- Portuguese Literature, Brazilian Literature, José Régio, Crítica Genética, Fernando Pessoa, Geração da "Presença", and 45 moreCrítica textual, Lisbon (Portugal), HIstory of Sport, Portuguese Studies, Popular Culture, Textual Criticism and Editing, Cultural Studies, Translation Studies, Contemporary Myths, Sports History, Sociology of Sport, Victorian Studies, Public Schools, Sport and the British, Britishness, National Identity, Literary translation, Remediation, Cricket Literature, C.L.R. James, Sports Journalism, History of Football, Olympics and Olympism, Football Culture, Punch magazine, Nineteenth Century periodicals, particularly Punch and Fraser's magazine. Interested in the writings of Charles Kingsley, Charles Dickens and Elizabeth Gaskell, Victorian Illustrated Magazines, Postwar Britain, Postwar British History, Irish and British Sports History, Portuguese Discoveries and Expansion, Portuguese and Brazilian Literature, Genetic Criticism (Genetic Criticism), Literary archives, Editorial theory, Textual Scholarship, Digital Editing, Scottishness, Englishness, Welsh Nationalism, Scottish Nationalism, Sports and national identity, Irishness, Welsh national identity, and Futurismo portogheseedit
- Enrico Martines obtained a degree in Foreign Languages and Literatures, in 1994, and a Ph.D. in Romance Philology, in... moreEnrico Martines obtained a degree in Foreign Languages and Literatures, in 1994, and a Ph.D. in Romance Philology, in 1999. He has been a researcher of Portuguese and Brazilian Literature at the University of Parma (Italy) since 2000, where he currently teaches Portuguese and Brazilian Literatures. He edited the correspondence between Fernando Pessoa and the directors of the literary magazine Presença – in the “Estudos” collection that is part of the series “Edição Crítica de Fernando Pessoa” (published by INCM) – and studied the history of this magazine, as well as the relations between the Orpheu movement and the so-called "second modernism". He accomplished critical genetic editions and philological studies on the poetry of José Régio (integrating the Research Team for the Study and Editing of José Régio's Manuscripts), and published narratological essays on modern Portuguese and Brazilian authors (Eça, Cardoso Pires, Saramago, among others). He is currently studying the Futurist movement in Portugal; at the same time he is investigating the origins of Brazilian soccer and its importance in the definition of a Brazilian identity, along the Twentieth century, taking into account the literary expressions of the Brazilian passion for the “beautiful game”.
Secondarily, he is a teacher in History of British Culture at the same university, having focused his courses and his researches on the sociocultural aspects of British sports’ history. He has published the book "Play the Game! Come gli inglesi inventarono lo sport moderno" (How English invented modern sports). He has also published a paper on West Indian cricket and its reverberations on the national identity of those countries, as well as a study on the possible translation into Italian of the poem Vitaï Lampada, by Henry Newbolt, based on the values of sport in British cultural tradition.edit
O livro está disponível para livre acesso no site do Centro de Estudos Regianos (https://www.joseregio.pt/wp-content/uploads/2019/08/EMartines_Jose%CC%81-Re%CC%81gio-e-os-Mestres-do-Modernismo.pdf). O presente volume quer propor uma... more
O livro está disponível para livre acesso no site do Centro de Estudos Regianos (https://www.joseregio.pt/wp-content/uploads/2019/08/EMartines_Jose%CC%81-Re%CC%81gio-e-os-Mestres-do-Modernismo.pdf).
O presente volume quer propor uma leitura cronológica - e, por vezes, filológica - dos estudos que José Régio dedicou aos dois grandes Mestres do Modernismo português, Mário de Sá-Carneiro e Fernando Pessoa. Além dos ensaios publicados a este respeito - em dois casos acompanhados por manuscritos preparatórios que permitem dar uma visão do seu processo genético - são aqui reunidos alguns fragmentos de rascunhos manuscritos, possivelmente inéditos, que proporcionam informações interessantes acerca do desenvolvimento da atividade crítica regiana dedicada a este tema específico. A recolha deste material tem como fim indagar não só as razões da predileção regiana pelo autor de Céu em Fogo, mas também acompanhar a evolução da valoração que Régio faz dos dois modernistas e medir a distância crítica com que o escritor vila-condense analisou as qualidades e os defeitos dos dois grandes autores.
Com prefácio de Fernando Cabral Martins.
O presente volume quer propor uma leitura cronológica - e, por vezes, filológica - dos estudos que José Régio dedicou aos dois grandes Mestres do Modernismo português, Mário de Sá-Carneiro e Fernando Pessoa. Além dos ensaios publicados a este respeito - em dois casos acompanhados por manuscritos preparatórios que permitem dar uma visão do seu processo genético - são aqui reunidos alguns fragmentos de rascunhos manuscritos, possivelmente inéditos, que proporcionam informações interessantes acerca do desenvolvimento da atividade crítica regiana dedicada a este tema específico. A recolha deste material tem como fim indagar não só as razões da predileção regiana pelo autor de Céu em Fogo, mas também acompanhar a evolução da valoração que Régio faz dos dois modernistas e medir a distância crítica com que o escritor vila-condense analisou as qualidades e os defeitos dos dois grandes autores.
Com prefácio de Fernando Cabral Martins.
Research Interests:
Il presente volume porta l'attenzione dei lettori su due momenti cruciali del Novecento letterario dei due paesi, separati dall'Oceano Atlantico, ma uniti da secolari vincoli storici, culturali e linguistici. Effettivamente, si può... more
Il presente volume porta l'attenzione dei lettori su due momenti cruciali del Novecento letterario dei due paesi, separati dall'Oceano Atlantico, ma uniti da secolari vincoli storici, culturali e linguistici. Effettivamente, si può legittimamente sostenere che i due modernismi costituiscano i momenti più alti e più fertili delle rispettive letterature, nel XX secolo. Due movimenti che, avviati nei primi anni del Novecento con la circolazione iniziale delle opere e dei manifesti delle nuove avanguardie (il primo manifesto futurista è del 1909), vivono la loro fase gloriosa fino alla fine degli anni Venti Due fenomeni culturali concomitanti, dunque, e concentrici, che partono da analoghe influenze e spinte culturali affini, ma che si sviluppano in modo assolutamente auto-nomo e hanno finalità del tutto diverse. Nel caso portoghese, l'obiettivo era svecchiare la cultura locale per porla all'altezza di quella contemporanea più evoluta e aggiornata, scoprendo e adattando alla realtà nazionale e individuale gli stimoli dei movimenti di avanguardia europei. Nel caso brasiliano, invece, il fine principale era affermare una identità culturale nazionale specifica, distinta da quella europea (portoghese in parti-colare) e capace di imporsi su questa, pur muovendo dalle sollecitazioni provenienti dalle stesse avanguardie originate nel vecchio continente. Il volume si rivolge a lettori che non conoscano la lingua portoghese o che ne abbiano una competenza non sufficiente da permettere la fruizione di citazioni e testi in lingua originale. Questi sono qui presentati in traduzione italiana.
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Em anterior volume (José Régio, il poeta di Dio e del Diavolo, Parma, MUP, 2003), Enrico Martines apresentara a edição crítico-genética de duas importante recolhas poéticas publicadas em vida pelo autor do "Cântico Negro" (Poemas de Deus... more
Em anterior volume (José Régio, il poeta di Dio e del Diavolo, Parma, MUP, 2003), Enrico Martines apresentara a edição crítico-genética de duas importante recolhas poéticas publicadas em vida pelo autor do "Cântico Negro" (Poemas de Deus e do Diabo, 1926, e Mas Deus é Grande, 1945), observando, através da análise dos respectivos materiais preparatórios, a aplicação dos processos de depuração estilística e conceptual dos poemas que, desde o primeiro rascunho, se desenvolveram com vistas à sua proposta ao público (reiterada, no caso da primeira recolha, em diversas edições revistas pelo autor). Com a presente edição, o estudioso italiano quer completar a sua incursão na oficina poética de José Régio através da proposta e do estudo do que ficou “dentro da gaveta do poeta”, por não satisfazer os seus severos critérios de exigência.
O material poético reunido e analisado tem natureza dúplice:
1) em primeiro lugar, são apresentados 121 poemas publicados de forma esparsa em revistas e jornais, mas nunca reunidos em livro por Régio, tendo ficado, portanto, fora do seu cânone; a sua leitura permite a análise dos critérios e dos motivos que levaram à sua exclusão, além de sugerir a sua possível aproximação às recolhas publicadas em que, por razões cronológicas, temáticas e formais, poderiam figurar;
2) secundariamente, o volume propõe 79 textos poéticos que o autor abandonou, não os considerando, por uma razão ou por outra, dignos de serem propostos ao público, nem mesmo merecedores de um labor de ulterior acabamento. Trata-se de material que apresenta diferentes níveis de elaboração, desde poemas formados e com título até fragmentos isolados, o que põe o estudioso perante o problema do inacabamento da escrita literária e sugere uma apreciação das considerações que levaram José Régio a abandonar a expressão daqueles motivos poéticos, possivelmente desenvolvidos em outras composições publicadas.
A edição é prefaciada por Ivo Castro.
O material poético reunido e analisado tem natureza dúplice:
1) em primeiro lugar, são apresentados 121 poemas publicados de forma esparsa em revistas e jornais, mas nunca reunidos em livro por Régio, tendo ficado, portanto, fora do seu cânone; a sua leitura permite a análise dos critérios e dos motivos que levaram à sua exclusão, além de sugerir a sua possível aproximação às recolhas publicadas em que, por razões cronológicas, temáticas e formais, poderiam figurar;
2) secundariamente, o volume propõe 79 textos poéticos que o autor abandonou, não os considerando, por uma razão ou por outra, dignos de serem propostos ao público, nem mesmo merecedores de um labor de ulterior acabamento. Trata-se de material que apresenta diferentes níveis de elaboração, desde poemas formados e com título até fragmentos isolados, o que põe o estudioso perante o problema do inacabamento da escrita literária e sugere uma apreciação das considerações que levaram José Régio a abandonar a expressão daqueles motivos poéticos, possivelmente desenvolvidos em outras composições publicadas.
A edição é prefaciada por Ivo Castro.
Research Interests:
Nineteenth century's Britain is the birthplace of that complex of activities that unquestionably characterizes contemporary society, all over the world, and which we call "modern" sport. In Victorian Britain, sport was transformed from... more
Nineteenth century's Britain is the birthplace of that complex of activities that unquestionably characterizes contemporary society, all over the world, and which we call "modern" sport. In Victorian Britain, sport was transformed from traditional recreation, which was spontaneous and heterogeneous in its manifestation, to an organized phenomenon, governed by rules, that were rational and vastly accepted. A social and cultural element which was integrated in a specific educational model and incapsulated a code of ethics that were to form and orient the future leaders of Britain and its Empire.
This book outlines a particular perspective on a crucial era of British history and culture through a prism which has the advantage of reflecting the attitudes of all social classes; it also tries to illustrate to Italian readers the conditions that gave rise to a phenomenon which has varied repercussions and effects on our contemporary lives.
This book outlines a particular perspective on a crucial era of British history and culture through a prism which has the advantage of reflecting the attitudes of all social classes; it also tries to illustrate to Italian readers the conditions that gave rise to a phenomenon which has varied repercussions and effects on our contemporary lives.
