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Presentation of the issue: Syntax

The purpose of this article is to study the intertexts stablished in the short story “Catálogo de sombras”, by Angolean writer José Eduardo Agualusa, emphasizing the references to Fernando Pessoa’s heteronyms and also to Argentinean writer Jorge Luis Borges and some of his favourite themes, such as libraries, labyrinths and detective narrative.

Historical and sociological discoveries have contributed decisively in literary criticism. Once the post-colonial entered the academy, issues hitherto forgotten by hegemonic critical studies were brought into question, leading researchers to develop new instruments to deal with these new problems. Therefore, in order to make a contribution in the context of the Community of Portuguese-speaking African Nations, we gathered a few critical studies on the process of colonization. Two structural elements of (post-)colonial African societies resulted of this analysis, in a very clear way: cultural hybridity and social dualism. The identification of these structural elements of Lusophone colonialism allows us to perceive issues still present in Portugal’s former colonies in Africa. In this study, we intend to outline the main points listed by postcolonial critics about these elements, as well as suggest to studies on African literature of Portuguese language a critical path in which hybridity and dualism are analyzed as a legacy of colonization.

This article intends to analyse and interpret the poem “O excesso mais perfeito”, by Portuguese author Ana Luísa Amaral, and the poems “Sonetilho de verão”, “Pomo (de Mínima lírica)” and “Ontologia sumaríssima”, by Brazilian author Paulo Henriques Britto, both of them important poets in the current literary scene of their respective countries. It suggests a reflection on the poetics of the two lusophone artists, based on meta and intertextual dialogue. Strictly, it is intended, in a meta-poetic perspective, to understand the dialogue promoted by these poems, resulting in the production of the new poetry of Ana Luísa Amaral and Paulo Henriques Britto.

Expedient of the issue (vol.4, num. 1, 2011)

Presentation of the issue Dialogues and its interfaces

In this paper, we make a theoretical review about the way in which structural prospects processing approach to understanding arguments and adjuncts. In the psycholinguistic literature, there is a discussion around a possible advantage in processing arguments, reporting an effect of argumental status especially in the analysis of ambiguous sentences. Considering that a parser would not be guided by structural information concerning the argument structure when faced with ambiguous structures, our aim is to show how this approach has dealt with the apparent advantage of arguments over adjuncts.

Nelson Rodrigues's novel "O casamento" (1966) chronicles the 24 hours preceding the marriage of Glorinha, a young woman from the upper middle class of Rio de Janeiro and the youngest daughter of the protagonist Sabino. The owner of a real estate company, prudish, ashamed of his own thinness and a defender of a Christian morality, the father of the bride suffers a break in his daily life without a hitch, of an "indiscriminate cordiality", as the narrator indicates, when, on the eve of the wedding Of the daughter, the gynecologist and friend of the family reveals to Sabino that it caught Teófilo, the groom, kissing his assistant Zé Honório in the mouth. From here on, the conflict of the protagonist begins, in doubt as to whether or not to reveal the truth to the daughter before marriage. Shaken, Sabino has detonated a series of even more disturbing events by releasing pent-up impulses, rescuing old traumas and infantile-juvenile complexes, and indulging in overwhelming sexual fantasies and desires.

Not infrequently the cinema of Glauber Rocha is crossed by images or personages of the popular Brazilian Carnival, mainly the carioca, as it is conceived in the contemporaneity.

The feast - whether religious, national, family or individual - places the being within a community more or less reduced. It can be its own familial and friendly nucleus in this case of a quasi-enlargement of individuality; It may also be the whole society which in its common history celebrates events which have contributed to the formation of its identity-the identity of the nation and of the individual belonging to that same nation. The celebrations will then be so-called "profane" festivals: family meals, birthdays, new year, commemoration ... These religious celebrations are not however devoid of any religiosity. Thus, "the majority of men" without religion "still share pseudo-religions and degraded mythologies. This is not surprising to us, since the profane man is the descendant of homo religiosus and can not annul his own history, that is, the behavior of his religious ancestors, who Have constituted what it is today. "2 The founding acts of individuality and of society seem to be renewed through these different types of celebrations. Marriages and funerals are located on the border between the sacred and the profane, between the individual and the community because they bear witness to a personal commitment of being and faith. In marriage, one surrenders to the other through God; In death, one surrenders totally to God. The work of Milton Hatoum is far from being devoid of religiosity. Indeed, religion and belief hold an important place in the various novels, short stories and tales of the author amazonense. Thus, it offers the reader passages relating festive episodes mixing Amerindian beliefs and Catholic practices - and sometimes Muslim by the Lebanese origin of the protagonists of his Narrative of a certain Orient and Two Brothers. The syncretism formed by this entanglement of beliefs and rites is therefore omnipresent.

