Language and Freedom Guimaraes Rosa against the impositions of Portuguese normative grammar (original) (raw)
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This% paper% aims% to% research% how% intercultural% exchanges% contributed% for% the% development% of% the% short% story% in% Portugal,% notably% to% consider% interference% especially% by% English<language% literary% systems% through% the% indirect% channel% of% translation.%%For%this%purpose,%it%focuses%on%the%external%history%of%the%translation%into% Portuguese% of% the% short% story% in% English,% taking% its% publication% in% anthologies% as% a% form%of%creative%rewriting,%adaptation%or%manipulation,%as%André%Lefevere%put%it.% The%purpose%of%this%paper%is%twofold:%firstly,%it%provides%answers%to%questions%such%as% whose,% which,% when,% where,% by% whom,% why% and% how% short% stories% in% English% were% selected,%translated%and%presented%to%the%Portuguese%reader.%The%cartography%of%such% a%territory%is%based%on%the%presentation%and%analysis%of%a%selection%of%data%(available% at%the%Portuguese%National%Library%archives)%regarding%the%introduction%of%the%short% story%in%English%through%translations%published%in%anthologies.%Secondly,%resorting%to% Gérard% Genette's% definition% of% peritext,% i.e.% paratextual% elements% pertaining% to% the% book,% this% paper% analyses% the% role% played% by% peritextual% discourses% in% a% selection% of% anthologies.% This% analysis% is% expected% to% yield% insights% into% how% such% anthologies% introduced%the%short%story%in%English%to%a%public%reading%it%in%Portuguese%version.% ) )
The Initials of João Guimarães Rosa in Tutaméia's Stories
2012
Some of Tutaméia’s stories interrupt the alphabetical order of the reading indices with the initials of the author. This paper deals with the inscription of João Guimarães Rosa’s initials in the reading index of Tutaméia: terceiras estórias, especially concerning the stories titled: “João Porém, o criador de perus” (João Porém, the turkey breeder), “Grande Gedeão” and “Reminisção”. We take as theoretical basis, primarily, texts about the concept of author, signed by theorists such as Barthes, Foucault and Weimann. Our starting point was the theoretical assumption of author the story deals with, considered in a non-self-evident way. Tutameia’s stories can be thought, according with the functions, that it has historically assumed and whose operationallity can be thought of as concepts of modern art. The modern consciousness implies the questioning of the unity of this subject and requires an examination thereof through the stories’ lyricism and irony. The first preface of Tutaméia, “Aletria e hermenêutica,” enters this debate of the literature through the fictional being of the story. This decentralizes the subject of scripture and imparts their invention mechanisms to the communitarian narrative categories that produce “supersense”. In Tutaméia, the emphasis on the mechanisms of nonsense and irony makes the form empty of classical and realistic standardization of representation. This is rooted in unitarian principles of a superior sensory order and meanings adequate to them. Irony and nonsense dissolve away any sense of the author. Irony dissolves meanings unified in the authorized perspective of an author. The order of the reading indices is interrupted by the initials of the author (J.G.R.), thus assuming the position of unpredictable name and unpredictable being which extrapolate the ambit of representation. We propose to study, from a theoretical perspective relative to the concept of author, the stories that inscribe the initials of the author in the fiction of the order represented in the reading indices of Tutaméia.
The role of women in the history of portuguese grammar in the early 20th century
2018
The first Portuguese woman to publish a grammar of Portuguese was Francisca de Chantal Alvares, author of the Breve Compendio da Grammatica Portugueza (1786). It would take more than a century for other Portuguese women to publish grammars. This is the case of Berta Valente de Almeida, who, at the beginning of the twentieth century, stood out in the circles of grammar production, given that her works on Portuguese and Latin grammar were officially approved by the Government. At this time, Virginia Gersao also published A Gramatica das Criancinhas, a work praised by the illustrious philologist Carolina Michaelis de Vasconcelos. Based on the latter two authors, it is our intention to explore the historical context in which they lived, emphasizing the linguistic and historiographic importance of the Gramatica Pratica e muito elementar da Lingua Portuguesa (1916) and A Gramatica das Criancinhas (1921).
