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Papers by Pedro Marques
Revista de Educação, 2007
“About Moon’s Influence” helps to understand the short and powerfull work by António Nobre. The p... more “About Moon’s Influence” helps to understand the short and powerfull work by António Nobre. The poem provides readers to think about the specifics components that this poetry admits on the simbolist aesthetic. Its verses still develop with originality a large cliché of occidental lyric: the Moon. The poet uses it to codify the poetic creation, more than a personal look about the natural satellite of Earth. In this way, he operates some typhical technics of Mallarmé and Cruz e Souza styles, to propose several possibilities of readings that don’t need to be harmonious among themselves.
Revista Brasileira da ABL, 2008
This article discusses two notions that have guided the critical debate about Manuel Bandeira: th... more This article discusses two notions that have guided the critical debate about Manuel Bandeira: the trajectory in search of the free verse and common life as poetic material.
Revista do CESP, 2014
The poetic insight is one of the strong features of Brazilian poetry in decades. Even those poets... more The poetic insight is one of the strong features of Brazilian poetry in decades. Even those poets who are not of this lineage, sometimes propose alternatives to it. An insight, as invention of thought or language, arises from any rhetorical figure that causes some change in current language.As a radical action, with value itself, it connects to breaks conducted by the vanguards, in the Brazilian case, modernists and concretists.In quantity and variety of publications, from the funnier to the more philosophical, the poetic insightis the dominant line, their rigorous or facilitators practices prefer the insight as an unit-poetic in place of the poem or book. So here, I try to distinguish the procedure, as cogs in a techniques machine and meanings, from de simple trick, in fact, “idea in mind, keyboard in hands”.
Remate de Males, 2008
Artur Azevedo (1855-1908) is not only a big name in the history of Brazilian theater but also a p... more Artur Azevedo (1855-1908) is not only a big name in the history of Brazilian theater but also a protagonist who plays in other literature fields such as poetry. Surprisingly enough, a very few researchers have demonstrated a real interest in his verses which were extensively published in the press, even so he was a frequent writer of the chapters of our parnasianism history. How, however, this poetry interacts with the poetical particularities of the Brazilian parnasianism? It is exactly that this article begins to answer, emphasizing what I called art of dramatic sonnet.
Revista Diadorim, 2012
The main inflection of the twentieth century Brazilian poetry took place in the 1920s, when the t... more The main inflection of the twentieth century Brazilian poetry took place in the 1920s, when the traditional model, a result of the Romantic age, is countered by trends that sought to destroy the past to build the present. In practice, of course, the writers moved between the two positions, with different procedures but instead of a single statement: nationalism. This essay confronts three poets – Olegário Mariano (1889-1958), Jorge de Lima (1895-1958) and Ascenso Ferreira (1895-1965) – who have proposed solutions that dialogue within this nationalist conflict.
Revista Brasileira da ABL, 2009
site: http://www.academia.org.br As colaborações são solicitadas.
Revista Brasileira da ABL, 2020
O ensaio discute algumas fontes clássicas e orais do poema médio-longo O rio (1954), de João Cabr... more O ensaio discute algumas fontes clássicas e orais do poema médio-longo O rio (1954), de João Cabral de Melo Neto (1920-1999).
Revista InterteXto, 2018
In discussing and practicing traditional versification, Manuel Bandeira (1886-1968) conceives the... more In discussing and practicing traditional versification, Manuel Bandeira (1886-1968) conceives the verse as an artifact of writing which is frank to the conversation. Through the free verse, on the contrary, it looks for remnants of intonation that can support the other poetic expedients, be they rhythmic, imagery or graphical. There is, in a manner of speaking, a pendulum movement between the literary and the verbal pole, each established through from the other. This tenseness between letter and sound, navigating first by the cultured variants rather than the language of the masses, unfurls a series of consequences in the poetry and in the poetic consideration of the poet, hence, being one of its paramount questions
Revista Soletras, 2013
Manuel Bandeira emerges as one of the most influential poets in the context of the Brazilian lit... more Manuel Bandeira emerges as one of the most influential poets in the context of the
Brazilian literature, even without having ever organized a theory for his poetry. Bandeira reverberates in artists, moderates and radicals, starting with the generation that promoted modernism in the 1920s, after the 1930 and 1940 elegiacs, concretists and new concretists in the 1950s and 1960s, up to the present's copious production. His reflections on the poetic labor are scattered in chronicles, essays, memories, letters, and poems; in truth, they record the search for an organic artistic identity, always connected to the central concepts for the lyrical genre in the twentieth century. What guides these meditations of the poet and of the literary scholars is a basic tension between rapture and reasoning in the poetic invention, which, from the Romantic period, enters in the agenda of a large number of poets. The main purpose of this article is this impasse between a certain poetry, more inspired, and a strong focus on formalism. Bandeira is connected to some poetical theoretical postulates of Stéphane Mallarmé, Paul Valéry and Mário de Andrade. Additionally, some relevant interpreters of the poet will be mobilized throughout this discussion, such as Álvaro Lins, Davi Arrigucci Jr, Sérgio Buarque de Holanda and Gilberto Mendonça Telles.
