Language and Freedom Guimaraes Rosa against the impositions of Portuguese normative grammar (original) (raw)
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.
“PAPÉIS DA PRISÃO” , DE LUANDINO VIEIRA: A ESCRITA DE SI NO SÉCULO DA VIOLÊNCIA
“PAPÉIS DA PRISÃO” , DE LUANDINO VIEIRA: A ESCRITA DE SI NO SÉCULO DA VIOLÊNCIA, 2022
no seio da comunidade de língua portuguesa (para não dizer comunidade lusófona), criando imposições, intimidações, discriminações e silêncios. • Edmira Manuel faz uma análise exploratória da obra poética Rua da Insónia (2013), de João Tala, e acomoda o seu discurso na utilidade da escrita que considera ser a reconstrução do eu através dos questionamentos e das formulações racionalizadas. • José dos Remédios descortina o enredo da narrativa dos desafectos, No Verso da Cicatriz (2021), e explicita como Bento Baloi, autor da obra, a partir da guerra e das intolerâncias religiosa, étnica, cultural e política, desconstrói a utopia no sentido proposto por Thomas More. • Job Sipitali procede a uma interpretação crítica da Colectânea do Conto Infantil Angolano Boneca de Pano (2006), tendo em conta seus valores e contravalores, evidenciando os aspectos mais salientes relacionados com a praxis da linguagem primária e não primária na obra em questão. • José Manuel, servindo-se da fonoestilística, analisa, nesta perspectiva, a obra poética de Denise Kangandala, Arquipélago Sonoro (2021), um poemário no qual a natureza e a Fonologia se cruzam, dando lugar a um estilo centrado nos ecos e gerúndios, nas alite-rações, rimas, interjeições e anáforas. • Estêvão Ludi, no âmbito da semiose literária, destaca um conjunto de construções, imagens e/ou realidades linguísticas disfémicas que se verificam na obra Com Quem me Casei? (2020), de Reinira28, que procurou demonstrar que as palavras podem ser acomodadas fora do seu signo original, propiciando outros sentidos. • David Calivala faz um enquadramento de O Homem que Plantava Aves (2018), de Gociante Patissa, baseando-se na compartimentação da literatura tradicional angolana proposta por Héli Chatelain, e prende sua interpretação nos aspectos didácticos e nos aspectos positivos do perfil psicológico do protagonista bem como na dimensão proverbial do conto em análise. • Destino Ventura, por sua vez, serve-se do ponto arquimédico articulado por Arquimedes para colocar no plano do dialogismo literário as obras Enviesada Rosa (2017) e Insurreição dos Signos (2018), de Hélder Simbad, e Evangelho Bantu (2019), de Kalunga, buscando perceber, mediante uma análise racional, dialéctica, científica, filosófica e crítica até que ponto a intertextualidade observada nessas obras pode se constituir em uma grande maka. RE VI STA AN GO LANA DE CRÍ TICA LITE RÁRI A leitura, aguardando futuros comentários, debates, argumentos e contra-argumentos em torno do conteúdo aqui existente. É um até já, porque em breve estaremos de volta com novidades que só cabem nesta imensa, densa e frutífera floresta de crítica literária que se chama MAYOMBE.
GUIMARÃES ROSA: THE STREAMMING MATTER OF NARRATIVE 1
Spanish & Portuguese Department - Yale, 2016
Beyond any dichotomy of regional vs. universal, the work of Brazilian writer Guimarães Rosa moves towards an understanding of life as becoming. Not only human life, but also other ways of becoming (such as woman-, animal-, child-, mad-becoming). More then narrating sheer facts, more than just telling stories, Guimarães Rosa’s narrators want to understand the “streaming matter” (“a matéria vertente”) of events, the flowing of life as a ceaseless movement. Thus, Guimarães Rosa’s narrative depends on the way it articulates points-of-view (according to the Deleuzian concept of “point de vue” in his reading of Leibniz). In this brief report of a Seminar held recently at Rio de Janeiro, I want to sketch some paths to move across Guimarães Rosa’s novels and short stories, according to some concepts of Bergson’s and Deleuze’s philosophies.
Cadernos de Tradução
http://dx.doi.org/10.5007/2175-7968.2017v37n1p65Enquanto enquadramento conceptual para estudar as chamadas literaturas pós-coloniais, a tradução constitui um paradigma crítico complexo que abre inúmeros caminhos teóricos a partir de onde ler e situar as representações literárias sob uma perspetiva global. No que concerne ao que pode ser definido como literaturas africanas eurófonas (Zabus, 2007), o conceito de tradução oferece a possibilidade de problematizar diversas questões críticas, em particular as que dizem respeito à “diferença cultural” (Bhabha, 1994) e, por isso, à “materialização [textual] do outro” (Ahmed, 2000). Neste sentido, a tradução torna-se um conceito operativo não apenas para uma hermenêutica textual, mas também para uma reflexão epistemológica mais ampla, permitindo discutir os paradigmas que caracterizam a receção crítica do romance africano e, portanto, o próprio campo da crítica literária africana. Através da análise de autores e textos provenientes das chama...