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The aim of this book is to examine the role of Britain in the birth of modern sport and the importance of this feature in the definition of the sociocultural identity of this country. Most modern sports were, in fact, codified in... more
The aim of this book is to examine the role of Britain in the birth of modern sport and the importance of this feature in the definition of the sociocultural identity of this country. Most modern sports were, in fact, codified in Victorian England, as a result of a series of material, social, and cultural changes, which are addressed in the book, not before analysing the pre-existing recreational activities and the differences between the concept of ‘game’ and that of ‘sport’. The new sporting movement, which had specific intellectual prerequisites, became a cause of division, giving rise to conflicts – such as that between amateurism and professionalism – and highlighting differences of class, socioeconomic status and gender. At the same time, however, it was an element of aggregation because it favoured the cohesion of the ruling classes and the collective identification of groups of people struggling with major changes in their living conditions; it contributed to the formation of local, regional and national identities, and promoted the development of a new sense of belonging, in a period of profound social alienation. Sport is a social, cultural and economic phenomenon which, originating in Victorian Britain, has known the widest global reach and characterizes contemporary society.
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The title of the book serves as a starting point for the contrastive analysis of two footballing legends - Pelé and Garrincha - both winners at the peak of their sporting careers but profoundly different, if one considers their... more
The title of the book serves as a starting point for the contrastive analysis of two footballing legends - Pelé and Garrincha - both winners at the peak of their sporting careers but profoundly different, if one considers their extraction, their character and especially the unraveling of their respective human story. The dichotomy of "Angels and Demons" does not want to echo the novel by Dan Brown; instead, it suggests the role that literary and filmic representation can have in the development and establishment of true icons that, taken out of their everyday reality, are invested with archetypal and symbolic values. The oppositional metaphor that gives the book its title becomes projection, within the otherworldly, of the contradictory bounces of a football that offers countless ideas for analysis and reflection. This book it's not only about brazilian football: in fact, it was a meeting point that brought together specialists from different areas: Anglicists, Hispanists, Lusitanists, Germanists, writers and scholars of History have passed each other the ball within a book that was not divided into chapters, but into halves of a metaphorical football game (with the addiction of extra-time)..
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An anthology of poems by Portuguese author José Régio (1901-1969), with Italian translation compared, preceeded by a biographical sketch of the poet and by a critical essay on his literature.
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José Régio, was a poet, novelist, playwright and essayist, founder of the magazine Presença and the most important figure of the second phase of Portuguese modernism. He occupied the Lusitan cultural scene for much of the last century,... more
José Régio, was a poet, novelist, playwright and essayist, founder of the magazine Presença and the most important figure of the second phase of Portuguese modernism. He occupied the Lusitan cultural scene for much of the last century, offering a limited number of key topics in a wide variety of literary forms. No other writer has lived as intensely as Régio the religious problem, felt as a constant internal conflict, as neverending a tension between the need of the divinity and its denial, as an attraction to the sacred but also towards the demonic, in a precarious balance of oppositions and contradictions that crosses all his work. The two poetic collections presented in this volume, Poemas de Deus and do Diabo (1926) and Mas Deus é Grande (1945), respectively inaugurate and propose again, at a later age, this central theme. The editor of this edition not only establishes and introduces the poetic text: he seeks to penetrate into the laboratory of the poet through the analysis of the preparatory materials of these two books, trying to grasp the dynamic dimension which allows to read the literary work as a progressive aggregation of textual stages. The analysis of the author's variants is therefore a tool to follow the path of progresses and painful choices that have led the poet to his final text, to better understand it thanks to the identification of the system that directed its gradual transformation. In addition, the observation of manuscripts may allow to dwell on the scriptural practices of José Régio, and to observe his particular aesthetic sensibility, him being not only an artist of the word, but also a lover of the visual.
Research Interests:
Founded in Coimbra in March 1927, the literary and critical journal Presenca undertook the formidable task of recalling Portugal to the lessons and possibilities of modernism that emerged first with the publication of the two issues of... more
Founded in Coimbra in March 1927, the literary and critical journal Presenca undertook the formidable task of recalling Portugal to the lessons and possibilities of modernism that emerged first with the publication of the two issues of Orpheu in 1915. Early on, the journal's young editors invited Fernando Pessoa, the most famous living poet associated with Orpheu, to help them in their task by contributing to its pages. The older poet agreed to do so. It is his correspondence with the various editors of Presenca, running through the last eight years of the poet's life, that is the subject and provides the substance of Enrico Martines's book.
Much of the primary matter in Cartas entre Fernando Pessoa e os directores da Presenca has appeared previously, some of it as long ago as 1957 in the case of the correspondence between Pessoa and the young Joao Gaspar Simoes, his first critic and, later, his first biographer. Yet there are over fifty previously unpublished letters here, and the conjoining in one place of the letters exchanged between the great modernist poet and the so-called "men of Presenca"-Jose Regio, Gaspar Simoes, Adolfo Casais Monteiro, and, in an appendix, Adolfo Rocha (Miguel Torga)-along with a few other documents, makes this a useful production for anyone interested in the literary history of the twentieth century in general or, more particularly, the role played by Presenca in championing the centrality of the poet the journal's editors themselves called the "Master" of modern Portuguese letters.
Of the "new" letters published here, those comprising the Regio-Pessoa correspondence are the most surprising, for their relative paucity and for the comparative brevity of the letters themselves. The editor speculates that Regio's interest in Pessoa cooled off somewhat after his and Simoes's meeting with the Master in Lisbon at the Cafe Montanha in June 1930, when "he" failed to show, sending in his stead the obstreperous heteronym, his "own engineer" Alvaro de Campos. They exchanged only two rather businesslike letters after this awkward and, to Regio apparently, unpleasant encounter, both in 1934. Even though Pessoa continued to send his regards to the older editor of Presenca in his far more frequent letters to Simoes, the latter's replies offer no indication that Regio was in any mood to reciprocate.
Of course, it was Simoes who maintained, until December 1934, Presenca's closest connection with Pessoa. Their correspondence came to a halt, however, when Simoes left Coimbra for Lisbon, a removal that also seems to have diminished his role in the journal's management. His function seems to have been assumed, to a lesser or greater extent, by Adolfo Casais Monteiro, the young poet who joined Presenca's editorial staff after the defection of Branquinho da Fonseca, the journal's third founding editor. It is to that change in management, incidentally, that is owed the fortuitous exchange of letters between Pessoa and Casais Monteiro which extracted from the poet of Orpheu the now-celebrated account of the genesis of his heteronyms and his explanation of their "personal" and intertextual relationships. Rereading that letter in the context of all the letters in this collection might even tempt one to think that in his last years the wily poet was improvising still another unfolding drama, this time involving the young men of Presenca. As he warned Casais Monteiro in the year of his death, "Behind the poet's involuntary masquerade as a reasoning being or what have you, what I am essentially is a dramatist."
In keeping with the rules laid down for the Critical Edition, Cartas entre Fernando Pessoa e os directores da Presenca, the second volume in that major edition's "Studies" series, is a full-scale performance. Among other matters, it includes, besides a substantial introduction, a record of variants and cancellations in the letters, the details of their prior publication, and ample annotations that serve to contextualize and to explain references.
Review by George Monteiro (Brown University)
Much of the primary matter in Cartas entre Fernando Pessoa e os directores da Presenca has appeared previously, some of it as long ago as 1957 in the case of the correspondence between Pessoa and the young Joao Gaspar Simoes, his first critic and, later, his first biographer. Yet there are over fifty previously unpublished letters here, and the conjoining in one place of the letters exchanged between the great modernist poet and the so-called "men of Presenca"-Jose Regio, Gaspar Simoes, Adolfo Casais Monteiro, and, in an appendix, Adolfo Rocha (Miguel Torga)-along with a few other documents, makes this a useful production for anyone interested in the literary history of the twentieth century in general or, more particularly, the role played by Presenca in championing the centrality of the poet the journal's editors themselves called the "Master" of modern Portuguese letters.
Of the "new" letters published here, those comprising the Regio-Pessoa correspondence are the most surprising, for their relative paucity and for the comparative brevity of the letters themselves. The editor speculates that Regio's interest in Pessoa cooled off somewhat after his and Simoes's meeting with the Master in Lisbon at the Cafe Montanha in June 1930, when "he" failed to show, sending in his stead the obstreperous heteronym, his "own engineer" Alvaro de Campos. They exchanged only two rather businesslike letters after this awkward and, to Regio apparently, unpleasant encounter, both in 1934. Even though Pessoa continued to send his regards to the older editor of Presenca in his far more frequent letters to Simoes, the latter's replies offer no indication that Regio was in any mood to reciprocate.
Of course, it was Simoes who maintained, until December 1934, Presenca's closest connection with Pessoa. Their correspondence came to a halt, however, when Simoes left Coimbra for Lisbon, a removal that also seems to have diminished his role in the journal's management. His function seems to have been assumed, to a lesser or greater extent, by Adolfo Casais Monteiro, the young poet who joined Presenca's editorial staff after the defection of Branquinho da Fonseca, the journal's third founding editor. It is to that change in management, incidentally, that is owed the fortuitous exchange of letters between Pessoa and Casais Monteiro which extracted from the poet of Orpheu the now-celebrated account of the genesis of his heteronyms and his explanation of their "personal" and intertextual relationships. Rereading that letter in the context of all the letters in this collection might even tempt one to think that in his last years the wily poet was improvising still another unfolding drama, this time involving the young men of Presenca. As he warned Casais Monteiro in the year of his death, "Behind the poet's involuntary masquerade as a reasoning being or what have you, what I am essentially is a dramatist."
In keeping with the rules laid down for the Critical Edition, Cartas entre Fernando Pessoa e os directores da Presenca, the second volume in that major edition's "Studies" series, is a full-scale performance. Among other matters, it includes, besides a substantial introduction, a record of variants and cancellations in the letters, the details of their prior publication, and ample annotations that serve to contextualize and to explain references.
Review by George Monteiro (Brown University)
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Talvez a mais importante e reputada contribuição teórica do principal autor doutrinário da «Fôlha de Arte e Crítica» seja o ensaio "Literatura livresca e literatura viva", que foi publicado no n.º 9 da «presença». Nele, José Régio... more
Talvez a mais importante e reputada contribuição teórica do principal autor doutrinário da «Fôlha de Arte e Crítica» seja o ensaio "Literatura livresca e literatura viva", que foi publicado no n.º 9 da «presença». Nele, José Régio analisava o panorama dos valores literários mais reputados pelo grande público e pelos críticos de então, e definia alguns conceitos basilares da ótica «presencista» sobre a Arte. O documento que se apresenta pela primeira vez constitui mais uma importante prova da exigência de perfeição que caraterizava a prática da escrita regiana e da propensão para reiterar e explicar constantemente as coisas, típicas do professor de Liceu que ele era. O manuscrito ct. 354.1-34 (e a página 319.3) que aqui se edita – material pertencente ao espólio de José Régio conservado no Centro de Memória de Vila do Conde – mostra uma versão profundamente revista e ampliada (inédita até agora) do ensaio-manifesto "Literatura livresca e literatura viva".