Revista Brasileira da ABL, 2021
Um comentário sobre como o romance "Caminhos Cruzados" (1935), de Érico Veríssimo (1905-1975), so... more Um comentário sobre como o romance "Caminhos Cruzados" (1935), de Érico Veríssimo (1905-1975), solicita uma leitura com sobreposições, simulando aspectos do contraponto musical.
Pessoa Plural - Journal of Fernado Pessoa Studies, 2015
Here we present two unpublished essays by Hubert Jennings about the challenges of translating the... more Here we present two unpublished essays by Hubert Jennings about the challenges of translating the poetry of Fernando Pessoa: the first one of them, brief and fragmentary, is analyzed in the introduction; the second, longer and also covering issues besides translation, is presented in the postscript. Having as a starting point the Pessoan poem “O que me doe” and three translations compared by Hubert Jennings, this presentation examines some aspects of poetic musicality in the Portuguese language: verse measurement, stress dynamics, rhymes, anaphors, and parallelisms. The introduction also discusses how much the English versions of the poem, which are presented by Jennings, recreate (or not) the musical-‐‑poetic dimensions of the original text.
Revista Teoria do Texto Poético, 2016
This article treats the lyrical invention of colonial Brazil with emphasis on some the poetic-rhe... more This article treats the lyrical invention of colonial Brazil with
emphasis on some the poetic-rhetorical conventions that helped to form the
seventeenth-century style. In this analysis, the use of such figures is not
considered baroque eccentricity, or product of the language closed in its own
conceptual and constructive tournaments, something between the
obscurantism and the exhibitionism. The purpose is to inquire how these three
typical figures (sowing and collection, anadiplosis and anaphora) increase the
sonority of the lyric genre defined in terms of musical poetry from its origin.
Remate de Males, 2017
The arcadia lyric mitigates several classical agreements. In the XVIII century, the machinery poe... more The arcadia lyric mitigates several classical agreements. In the XVIII century, the machinery poetic-rhetorical developed from the XVI is reloaded as didactic stylization. There is a covenant among poets and medium public about mythological and intertextual allusions, semantic and constructive figures, rhythms and forms. In another words, the speech pleasant is shared by all those of polite spirit, neither scholar nor silly. Horace’s lesson about blending grace and utility directs the compositions, values the delightful illustration of the listener/reader. Sonnet, canzonet, lira, rondo or madrigal become clear forms of reasoning and scenes, all in a metric language that, chiseled in the writing, work as melody in the oral locution. Therefore the volumes of verses must have unity of speech, argument and matter. The books discussed in this article – Obras by Claudio Manuel da Costa (1768), Marília de Dirceu by Tomás Antônio Gonzaga (1792) and Glaura: poems Erotic by Manuel Inácio da Silva Alvarenga (1799) – cannot be read as collections of poems, but as supports that specify the poetic-musical machine of that time.
Machado de Assis em Linha, 2018
Luiz Gama turns to oratory and the collective performance of verse. It is the interlocutory theat... more Luiz Gama turns to oratory and the collective performance of verse. It is the interlocutory theater, the voice projected into thin air to convince (movere) the audience. Machado de Assis prefers reading and intimate contact with text. It is the personal experience, the message that echoes within the reader for subjective satisfaction ( delectare). Accordingly, versification gains rhetorical plasticity in Gam a and literary stylization in Machado. The former "celebrates with a marimba", the latter takes from the "wind harp the exalted melody". This technical opposition of
listening and reading poetry, guides the article.
