350 research outputs found
Memory, Conflict & Commerce in Early Modern Europe
No full textThis is a solid and compelling collection of articles dedicated to the themes of conflict, memory and language in early modern English theatre and poetry. Shakespeare is the main focus of most of the papers, but there are welcome deviations from this rule, either as complements to the discussion (usually other early modern dramatists, who are dealt with in varying degrees of detail) or as independent objects of investigation (John Donne’s poetry in Margaret Edson’s Wit).
In the two essays having more directly to do with memory, “Memory of Tragedy” and “This is my play’s last scene”, memory is illuminatingly exercised from different temporal positions, in one case as the early modern memory of tragedy and in the other as the contemporary moment’s memory of early modern poetry. However, in “Memory of Tragedy”, some additional bibliographical support would be welcome. The use of the concept of memory, which is central to the article, would benefit from explicit grounding in cultural or collective memory studies. The article could also be improved by a conclusion bringing together, under the theme of the memory of tragedy, the several variants of tragedy discussed throughout the paper. “This is my play’s last scene”, which also deals, though more implicitly, with forms of memory, is an engaging and compelling essay about the central role played by John Donne’s poetry in a contemporary play, Margaret Edson’s Wit. The close attention devoted to poetic detail, which is itself a theme in Wit, neatly brings out the relations between Donne’s poetry and Edson’s play, while linking this paper to the remaining ones.
Whereas “Memory of Tragedy” discusses issues of genre, “As You (Don’t) Like It” focuses on plotting. By means of a structural analysis of central aspects of the plots of As You Like It, King Lear and Hamlet, the author proposes a convincing account of the importance of heterotopic spaces in the movement towards the restitution of order in all three plays. The shift from As You Like It, where an effective restoration does occur, to the two tragedies, where this restoration is complicated and eventually cancelled by contingency, is itself historicised as a general transition from “‘cyclical-temporal’ myth-making into ‘discrete-linear’ plot-making” (Lotman).
A common link between these papers is the attention devoted to language and form. This focus is attained not at the cost of history, but rather in close connection with it. In its attention to issues of poetic language, this collection of articles strikes a welcome note in a field which, in recent times, has frequently disparaged attention to form as mere formalism. The importance of analysing the language of these texts in detail is especially borne out in the remaining three articles of this collection. “NEW LANGUAGES” is a fascinating, and bibliographically supported, discussion of the transformations undergone in the use of rhetoric during the early modern period, as exemplified in and mapped out by a number of history plays from this time. The relations between rhetoric, truth, value and power are brought out through a persuasive discussion of specific moments from Shakespeare’s Second Tetralogy as well as from John Ford’s Perkin Warbeck. “The Insults of The Merchant of Venice”, on the other hand, makes a forceful and amply demonstrated case for understanding insults in The Merchant of Venice as profoundly and disturbingly different from other, more playful types of insults in the Shakespearean canon. This article needs some editing (especially because of incomplete references) and matters of style should occasionally be attended to, namely in the first paragraph (the phrase “I started a paper” is used several times without variation). In section 3, the paragraph containing the final sequence of words as well as their dictionary meanings may perhaps be tightened in terms of its structure. Although these words and their meanings are all motivated by the central connection which is made between insults and rating, their brief appearance in quick succession seems occasionally gratuitous. The final article in this collection, “With all my Heart”, also focuses on The Merchant of Venice. In what is an admirably pursued and amply footnoted source study, the author reconsiders the motif of the pound of flesh in The Merchant of Venice, and more specifically of Antonio’s heart, by bringing out its double-edged signification. This contextual approach moreover benefits from being carried out through a close analysis of emblem books and accounts of public executions in early modern England, while also paying attention to other, more canonically established narrative sources
Personal Helicon
No full text“Personal Helicon,” by Seamus Heaney. Translated by Millôr Fernandes and Rui Carvalho Homem.“Personal Helicon,” by Seamus Heaney. Translated by Millôr Fernandes and Rui Carvalho Homem
Memory, Conflict & Commerce in Early Modern Europe: An Introduction
No full textModels of civic and cultural excellence have constantly been associated with early modern Europe and the European Renaissance continues to be regarded as a paragon of intellectual unity and integrity. The notion of model and paragon involves praise and a desire for emulation, regardless of whether the values associated with them remain ideal or are carried out. How early modern intellectuals approached theory and praxis, how they discussed power and beauty, truth and cunning, wars and alliances, how they thought their country should position itself in the European geopolitical atlas still appeals to the contemporary mind. Understanding the reasons for the permanence of the model and paragon, their significance in our age and their relevance to present-day conjectures about a common worldwide society is the aim of this study
A pausada contemporaneidade de Rui Pires Cabral