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Lo scopo dell'articolo è mettere a confronto la proclamazione della lussuria come forza creativa spogliata da qualsiasi nozione di peccato e di sentimentalismo, da parte di Valentine Saint-Point, con l’assunzione di questo elemento da... more
Lo scopo dell'articolo è mettere a confronto la proclamazione della lussuria come forza creativa spogliata da qualsiasi nozione di peccato e di sentimentalismo, da parte di Valentine Saint-Point, con l’assunzione di questo elemento da parte dei futuristi portoghesi; di uomini come José de Almada Negreiros, al riguardo del quale si è parlato di misoginia. Si cercherà, pertanto, di verificare come egli assunse questo topos futurista femminile in alcune sue opere (A Cena do Ódio, A Engomadeira, Mima-Fatáxa), in cui la lussuria, intesa come devianza sessuale, è utilizzata per ferire la morale borghese e per denunciare le miserie di una società che alberga la miseria umana, la alimenta, per poi nasconderla o condannarla. Nell’autore portoghese, l’appropriazione della lussuria futurista saint-pointiana risulta nell’enfatizzazione di una sessualità trasgressiva e debordante, che si compie nel corpo della donna ma che è vista dagli occhi dell’uomo, dell’uomo borghese in particolare. Si vedrà, infine, come un altro futurista portoghese, Raul Leal, recepisca in modo probabilmente più pieno e ortodosso – ancorché con un alto quoziente di originalità – la proposta saint-pointiana, cogliendo il senso più propositivo della celebrazione della lussuria, accolta non tanto per il suo potenziale trasgressivo e provocatorio, anzi elevata al rango di espressione filosofica e artistica che ingloba una vertente maschile e una femminile per raggiungere un obiettivo più Alto.
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O ensaio pretende indagar a avaliação crítica do diretor da presença em relação ao que foi por ele definido como um mestre do modernismo e a sua predileção pelo autor de Céu em Fogo em detrimento do poeta dos heterónimos, Fernando Pessoa.... more
O ensaio pretende indagar a avaliação crítica do diretor da presença em relação ao que foi por ele definido como um mestre do modernismo e a sua predileção pelo autor de Céu em Fogo em detrimento do poeta dos heterónimos, Fernando Pessoa. Através da análise dos ensaios produzidos por Régio a este respeito – e de alguns manuscritos conservados no espólio do autor vila-condense – pretende-se verificar a exatidão de algumas ideias feitas acerca da relação de José Régio com os protagonistas do Orpheu, acompanhar a evolução da sua valoração dos dois modernistas – e as mudanças no tom em que é expressa – e medir a distância crítica com que o escritor vila-condense encarou o juízo das suas qualidades e dos seus defeitos.
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Portuguese modernism was a heterogeneous movement consisting in distinct individualities that had in common the desire to bring about a profound renewal in Portuguese culture. This composite group of artists had in common a collective... more
Portuguese modernism was a heterogeneous movement consisting in distinct individualities that had in common the desire to bring about a profound renewal in Portuguese culture. This composite group of artists had in common a collective identity. As pointed out by Ettore Finazzi Agrò, the key word in the constitution of this common subject, is exile. This word is understood in its aesthetic sense, as a reference to an initiatory art, for a selected few; an existential choice, as well as a cultural one, of non-identification with respect to an environment and a socio-cultural context. In the context of the Portuguese modernists, a figure who appears to be the fullest and most resounding incarnation of the exiled state is a lesser-known author, Raul Leal, controversial and marginalized for several reasons. He was “exiled” with respect to social norms, sexual morality, current religion, style and linguistic conventions, and he also lived in concrete exile for political reasons, in Spain.
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O objetivo da comunicação é verificar a apropriação da estética da luxúria – expressa no Manifesto futurista da luxúria, de Valentine de Saint-Point – por parte dos futuristas portugueses. Em primeiro lugar, analisar-se-á o caso de José... more
O objetivo da comunicação é verificar a apropriação da estética da luxúria – expressa no Manifesto futurista da luxúria, de Valentine de Saint-Point – por parte dos futuristas portugueses. Em primeiro lugar, analisar-se-á o caso de José de Almada Negreiros: a partir da escolha do manifesto saint-pointiano para a Conferência Futurista do Teatro República, verificar-se-á a aplicação deste topos futurista feminino nalgumas obras dele – A cena do ódio, Mima-Fatáxa e a novela A engomadeira. A luxúria aí aparece como a enfatizar uma sexualidade transgressiva e esbordante, utilizada para ferir a moral da sociedade burguesa e denunciar as suas misérias humanas. Parece diferente o caso de outro futurista português, Raul Leal, que recebeu de forma mais ortodoxa – embora com um alto grau de originalidade – a proposta saint-pointiana. Mais do que uma simples provocação, a luxúria é entendida por Leal como uma expressão filosófica e estética que engloba uma vertente masculina e uma feminina para atingir uma verdadeira elevação espiritual.
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As relações culturais entre Portugal e o Brasil no período que abrange, aproximadamente, os dois respetivos modernismos, já foram objeto de importantes estudos, como o de Arnaldo Saraiva. Coincidindo precisamente com o acme de suas... more
As relações culturais entre Portugal e o Brasil no período que abrange, aproximadamente, os dois respetivos modernismos, já foram objeto de importantes estudos, como o de Arnaldo Saraiva. Coincidindo precisamente com o acme de suas respetivas literaturas no século XX, as relações culturais entre Portugal e Brasil passaram por uma fase decididamente crítica, embora não houvesse uma cisão nítida entre as duas literaturas. Os intelectuais brasileiros sentiram a necessidade de afirmar uma identidade nacional que também comportava uma rutura com a tradição cultural europeia, particularmente com a portuguesa. Ao mesmo tempo, os portugueses, em sua maioria, ignoravam os novos valores que estavam a surgir do outro lado do Atlântico. Nesse contexto problemático, não faltaram iniciativas culturais luso-brasileiras; mas só a partir dos anos Trinta verificou-se em Portugal uma renovada atenção para com a cultura brasileira e foram lançadas as bases para que os escritores brasileiros pudessem influenciar os seus colegas europeus. Isto deu-se também graças à atividade de algumas publicações culturais portuguesas, sobretudo a Descobrimento, a Revista de Portugal e, não última, a presença. A revista de Coimbra desenvolveu o seu interesse pela cultura brasileira só a partir de 1931, em boa parte devido à integração de Adolfo Casais Monteiro na direção, depois de quatro anos de surpreendente desinteresse. Nesta comunicação propõe-se não apenas analisar o espaço dedicado pela revista de Coimbra à cultura brasileira mas também examinar tempos, formas e objetivos desse renovado interesse e tentar compreender a receção da nova literatura brasileira no âmbito da crítica presencista.
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A coleção de manuscritos de Fernando Távora guarda vários testemunhos do diálogo epistolar entre Raul Leal e os representantes do chamado “segundo modernismo”. Depois das missivas trocadas com José Régio, publicadas no número 12 da Pessoa... more
A coleção de manuscritos de Fernando Távora guarda vários testemunhos do diálogo epistolar entre Raul Leal e os representantes do chamado “segundo modernismo”. Depois das missivas trocadas com José Régio, publicadas no número 12 da Pessoa Plural, apresenta-se aqui outro conjunto documental, cuja maior parte testemunha das relações entre Raul Leal e João Gaspar Simões, outro diretor-fundador da Presença. Este núcleo inclui também (ou faz referência a) manuscritos reveladores dos contatos mantidos com mais duas figuras de alguma forma ligadas a revistas que apareceram nos anos vinte do século passado: Alberto de Telles Machado e Alberto de Serpa. Os diversos temas tratados têm sobretudo a ver com uma avaliação da figura de Fernando Pessoa e com a situação de Raul Leal enquanto intelectual isolado. Quanto ao primeiro tópico, destacam-se algumas ideias expressas por Leal em desacordo com João Gaspar Simões, refutando a suposta intenção mistificadora presente nas atitudes mais arrojadas e nos escritos mais agressivos do heterónimo Álvaro de Campos, contradizendo a possível influência da eventual homossexualidade platónica de Fernando Pessoa na conceção, que Simões presume “maternal”, dos heterónimos, e impugnando a sua interpretação da despersonalização pessoana como percurso de progressiva espiritualização, antes sugerindo que se tratasse de uma queda da dimensão espiritual para uma vida de sensações terrenas e carnais, em Pessoa todas reprimidas e sublimadas na sua vida mental.
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La storia di come, nelle scuole inglesi della seconda metà dell’Ottocento, si cominciò a vedere nella pratica degli sport di squadra un importante strumento pedagogico.
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In this issue devoted to travel literature and its possible contemporary actualizations, the case of Portuguese literature (and history) seems particularly interesting, if not even emblematic of how the past and the present can be the... more
In this issue devoted to travel literature and its possible contemporary actualizations, the case of Portuguese literature (and history) seems particularly interesting, if not even emblematic of how the past and the present can be the protagonists of a process of negotiation and repositioning in the definition of national identity, and how the spatial categories of here and elsewhere, necessarily evoked in the identity discourse, are historically defined through the different experiences and the changed perspectives of travel. The subject of this article is the drama of the retornados, that is, the sad story of the people who, after decolonization, abandoned Africa and all they had there to find a generalized hostility at home. Their is a backward journey, which overturns the conditions and perspective of the journeys made by the Lusitan sailors in previous centuries. It is the journey of a people who no longer look at the sea as a space of expansion and glory, but from the sea is forced to look to a Portugal which is now limited to the small size of a country on the periphery of Europe, and that must look for a new space in the continental context, for a new identity, leaving behind their historical points of reference, their dreams, a lost Promised Land. This article looks at the literary treatment of these themes in two novels by António Lobo Antunes: "As Naus" (1988) and "O esplendor de Portugal" (1997).
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Se è vero che, secondo il concetto di intertestualità elaborato da Julia Kristeva, ogni testo è in rapporto di interazione con altri testi, lo scrittore portoghese José Saramago ha offerto un magistrale supporto a questa teoria in un... more
Se è vero che, secondo il concetto di intertestualità elaborato da Julia Kristeva, ogni testo è in rapporto di interazione con altri testi, lo scrittore portoghese José Saramago ha offerto un magistrale supporto a questa teoria in un romanzo i cui significati si rivelano grazie alla interpretazione e decifrazione dei diversi livelli di intertesto, in esso disseminati e nascosti. Giocando sul confine tra storia e letteratura, verità e finzione, O ano da morte de Ricardo Reis, del 1984, prende in prestito l’eteronimo pessoano esiliato in Brasile e lo riporta a Lisbona nel 1936, anno successivo alla morte di Fernando Pessoa, in cui si concentrano una serie di avvenimenti particolarmente significativi nell’Europa che si avvia verso la Seconda Guerra Mondiale. Appare evidente come il romanzo di Saramago sia caratterizzato da una estrema intertestualità: già il punto di partenza del testo è una finzione letteraria altrui che diventa fatto narrato. A partire da questa, si innesca un processo sequenziale di rimandi intertestuali che coinvolgono mostri sacri della letteratura portoghese – come Camões – ma anche autori stranieri come Jorge Luís Borges. L’articolo si concentra sull’utilizzo della letteratura altrui in questo romanzo, con particolare rilievo dato al valore della citazione borgesiana, nascosta nell’intreccio narrativo.
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A coleção de manuscritos de Fernando Távora inclui alguns documentos referentes a correspondência de e para José Régio, ligados à sua função de diretor-fundador da revista Presença, no final dos anos Vinte. Com efeito, encontramos neste... more
A coleção de manuscritos de Fernando Távora inclui alguns documentos referentes a correspondência de e para José Régio, ligados à sua função de diretor-fundador da revista Presença, no final dos anos Vinte. Com efeito, encontramos neste acervo documental: duas epístolas que testemunham dos contactos entre Régio e Raul Leal, uma carta dirigida por Régio a Branquinho da Fonseca, seu parceiro na direção da Presença, e outra breve missiva, de 1935, para Joaquim Moreira, então administrador da revista. É a correspondência com Raul Leal a que apresenta os elementos de maior interesse e, dentro dela, sobretudo as cartas assinadas por este autor. A respeito desta troca epistolar, foi possível articular a leitura dos manuscritos presentes na coleção de Fernando Távora com três missivas de Raul Leal conservadas no espólio regiano de Vila do Conde, as quais têm ligação com o material presente na coleção e fornecem informações importantes para o aprimoramento da sua interpretação.