Multiple Rumors: Recado and Conconversa in João Guimarães Rosa’s Fiction
Luso-Brazilian Review, 2016
This article aims to contribute to a renewed vocabulary in literary analysis, in particular with relation to studies focused on translation, multilingualism, oral cultures, and sound studies in fictional prose. Through an analysis of João Guimarães Rosa’s novella “O recado do morro” (1956), the study suggests the inclusion of two untranslatable words: recado and conconversa. The former, a Portuguese word that means “message,” “rumor,” and “warning,” simultaneously, refers to an imagined pre-babelic moment when nature “speaks.” The latter refers to a post-babelic moment, when the multiplicity of languages converses through translation in search of a shared meaning among linguistic differences.
Adapting, Directing and Performing New Portuguese Letters
2017
This Master thesis describes the creative work The Three Marias, a theatre play based on the Portuguese feminist book, New Portuguese Letters, by Maria Isabel Barreno, Maria Teresa Horta and Maria Velho da Costa. This work is about three different creations: writing, directing, and performing. I also tried to explain the different choices I made, and the aims that I wanted to achieve. In this process I paid special attention to giving my own voice to women symbolic silence.
Presentation Diadorim Voices and writing in the different spaces of the Portuguese language
Revista Diadorim, 2020
In compliance with the Capes-PrInt Project's agenda, we bring our readers another volume from Diadorim Voices and writing in the different spaces of the Portuguese language. In this edition, in addition to an interview, we have the pleasure of having 05 articles about language studies: 05 about African Literatures, 02 about Brazilian Literature and 01 about Portuguese Literature. The contributions came from several national (
Brazilian English: uma antropofagia línguo-cultural
Entrepalavras, 2013
Resumo: O presente artigo tem como objetivo indicar, a partir da metáfora antropofágica oswaldiana, algumas reflexões a respeito do inglês como língua franca (ILF), e da eclosão do Brazilian English como resultante dos usos linguísticos operados no contexto local. Através dessa perspectiva, o artigo propõe uma discussão baseada nas noções de interculturalidade, falante intercultural e da relação estabelecida entre a língua-cultura materna e a língua-cultura alvo. Assim, estabelecendo uma interlocução com os aspectos socioculturais no processo de comunicação do inglês, propomos uma visão dessacralizada da língua, a partir de exemplos no uso do ILF, relacionados à inglesidade produzida no Brasil. Assim, com o reconhecimento dessa produção linguístico-cultural, este trabalho empreende uma reflexão acerca de uso linguístico, contexto de produção e expressão identitária na língua alvo.
2020
This paper focuses on revisiting the History of Translation in Brazil and Portugal in the 19th century from a feminist perspective. It aims at contributing to shaping a Comparative History of Translation carried out by and for women in both countries. To this end, we focus on Lusophone written culture and on the differences among Portuguese and Brazilian women's translation experiences in the 1800s. This paper addresses both individualizing and differentiating comparative history methodologies. Whereas the former methodology focuses on what is characteristic and distinctive in the history of women translators in Brazil and Portugal, the latter is revealed by categories of historical analysis, namely: religion, colonialism, and the education of women. We go on to show that, in Comparative Translation History, both methods of analysis underscore the significant role played by women as agents of translation, while also highlighting the singularities of the individual histories of Portuguese-speaking women translators in Brazil and Portugal. Resumo:Este artigo concentra-se em re-analisar a História da Tradução no Brasil e em Portugal no século XIX pelo viés feminista. Ele tem por base a construção de uma História Comparada da Tradução realizada por mulheres e para mulheres nos dois países. Para tanto, concentramo-nos na cultura escrita no mundo lusófono e nas diferenças das experiências femininas portuguesa e brasileira no oitocentos no que tange à tradução. Demonstramos neste trabalho tanto a história comparada individualizadora quanto a história comparada diferenciadora. Enquanto a primeira metodologia enfoca aquilo que é característico e particular na história das mulheres no Brasil e em Portugal como tradutoras, a segunda revela-se em variantes de análise da história, a saber: a religião, o colonialismo e a educação feminina. Em ambas as metodologias de análise da História Comparada da Tradução ressalta-se o papel importante das mulheres como agentes de tradução, mas também as singularidades de cada história das tradutoras lusófonas no Brasil e em Portugal. Palavras-chaves: Tradutoras, História da Tradução, Feminismo, Brasil, Portugal