Get PDFDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2013.Neste trabalho, apresento uma discussão sobre ritmo poético a partir daobra de Rui Pires Cabral. O corpus da pesquisa constitui-se por poemaspertencentes às duas versões do livro A super-realidade (1995; 2011) eao livro Longe da aldeia (2005). O principal objetivo do trabalho écompreender como a relação entre o sujeito poético e acontemporaneidade se desenvolve formalmente na poesia desse autorque opta pelo uso do verso livre, o que possibilita variadas leiturasrítmicas a cada poema. Para tanto, articulo um breve histórico sobreparte da poesia portuguesa contemporânea, acompanhado da reflexãoacerca de alguns conceitos formais mobilizados em tal obra a fim deentender como o ritmo poético contribui para materializar essa relação. Abstract : In this study, I present a discussion about poetic rhythm from the workof Rui Pires Cabral. The research corpus is constituted by poemsbelonging to the two versions of the book A super-realidade (1995;2011) and the book Longe da aldeia (2005). The main objective of thisstudy is to understand how the relationship between the poetic subjectand the contemporaneity formally develops in the poetry of this authorwho opts for the use of free verse, which enables different rhythmicreadings of each poem. Therefore, I articulate a brief history about thecontemporary Portuguese poetry, accompanied by a very general look ofsome formal concepts mobilized in such work in order to understandhow the poetic rhythm contributes to materialize this relationship
The Ethnographer´s Eye: Vision, Filmic Narration and Poetic Imagery in Contemporary Anthropology
No full textConfiguração do outro em si na "Experiência n.2", de Flávio de Carvalho
Get PDFDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2015.Esta dissertação faz uma leitura detalhada do texto da ?Experiência N.2? de Flávio de Carvalho com o objetivo de problematizar a sua realização e a sua narração para além da mera constatação de ser ela a primeira performance no Brasil. Na busca desse objetivo, a premissa metodológica, desenvolvida no capítulo de introdução, é a da aproximação entre a performance e a autobiografia. Essa aproximação possibilita uma metodologia de leitura de figurações e desfigurações, nem totalmente referenciais nem totalmente ficcionais, de Flávio de Carvalho na realização e no relato de sua experiência. A primeira figuração encontrada é a antropofágica, a partir, principalmente, da escolha de uma procissão de Corpus Christi para realização da experiência. A segunda figuração é a megalomaníaca e narcisista, percebida na subjetivação masculina e agônica no início do relato da procissão e na elaboração de conceitos imaginários como os de complexo de onipotência e de seleção natural inconsciente. A terceira figuração é a da transgressão lida, através dos textos de Georges Bataille e Jacques Lacan, como um jogo entre potência e impotência no embate com a procissão através do uso do chapéu. Por fim, a quarta figuração, a configuração do outro em si, é lida como a experiência por Flávio de Carvalho de uma abertura aos outros através da visão do seu duplo e da alucinação do desmanchar do seu corpo inteiro.Abstract : This thesis provides a close-reading of ?Experiência N.2? from Flávio de Carvalho; intended to problematize its realization and narration beyond the mere verification that it was the first performance held in Brazil. During the pursuit for this goal, the methodological premise - developed in the introductory chapter - is of approximation between performance and autobiography. Such approximation enables a reading methodology of figuration and disfiguration - not completely referential nor completely fictional -, of Flávio de Carvalho, in the realization and in the account of his experience. The first figuration is the anthropophagical one; mainly from choosing a Corpus Christi procession to conduct the experience. The second one is the megalomaniac and narcissistic; perceived in male subjetification and agonizing both in the beginning of the procession account and in the elaboration of imaginary concepts, such as omnipotence complex and unwitting natural selection. The third figuration is the transgression, read - through George Battaile?s and Jacques Lacan?s texts - as a game between potency and impotency in the clash with the procession - ocassioned by the wear of a hat. Lastly, the fourth figuration - the configuration of the other in oneself - is read as Flávio de Carvalho?s experience of an opening to others through the view of his double and the hallucination of his own body tearing down
Ekphrasis as Portrait: A. S. Byatt’s Fictional and Visual Doppelgänger
No full textEkphrasis is a highly codified conceptual site which hosts enquiries into logo-centrism, aesthetic autonomy, and the interplay of description and narration. Post-modern ekphrasis reveals mutations of the structural and thematic constants which have been constitutive since antiquity. With A.S. Byatt ekphrasis challenges the tradition of the painterly and of the literary portrait. She recuperates the rhetorical and literary ekphrastic tradition in order to shift the emphasis from the ‘content of ekphrasis’ to ‘ekphrasis as container.’ Portraits in Fiction bears witness to my contention that the question post-modern writers pose is no longer what can be in ekphrasis? but what can ekphrasis be? The critical discourse on visual and verbal modes of portraying developed in Portraits in Fiction demonstrates that ekphrasis is both a container and a maker of visual images, meta-artistic inquiry, logo-centrism and, more intriguingly, narration
Tese de doutoramento "Discursos e reflexividade: um estudo sobre a musealização da arte contemporânea"
No full text© Ana Carvalho Noronha, Elisa (2013). Discursos e reflexividade: um estudo sobre a musealização da arte contemporânea. Tese de doutoramento em Museologia, Universidade do Porto. Júri: Alice Semedo (orientadora), Raquel Henriques da Silva (arguente), Maria Bolaños (arguente) e Rui Homem (Presidente). Tese defendida a 31 de Maio de 2013. **** Resumo: Esta dissertação desenvolve um estudo sobre o museu de arte contemporânea, mais especificamente sobre a musealização da arte contemporânea, aborda..
Tese de doutoramento "Discursos e reflexividade: um estudo sobre a musealização da arte contemporânea"
No full text© Ana Carvalho Noronha, Elisa (2013). Discursos e reflexividade: um estudo sobre a musealização da arte contemporânea. Tese de doutoramento em Museologia, Universidade do Porto. Júri: Alice Semedo (orientadora), Raquel Henriques da Silva (arguente), Maria Bolaños (arguente) e Rui Homem (Presidente). Tese defendida a 31 de Maio de 2013. **** Resumo: Esta dissertação desenvolve um estudo sobre o museu de arte contemporânea, mais especificamente sobre a musealização da arte contemporânea, aborda..
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