Revista de Estudos de Cultura, 2018
Uma Novena de Saques is a poetic experiment in tragicomic language reverberating the ancestral po... more Uma Novena de Saques is a poetic experiment in tragicomic language reverberating the ancestral poverty of the State of Brazil. This set connects colonial huts to contemporary shacks. On the one hand, I update the past ruin; on the other, I make the current disease something anachronistic. Nine plunders from sixteenth, seventeenth, and eighteenth-century oratory texts, all under the protection of the King, the Faith, and the Law.
Revista Morus – Utopia e Renascimento, 2018
Sonantes repugnetos: uma croa roída is at a crossroads of references, as a call for the satirical... more Sonantes repugnetos: uma croa roída is at a crossroads of references, as a call for the satirical genre. The crown of sonnets is a composition of fifteen sonnets numbered, being the final verse of one, the opening verse of the next. The last sonnet is formed by the golden keys of the others, provided that the first one turns its first verse and so on. I subverted part of the rule, the conclusion of a sonnet is not the opening of the other. Here the series link is the titles within the field of the parasites. Parodying, further, the renaissance dialogue and the conventional mirroring between degradation of the human body and the republican body, I added a dramatic rule absent in my predecessors: the civile conversazione, sometimes cooperative, sometimes bellicose, between the Poet figure, whose sermo communis unfolds by the odd quartets and triplets, and the Republic, whose colloquial speech flows by peers. Action and stile, revealed by the conversation, echo, lastly, the intonation of the improvisator challenge, the rapper’s cock, the samba circle. So, I soiled the urban debate to the battle of those who survive to the ancient machine of eating bodies called Brazil.
The Electronic Library, 2020
Este artigo pretende observar algumas confluências entre a canção popular e a canção literária, m... more Este artigo pretende observar algumas confluências entre a canção popular e a canção literária, mediante a análise e comparação do poema “Motivo” (1939), de Cecília Meireles, e sua adaptação para a canção “Eu Canto” (1978), por Raimundo Fagner. A proposta é refletir sobre os elementos necessários para que um poema, originalmente literário, seja musicado e soe como canção popular. Além disso, também será abordado o tema da metapoesia, seus impactos na leitura do poema e na audição da canção.
Fernão: Revista do Núcleo de Estudos e Pesquisas da Literatura do Espírito Santo, 2023
Everyone who writes, reads or listens to a trova, sonnet or concretist experiment follows some li... more Everyone who writes, reads or listens to a trova, sonnet or
concretist experiment follows some literary organization. The rectangle
of the page frames the way in which the linguistic and typographic
contents play with the absent or missing voice. The rules of printed
language submit poetry, which came and still resists orally, to the
aesthetic and material limits of books, for example. This article
discusses how Wilberth Salgueiro (O jogo, Micha e outros sonetos ,
2019), Alckmar Santos (Circenses , 2008), Marcos Siscar (Manual de
flutuação para amadores , 2015) and Pablo Simpson (Mitologias , 2003)
work with poetic forms that seem to test the limits of the page.
Miscelânea: Revista de Literatura e Vida Social, 2024
The Diário Íntimo, by Lima Barreto (1881-1922), will be approached here as a laboratory of short ... more The Diário Íntimo, by Lima Barreto (1881-1922), will be approached here as a laboratory of short stories, chronicles or novels, as a text with literary value in itself and, also, as a historical-biographical document. No notion of truthfulness or lies will be put into dispute, the interest is a certain personality born from a more or less fragmentary narrative. f any identity has something fictional about it, for those around it and even for the individual himself, this human life will also exist for posterity as a psychosocial unit through texts.
Revista de Educação, 2007
“About Moon’s Influence” helps to understand the short and powerfull work by António Nobre. The p... more “About Moon’s Influence” helps to understand the short and powerfull work by António Nobre. The poem provides readers to think about the specifics components that this poetry admits on the simbolist aesthetic. Its verses still develop with originality a large cliché of occidental lyric: the Moon. The poet uses it to codify the poetic creation, more than a personal look about the natural satellite of Earth. In this way, he operates some typhical technics of Mallarmé and Cruz e Souza styles, to propose several possibilities of readings that don’t need to be harmonious among themselves.
Revista Brasileira da ABL, 2008
This article discusses two notions that have guided the critical debate about Manuel Bandeira: th... more This article discusses two notions that have guided the critical debate about Manuel Bandeira: the trajectory in search of the free verse and common life as poetic material.
