OS SIMBOLISTAS MINEIROS E O MAL DE ARQUIVO (original) (raw)
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REVEC: Revista de Estudos de Cultura, 2022
The purpose of this essay is to resolve an apparent contradiction in the critical reception of the epic poem Invenção de Orfeu, by the preeminent Brazilian poet Jorge de Lima (1893-1953). The poet, according to his own account, had two principal aims in writing the poem: firstly, to effect a radical regeneration of poetry and poetics in order to renew religious and specifically Catholic values, in modern society, and secondly to modernise the classical and Renaissance epic genre, in its original Aristotelian sense, within the contexts of the twentieth century and the modern era. However, the critical scholarship concerning Invenção de Orfeu expresses the opposite view, that the work comprises a compendium of apparently unconnected and disassociated ideas, genres, textual fragments and poetic figures of all kinds, with no discernible sequence, and no thematic core. My aim, therefore, is to demonstrate the status of Invenção de Orfeu as a unified entity, with reference to Jorge de Lima's single motive, repeatedly stated for composing his epic: to expound the principal tenets of the Catholic faith and "restore poetry in Christ". I will use theory drawn from recent scholarship on theology and literature to illustrate the compositional structures underpinning the poem: firstly the one "root-metaphor" of the holy Trinity and Jesus Christ as the divine Logos, a concept on which all the verse in Invenção de Orfeu is based; secondly, the reintegration of "chains of memory" in order to re-establish a lineage of religious belief in a secularised world. Both of these principles, however, are realised through a poetics whose "invention" comprises a dynamic and multi-dimensional process of recreation and re-composition of language by the poet. To illustrate, I will examine two particular features of Invenção de Orfeu, which, as I argue, transform Invenção de Orfeu into a thematic and stylistic unity. Firstly, the intertextuality inherent to the work: the appropriation and adaptation of classical and Renaissance epic texts interwoven in dense and intricate ways with Jorge de Lima's own creation, to create a palimpsestic text. Secondly, the process of symbolisation, that is, the creation of symbols by the poet to generate a network of links, connections and relations within the language of the poem, which serve to render the text as one cohesive and integrated whole.
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Revista Crioula, 2009
RESUMO: O objetivo deste artigo é introduzir a coleção carioca Frenesi, procurando demonstrar não só as afinidades entre as vozes dos cinco poetas que a compõem, mas, especialmente, suas particularidades.
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The painter Aurélio de Figueiredo (1854-1916) left work with a significant historical theme, among which stands out the one produced in the dusk of the Empire and dawn of the Republic. During this period, he produced a large painting, now in the Public Library of Amazonas, entitled: A Redenção do Amazonas. In it, historical and allegorical characters exult the rise of the Amazon in the nascent Brazilian republic, as one of the states that was distinguished by the strength of its nature, the richness of its trade, and the pioneering spirit of eradicating slavery. Such a narrative, cradled by the indisputable presence of the cultural values represented by the muses, could not fail to represent music in full lyrical-poetic action. This article discusses the role of this expression in the composition of the pictorial work.