Repositório RCAAP

This study deals with the beginning of Edgar Allan Poe’s literary life as a critic of Graham’s Magazine. By producing reviews about Nathanael Hawthorne, Poe creates a summary of his conceptions about the short story. The author considers that the advantage of the short story is to allow a global reading. The study of Poe’s reviews permits an approach between the North American poetics and the Aristotle’s one.

The city, especially in the nineteen century, is not only the setting of a tale, but also the main theme of a literary production. “The man of the crowd”, by Edgar Allan Poe is the precursor when the subject is this new treatment of the city. The present paper aims to establish a dialogue between Poe’s tale and the short-story “Só!” by Machado de Assis.

Edgar Allan Poe is one of the most adapted authors in cinema of all times. There are almost 200 movies inspired in his works. This paper analyzes the causes of the fascination of Poe’s work in the cinema world, based on an essay by the director and theorist Jean Epstein, published in 1921, and more recent reflections of Umberto Eco about translations and adaptations. The similarities and differences between the literary and cinematographic languages also are boarded, in the pragmatic perspective of the process of realization.

The work of Poe has been widely used by moviemakers since the beginning of the new art. The interface between literature and film is considered a controversial matter in contemporary culture, especially in relation to Poe’s work. The analysis of the literary elements of the short story “The tell-tale heart” guides the study of the name sake film adaptation of 1941 by Jules Dassin and the animation made by UPA (United Productions of America) in 1953. Besides the possibility of understanding the new ways of reading literature nowadays, this investigation shows the echoes of Poe’s work in the course of time.

Literary criticism, especially in America, has not always favored Edgar Allan Poe’s work. However, critical contempt seems not to have affected the popularity of this author. Renowned Portuguese and Brazilian poets and translators such as Fernando Pessoa, Haroldo de Campos and Machado de Assis translated The raven into Portuguese. The article shows that the translation of poetry is a specialized task requiring from the translator not only mastery of poetic techniques, but knowledge of the aesthetic principles that govern the author’s work. Poe presented his aesthetic principles in two essays: The philosophy of composition and The poetic principle. Both essays provide guidelines for the translation of his poems and the assessment of the quality of the translation. Poe’s critical essays may serve as parameters for an adequate quality assessment for the Portuguese translation of The Raven.

This paper aims at discussing the poetics of Edgar Allan Poe, highlighting its gothic aspects as opening to literary modernity, establishing the critical position of the poet and the predominance of the creative imagination as leading elements of his literary project. The theoretical support comes from the analytics of Immanuel Kant on the Beauty and the Sublime. Brazilian poet Augusto dos Anjos deserves a comparative approach to Edgar Allan Poe, as well as an analysis of his works, centered on the gothic features presented throughout this work. The main axis of the work is the analysis and commentaries on some poems by both studied authors.

This essay’s focus of interest is the presence of Edgar Allan Poe in Mario Quintana’s work, which can be evidenced by the intertextuality that may appear as an explicit theme, in some poems, or as a poetics that will inspire the possible approach of common elements, such as: the recurrence of some images, the given value of musicality and sonority. A double reading can reveal not only Mario Quintana as a Poe’s reader and admirer, but also as a writer, inventor of worlds and poets.

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Based on Gilbert Dunrad´s conception of an imaginary culture, which studies how images are produced, transmitted, as well as how they are accept; this study seeks primarily to strengthen the idea of imaginary, in order to present the kind of pedagogy that best suit to the imaginary. In this sense, this pedagogy should, not only balance the two image schemes established by the theorist, but also, embrace a pedagogy of laziness, release repressed and leisure.

The imaginary language is, today, a question based on the discussions about the possibilities of communication. This study aims analyze the search for clues that aimed to understand how the beings deal with their communicative competence and the frustration caused by the non-communication. Nowadays we have the necessity of reveal the mysteries of a language with ontological bases, in order to pursue a new paradigm. It will have to incorporate new rules into a new model, which will be broader and generous, where the symbolic/imaginary language shows its importance and concreteness. By studying this proposal this text aims to show a communication by the imaginary as an agreement and clarify some of its assumptions.

This paper begin considering the context of the historical and cultural crisis that atacked the authority of myth, as expressed in the epics of Homer and Hesiod, and goes forward showing the different efforts then performed, trying to explain or to justify the myth. As a result, the paper evolves as a history of the origins and development of the concept of “allegory”, as an interpretative category of myth, and comments some of its uses in antiquity, in the Renassaince, and in contemporary thought.