Revista do CESP, 2014
The poetic insight is one of the strong features of Brazilian poetry in decades. Even those poets... more The poetic insight is one of the strong features of Brazilian poetry in decades. Even those poets who are not of this lineage, sometimes propose alternatives to it. An insight, as invention of thought or language, arises from any rhetorical figure that causes some change in current language.As a radical action, with value itself, it connects to breaks conducted by the vanguards, in the Brazilian case, modernists and concretists.In quantity and variety of publications, from the funnier to the more philosophical, the poetic insightis the dominant line, their rigorous or facilitators practices prefer the insight as an unit-poetic in place of the poem or book. So here, I try to distinguish the procedure, as cogs in a techniques machine and meanings, from de simple trick, in fact, “idea in mind, keyboard in hands”.
Remate de Males, 2008
Artur Azevedo (1855-1908) is not only a big name in the history of Brazilian theater but also a p... more Artur Azevedo (1855-1908) is not only a big name in the history of Brazilian theater but also a protagonist who plays in other literature fields such as poetry. Surprisingly enough, a very few researchers have demonstrated a real interest in his verses which were extensively published in the press, even so he was a frequent writer of the chapters of our parnasianism history. How, however, this poetry interacts with the poetical particularities of the Brazilian parnasianism? It is exactly that this article begins to answer, emphasizing what I called art of dramatic sonnet.
Revista Diadorim, 2012
The main inflection of the twentieth century Brazilian poetry took place in the 1920s, when the t... more The main inflection of the twentieth century Brazilian poetry took place in the 1920s, when the traditional model, a result of the Romantic age, is countered by trends that sought to destroy the past to build the present. In practice, of course, the writers moved between the two positions, with different procedures but instead of a single statement: nationalism. This essay confronts three poets – Olegário Mariano (1889-1958), Jorge de Lima (1895-1958) and Ascenso Ferreira (1895-1965) – who have proposed solutions that dialogue within this nationalist conflict.
Revista Brasileira da ABL, 2009
site: http://www.academia.org.br As colaborações são solicitadas.
Revista Brasileira da ABL, 2020
O ensaio discute algumas fontes clássicas e orais do poema médio-longo O rio (1954), de João Cabr... more O ensaio discute algumas fontes clássicas e orais do poema médio-longo O rio (1954), de João Cabral de Melo Neto (1920-1999).
Revista InterteXto, 2018
In discussing and practicing traditional versification, Manuel Bandeira (1886-1968) conceives the... more In discussing and practicing traditional versification, Manuel Bandeira (1886-1968) conceives the verse as an artifact of writing which is frank to the conversation. Through the free verse, on the contrary, it looks for remnants of intonation that can support the other poetic expedients, be they rhythmic, imagery or graphical. There is, in a manner of speaking, a pendulum movement between the literary and the verbal pole, each established through from the other. This tenseness between letter and sound, navigating first by the cultured variants rather than the language of the masses, unfurls a series of consequences in the poetry and in the poetic consideration of the poet, hence, being one of its paramount questions
Revista Soletras, 2013
Manuel Bandeira emerges as one of the most influential poets in the context of the Brazilian lit... more Manuel Bandeira emerges as one of the most influential poets in the context of the
Brazilian literature, even without having ever organized a theory for his poetry. Bandeira reverberates in artists, moderates and radicals, starting with the generation that promoted modernism in the 1920s, after the 1930 and 1940 elegiacs, concretists and new concretists in the 1950s and 1960s, up to the present's copious production. His reflections on the poetic labor are scattered in chronicles, essays, memories, letters, and poems; in truth, they record the search for an organic artistic identity, always connected to the central concepts for the lyrical genre in the twentieth century. What guides these meditations of the poet and of the literary scholars is a basic tension between rapture and reasoning in the poetic invention, which, from the Romantic period, enters in the agenda of a large number of poets. The main purpose of this article is this impasse between a certain poetry, more inspired, and a strong focus on formalism. Bandeira is connected to some poetical theoretical postulates of Stéphane Mallarmé, Paul Valéry and Mário de Andrade. Additionally, some relevant interpreters of the poet will be mobilized throughout this discussion, such as Álvaro Lins, Davi Arrigucci Jr, Sérgio Buarque de Holanda and Gilberto Mendonça Telles.