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Escrivães de bordo de um metafórico navio-cidade, tal como no último livro de José Cardoso Pires, Lisboa, livro de bordo: vozes, olhares, memorações; peregrinos anónimos, de passagem pela capital de um país cuja geografia corresponde a um... more
Escrivães de bordo de um metafórico navio-cidade, tal como no último livro de José Cardoso Pires, Lisboa, livro de bordo: vozes, olhares, memorações; peregrinos anónimos, de passagem pela capital de um país cuja geografia corresponde a um mapa interior, como o viajante de Saramago, protagonista de Viagem a Portugal; passageiros de um automóvel modernista, como o apressado turista guiado por Fernando Pessoa em Lisbon: what the tourist should see; substancialmente viandantes, como o Piéton de Paris de Léon-Paul Fargue. Estes são apenas alguns exemplos de escritores que dedicaram às suas próprias cidades (de origem ou de adoção, mais ou menos profunda) textos que não são obras de ficção, em que o universo urbano não é usado apenas como um cenário ao serviço de uma qualquer trama narrativa, mas onde este último é a própria trama, uma rede de signos e uma personagem com um estatuto igual a quem, como o escritor, está empenhado em traçar o seu próprio percurso, feito de memória e sentimento.
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On 6th February 1958, an air crash at the Munich airport claimed the lives of eight Manchester United footballers, putting the overwhelming rise of a team of young talented players to a tragic end. The squad had been built by Scottish... more
On 6th February 1958, an air crash at the Munich airport claimed the lives of eight Manchester United footballers, putting the overwhelming rise of a team of young talented players to a tragic end. The squad had been built by Scottish manager Matt Busby, so they were popularly known as the ‘Busby Babes’. They were returning from a victorious European Cup tie against Red Star Belgrade, when their airplane crashed in atrocious weather whilst attempting to take off for the third time from Munich-Riem Airport, on the last leg of their journey home. People used to call their boys also ‘The Flowers of Manchester’: they were the best loved team there has ever been. This sporting and human tragedy was keenly felt all over Britain; it was an event etched in the memory of a generation.
Such a dramatic circumstance obviously earned itself a particular place in British popular culture. It has therefore been the subject of many narrations, in the following years, and different media have been used to tell it: starting from the first news taken from the press, the television and the newsreels – and using the testimony of survivors and contemporaries – books have been written, documentaries and films have been realised, even songs have been composed on this matter. Each media exploited its own peculiarities to stress different aspects of this modern-day myth. In this perspective, two examples of the mixed film genre called docudrama (which is usually a fictional and dramatized recreation of factual events in form of a documentary) appear particularly interesting. The aim of this paper is to analyse how the different remediations of this irremediable incident emphasise many cultural aspects linked to it.
Such a dramatic circumstance obviously earned itself a particular place in British popular culture. It has therefore been the subject of many narrations, in the following years, and different media have been used to tell it: starting from the first news taken from the press, the television and the newsreels – and using the testimony of survivors and contemporaries – books have been written, documentaries and films have been realised, even songs have been composed on this matter. Each media exploited its own peculiarities to stress different aspects of this modern-day myth. In this perspective, two examples of the mixed film genre called docudrama (which is usually a fictional and dramatized recreation of factual events in form of a documentary) appear particularly interesting. The aim of this paper is to analyse how the different remediations of this irremediable incident emphasise many cultural aspects linked to it.
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On 6 February 1958, an air crash at the Munich airport claimed the lives of eight Manchester United footballers, putting the overwhelming rise of the team led by Scottish manager Matt Busby to a tragic end. The ‘Busby Babes’, as they were... more
On 6 February 1958, an air crash at the Munich airport claimed the lives of eight Manchester United footballers, putting the overwhelming rise of the team led by Scottish manager Matt Busby to a tragic end. The ‘Busby Babes’, as they were popularly known, were returning from a victorious European Cup tie against Red Star Belgrade, when their airplane crashed in atrocious weather while attempting to take off for the third time from Munich-Riem Airport. The tragedy did not only strike English football but also affected ordinary people, such was the popularity of this group of young boys, who were seen by millions as their own personal friends. This tragic event obviously earned itself a particular place in British popular culture, helping to reinforce the mythology and mystery around the Busby Babes. Therefore, it has been the subject of many narrations in many different media. The aim of the analysis that follows is to explore how the different remediations of this irremediable incident emphasise different aspects of this modern-day myth. In particular, my brief examination focuses on filmic productions of different kinds: documentaries, docu-dramas, and TV movies.
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O presente artigo pretende indagar a avaliação crítica do diretor da presença em relação ao que foi por ele definido como um mestre do modernismo e a sua predileção pelo autor de Céu em Fogo em detrimento do poeta dos heterónimos,... more
O presente artigo pretende indagar a avaliação crítica do diretor da presença em relação ao que foi por ele definido como um mestre do modernismo e a sua predileção pelo autor de Céu em Fogo em detrimento do poeta dos heterónimos, Fernando Pessoa.
Através da análise dos ensaios produzidos por Régio a este respeito – e de alguns manuscritos conservados no espólio do autor vila-condense – pretende-se verificar a exatidão de algumas ideias feitas acerca da relação de José Régio com os protagonistas do Orpheu, acompanhar a evolução da sua valoração dos dois modernistas – e as mudanças no tom em que é expressa – e medir a distância crítica com que o escritor vila-condense encarou o juízo das suas qualidades e dos seus defeitos.
Através da análise dos ensaios produzidos por Régio a este respeito – e de alguns manuscritos conservados no espólio do autor vila-condense – pretende-se verificar a exatidão de algumas ideias feitas acerca da relação de José Régio com os protagonistas do Orpheu, acompanhar a evolução da sua valoração dos dois modernistas – e as mudanças no tom em que é expressa – e medir a distância crítica com que o escritor vila-condense encarou o juízo das suas qualidades e dos seus defeitos.
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The Portuguese novelist José Maria de Eça de Queirós is rightly considered the introducer of Realism in Lusitanian literature. Being a good realist writer, Eça de Queirós used description as a central ingredient of his novels, in which... more
The Portuguese novelist José Maria de Eça de Queirós is rightly considered the introducer of Realism in Lusitanian literature. Being a good realist writer, Eça de Queirós used description as a central ingredient of his novels, in which the attention to details is never an end in itself, but is always aimed at the precise reconstruction of a social scenario, that of Portugal and of its capital, Lisbon. Nevertheless, the look of Eça never remains coldly neutral, is rather influenced by his subjective impressions: the descriptive discourse is full of evocative images and expressive adjectives that indicate the emotional involvment of the one who observes and judges. The not infrequent descriptions of natural environments are particularly revealing of the stylistic qualities of Eça de Queirós, as they are rich in comparisons, synaesthesias and metaphors that often give a poetic tone to the descriptive realism. The paper analyses several examples of description in his prose and uses the archive of his manuscripts to highlight some preparatory notes in which the author records the descriptive details that will develop and integrate into his novels.
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The paper presents a possible translation of the poem "Vitaï Lampada", published by Sir Henry Newbolt, in 1897. His work can be inscribed in the genre of military-patriotic poetry, much in vogue in the nineties of the nineteenth century.... more
The paper presents a possible translation of the poem "Vitaï Lampada", published by Sir Henry Newbolt, in 1897. His work can be inscribed in the genre of military-patriotic poetry, much in vogue in the nineties of the nineteenth century. The author reached in those years a high degree of popularity, for the tone and the character of his verses, but later fell out of favor - especially with the critics - coinciding with the decline of the imperialist ethic - with which Newbolt is inextricably associated - and with the awareness of the atrocity of the war, resulting from the impact of the first World War. Therefore, a timeworn text, the work of an author who is poorly considered and sometimes derided. Yet, because of the characteristics that make it an object of criticism and sometimes scorn, this poem - as the entire production of Newbolt - is worthy of attention because it is extremely representative of its era, of its mindset, of a cultural heritage that can be judged only when put in its proper context. The paper seeks to show how the translation of poetry can be an intellectual operation which requires a further degree of meta-textual reflection. The idiomatic phrase in the title of the paper - "What game are we playing?", inspired by the famous refrain, "Play up! Play up! and play the game! "- is intended as an invitation to reflect on the specificity of the semantic field of the verb" to play "in the ideological and historical moment in which Newbolt's poem was produced. From this consideration comes the need, for the translator, to bridge - or at least to reduce - the cultural gap between the British and the Italian concepts of "playing the game", especially with regard to the idea of "playing" a sport, and the value the Italians place to sports in terms of education or patriotic.
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The game of cricket is inextricably linked to the idea of the border and the possibility of overcoming it: in fact, as is well known to most people, the playing field is an oval not bounded by a line drawn on the ground - as in most of... more
The game of cricket is inextricably linked to the idea of the border and the possibility of overcoming it: in fact, as is well known to most people, the playing field is an oval not bounded by a line drawn on the ground - as in most of the sporting grounds - but delimited by a more tangible barrier, a rope laid on the grass; the most effective strike for the team at bat is actually called, in the jargon extremely complex and accurate cricket , a boundary. But cricket offers the opportunity to explore other boundaries: geographical, political, social, racial, cultural boundaries, related to the spread of this quintessentially English sport throughout the British Empire. Beyond a Boundary, is a book published in 1963 by a marxist intellectual of Trinidad, Cyril Lionel Robert (CLR) James. His work shows how, for the West Indies, cricket was the glue of a fragmented regional identity and the field where social and racial inequalities - imposed by the colonial system - could be challenged. The only moment of union, for that group of heterogeneous realities, happened on the cricket ground, where, thanks to the status of Test Team - recognized to the West Indies in 1928 - the people of the Caribbean had the opportunity to face in official competitions the British and to measure their mutual forces. The experience of the West Indies, lived and narrated by CLR James, seems to demonstrate the ability of cricket to reflect the changing political and social balance and, in some way, to anticipate and promote its transformation, representing the existing conflict in an area where imagination, creativity, spirit of initiative, were not repressed and social structure was challenged. The cricket, in short, is for James a form of political culture rather than a distraction for the masses. Its value, of course, goes far beyond the boundary of the playing field.
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De Profundis, Valsa Lenta is the autobiographical narration of the experience lived by Portuguese writer José Cardoso Pires in 1995, that is, the ischemia that temporarily deprived him of memory, seriously damaging his ability to relate... more
De Profundis, Valsa Lenta is the autobiographical narration of the experience lived by Portuguese writer José Cardoso Pires in 1995, that is, the ischemia that temporarily deprived him of memory, seriously damaging his ability to relate to the outer world and, most of all, to his own identity. It is quite an extraordinary testimony, because people affected by this kind of illness seldom recover their faculties. Moreover, this particular patient is a great writer, who was able to use his sensibility and his capacity to recreate the world through language, thus leaving his own account of the facts: a literary text which nonetheless provide a great amount of information, useful to the study of this pathology. A rare example of “memoirs of the lost memory”, in which speech re-emerge from a vacuum of words to testify the recovery of the author’s self-consciousness. This paper focuses on issues related to the loss of identity, the bond between the narrating self and the Other who momentarily took his place, the connection of brain, consciousness, memory and emotion, and the difficulties of relating to reality without a linguistic mediation. Finally, some remarks are dedicated to the possibility of a link between literature and science, narration and medicine.
