiais medievais, modernos e mesmo contemporâneos, na camada superficial da sequência estratigráfica definida na estação. Entre tais materiais, avultam os numismas dados agora a conhecer, recolhidos nas imediações e no subsolo de caminho antigo, que atravessava obliquamente a zona primitivamente ocupada pelo povoado pré-histórico. Por se tratar de conjunto numismático numeroso e variado, cujas condições de ocorrência se apresentam bem conhecidas, resultantes de intervenção arqueológica, que sublinha as características peculiares do achado, crê-se que a sua publicação se justifica, até por contribuir, de algum modo, para o conhecimento da ocupação humana antiga de zona rural dos arredores de Lisboa, bem como da circulação monetária processada pelos respectivos moradores no final da Idade Média / inícios da Época Modema.

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