Revista Brasileira da ABL, 2021
Um comentário sobre como o romance "Caminhos Cruzados" (1935), de Érico Veríssimo (1905-1975), so... more Um comentário sobre como o romance "Caminhos Cruzados" (1935), de Érico Veríssimo (1905-1975), solicita uma leitura com sobreposições, simulando aspectos do contraponto musical.
Pessoa Plural - Journal of Fernado Pessoa Studies, 2015
Here we present two unpublished essays by Hubert Jennings about the challenges of translating the... more Here we present two unpublished essays by Hubert Jennings about the challenges of translating the poetry of Fernando Pessoa: the first one of them, brief and fragmentary, is analyzed in the introduction; the second, longer and also covering issues besides translation, is presented in the postscript. Having as a starting point the Pessoan poem “O que me doe” and three translations compared by Hubert Jennings, this presentation examines some aspects of poetic musicality in the Portuguese language: verse measurement, stress dynamics, rhymes, anaphors, and parallelisms. The introduction also discusses how much the English versions of the poem, which are presented by Jennings, recreate (or not) the musical-‐‑poetic dimensions of the original text.
Revista Teoria do Texto Poético, 2016
This article treats the lyrical invention of colonial Brazil with emphasis on some the poetic-rhe... more This article treats the lyrical invention of colonial Brazil with
emphasis on some the poetic-rhetorical conventions that helped to form the
seventeenth-century style. In this analysis, the use of such figures is not
considered baroque eccentricity, or product of the language closed in its own
conceptual and constructive tournaments, something between the
obscurantism and the exhibitionism. The purpose is to inquire how these three
typical figures (sowing and collection, anadiplosis and anaphora) increase the
sonority of the lyric genre defined in terms of musical poetry from its origin.
Remate de Males, 2017
The arcadia lyric mitigates several classical agreements. In the XVIII century, the machinery poe... more The arcadia lyric mitigates several classical agreements. In the XVIII century, the machinery poetic-rhetorical developed from the XVI is reloaded as didactic stylization. There is a covenant among poets and medium public about mythological and intertextual allusions, semantic and constructive figures, rhythms and forms. In another words, the speech pleasant is shared by all those of polite spirit, neither scholar nor silly. Horace’s lesson about blending grace and utility directs the compositions, values the delightful illustration of the listener/reader. Sonnet, canzonet, lira, rondo or madrigal become clear forms of reasoning and scenes, all in a metric language that, chiseled in the writing, work as melody in the oral locution. Therefore the volumes of verses must have unity of speech, argument and matter. The books discussed in this article – Obras by Claudio Manuel da Costa (1768), Marília de Dirceu by Tomás Antônio Gonzaga (1792) and Glaura: poems Erotic by Manuel Inácio da Silva Alvarenga (1799) – cannot be read as collections of poems, but as supports that specify the poetic-musical machine of that time.
Machado de Assis em Linha, 2018
Luiz Gama turns to oratory and the collective performance of verse. It is the interlocutory theat... more Luiz Gama turns to oratory and the collective performance of verse. It is the interlocutory theater, the voice projected into thin air to convince (movere) the audience. Machado de Assis prefers reading and intimate contact with text. It is the personal experience, the message that echoes within the reader for subjective satisfaction ( delectare). Accordingly, versification gains rhetorical plasticity in Gam a and literary stylization in Machado. The former "celebrates with a marimba", the latter takes from the "wind harp the exalted melody". This technical opposition of
listening and reading poetry, guides the article.
Revista de Estudos de Cultura, 2018
Uma Novena de Saques is a poetic experiment in tragicomic language reverberating the ancestral po... more Uma Novena de Saques is a poetic experiment in tragicomic language reverberating the ancestral poverty of the State of Brazil. This set connects colonial huts to contemporary shacks. On the one hand, I update the past ruin; on the other, I make the current disease something anachronistic. Nine plunders from sixteenth, seventeenth, and eighteenth-century oratory texts, all under the protection of the King, the Faith, and the Law.