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“S.P.Q.T.! (Those Translators Are Fool!)” figures as the Appendix of Michela Canepari’s book An Introduction to Discourse Analysis and Translation Studies. In his paper, Enrico Martines analyses the strategies adopted in the British,... more
“S.P.Q.T.! (Those Translators Are Fool!)” figures as the Appendix of Michela Canepari’s book An Introduction to Discourse Analysis and Translation Studies. In his paper, Enrico Martines analyses the strategies adopted in the British, American and Italian versions of Asterix, offering an in-depth application of the theories approached in the remaining of the book.
The aim of Enrico Martines’ work is to point out some specific problems in the translation of the French-Belgian comic series of Asterix. After some preliminary remarks on the characteristics of comics as a paraliterary kind of fiction, which integrates in one system of communication both a visual and a verbal code, the attention briefly focuses on puns, a linguistic feature that constitutes a fundamental element of humour in comic books in general, and particularly in Asterix, therefore being the main problem faced by translators in their task of transferring the original message not only into a new language, but also into a new cultural system. The attention is focused on the work of English translators of Asterix, initially drawing a brief history of Asterix’s introduction into the United Kingdom and the USA and of its rendition into the language of Shakespeare, then highlighting the major difficulties with which translators are confronted in this specific case and the solutions they have found.
The aim of Enrico Martines’ work is to point out some specific problems in the translation of the French-Belgian comic series of Asterix. After some preliminary remarks on the characteristics of comics as a paraliterary kind of fiction, which integrates in one system of communication both a visual and a verbal code, the attention briefly focuses on puns, a linguistic feature that constitutes a fundamental element of humour in comic books in general, and particularly in Asterix, therefore being the main problem faced by translators in their task of transferring the original message not only into a new language, but also into a new cultural system. The attention is focused on the work of English translators of Asterix, initially drawing a brief history of Asterix’s introduction into the United Kingdom and the USA and of its rendition into the language of Shakespeare, then highlighting the major difficulties with which translators are confronted in this specific case and the solutions they have found.
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The paper investigates the presence of specific archetypes in the conception of the female characters of the novels by José Saramago and, above all, in the idea of the woman that is reflected in them. It is suggested the action of an... more
The paper investigates the presence of specific archetypes in the conception of the female characters of the novels by José Saramago and, above all, in the idea of the woman that is reflected in them. It is suggested the action of an archetypal image of the woman, which is used to reactivate the fertility of the female principle, capable to enrich the rational orientation of the masculine principle. In this case, it is observed in Saramago the projection of the archetypal feminine, a principle which the author would seek to embody in his female characters, as the same writer has clearly stated. Saramago has a direct experience of the limitations and the weaknesses of men and his female side leads him to look for a different model in the other half of the world – the other half of himself. He created characters that are often repositories of another kind of lucidity, all female, of an "anterior" knowledge, which does not pass through rationality, which is able to "see" things that humans cannot see, as in the paradigmatic cases of Blimunda (in Baltasar and Blimunda) and of the doctor's wife (in Blindness), a woman which guides her companions towards new horizons. Women able to understand – or at least to accept – the existence of the unfathomable fate, of an indecipherable order that regulates human life, as in the case of Maria da Paz in The Double. Characters that indicate, therefore, the need to reestablish contact with an inner wisdom, through a feminine approach to life. An approach that Saramago thinks is different, especially in terms of sensitivity. It is not suggested that Saramago would have wished a possible return of matriarchy: the writer, in his quest to say "no" to contemporary society – but also in his attempt of building a better man – promotes the idea of a woman who could complete a man, in order to achieve a harmony of principles that could lead to a better world. In conceiving this idea of woman he drew upon the feminine universal archetypes, which were in consonance with his political convictions.
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The articles focuses on one of the most important texts of Brazilian literature, a true birth certificate of the national letters, the Canção do Exilio by Gonçalves Dias. The subject of numerous remakes during the nearly two centuries of... more
The articles focuses on one of the most important texts of Brazilian literature, a true birth certificate of the national letters, the Canção do Exilio by Gonçalves Dias. The subject of numerous remakes during the nearly two centuries of the history of the Brazilian nation, the romantic song has had the merit of establishing an initial patrimony of symbols that refer to a central issue throughout this period. The culture of Brazil is in fact marked by a symbolic universe tied to a common nationalist ideology. The problem of the affirmation of national identity has always been central in the country, first as an absolute necessity borne out in full romantic aesthetics, then as a need to assert cultural autonomy, affirmed in the next century by the modernists, then as a necessity to find a spiritual homeland, in the painful period of the military dictatorship and, more generally, in the contradictions of contemporary Brazilian society. This symbolic universe is dominated by the theme of exile, a topos shared and fed into the Brazilian literature, especially in poetry, from the beginning of the political and cultural history of that country. A theme, launched by the Canção do Exilio, then taken by many authors, from different cultural and ideological perspectives and in different formal and thematic reorganizations.
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The main objective of this paper is to analyze briefly some specific translation problems related to the famous French comic Asterix, a series of thirty-four stories created by Rene Goscinny (writer) and Albert Uderzo (the designer),... more
The main objective of this paper is to analyze briefly some specific translation problems related to the famous French comic Asterix, a series of thirty-four stories created by Rene Goscinny (writer) and Albert Uderzo (the designer), published since 1959. Despite being a subject connected with the French tradition and history and although the main characters embody the virtues and the fundamental flaws of the French people, the popularity of the series soon crossed the borders of the hexagon, reaching the main European countries. Indeed, the stories of Asterix and Obelix have been translated into more than a hundred languages and dialects, including the esperanto, Latin and ancient greek. What is the meaning of the line in the title of this article? To begin with, we must remember that our hero often encounters foreign peoples and has to do with languages and cultures different from his own. In fact, only half of the stories in the series are set in Gaul. Frequent contacts with people more or less close are among the main ingredients of the success of Asterix in Europe. The authors loved to revisit history in a playful and ironic way, so they filled their plots with tasty anachronisms: our heroes often have a key role in crucial historical events or traditions and customs peculiar to the peoples they visit. Language is definitely a cultural element used by the authors for the characterization of foreign characters, for the creation of a comic effect and for the development of the plot. The linguistic characterization of foreign characters and its rendition in translation is the central theme of this paper.
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The title of the book serves as a starting point for the contrastive analysis of two footballing legends - Pelé and Garrincha - both winners at the peak of their sporting careers but profoundly different, if one considers their... more
The title of the book serves as a starting point for the contrastive analysis of two footballing legends - Pelé and Garrincha - both winners at the peak of their sporting careers but profoundly different, if one considers their extraction, their character and especially the unraveling of their respective human story. The dichotomy of "Angels and Demons" does not want to echo the novel by Dan Brown; instead, it suggests the role that literary and filmic representation can have in the development and establishment of true icons that, taken out of their everyday reality, are invested with archetypal and symbolic values. The oppositional metaphor that gives the book its title becomes projection, within the otherworldly, of the contradictory bounces of a football that offers countless ideas for analysis and reflection. The opening article of Enrico Martines - "Um lembrava Beethoven, o outro, Mozart" - immediately introduces our two footballing glories, Pelé and Garrincha, and the way in which the Brazilian literature have sung the deeds of those timeless heroes. In the words devoted to them by many Brazilians journalists and writers, the two great players are emptied of their historical reality, simplified and crystallized, projected in a search for eternity; not surprisingly, they are associated to other illustrious characters, who have reached, before them, heights of immortality through the expression of their genius. The antinomian contrast between the characters of Pelé and Garrincha lies in the diversity of their destinies: in the continuing success of "O Rei" put in contrast with the fleeting experience of the "Estrela solitária" and with his tragic and sudden downward. Enrico Martines wonders, then, what are the meanings associated with the two legendary Brazilian players: if the myth is essentially a meta-language, a communication system that is used to convey a message, what Pelé and Garrincha are supposed to talk about? How the written word has taken control of those two products of the mass culture and has built their image to be handed down to posterity? The first chapter of Angeli e Demoni in scarpe bullonate seeks an answer to these questions.
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This contribution is the testimony of the author's research experience at the "Arquivo da Cultura Portuguesa Contemporânea" of Lisbon's National Library, where the manuscripts of the most important Portuguese authors of the last two... more
This contribution is the testimony of the author's research experience at the "Arquivo da Cultura Portuguesa Contemporânea" of Lisbon's National Library, where the manuscripts of the most important Portuguese authors of the last two centuries are kept; the author, who has worked in research projects related to Fernando Pessoa and José Régio, dedicates some reflections on the importance of this particular approach to the literary creation. More than for the content itself, the brief contribution is important because the author has been included among the 25 scholars invited to leave their testimony in the book that celebrates the 25th anniversary of the aforementioned institution.
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The article analyzes and highlights one of the most meritorious actions performed by the Portuguese magazine Presença (Coimbra, 1927-1940), ie having examined, appreciated and "explained" to the public of its readers the value of the... more
The article analyzes and highlights one of the most meritorious actions performed by the Portuguese magazine Presença (Coimbra, 1927-1940), ie having examined, appreciated and "explained" to the public of its readers the value of the best artistic expressions of the generation immediately preceding, the one linked to the short-lived magazine Orpheu (Lisbon, 1915). Folha de Arte and Crítica (Journal of Arts and Literary Criticism), the magazine of Coimbra pledged to keep the promise made in its subtitle, considering the art in all its forms of expression and establishing, from the early numbers, the intellectual guidelines which determined the selection and enhancement of artistic models, worthy of being held to the attention of its readers. Examples of "living literature", a definition that José Régio adopted as the emblem of Presença's critical taste, modern authors - as Fernando Pessoa, Mário de Sá-Carneiro and José de Almada Negreiros - were for the first time considered on the same level of the classics of national tradition. But those contemporary authors were still generally unknown, for various reasons: for the episodic character of the publications through which the movement arose around 1915, and mainly because of the lack of a theoretical basis that could explain an art deliberately refined, difficult, provocatively new, throwing challenges to the reader / viewer of the work. Presença claimed to itself the task of enhancing the names of the authors of the previous generation, to make them known and to fully insert them into the history of Portuguese literature. The article examines the critical activity of the magazine, in its various episodes and in its various forms, referring to the debate on the existence of a "second" Portuguese modernism, which could be opposed to a "first", and pointing out which aspects of the art produced by the men of Orpheu were more in tune with the taste and the canons of critical theorists of the journal of Coimbra.
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Within the number of Estudos Regianos magazine entirely dedicated to Presença (of which José Régio was director-founder), on the occasion of the eighty years since its foundation, the contribution occupies the central part of the... more
Within the number of Estudos Regianos magazine entirely dedicated to Presença (of which José Régio was director-founder), on the occasion of the eighty years since its foundation, the contribution occupies the central part of the magazine. As the title suggests, Breve História da Presença trace the route taken by the publication of Coimbra, the premises, the initial idea, the main contents, the range of activities, the episode that led to the split in 1930 of some components (including the director Branquinho da Fonseca), the subsequent entry of Adolfo Casais Monteiro among the directors, the reasons that led to the end of the publications, in 1940. This article is the first "history of Presença" written by someone not directly involved in the life of the magazine, and relies - as well as on the personal memories left by João Gaspar Simões and Adolfo Casais Monteiro - on the correspondence that the directors of the magazine exchanged with one of the most important collaborators, Fernando Pessoa.