Any description seems to draw the reader's attention to the stylistic effects of the verbal coverage of the text itself. Most often, it appears as taxonomy, as the declination of a latent paradigm of words. And the most convenient way to naturalize the insertion of a descriptive in a statement is to delegate the declination of this paradigm to a person who will assume by his looks, this same declension. It is thus that the choice of the object to be described becomes a view, a scene, a picture. However, in A Morte da Porta-Estandarte, by Aníbal Machado, at first sight, the description is the simple local focal point of a carnival lexicon. In this sense movements, sounds, colors, physical and psychological impressions mix together, creating a sythethesic "vocabulary effect" that recreates the atmosphere of the warm, cheerful and noisy days of the carnival of a former Rio. It is in this specific context that the narrative of the crime of passion summarized by the title of the tale takes place.

First regarded as being without faith, the Indigenous people of Brazil were endowed with a God of Tupi origin now famous, Tupan. Tupan has become a reference in terms of indigenous beliefs. Many texts, anthropological or literary, refer to Tupan. After the Independence of Brazil, the Indians are in fashion. They make it possible to create this affiliation to the continent which Brazilians need to get rid of the Portuguese yoke. Indianism is used for the imperial construction project of the State of Dom Pedro II. Attracted by Indigenous autochthony, the Brazilian romantics create native fictional characters to draw a national identity and endow Brazil with a clean and original literature. There is, of course, a major gap between the life of the Indigenous people in the Brazilian territory and the fictional writings that represent them. The use of tupi words and notions in the literature adds to the descriptions of the lush nature of Brazil and are part of a project to build a national literature. The arrival of Tupan in literature fits into this line of creation of a Brazilian national literature.

"Poulailler", a novel by Carlos Batista published in France in 2005, astonishes the reader by presenting some terms in Portuguese in the middle of a text written entirely in French. What, then, is the narrative intention of keeping such words in a language that is minor in relation to the whole of the novel? Would the choice of language play an important role in the enunciative process of the self-digetic narrator?

Lygia Clark, in the early sixties, conceived the works entitled Poetic Shelter and O in is the outside, where "it allows to glimpse its environmental notion and the problematic of the inside / outside, interiority / exteriority of the subject." 2 I believe these notions are Fundamental to think about the landscape in contemporary art. Landscape as a construction of a space-time realized in the interweaving of the inside and the outside, without there being, transference of the subject in the object or vice versa, establishing the double articulation of subject as agent / patient. Nelson Brissac Peixoto in his book "Urban Landscapes" develops the notion of landscape to think contemporary art from the notion of an extended field that "poses the question of location, of the relation of the work to the environment" 3 as opposed to the work of art Modernist "taken as an object closed in on itself and isolated in space". For Brissac Peixoto, the "grid and the clouds - central categories of the critique of contemporary art - establish this broader cut in which the work is inscribed: the landscape." And from his reading of Merleau-Ponty suggests the complexity of the relationship Interior / exterior, that is, that "he who sees is not foreign to the world he looks at. It must be seen from the outside, installed in the midst of things, astonished in the act of considering them from a certain place. "4 The landscape is thus proposed as a way of experiencing space / nature, from an interior that becomes exterior, Landscape as environment, or taking the words of Lygia Clark, as "a poetic shelter where the dwelling is the equivalent of communicating." Dwell to communicate, to establish community - art if you want construction of this common space, a fold that Opens up to a radical otherness. It is in this sense that we intend to think in this brief essay the poetry of Marcos Siscar, a rigorous poet who constructs poems as sculptures, as poetic shelters, as a way of inhabiting the earth. On these issues, Siscar maintains an important dialogue with the French poet and philosopher, Michel Deguy, and it is above all this dialogue that I will try to trace here some relations with the poetry of Siscar.

"Le Sumário das armadas" is a long chronicle (150 pages long) and detailed, which recounts the conquest of the Parahyba3 located to the north of the Captaincy of Itamaracá, on the occasion of which, according to Varnhagen, was played The fate of civilization. It is the only known chronicle that traces a conquest in a country like Brazil where they were numerous, the territorial expansion of the Portuguese settlers having been done at the cost of incessant fighting against the indigenous peoples. Antonio Salema, governor for the South of Brazil between 1574 and 1578, reportedly wrote a book retracing the conquest of Cabo Frio on the Tamoios, but the book, if it existed, has disappeared since the 17th century . We also have many Jesuit letters. But being intended for the edification of the fathers of the Society of Jesus on mission in the world, to which they are read, they give little account of the reality of the facts.

