O presente ensaio estuda as mudanças estilísticas e narratológicas do “ciclo do boi”, gênero que inclui narrativas orais como Rabicho da Geralda e as narrativas cordelistas escritas como O Boi Misterioso, de Leandro Gomes de Barros.
Este artigo apresenta o Réquiem a uma Amiga (tradução no final do artigo) com algumas reflexões ensaísticas sobre o lugar desse poema na obra do poeta R. M. Rilke. Iniciaremos com observações biográficas (os encontros do poeta com a escultora Clara Westhoff e sua amiga Paula em Paris em 1900) que ocasionaram o estudo da pintura de paisagem e um pequeno livro de ocasião de Rilke sobre a colônia de artistas de Worpswede, no norte da Alemanha. O forte impacto que esses encontros – e em particular a análise das telas de Paula Modersohn-Becker em 1905 - tiveram sobre a sensibilidade poética de Rilke contribuíram para a nova forma estilística (Dingwendung) que se manifesta na obra madura de Rilke. Apresentamos assim um momento de vida e um aspecto específico do desenvolvimento da relação do poeta e de sua obra com as artes plásticas, que ilumina o papel da poesia como trabalho de luto do poeta e como prefiguração das obras da fase madura dos Sonetos e das Elegias.
This article addresses, in its first part, the many critics who have difficulty in making sense of Coetzee’s two novels The Childhood of Jesus and Schooldays of Jesus, offering clues for an understanding of Coetzee’s utopian thought experiment within the framework of Christian ideals. The second argument reconstructs Coetzee’s ironic musings about the future of the traditions of Western culture and art. Setting his fictional reflection in a utopian society which has achieved a truly equalitarian order, patterned on the ideals of Primitive Christianity and monastic humility, Coetzee explores the question whether in such a society there is still space and need for the arts, or if the success of our rational utopian endeavors will lead to the disappearance of art as we have known it for millennia.
This paper uses a revised version of the 2011 annotated translation into Brazilian Portuguese by Steil as its base, and discusses the translation of Blake’s prophetic verse and the poem’s processes of phonic harmonization. It starts by analyzing these elements in Milton, then goes on to investigate strategies for a poetic translation into Portuguese.
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