Revista Morus – Utopia e Renascimento, 2018
Sonantes repugnetos: uma croa roída is at a crossroads of references, as a call for the satirical... more Sonantes repugnetos: uma croa roída is at a crossroads of references, as a call for the satirical genre. The crown of sonnets is a composition of fifteen sonnets numbered, being the final verse of one, the opening verse of the next. The last sonnet is formed by the golden keys of the others, provided that the first one turns its first verse and so on. I subverted part of the rule, the conclusion of a sonnet is not the opening of the other. Here the series link is the titles within the field of the parasites. Parodying, further, the renaissance dialogue and the conventional mirroring between degradation of the human body and the republican body, I added a dramatic rule absent in my predecessors: the civile conversazione, sometimes cooperative, sometimes bellicose, between the Poet figure, whose sermo communis unfolds by the odd quartets and triplets, and the Republic, whose colloquial speech flows by peers. Action and stile, revealed by the conversation, echo, lastly, the intonation of the improvisator challenge, the rapper’s cock, the samba circle. So, I soiled the urban debate to the battle of those who survive to the ancient machine of eating bodies called Brazil.
The Electronic Library, 2020
Este artigo pretende observar algumas confluências entre a canção popular e a canção literária, m... more Este artigo pretende observar algumas confluências entre a canção popular e a canção literária, mediante a análise e comparação do poema “Motivo” (1939), de Cecília Meireles, e sua adaptação para a canção “Eu Canto” (1978), por Raimundo Fagner. A proposta é refletir sobre os elementos necessários para que um poema, originalmente literário, seja musicado e soe como canção popular. Além disso, também será abordado o tema da metapoesia, seus impactos na leitura do poema e na audição da canção.
Fernão: Revista do Núcleo de Estudos e Pesquisas da Literatura do Espírito Santo, 2023
Everyone who writes, reads or listens to a trova, sonnet or concretist experiment follows some li... more Everyone who writes, reads or listens to a trova, sonnet or
concretist experiment follows some literary organization. The rectangle
of the page frames the way in which the linguistic and typographic
contents play with the absent or missing voice. The rules of printed
language submit poetry, which came and still resists orally, to the
aesthetic and material limits of books, for example. This article
discusses how Wilberth Salgueiro (O jogo, Micha e outros sonetos ,
2019), Alckmar Santos (Circenses , 2008), Marcos Siscar (Manual de
flutuação para amadores , 2015) and Pablo Simpson (Mitologias , 2003)
work with poetic forms that seem to test the limits of the page.
Miscelânea: Revista de Literatura e Vida Social, 2024
The Diário Íntimo, by Lima Barreto (1881-1922), will be approached here as a laboratory of short ... more The Diário Íntimo, by Lima Barreto (1881-1922), will be approached here as a laboratory of short stories, chronicles or novels, as a text with literary value in itself and, also, as a historical-biographical document. No notion of truthfulness or lies will be put into dispute, the interest is a certain personality born from a more or less fragmentary narrative. f any identity has something fictional about it, for those around it and even for the individual himself, this human life will also exist for posterity as a psychosocial unit through texts.
Ao longo de três décadas de intensa atividade intelectual, o poeta, ficcionista, ensaísta, letris... more Ao longo de três décadas de intensa atividade intelectual, o poeta, ficcionista, ensaísta, letrista, colunista, "fanzineiro" e tradutor Glauco Mattoso (pseudônimo de Pedro José Ferreira da Silva, paulistano de 1951) vem acumulando, entre entrevistas e depoimentos, um número significativo de testemunhos sobre seus mais de mil sonetos, cerca de 20 livros (4 deles inéditos) e uma antologia de próprio punho, Poesia Digesta . Afora esses textos, matérias sobre seu perfil pessoal, e declarações de outros escritores, é ínfima a resposta crítica à sua poesia.
Pessoa Plural―A Journal of Fernando Pessoa Studies, 2015
MARQUES, Pedro, "Jennings on the Trail of Pessoa, or dimensions of poetical music" (2015). Pessoa... more MARQUES, Pedro, "Jennings on the Trail of Pessoa, or dimensions of poetical music" (2015). Pessoa Plural―A Journal of Fernando Pessoa Studies, No. 8, Fall, pp. 327-364. Brown Digital Repository. Brown University Library. https://doi.org/10.7301/Z0X34VP9
Is Part of:
Pessoa Plural―A Journal of Fernando Pessoa Studies, Issue 8
Jennings on the Trail of Pessoa, or dimensions of poetical music
[Jennings na Pegada de Pessoa, ou dimensões da música poética]
https://doi.org/10.7301/Z0X34VP9
ABSTRACT
Here we present two unpublished essays by Hubert Jennings about the challenges of translating the poetry of Fernando Pessoa: the first one of them, brief and fragmentary, is analyzed in the introduction; the second, longer and also covering issues besides translation, is presented in the postscript. Having as a starting point the Pessoan poem "O que me doe" and three translations compared by Hubert Jennings, this presentation examines some aspects of poetic musicality in the Portuguese language: verse measurement, stress dynamics, rhymes, anaphors, and parallelisms. The introduction also discusses how much the English versions of the poem, which are presented by Jennings, recreate (or not) the musical-poetic dimensions of the original text.