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Cultural relations between Portugal and Brazil in the period spanning, roughly, the two respective modernism were already the subject of important studies, such as that of Arnaldo Saraiva. It was duly noted how, precisely coinciding with... more
Cultural relations between Portugal and Brazil in the period spanning, roughly, the two respective modernism were already the subject of important studies, such as that of Arnaldo Saraiva. It was duly noted how, precisely coinciding with two high points of their respective literatures in the twentieth century, the cultural relations between Portugal and Brazil passed through a decidedly critical phase, although there wasn't a net loss of contact between the two literatures. Brazilian intellectuals felt the need to assert a national identity which also meant a break with the European cultural tradition, particularly the Portuguese. At the same time, the Portuguese mostly ignored the new values that were coming to the fore across the ocean. In this context, there were also episodes of Luso-Brazilian cultural initiatives. However, it has been shown that only since the thirties Portuguese intellectuals began to focus on the Brazilian culture and created the basis for a new possible influence of Brazilian writers on Portuguese literature. This was also due to the action of some Portuguese cultural magazines, among which "Descobrimento", the "Revista de Portugal" and, of course, "Presença." This paper proposes the result of a survey of the space dedicated by the Coimbra's magazine to the Brazilian culture, to check the timing, the methods and the objectives of this renewed interest, trying to derive from it the image Presença's critics had of Brazil - or, rather, of the new Brazilian literature.
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Scribes on board of a metaphorical ship-city, as in the last book of Cardoso Pires, "Lisboa, livro de bordo: vozes, olhares, memorações"; anonymous pilgrims, passing through the capital of a country whose geography corresponds to an inner... more
Scribes on board of a metaphorical ship-city, as in the last book of Cardoso Pires, "Lisboa, livro de bordo: vozes, olhares, memorações"; anonymous pilgrims, passing through the capital of a country whose geography corresponds to an inner map, like José Saramago's traveller in "Viagem a Portugal"; passengers of a modernist car, like the hasty tourist driven by Fernando Pessoa in "Lisbon: What the Tourist Should See"; essentially travellers, such as the "Piéton de Paris" by Léon-Paul Fargue. These are just a few examples of writers who have devoted non-fictional texts to their city (by birth or adoption), books in which the urban universe does not serve as the backdrop for the unravelling of a storyline, being instead the very plot itself, a network of signs, a character on the same level with those who, like the writer, has pledged to track his personal journey, made of memories and feelings.
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Addressing the relationship between Fernando Pessoa and the literary magazine Presença means analysing an extremely lively and fruitful dialogue, both to Pessoa and to Coimbra magazine, which started its publications in 1927.In fact,... more
Addressing the relationship between Fernando Pessoa and the literary magazine Presença means analysing an extremely lively and fruitful dialogue, both to Pessoa and to Coimbra magazine, which started its publications in 1927.In fact, Pessoa it is almost automaticly associated to the magazines that expressed the so-called "early modernism" - above all, Orpheu - and to those to whom the poet was more assiduously linked, as Athena, which Pessoa directed. Nevertheless, one should not forget the importance of the collaboration between Presença and the author of Mensagem, a contact that occurred with some regularity in the last eight years of the poet's life: on the one hand, Fernando Pessoa was from the beginning, and throughout the activity of the magazine, a point of reference and an example of "living literature", to use the famous definition forged by the director and principal theorist of the journal, José Régio; secondly, Presença was perhaps the magazine that most strived to explain the multiple aspects of Pessoa's original figure, still predominantly misunderstood at that time. Beyond what was published in the pages of the journal, the relationship between Fernando Pessoa and Presença can be observed thanks to the voluminous correspondence that the directors of the magazine kept with the most esteemed collaborator, during the eight years between the debut of Coimbra's sheet and the death of the writer: an amount of 111 letters through which it is possible to reconstruct that dialogue and to know in detail the degree of Pessoa's participation in the life of the magazine, as well as the reciprocal influence that resulted from this relationship.
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This paper focuses on the poetic texts dropped out by their author, portuguese writer José Régio, who did not considered them, for one reason or another, worthy of being offered to his readers, and not even worthy of a labor of further... more
This paper focuses on the poetic texts dropped out by their author, portuguese writer José Régio, who did not considered them, for one reason or another, worthy of being offered to his readers, and not even worthy of a labor of further finishing. The research carried out in Regio's collection of manuscripts - in Vila do Conde - in the documents gathered at the "Casa Jose Regio", in the Alberto Serpa's collection of manuscripts, in the National Library in Lisbon and in Oporto's Municipal Library, led to join a total of 75 abandoned poetic texts. Among these were also counted incomplete poems, those explicitly condemned by the author and poetic fragments. The purpose of this work, is not to enlarge Regio's poetic production, offering it to the general public, but only to study the poems abandoned by the great writer of Vila do Conde. In fact, this corpus was divided into five groups, according to the different level of finish - or better, of incompleteness - of the material. Anyway, all these poetic compositions - even those that present a complete structure and a title - should be considered unfinished and abandoned because they were not deemed worthy of publication. Therefore, the author decided to interrupt the compositional process that would have led them to the readers. Moreover, one of the basic concepts shown by genetic criticism is that imperfection is inherent to the act of writing.
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The publication, since 1980, of A Tragédia da Rua das Flores allowed the public to have access - even if in editions that have stirred controversy about their philological correctness - to a text which, despite its obvious incompleteness,... more
The publication, since 1980, of A Tragédia da Rua das Flores allowed the public to have access - even if in editions that have stirred controversy about their philological correctness - to a text which, despite its obvious incompleteness, provides some interesting reflections about the creative process put in place by the Portuguese writer. Particularly, the publication of this text shows how the author - Realist novelist Eça de Queirós - recovered some of the narrative elements already used in the repudiated novel in later works. The Tragédia da Rua das Flores was therefore a working document, a draft of a novel left in its raw state. Furthermore, Eça reused names, characters and situations of the abandoned novel in two works: A Capital and Os Maias. The latter novel inherited from the Tragédia the theme of the incest. If it is true that A Tragédia da Rua das Flores has many imperfections, typical of a work in the making, it nonetheless shows us a well-constructed story, a developed plot, focusing on the love affair between Genoveva and Vítor, which tragically culminated in the discovery of the fact that the boy was the son of Genoveva, who therefore desperately committed suicide to put an end to that cursed love. Os Maias - novel published ten years after the presumed date of preparation of the abandoned manuscript - presents in turn another unlawful carnal relationship between blood relatives, this time between brother and sister, elaborating it within a completely new and different novel. However, the plot provides, in both cases, a final recognition which determines, or at least accelerates the denouement of the narrative. The final identification, which concludes the plot, is carefully prepared by the author: even if the reader is kept unaware of the true identity of the characters involved, the recognition is somehow announced by a variety of clues, or innuendos, disseminated by the author in order to turn the revelation convincing or at least plausible. Naturally, the skill of the writer made sure that the dose and the nature of this information would not unveil the surprise in advance, anticipating it with an excess of signs. Eça de Queirós shows in both texts that he is fully familiar with this narrative strategy.
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The article presents the poetry that the great Portuguese writer, José Régio, published in magazines and newspapers in life, but never included in his bibliography. After Régio's death, in 1969, his personal friend, Alberto de Serpa,... more
The article presents the poetry that the great Portuguese writer, José Régio, published in magazines and newspapers in life, but never included in his bibliography. After Régio's death, in 1969, his personal friend, Alberto de Serpa, edited three collection destined to complete the poetic production of the author: Música Ligeira (1970) - the last book of verses on which Régio was working - Colheita da Tarde e 16 Poemas dos não incluídos em Colheita da Tarde (both in 1971). Collecting the material already held by Alberto Serpa and searching for all the poems given by Régio to magazines and newspapers in Portugal, during fifty-three years of poetic activity, Enrico Martines gathered a total of one hundred and nine compositions, among which only four were published after 1971. The intent of this work was not to "complete" Alberto de Serpa's ediitions, expanding his selection of poems which was worth publishing: on the contrary, the idea was to gather and to make known a number of poems that, for various reasons, the author did not collect in his volumes of poetry but which, however, Régio decided to present to a more or less wide and varied audience. The paper presents this material, which still awaits an edition.
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The paper studies the evolution of the introductory essay that Portuguese author José Régio wrote about his own work and which figures as a preface to the various editions of his collection, Poemas de Deus e do Diabo.
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The paper analyses the genetic evolution of the poem "Soluço na Noite", published by Portuguese writer José Régio in his collection "Mas Deus é Grande" (1945). Enrico Martines studied all the manuscripts referring to the poem and... more
The paper analyses the genetic evolution of the poem "Soluço na Noite", published by Portuguese writer José Régio in his collection "Mas Deus é Grande" (1945). Enrico Martines studied all the manuscripts referring to the poem and registered all the variants proposed and discarded by its author, in the process of its composition.
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Les lettres de Pessoa se prêtent à une lecture du processus génétique dont elles sont le résultat. Il est particulièrement intéressant, dans cette perspective, de considérer les révisions et les cas les plus évidents d'autocensure, qui... more
Les lettres de Pessoa se prêtent à une lecture du processus génétique dont elles sont le résultat. Il est particulièrement intéressant, dans cette perspective, de considérer les révisions et les cas les plus évidents d'autocensure, qui mettent en évidence le contrôle exercé par l'auteur sur son discours épistolaire. Les lettres présentent d'autres aspects dignes d'attention: le refus de Pessoa d'une approche psychanalytique de la littérature, son scepticisme concernant la méthode de Freud, son attention pour les mécanismes psychologiques qui sous-tendent la création de l'oeuvre littéraire, la sincérité des lettres où il parle de lui-même et la tentative d'imposer sa propre clé interprétative de ses oeuvres, la tendance à la simulation et au déguisement
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The phenomenon of modern sports began in the public schools of the Victorian age, where games came to be a fundamental tool in the education of the young men from the ruling classes. Many of those boys were destined to the military... more
The phenomenon of modern sports began in the public schools of the Victorian age, where games came to be a fundamental tool in the education of the young men from the ruling classes. Many of those boys were destined to the military service, where they would form the élite of the British troops defending the Kingdom and the Empire. Sports ethics were influenced by this social and ideological background: sport was a metaphor for war and a preparation to it. The identification of games and military endeavour was at its closest during the First World War. This lecture will examine how such beliefs were utilized by sports organizations and the impact they had on the military and on society as a whole, focusing on the most enthusiastic and committed sporting supporters of the war effort: rugby union, cricket and football. References are made to literary texts on this subject.
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The lecture focuses on the public schools of the Victorian age, particularly on the reforms of the educational system introduced by Thomas Arnold, who was headmaster of the famous Rugby School, from 1828 to 1841. Arnold stressed the... more
The lecture focuses on the public schools of the Victorian age, particularly on the reforms of the educational system introduced by Thomas Arnold, who was headmaster of the famous Rugby School, from 1828 to 1841. Arnold stressed the importance of religion and morality in the formation of character, more than it prized the achieving of academic results. Following the example of Rugby School, Arnold’s disciples spread this model throughout the public schools all over the country, emphasising the role of team sports as a formative tool to instil moral values such as cooperation, unselfishness, fair-play, respect of leadership, etc. The ideology of Muscular Christianity inspired the education of the leading classes of Victorian Britain and led to the codification of many modern sports.