This study discusses the dynamic and the organization of macroimagens formed by the representative symbols of the Evil (the many kinds of death and the fear of time passage), as well as the redistribution of the group of images into three schemes: based on Gilbert Durand commentaries about the relevance of reorganize Durand’s structures of the imaginary. The way those schemes work is exemplified by the analyses of an eight years old girl narrative, which its main point is to define the female identity. The study of her imaginary’s trajectory reveals the perception of the negativity usually related with the female image and describes her mobilization in order to recognize herself as a woman.

The present sutdy aims to map the coletive imaginary of the Americas and the transculturas passages of figures and mythes that are responsable by its formation. This work has been possible due to the organization of the Dicionário de figuras e mitos literários das Américas – DFMLA, which has a total 77 entries. Even though we are aware of the non existence of a “big Americas’ narrative”, because its imaginary has a strong characteristic of heterogeneity and by a successive process of transculturalization, the DFML has revealed a number of some mythical figures and similar process, in the three Americas, of migration and supervision of origins mythes of the cultural heritage Greco-Latin.

The poetic text is the place of esthesias/esthetics, in which what matters is to consider in its analysis the referencialization and production of images, processes responsible for the effects of sense. So, the demarcation of the subject used to analyze the text “Leito de folhas verdes” provides a methodological issue: is the dialogue between literature and imaginary relevant to unveil the intricacies of the speech in Goncalves Dias? It is proposed as a response to take into account that the articulation of Literature and the Anthropology of the Imaginary is a path that is going to lead to discover, in the narrative of Gonçalves Dias, the particular and specific existence of a fruition that shows the process of the poet to organize his reflection and sensitivity to glimpse the imaginary of indigenous women. This question motivates the analysis of the poem “Leito de folhas verdes”, articulating it whit the approach from Durand’s of anthropological path of imaginary. The nucleating point of analysis shows, therefore, that those are the symbolic components from the speech of Gonçalves Dias that leads to understand his narrative.

Based on the theoretical support of Gilbert Durand (2002), his imaginary theory, this study aimed to realize a hermeneutical analysis of the book Doze noturnos de Holanda (1987), by Cecília Meireles. This was possible by verifying how the writer deals with the images and symbols that express an euphemistic attitude and an acceptance of Tânatos horrendous’ face, based on the typical structures of the nocturnal regime of imaginative, in its mystical and syntactical facet.

Les poèmes de Cantares de Hilda Hilst invitent au dévoilement du mythe de l’amour, défi que je cherche à enrichir dans cet article en recourant à la source «ovidiana» du mythe de Narcisse et de ses nombreuses cellules, avec la quête du savoir, la question de l’ ombre et de l’ équivoque et l’ intrigante relation entre l’amour et la haine, l’ amour et la mort. Comme l’ affirme Durand, les mythes sont des variations des archétypes provocant l’approximation et l’entrelacement des contenus mythiques. De tous les mythes sur les écarts amoureux et la conséquente solitude humaine, peu possèdent la beauté et la force psychique occasionnées par le mythe de Narcisse élaborée par Ovide. Outre le mythe de Narcisse, cet article préserve la généalogie de Eros et les androgynes malheureux exposés par Platon, l’ histoire de Salomon et Sulamita élaborée dans les Canticos bibliques. L’approche théorique implique Gilbert Durand, Jung, Freud et Kristeva.

The following text presents a criticism of terms and concepts from the history of witchcraft, which recognizes not only “magic”, “sorcery”, “witchcraft”. To understand magical acts it is necessary to make a few basic distinctions, as it is known that there will be as many practices as there are cultural systems, and according to the various singularities of the collective mind. Besides, new paths are presented to the contemporary historicist, who privileges the studies of symbolisms, mental representations, magic, myth and kinship, and is thus led to be cautious in relation to general classification systems or anthropological syntheses, before any conceptual undertaking.

The witch’s figure has always been present in children’s literature since its emergence, in the eighteen century, with the adaptation of the fairy tales to the bourgeois child. These stories are part of the men imaginary of all times and cultures. Examples of those tales can be found not only in the book written for children, but also in other kinds of cultural items. The objective of a study, which deals with A última bruxa written by Josué Guimarães, is to analyze how the image of the primary witch remains in the present, in other words, which elements have been kept, deleted or added to this character that can indicate the preservation, distortion or hybridization of the witch’s figure.

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In the line of Distributed Morphology (Halle and Marantz, 1993, 1994; Harris 1999), this paper proposes to describe and analyze groups of Portuguese non derived words ended in non stressed vowels /o, a, e/ or phonological “zero” that constitute form-classes (or declational classes). In this language there are four form-classes. The results permite to recognize the vowels /o/ and /a/ as creators of non-marked form-classes. The vowel /e/ has two different status, it can be either thematic vowel or epenthetic vowel.