RESUMO
Reproduzem-se aqui dois ensaios inéditos de Hubert Jennings sobre os desafios de se traduzir a poesia de Fernando Pessoa: o primeiro deles, breve e fragmentário, é analisado numa introdução; o segundo, mais longo e versando também sobre questões alheias à tradução, é apresentado em postscriptum. A partir do poema pessoano "O que me dói" e de três traduções comparadas por Hubert Jennings, esta apresentação enfoca alguns aspectos da música poética em língua portuguesa: medida do verso, dinâmica dos acentos, rimas, anáforas e paralelismos. A introdução também discute o quanto as versões do poema em língua inglesa, apresentadas por Jennings, refazem (ou não) os níveis músico-poéticos do texto original.
BIBLIOGRAPHY
AZEVEDO, Ricardo (2008). “Região Sudeste”. In: Cultura da terra. São Paulo: Moderna.
BRITTO, Paulo Henriques (2012). “A Tradução de Poesia”. In: A Tradução Literária. Rio de Janeiro: Civilização Brasileira.
CARVALHO, Amorim de (1991). Tratado de Versificação Portuguesa. Coimbra: Livraria Almedina.
ELIOT, T. S. (2004). Obra Completa – Poesia, Vol. I. Edição bilíngue. Tradução, introdução e notas de Ivan Junqueira. São Paulo: Arx.
FERRARI, Patricio & PITTELLA-‐‑LEITE, Carlos (2015). “Four Unpublished English Sonnets (and the Editorial Status of Pessoa'ʹs English Poetry),” in Portuguese Literary & Cultural Studies (PLCS) n. 28, Fernando Pessoa as English Reader and Writer. Dartmouth: Tagus Press, Spring 2015, pp. 227-‐‑246.
FREUD, Sigmund (1987). A Interpretação dos Sonhos, Vol. I [1900]. Tradução da edição inglesa com notas e comentários do editor inglês James Strachey. Rio de Janeiro: Imago.
GAGLIARDI, Caio (2010). “O Problema da Autoria na Teoria Literária: Apagamentos, Retomadas e Revisões”. São Paulo: Estudos Avançados, vol. 24, no. 69.
HUYSMANS, J.-‐‑K. (1987). Às Avessas [1884]. Tradução e estudo crítico de José Paulo Paes. São Paulo: Companhia das Letras.
JENNINGS, Hubert D. (1986). Fernando Pessoa in Durban. Durban: Durban Corporation.
____ (1984). Os Dois Exílios: Fernando Pessoa na África Do Sul. Porto: Centro de Estudos Pessoanos.
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SOUSA, Cruz e (1961). Obra Completa. Organização geral, introdução, notas, cronologia e bibliografia de Andrade Muricy. Rio de Janeiro: Editora José Aguilar.
SPINA, Segismundo (2002). Na Madrugada das Formas Poéticas [1982]. Cotia, SP: Ateliê Editorial.
Palavra Cantada: ensaios sobre poesia, música e voz, 2008
Em “Mallarmé vs. Mário de Andrade: dois assaltos à música”, parto da suposição de que a música po... more Em “Mallarmé vs. Mário de Andrade: dois assaltos à música”, parto da suposição de que a música pode auxiliar a significação e a reinvenção da poesia. Confronto, nesse sentido, dois poetas seduzidos pela arte musical: Stéphane Mallarmé e Mario de Andrade. Pensadores engenhosos da poética, assediam a música para renovar, cada qual a seu contento, a composição de versos em propostas que, ainda hoje, trazem ganhos para a teoria, percepção e apreciação de poesia.
