Repositório RCAAP

The bimillenarian occupation of the land where Viseu is now, is this article’s subject. The author starts by giving a brief notion of space occupation theories in archaeology, referring the main characteristics of the occupation of the Civitas location in Viseu in the roman era. The conclusions on display are drawn from observation of around three hundred inventoried roman sites to this day. What was the place of Viseu when the Romans arrived here? What were the main alterations they introduced? How did they delimit the urban space and organized the interior of the new city? Are questions that are answered.

In a literary narrative, how can an author capture the interest of the reader right from the beginning? There are several techniques that Creative Writing as an a area of studies gathered based upon the careful analysis of a great diversity of quality texts. In this essay, my main goal is to describe, exemplify with excerpts from Portuguese and foreign literary works, comment and interrogate the use of those strategies that make the difference between a good and a bad first paragraph.

Notes on Resende’s Cancioneiro Geral. The present paper tries to focus on some issues relating to Garcia de Resende’s Cancioneiro Geral (1516) from the viewpoint of the compilation of court poetry by exploring among others texts of the epigraphs at the beginning of some compositions.

In this essay my aim is to analyse one of Sophia de Mello Breyner’s favourite poetic issues: her fascination for Greece that is illustrated throughout her poetic work. I refer to Breyner’s interest in the primordial Greece, when gods, human beings and nature lived together. The nostalgia for the past (for childhood or for the ancient Greece) implies that significant importance is given to memory. Memory, thus, acquires a relevant role in this return to and in this remake of time. But, to allow memory evoke this past and unfold the thread of time, silence is required – the silence of the night, the silence of the garden, the silence of the forest, the silence of the beach – and it is necessary to pay attention to things. In other words, it is necessary to be attentive. In sum, it is necessary to live «alert as an antenna», to have «owl’s eyes/In the obscure lucid evening», as Breyner suggests in the poem “Vieira da Silva” from Muse (p. 37).  

ln the course of the last four decades, investigations of the Copper Age of the Lower Estremadura, situated roughly between the parallels of Torres Vedras and of the Sado estuary, have produced an extensive, albeit dispersed and heteroclitous group of elements concerning habitats and necropoles. However, the absence of a coherent overview, both in the treatment of such accumulated evidence and the gathering of fresh information through the excavations that have been taking place continuously, has prevented, until now, a demonstration of the strong identity and cultural originality of the region in the Copper Age. The results obtained place Leceia among the most important sites for the understanding of the genesis and development of the peninsular societies of the Copper Age.  

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Luciano’s dialogues replaced, in late period, the role played by comedy in classical Athens – the promotion of a sharp criticism of the world and of its actors. The multifaceted value of laugh stems from this universe that is configured in literary patterns embodying the compilation of various traditions, and simultaneously related to a perspective that is more than Hellenic, since it is universal. Therefore, the value of laugh can be faced either as a natural reaction to some social stimuli or a punishment derived from vice, excess and ignorance.  

The myths of Antigone and Oedipus had very different presences on the Portuguese stages of the 20th century. Until the end of 1960s Antigone was used to lend a voice to multiple forms of resistence through drama. Oedipus, on the other hand, was absent with one exception - the staging of the Sophoclean play, performed by an amateur theatre group. Only Santareno's masterpiece, António Marinheiro, first performed in 1967, will free the myth of the heavy burden of the past through a Freudian reading. In the meantime two examples of the rewritten play remained, not to be performed, as witnesses to the absolute diversity of aesthetical and ideological tendencies: the first is the Trilogia de Édipo, of João de Castro Osório, published in 1954. This is a Neoparnassian work with a strong influence of Nietzsche, regarding the concept of an Oedipus as a superman. The second example, O progresso de Édipo, of Natália Correia, published in 1957, has the character of a dramatic poem and belongs to the Portuguese Surrealism. It is heavily influenced by Freud's concepts as well as by Cocteau's La machine infernale. The text joins and subverts the sequenceof Oedipus' myth. It heralds the opening up of a new form of seeing which may be understood as poetic wisdom. This wisdom is intuitive and emotional. It is strengthened by a renewed connection between man and his origins - poetically expressed as a spring. This is a forbidden connection, which appears in the myth as the connection between Oedipus and his maternal origin. This is also the forbidden connection between the poet and the mystery of his own origin and identity.

Praises of the Portuguese language have often been written, mostly since António Ferreira, the only poet who, contrarywise to his most famous contemporaries, never wrote a single line in Spanish. Other writers also extolled the beauty and variety of Portuguese, its most celebrates praise being the one by Rodrigues Lobo in the following century. Then came the invasion of the so called “Galiciparlas” in the eighteenth century, who were heavily criticized by other Portuguese poets, most of all by Filinto Elísio and Elpino Duriense, who compared the variety and richness of the vocabulary of the Portuguese speech not only with Spanish, Italian and French, but also with the Anglo-Saxon and Germanic languages. In so doing, Elpino Duriense adumbrates a phonic approach, which appears to prove that the much discussed closing of pretonic vowels, mostly [e] and [o], did not occur before the beginning of the nineteenth century (this phenomenon being now a distinctive trait between Portuguese and Brazilian pronunciation. Twentieth century poets, starting with the much celebrated saying of Fernando Pessoa that the Portuguese language was is country, had significant echoes en Alberto Lacerda, Jorge de Sena and Rui Knopfli, also a set of poets who were educated or lived in English speaking countries. All these poets testify to the agglutination power of language.  