We can find all those contents in the novel Tom Brown’s Schooldays, published in 1857 by Thomas Hughes. This book inaugurated the genre of British school novels, portraying Arnold’s action on the school’s rituals and institutions. The novel depicts important aspects of the school’s life – such as the “prefect-fagging system” and the problem of bullyism – and includes the most accomplished description of a football game, as played at Rugby School in those days.
We can find all those contents in the novel Tom Brown’s Schooldays, published in 1857 by Thomas Hughes. This book inaugurated the genre of British school novels, portraying Arnold’s action on the school’s rituals and institutions. The novel depicts important aspects of the school’s life – such as the “prefect-fagging system” and the problem of bullyism – and includes the most accomplished description of a football game, as played at Rugby School in those days.
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This textbook explores, through sports, the idea of Britishness and that of the different national identities existing within the United Kingdom (and in the Republic of Ireland, which was formerly part of it). Britishness is a feeling... more
This textbook explores, through sports, the idea of Britishness and that of the different national identities existing within the United Kingdom (and in the Republic of Ireland, which was formerly part of it).
Britishness is a feeling that often overlaps with that of Englishness, leaving the other British identities in the dark. Sport can be an important way of affirming Scottishness, Welshness or Irishness, sometimes against the dominant presence of English identity. This may be expressed through a heartfelt rivalry in a common sport – as between Scotland and England, in football or rugby union – or by means of the almost religious identification between a local community and a game – that is what rugby means for Welsh people; we shall also observe how local forms of sport can be elevated to the status of a national symbol, as we can see in the disciplines held by the Gaelic Athletic Association, a way to refuse the English influence and to assert a distinct Irish identity through sport.
On the other hand, a sense of Britishness still arises in other sporting events, for example, all those sports in which Great Britain participates as a whole (as athletics); an interesting case is that of the British & Irish Lions, the rugby team that reunites, every four years, the best of British rugby union, touring the countries of the former Empire to compete against teams from the former colonies (Australia, New Zealand or South Africa).
This manuscript was conceived as a textbook for students at the University of Parma (Italy). It is structured as an assemblage of important essays on the subject, whose references are given at the end of each chapter.
Enrico Martines claims to himself only the role of selector and editor of the chosen texts, which are amalgamated in order to form a new connected discourse.
Videos from YouTube are embedded in this document. In order to watch them you have to download the Word document. Better view the downloaded text by selecting Print Layout view or View > Modify document.
Britishness is a feeling that often overlaps with that of Englishness, leaving the other British identities in the dark. Sport can be an important way of affirming Scottishness, Welshness or Irishness, sometimes against the dominant presence of English identity. This may be expressed through a heartfelt rivalry in a common sport – as between Scotland and England, in football or rugby union – or by means of the almost religious identification between a local community and a game – that is what rugby means for Welsh people; we shall also observe how local forms of sport can be elevated to the status of a national symbol, as we can see in the disciplines held by the Gaelic Athletic Association, a way to refuse the English influence and to assert a distinct Irish identity through sport.
On the other hand, a sense of Britishness still arises in other sporting events, for example, all those sports in which Great Britain participates as a whole (as athletics); an interesting case is that of the British & Irish Lions, the rugby team that reunites, every four years, the best of British rugby union, touring the countries of the former Empire to compete against teams from the former colonies (Australia, New Zealand or South Africa).
This manuscript was conceived as a textbook for students at the University of Parma (Italy). It is structured as an assemblage of important essays on the subject, whose references are given at the end of each chapter.
Enrico Martines claims to himself only the role of selector and editor of the chosen texts, which are amalgamated in order to form a new connected discourse.
Videos from YouTube are embedded in this document. In order to watch them you have to download the Word document. Better view the downloaded text by selecting Print Layout view or View > Modify document.
Research Interests:
Trata-se da recensão do livro de Jerónimo Pizarro, Ler Pessoa, Lisboa: Tinta-da-china, 176 p.
Research Interests:
Martines, Enrico; Vizcaíno, Fernanda; Xavier, Rodrigo; Pizarro, Jerónimo; Sousa, Rui (2023). "O espólio infinito: Sobre algumas aquisições em falta" (2023). Pessoa Plural—A Journal of Fernando Pessoa Studies, No. 23, Spring, pp. 158-661.... more
Martines, Enrico; Vizcaíno, Fernanda; Xavier, Rodrigo; Pizarro, Jerónimo; Sousa, Rui (2023). "O espólio infinito: Sobre algumas aquisições em falta" (2023). Pessoa Plural—A Journal of Fernando Pessoa Studies, No. 23, Spring, pp. 158-661. Brown Digital Repository. Brown University Library. https://doi.org/10.26300/7m44-9s58
Em Junho de 2022 foi apresentado nesta revista um novo conjunto de autógrafos adquirido pela Biblioteca Nacional de Portugal, em 2020, através de um ajuste directo com os herdeiros de Fernando Pessoa. O presente artigo pretende dar continuidade ao contributo que a Pessoa Plural tem assumido no sentido de revela uma série de documentos de grande valor documental, alguns dos quais parcialmente revelados pelos biógrafos do poeta, que ajudam a reconstituir o percurso da família de Pessoa antes do seu nascimento, no decurso dos primeiros anos de vida e em etapas significativas da sua existência em Lisboa. Trata-se de um conjunto de perto de duas centenas de documentos, transcritos praticamente na íntegra, e sobejamente anotados, de modo a que ao conteúdo das cartas propriamente ditas se somem pormenores essenciais para o conhecimento do quotidiano de Portugal entre o final do século XIX e os anos mais próximos ao da morte de Pessoa. Propõe-se uma aproximação tão variada e completa quanto possível a vários núcleos epistolográficos representativos de diferentes vozes integrantes numa teia de relações que expõem personagens importantes do drama em gente real da vida de Pessoa.
A new set of autographs acquired by the National Library of Portugal in 2020 through a direct settlement with Fernando Pessoa’s heirs was presented in this journal in June 2022. The present article seeks to continue the contribution Pessoa Plural has assumed with the aim of making known a series of documents of great documental value, some of which are partially revealed by the poet’s biographers. These documents help retrace Pessoa’s family journey before his birth, throughout his first years and in significant stages of his existence in Lisbon. It is a set of almost two hundred documents, transcribed almost in full, and abundantly annotated, so that to the content of the letters themselves essential details can be added for the knowledge of everyday life in Portugal between the end of the 19th century and the years closest to Pessoa’s death. It proposes an approach as varied and complete as possible to several epistolary nuclei representative of different voices of the web of relationships that expose important characters in the real-life drama em gente of Pessoa’s life.
Em Junho de 2022 foi apresentado nesta revista um novo conjunto de autógrafos adquirido pela Biblioteca Nacional de Portugal, em 2020, através de um ajuste directo com os herdeiros de Fernando Pessoa. O presente artigo pretende dar continuidade ao contributo que a Pessoa Plural tem assumido no sentido de revela uma série de documentos de grande valor documental, alguns dos quais parcialmente revelados pelos biógrafos do poeta, que ajudam a reconstituir o percurso da família de Pessoa antes do seu nascimento, no decurso dos primeiros anos de vida e em etapas significativas da sua existência em Lisboa. Trata-se de um conjunto de perto de duas centenas de documentos, transcritos praticamente na íntegra, e sobejamente anotados, de modo a que ao conteúdo das cartas propriamente ditas se somem pormenores essenciais para o conhecimento do quotidiano de Portugal entre o final do século XIX e os anos mais próximos ao da morte de Pessoa. Propõe-se uma aproximação tão variada e completa quanto possível a vários núcleos epistolográficos representativos de diferentes vozes integrantes numa teia de relações que expõem personagens importantes do drama em gente real da vida de Pessoa.
A new set of autographs acquired by the National Library of Portugal in 2020 through a direct settlement with Fernando Pessoa’s heirs was presented in this journal in June 2022. The present article seeks to continue the contribution Pessoa Plural has assumed with the aim of making known a series of documents of great documental value, some of which are partially revealed by the poet’s biographers. These documents help retrace Pessoa’s family journey before his birth, throughout his first years and in significant stages of his existence in Lisbon. It is a set of almost two hundred documents, transcribed almost in full, and abundantly annotated, so that to the content of the letters themselves essential details can be added for the knowledge of everyday life in Portugal between the end of the 19th century and the years closest to Pessoa’s death. It proposes an approach as varied and complete as possible to several epistolary nuclei representative of different voices of the web of relationships that expose important characters in the real-life drama em gente of Pessoa’s life.
Research Interests: History, Portuguese Studies, Literature, Poetry, Literary Criticism, and 14 moreTextual Criticism, Archives, Biography, Fernando Pessoa, History of Archives, Epistolography, Postcards, Portugal, Literary Research, South Africa, Textual Criticism and Editing, Letters, Epistolary research, and Editing
Resumo: A presença, “folha de arte e crítica” de Coimbra, teve um papel fundamental na afirmação dos valores do modernismo português e manteve contatos com um dos seus representantes principais, Fernando Pessoa. Além das cartas trocadas... more
Resumo: A presença, “folha de arte e crítica” de Coimbra, teve um papel fundamental na afirmação dos valores do modernismo português e manteve contatos com um dos seus representantes principais, Fernando Pessoa. Além das cartas trocadas com os diretores da revista, é de salientar o breve contato epistolar entre Fernando Pessoa e Adolfo Rocha (colaborador da presença, mais tarde famoso através do pseudónimo literário de Miguel Torga), porque documenta uma polémica que, pela sua concomitância com a dissidência de Rocha, Edmundo de Bettencourt e Branquinho da Fonseca do grupo da presença, teve um peso relevante na intensificação das relações entre Pessoa e a folha de Coimbra. Esta correspondência, que aqui se apresenta, compõe-se de três documentos conservados na Biblioteca Nacional de Lisboa: dois, efetivamente trocados, mais o material preparatório de uma carta que Pessoa resolveu finalmente não enviar.Palavras-chave: Pessoa, presença, Torga, Simões, cartas.: The literary magazine pr...
Research Interests: Humanities and Art
Trata-se da recensão do livro de Jerónimo Pizarro, Ler Pessoa, Lisboa: Tinta-da-china, 176 p.
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A coleção de manuscritos de Fernando Távora inclui alguns documentos referentes a correspondência de e para José Régio, ligados à sua função de diretor-fundador da revista Presença, no final dos anos Vinte. Com efeito, encontramos neste... more
A coleção de manuscritos de Fernando Távora inclui alguns documentos referentes a correspondência de e para José Régio, ligados à sua função de diretor-fundador da revista Presença, no final dos anos Vinte. Com efeito, encontramos neste acervo documental: duas epístolas que testemunham dos contactos entre Régio e Raul Leal, uma carta dirigida por Régio a Branquinho da Fonseca, seu parceiro na direção da Presença, e outra breve missiva, de 1935, para Joaquim Moreira, então administrador da revista. É a correspondência com Raul Leal a que apresenta os elementos de maior interesse e, dentro dela, sobretudo as cartas assinadas por este autor. A respeito desta troca epistolar, foi possível articular a leitura dos manuscritos presentes na coleção de Fernando Távora com três missivas de Raul Leal conservadas no espólio regiano de Vila do Conde, as quais têm ligação com o material presente na coleção e fornecem informações importantes para o aprimoramento da sua interpretação.