Hidra Vocal - estudos sobre retórica e poética, 2020
Gregório de Matos operou gêneros poéticos sob os rigores do século XVII, distante, portanto, dos ... more Gregório de Matos operou gêneros poéticos sob os rigores do século XVII, distante, portanto, dos atuais critérios de valoração que só começam a ser idealizados a partir do final do XVIII. A tradição crítico-historiográfica brasileira, no entanto, desde o século XIX, tende a ler a poesia colonial segundo os propósitos das análises e não os dos objetos em si. Praticando uma projeção hermenêutica, arremessa nas letras clássicas categorias alienígenas como nacionalismo e individualismo. A tese de João Adolfo Hansen – A Sátira e o engenho: Gregório de Matos e a Bahia do século XVII – defendida em 1988, rompe tal linha interpretativa ao propor a restituição hermenêutica, isto é, a reconstrução da poética seiscentista dentro de categorias históricas e retóricas da própria época. Embora o estudo tenha influenciado de pronto a pesquisa de ponta, trinta anos depois as praticas docentes em níveis superior e médio ainda novelam, por exemplo, um Gregório de Matos de psicologia brasílica avant la lettre. Proponho aqui analisar um único soneto do poeta a partir de preceitos recolocados por João Adolfo Hansen, tais como imitação, engenho, decoro, discrição e discurso retórico. Um exercício para mostrar como seu trabalho inovador pode impactar, em sala de aula, os modos de ler a poesia do período.
Formação docente interdisciplinar: perspectivas linguísticas e literárias, 2013
As Letras na Terra do Brasil: Séculos xvi e xviii: uma introdução, 2022
Algumas chaves poéticas, retóricas e históricas para se ler sátiras dos séculos XVII e XVIII no B... more Algumas chaves poéticas, retóricas e históricas para se ler sátiras dos séculos XVII e XVIII no Brasil Colônia.
Notas de Biblioteca, 2021
O projeto Literatura Brasileira no XXI, parceria do curso de Letras da Unifesp com a SP Leituras,... more O projeto Literatura Brasileira no XXI, parceria do curso de Letras da Unifesp com a SP Leituras, desde o início teve um alvo: encantar leitores para a literatura, principalmente aquela que impacta ou se publica neste século. Que os textos constitutivos do nosso tempo encontrassem os olhos curiosos de toda gente. Dentre as ações imaginadas, a principal a construção de um portal com identidade e dinamismo, começamos a arquitetar oficinas que funcionassem como diálogos entre escritores, professores, pesquisadores, alunos de variados níveis, leitores, enfim, curiosos ou iniciantes na leitura literária.
Universidade Aberta do Brasil (UAB) e Universidade Federal de São Paulo (UNIFESP), 2022
O livro Identidades, territórios e deslocamentos: a perspectiva brasileira consiste no terceiro d... more O livro Identidades, territórios e deslocamentos: a perspectiva brasileira consiste no terceiro de um total de dez volumes da coleção intitulada Literaturas de Língua Portuguesa: Identidades, Territórios e Deslocamentos: Brasil, Moçambique e Portugal, diferentes olhares, publicação adaptada do material didático do curso de pós-graduação lato sensu homônimo, ofertado pela UAB/UNIFESP. O livro é composto por cinco capítulos, no primeiro capítulo discute-se como a língua portuguesa foi um dos fatores decisivos para a implantação do império lusitano ao redor do mundo. No segundo, aborda-se a cultura letrada no Brasil colônia, traçando-se algumas categorias políticas e retóricas fundamentais para se entender esse longo período de produção literária no Brasil. No terceiro capítulo, os autores partem da condição colonial do Brasil e chegam até o país independente, destacando a importância do século XIX para a consolidação do conceito de nacional na literatura. O quarto capítulo aborda a cultura literária no Brasil república, já o quinto e último capítulo convida a pensar a oralidade como fonte da cultura literária brasileira.
Poesia & …: teoria e prática do texto poético, 2022
Os limites estético-materiais do livro impresso submetem a poesia à padrões diversos das práticas... more Os limites estético-materiais do livro impresso submetem a poesia à padrões diversos das práticas orais e coletivas. O retângulo da página é um espaço de escrita, leitura e escuta em que a forma poética joga com seus dados linguísticos e imagéticos. Assim, discuto como Wilberth Salgueiro e Alckmar dos Santos trabalham a página enquanto jogo poético. Testando formas como sonetos e décimas, eles pressionam o cercadinho gráfico mimetizando o futebol e o circo.