Cette étude constitue une introduction à la problématique des rapports entretenus par les écrivains à la langue dans laquelle ils s’expriment. Il s’agit d’une question d’une importance accrue dans le cas des écrivains dont l’usage de la langue française ne correspond pas à la nationalité française. La langue française est différemment modulée dans le cas des écrivains en provenance de pays aujourd’hui indépendants ou en procès d’autonomisation, mais auparavant sous administration française. Le sentiment de son inaptitude à la transmission de cultures véhiculées oralement Patrick Chamoiseau), ou à la situation du colonisé (Albert Memmi, ou Assia Djebar, voix de la condition féminine) en constituent des motifs récurrents. L’utilisation de la langue demande pourtant une autre approche dans le cas des écrivains européens de langue française suisses et belges, pour lesquels cette langue est aussi la langue maternelle (les écrivains flamands qui s’expriment en français constituant un autre cas de figure). Cette question devient de la plus grande importance dans le cas de Charles Ferdinand Ramuz, un des écrivains suisses romands les plus importants de la première moitié du XXe siècle, dont les romans viennent d’être édités dans la collection réputée, la Bibliothèque de La Pléiade. Nous nous pencherons sur quelques-uns des essais les plus significatifs de cet auteur dans la présente étude, parmi ceux qui témoignent de son engagement dans la défense du droit à la différence qu’il estime devoir être reconnu à des usages non-classiques de la langue française en tant que langue littéraire.

A gruta natural do Correio-Mor (a cerca de 1 km W NW de Loures) foi identificada em 1974, na sequência da lavra de uma pedreira que explorava no local, calcários duros do Cretácico (Cenomaniano superior). No decurso dos trabalhos identificou-se uma sequência arqueológica de larga diacronia, estando representados materiais do Mustierense, Solutrense, Neolítico antigo, Neolítico médio e final (cerâmicas dolménicas), Calcolítico (a que corresponde o altar de ídolos de calcário agora estudado), Idade do Bronze e Idade do Ferro.

Identificação dos locais de proveniência das diferentes matérias-primas utilizadas no fabrico de artefactos de pedra polida, de evidente interesse para a caracterização das fontes de aprovisionamento a longa distância de materiais considerados "estratégicos", no quadro da paleoeconomia da formação económico-social do Calcolítico da Estremadura. Objectivo que esteve na origem deste estudo, tendo ainda presente o provável aproveitamento de rochas duras, de origem regional, isto é, disponíveis na própria área estremenha, aspecto jamais valorizado até ao presente.

Na campanha de escavações de 1986 realizadas no povoado pré-histórico de Leceia (Oeiras) recolheu-se um artefacto de cobre em local adjacente à linha defensiva mais interior (a 3ª), em camada de derrube do Bastião C. Trata-se da Camada 2, de onde provêm todos os seus homólogos, o que faz crer que a prática da metalurgia só ali tenha sido introduzida no Calcolítico pleno, período cultural representado pela referida camada tendo-se, porém, generalizado rapidamente, como sugere a cerca de centena e meia de artefactos de cobre até agora recolhidos. O facto de corresponder a objecto volumoso, dos maiores recolhidos na jazida, não obstante ser desprovido de forma definida, susceptível de se lhe poder atribuir qualquer função ou finalidade, justificava estudo mais aprofundado, até porque, sendo o cobre uma substância de grande valor na época e, para mais, desconhecido na região, mal se compreendia a ocorrência de uma importante massa metálica, como esta, aparentemente sem qualquer utilização objectiva. Desta forma, foi solicitado ao segundo signatário que procedesse a análise metalográfica da liga, por forma a obter elementos conducentes à caracterização arqueometalúrgica do artefacto, incluindo a sua finalidade.

Neste trabalho estudam-se os materiais ictiológicos recolhidos na crivagem de terras, no decurso das escavações, desde 1983, neste povoado pré-histórico.

No decurso das escavações dirigidas pelo signatário no povoado pré-histórico de Leceia, foi recolhido, na campanha de 1990, um fragmento ósseo de grandes dimensões, possuindo profundos entalhes, de ambos os lados. A raridade desta peça, bem como a procura de paralelos, justificou a apresentação desta nota.

This essay deals mainly with some word-formation mechanisms used by Languages for Special Purposes (LSP). Lexicalization/Syntagmatic Composition, due to its frequent use in LSP, is considered in detail. Other processes such as eponymy and loan-words are also analyzed. FinalJy, concJusions are presented.

This article about utopia is centrd on Aristophanes' Birds, trying to identify, in the comic execution of the play, its technical effects, literary and scenic.

ln the sixteenth century, at Renaissance, the Portuguese writer Jorge Ferreira de Vasconcelos wrote the following comedies, Eufrósina, Ulissipo and Aulegrafia, in which he reveals the intluence of Iiterary and social models of his time, but also of the classical authors, Plautus and Terence. Among his comedies, Ulissipo is the one that reveals greater classical intluence.

The Baroque spiritual fiction frequently resorted to allegories, reinforcing its capability to indoctrinate and moralize. The different narrative Iines, the detail of the descriptions, the elaborate similes and metaphors were essential elements to capture the interest of the reader and to improve his/her moral behaviour. The structure of a journey associated with internal change is one of the most significant allegories, as História do Predestinado Peregrino e seu Irmão Precito (1682), by Alexandre de Gusmão, so clearly exemplifies.

A funcionalidade de alguns artefactos de osso pré-históricos, como em outras matérias-primas, nalguns casos jamais será seguramente conhecida. Neste trabalho discutiremos um desses grupos de artefactos ósseos, cuja tipologia tem suscitado diversas interpretações funcionais, ao longo de mais de um século, na Arqueologia portuguesa. A sua justificação imediata reside no facto de, também em Leceia, se terem recolhido dois exemplares de tais artefactos, no decurso das escavações que ali têm vindo a realizar-se, sob orientação do signatário, desde 1983.