Teaching Crossroads – 11th Erasmus Week, 2016
Portugal has proudly presented herself to the world as the oldest monolingual country in Europe, where only one language had been spoken since immemorial times. This assertion consisted of an important means of national identity (Ferreira, 2002, p. 65), enhanced by the Portuguese dictatorship in the 20 th century, which comes to explain international amazement when the acknowledgement of Mirandese as the second official language took place with the law no. 7/99, just at the very end of the first millennium. In fact, the language that takes its name from the region where it is spoken – Miranda do Douro –, dates back to the 6 th century, even before the birth of Portuguese nationality, and stems directly from Latin via Asturian-Leonose branch of languages, bearing resemblances with the currently surviving languages, as well as with Portuguese, until it was finally " discovered " by José Leite de Vasconcellos in 1882. Mirandese has been given a new lease of life by means of the translation into Mirandese of canonical and liturgical literature, the production of prose, poetry and theatre in Mirandese, as well as the compilation of traditional oral literature. It is then our aim to provide a thorough historical perspective of Mirandese and elicit its identity, along with
National identity discourse has proliferated since the nineteenth-century, and this has been reflected in the construction and analysis of portugalidade as Portugal has undergone significant historical and social transformations. This discourse has developed within Portuguese imagology and is consistently based upon the central imagery of the Discoveries. Although there have been changes intended to either support or question the ruling elite, the imperial motif has remained throughout. The end of the Estado Novo and the Portuguese empire means that former identity discourse must be reappraised in an attempt to construct a post-imperial identity. However, even as these notions have come to be deconstructed through the use of irony and parody in postmodern literature, the centrality of the imagery of the Discoveries endures. This is particularly evident in Mário de Carvalho’s 2003 novel Fantasia para dois Coronéis e uma Piscina, where he uses metafictive techniques to analyse contemporary portugalidade. His construction of various characters parodies Portuguese imagology in order to question its legitimacy, as well as portraying the importance of agency within identity discourse through his manipulation of the reader using subversion. This emphasises the necessity of the deconstruction of portugalidade in order to fully understand its contemporary relevance.
The Point of View of João Porém
Some of Tutaméia’s stories interrupt the alphabetical order of the reading indices with the initials of the author. This paper deals with the inscription of João Guimarães Rosa’s initials in the reading index of Tutaméia: terceiras estórias, especially concerning the stories titled: “João Porém, o criador de perus” (João Porém, the turkey breeder), “Grande Gedeão” and “Reminisção”. We take as theoretical basis, primarily, texts about the concept of author, signed by theorists such as Barthes, Foucault and Weimann. Our starting point was the theoretical assumption of author the story deals with, considered in a non-self-evident way. Tutameia’s stories can be thought, according with the functions, that it has historically assumed and whose operationallity can be thought of as concepts of modern art. The modern consciousness implies the questioning of the unity of this subject and requires an examination thereof through the stories’ lyricism and irony. The first preface of Tutaméia, “Aletria e hermenêutica,” enters this debate of the literature through the fictional being of the story. This decentralizes the subject of scripture and imparts their invention mechanisms to the communitarian narrative categories that produce “supersense”. In Tutaméia, the emphasis on the mechanisms of nonsense and irony makes the form empty of classical and realistic standardization of representation. This is rooted in unitarian principles of a superior sensory order and meanings adequate to them. Irony and nonsense dissolve away any sense of the author. Irony dissolves meanings unified in the authorized perspective of an author. The order of the reading indices is interrupted by the initials of the author (J.G.R.), thus assuming the position of unpredictable name and unpredictable being which extrapolate the ambit of representation. We propose to study, from a theoretical perspective relative to the concept of author, the stories that inscribe the initials of the author in the fiction of the order represented in the reading indices of Tutaméia.
Edição Regular Temática: Moving Bodies Across Transland, v. 37, n. 1 (2017) , 2017
Translation as a conceptual framework for the study of the so-called Postcolonial Literatures represents a complex critical paradigm that opens up a number of theoretical paths with which to read and place literary representations within a global perspective. Regarding what can be defined as African Europhone Literatures (Zabus, 2007), the concept of translation offers the possibility of problematizing several critical issues, particularly those relating to questions of “cultural difference” (Bhabha, 1994) and, thus, the textual “embodiment of the other” (Ahmed, 2000). In this respect, translation becomes an operational concept not only for a textual hermeneutic, but also for a wider epistemological reflection, allowing for a discussion of paradigms that characterize the critical reception of the African novel, and therefore the very field of African literary criticism. Through the exploration of authors and texts from the so-called Lusophone African Literatures, this article aims to draw a critical journey that highlights the theoretical possibilities that the concept of translation can offer, in order to address literary representations as crucial “epistemological experiences” (García Canclini, 2012, 50) with which to read and understand changes, challenges and transformations of our time.