According to a prominent Brazilian literary critic, the truly important poets are those whose poetry says more than it used to say, and if we try to list what Vinicius de Moraes learned about Brazilian poetry (and prose) Certainly we would not see much, not that he had bequeathed nothing to us, on the contrary he did it so well that his language is now present in the language of everyone. I chose Orfeu da Conceição: tragédia carioca2 as a subject of study because of the use of the carnival in a version of the myth of Orpheus. It is a theatrical play in three acts, written in 1954, in the second phase of Brazilian Modernism. Indeed, Vinicius de Moraes had also entered into a more reactive and "committed" moment of his creation, this "commitment" being illustrated in his work by the choice of his themes. Proofreading, reinterpretation of the Greek myth of Orpheus, for example, the author retraces the version of a Brazil somewhat forgotten, if not perceived with a certain amount of discrimination: that of the favelas of Rio de Janeiro. At the time of its publication, Vinicius de Moraes dedicates his story to the Brazilian blacks, which he believes are at the origin of the richness and cultural energy of the country. The originality of the transposition of the myth to the favelas cariocas is all the stronger because the orphic myth Brazilian version uses the carnival as an intermediary between the world of the living and that of the dead.

In the new "Uma Estória de amor - Festa de Manuelzão", by the Brazilian author João Guimarães Rosa, which we will analyze here, the theme of the festival appears from the title. In addition to announcing to the reader that a celebration will take place in the course of history, the author anticipates and specifies that this feast belongs to a person named Manuelzão. Thus, the reader knows only by the title, two elements of extreme importance for the economy of history: its protagonist and its leitmotiv, the feast. Without wishing to reduce the celebration to a psychoanalytic analysis, this celebration seems to represent for the character in question a kind of analysis during which the latter will realize his present condition through the understanding of past events.

Since the advent of the written word, man, throughout history, has sought - with and through it - to translate reality. The colors and pains of the real world served as inspiration for the paper to embrace from the wildest fiction to the most closely related accounts of reason. From the romance between the written word and the real world, therefore, journalism and literature - brothers, warriors and lovers - would be born, whether in an incestuous novel or in opposing camps of the same battle, - the utopian ideal of portraying reality. Along the way, the children of the word, whenever they were about to reach their ideal, gave way to the seduction of subjectivity and fiction. And so, they left behind a trail of stories told that allows us to question whether, when reality no longer fits the space "officially" destined for it, these two warriors will not change places? In this article we intend to demonstrate that journalism and literature are activities that are confused, complement each other and that often change places. This is because, although both work with two elements inherent to the written word, the real and the fictional, while literature freely adopts the subjectivity and fictional character proper of the text - accepting very clearly to work with the imagination - journalism tends, almost Always, to deny them. We will try, therefore, to find the fictional elements present in the journalistic text and the real ones present in the literary, showing that, at various moments, since the appearance of the press in Brazil, writers-journalists have used the space reserved for the fictional to say what - for reasons Political, historical, etc. - did not fit in the space reserved for the real, while at the same time they dared to embellish reality in the newspapers in order to present it more seductive and salable, making it consequently more fictitious. For this question, we will base the newspapers and the literary production of Rio and São Paulo in three specific moments, from the period between 1850 and 1950.

In Dostoevsky's Poetics, Bakhtin presents the carnival, from which he detaches some of the categories, including laughter, polyphony, grotesque or parody as one of the roots of the novel. At the heart of this process of incorporation of the carnival by the novel is a series of binary oppositions that distinguish a formal and serious world from an unofficial and carnivalesque world in which the reversal of values occurs. Carnavalesque thus makes figures of ambivalence its specificity and thus prevents any norm from settling down, any form of fixing itself, in a view contrary to the classical perception of literature where norm and form are guarantors of beauty Artwork. In the novels of our study, Agustina Bessa-Luís' O Concerto dos Flamengos, A Casa da Cabeça de Cavalo by Teolinda Gersão and Lillias Fraser by Hélia Correia3, the principles of referentiality and the effect of reality are then modulated by the prism Of the carnavalesque which causes their deformation: deformation of the character, distortion of the world of the work and deformation of the language.

Expedient  v. 5, n. 1 (2012): Special issue (2012)