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A coleção de manuscritos de Fernando Távora guarda vários testemunhos do diálogo epistolar entre Raul Leal e os representantes do chamado “segundo modernismo”. Depois das missivas trocadas com José Régio, publicadas no número 12 da Pessoa... more
A coleção de manuscritos de Fernando Távora guarda vários testemunhos do diálogo epistolar entre Raul Leal e os representantes do chamado “segundo modernismo”. Depois das missivas trocadas com José Régio, publicadas no número 12 da Pessoa Plural, apresenta-se aqui outro conjunto documental, cuja maior parte testemunha das relações entre Raul Leal e João Gaspar Simões, outro diretor-fundador da Presença. Este núcleo inclui também (ou faz referência a) manuscritos reveladores dos contatos mantidos com mais duas figuras de alguma forma ligadas a revistas que apareceram nos anos vinte do século passado: Alberto de Telles Machado e Alberto de Serpa. Os diversos temas tratados têm sobretudo a ver com uma avaliação da figura de Fernando Pessoa e com a situação de Raul Leal enquanto intelectual isolado. Quanto ao primeiro tópico, destacam-se algumas ideias expressas por Leal em desacordo com João Gaspar Simões, refutando a suposta intenção mistificadora presente nas atitudes mais arrojadas e nos escritos mais agressivos do heterónimo Álvaro de Campos, contradizendo a possível influência da eventual homossexualidade platónica de Fernando Pessoa na conceção, que Simões presume “maternal”, dos heterónimos, e impugnando a sua interpretação da despersonalização pessoana como percurso de progressiva espiritualização, antes sugerindo que se tratasse de uma queda da dimensão espiritual para uma vida de sensações terrenas e carnais, em Pessoa todas reprimidas e sublimadas na sua vida mental.
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Portuguese modernism was a heterogeneous movement consisting in distinct individualities that had in common the desire to bring about a profound renewal in Portuguese culture. This composite group of artists had in common a collective... more
Portuguese modernism was a heterogeneous movement consisting in distinct individualities that had in common the desire to bring about a profound renewal in Portuguese culture. This composite group of artists had in common a collective identity. As pointed out by Ettore Finazzi Agrò, the key word in the constitution of this common subject, is exile. This word is understood in its aesthetic sense, as a reference to an initiatory art, for a selected few; an existential choice, as well as a cultural one, of non-identification with respect to an environment and a socio-cultural context. In the context of the Portuguese modernists, a figure who appears to be the fullest and most resounding incarnation of the exiled state is a lesser-known author, Raul Leal, controversial and marginalized for several reasons. He was "exiled" with respect to social norms, sexual morality, current religion, style and linguistic conventions, and he also lived in concrete exile for political reasons, in Spain.
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Escrivães de bordo de um metafórico navio-cidade, tal como no último livro de José Cardoso Pires, Lisboa, livro de bordo: vozes, olhares, memorações; peregrinos anónimos, de passagem pela capital de um país cuja geografia corresponde a um... more
Escrivães de bordo de um metafórico navio-cidade, tal como no último livro de José Cardoso Pires, Lisboa, livro de bordo: vozes, olhares, memorações; peregrinos anónimos, de passagem pela capital de um país cuja geografia corresponde a um mapa interior, como o viajante de Saramago, protagonista de Viagem a Portugal; passageiros de um automóvel modernista, como o apressado turista guiado por Fernando Pessoa em Lisbon: what the tourist should see; substancialmente viandantes, como o Piéton de Paris de Léon-Paul Fargue. Estes são apenas alguns exemplos de escritores que dedicaram às suas próprias cidades (de origem ou de adoção, mais ou menos profunda) textos que não são obras de ficção, em que o universo urbano não é usado apenas como um cenário ao serviço de uma qualquer trama narrativa, mas onde este último é a própria trama, uma rede de signos e uma personagem com um estatuto igual a quem, como o escritor, está empenhado em traçar o seu próprio percurso, feito de memória e sentimento.
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Cultural relations between Portugal and Brazil in the period spanning, roughly, the two respective modernism were already the subject of important studies, such as that of Arnaldo Saraiva. It was duly noted how, precisely coinciding with... more
Cultural relations between Portugal and Brazil in the period spanning, roughly, the two respective modernism were already the subject of important studies, such as that of Arnaldo Saraiva. It was duly noted how, precisely coinciding with two high points of their respective literatures in the twentieth century, the cultural relations between Portugal and Brazil passed through a decidedly critical phase, although there wasn't a net loss of contact between the two literatures. Brazilian intellectuals felt the need to assert a national identity which also meant a break with the European cultural tradition, particularly the Portuguese. At the same time, the Portuguese mostly ignored the new values that were coming to the fore across the ocean. In this context, there were also episodes of Luso-Brazilian cultural initiatives. However, it has been shown that only since the thirties Portuguese intellectuals began to focus on the Brazilian culture and created the basis for a new possible influence of Brazilian writers on Portuguese literature. This was also due to the action of some Portuguese cultural magazines, among which "Descobrimento", the "Revista de Portugal" and, of course, "Presença." This paper proposes the result of a survey of the space dedicated by the Coimbra's magazine to the Brazilian culture, to check the timing, the methods and the objectives of this renewed interest, trying to derive from it the image Presença's critics had of Brazil - or, rather, of the new Brazilian literature.
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The paper studies the evolution of the introductory essay that Portuguese author José Régio wrote about his own work and which figures as a preface to the various editions of his collection, Poemas de Deus e do Diabo.
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The paper analyses the genetic evolution of the poem "Soluço na Noite", published by Portuguese writer José Régio in his collection "Mas Deus é Grande" (1945). Enrico Martines studied all the manuscripts referring to... more
The paper analyses the genetic evolution of the poem "Soluço na Noite", published by Portuguese writer José Régio in his collection "Mas Deus é Grande" (1945). Enrico Martines studied all the manuscripts referring to the poem and registered all the variants proposed and discarded by its author, in the process of its composition.
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The publication, since 1980, of A Tragédia da Rua das Flores allowed the public to have access - even if in editions that have stirred controversy about their philological correctness - to a text which, despite its obvious incompleteness,... more
The publication, since 1980, of A Tragédia da Rua das Flores allowed the public to have access - even if in editions that have stirred controversy about their philological correctness - to a text which, despite its obvious incompleteness, provides some interesting reflections about the creative process put in place by the Portuguese writer. Particularly, the publication of this text shows how the author - Realist novelist Eça de Queirós - recovered some of the narrative elements already used in the repudiated novel in later works. The Tragédia da Rua das Flores was therefore a working document, a draft of a novel left in its raw state. Furthermore, Eça reused names, characters and situations of the abandoned novel in two works: A Capital and Os Maias. The latter novel inherited from the Tragédia the theme of the incest. If it is true that A Tragédia da Rua das Flores has many imperfections, typical of a work in the making, it nonetheless shows us a well-constructed story, a develope...
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This paper focuses on the poetic texts dropped out by their author, portuguese writer José Régio, who did not considered them, for one reason or another, worthy of being offered to his readers, and not even worthy of a labor of further... more
This paper focuses on the poetic texts dropped out by their author, portuguese writer José Régio, who did not considered them, for one reason or another, worthy of being offered to his readers, and not even worthy of a labor of further finishing. The research carried out in Regio's collection of manuscripts - in Vila do Conde - in the documents gathered at the "Casa Jose Regio", in the Alberto Serpa's collection of manuscripts, in the National Library in Lisbon and in Oporto's Municipal Library, led to join a total of 75 abandoned poetic texts. Among these were also counted incomplete poems, those explicitly condemned by the author and poetic fragments. The purpose of this work, is not to enlarge Regio's poetic production, offering it to the general public, but only to study the poems abandoned by the great writer of Vila do Conde. In fact, this corpus was divided into five groups, according to the different level of finish - or better, of incompleteness - ...
The article presents the poetry that the great Portuguese writer, José Régio, published in magazines and newspapers in life, but never included in his bibliography. After Régio's death, in 1969, his personal friend, Alberto de Serpa,... more
The article presents the poetry that the great Portuguese writer, José Régio, published in magazines and newspapers in life, but never included in his bibliography. After Régio's death, in 1969, his personal friend, Alberto de Serpa, edited three collection destined to complete the poetic production of the author: Música Ligeira (1970) - the last book of verses on which Régio was working - Colheita da Tarde e 16 Poemas dos não incluídos em Colheita da Tarde (both in 1971). Collecting the material already held by Alberto Serpa and searching for all the poems given by Régio to magazines and newspapers in Portugal, during fifty-three years of poetic activity, Enrico Martines gathered a total of one hundred and nine compositions, among which only four were published after 1971. The intent of this work was not to "complete" Alberto de Serpa's ediitions, expanding his selection of poems which was worth publishing: on the contrary, the idea was to gather and to make known...
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The article analyzes and highlights one of the most meritorious actions performed by the Portuguese magazine Presença (Coimbra, 1927-1940), ie having examined, appreciated and "explained" to the public of its readers the value... more
The article analyzes and highlights one of the most meritorious actions performed by the Portuguese magazine Presença (Coimbra, 1927-1940), ie having examined, appreciated and "explained" to the public of its readers the value of the best artistic expressions of the generation immediately preceding, the one linked to the short-lived magazine Orpheu (Lisbon, 1915). Folha de Arte and Crítica (Journal of Arts and Literary Criticism), the magazine of Coimbra pledged to keep the promise made in its subtitle, considering the art in all its forms of expression and establishing, from the early numbers, the intellectual guidelines which determined the selection and enhancement of artistic models, worthy of being held to the attention of its readers. Examples of "living literature", a definition that José Régio adopted as the emblem of Presença's critical taste, modern authors - as Fernando Pessoa, Mário de Sá-Carneiro and José de Almada Negreiros - were for the first ...
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This contribution is the testimony of the author's research experience at the "Arquivo da Cultura Portuguesa Contemporânea" of Lisbon's National Library, where the manuscripts of the most important Portuguese authors of... more
This contribution is the testimony of the author's research experience at the "Arquivo da Cultura Portuguesa Contemporânea" of Lisbon's National Library, where the manuscripts of the most important Portuguese authors of the last two centuries are kept; the author, who has worked in research projects related to Fernando Pessoa and José Régio, dedicates some reflections on the importance of this particular approach to the literary creation. More than for the content itself, the brief contribution is important because the author has been included among the 25 scholars invited to leave their testimony in the book that celebrates the 25th anniversary of the aforementioned institution.
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De Profundis, Valsa Lenta is the autobiographical narration of the experience lived by Portuguese writer José Cardoso Pires in 1995, that is, the ischemia that temporarily deprived him of memory, seriously damaging his ability to relate... more
De Profundis, Valsa Lenta is the autobiographical narration of the experience lived by Portuguese writer José Cardoso Pires in 1995, that is, the ischemia that temporarily deprived him of memory, seriously damaging his ability to relate to the outer world and, most of all, to his own identity. It is quite an extraordinary testimony, because people affected by this kind of illness seldom recover their faculties. Moreover, this particular patient is a great writer, who was able to use his sensibility and his capacity to recreate the world through language, thus leaving his own account of the facts: a literary text which nonetheless provide a great amount of information, useful to the study of this pathology. A rare example of “memoirs of the lost memory”, in which speech re-emerge from a vacuum of words to testify the recovery of the author’s self-consciousness. This paper focuses on issues related to the loss of identity, the bond between the narrating self and the Other who momentar...
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Scribes on board of a metaphorical ship-city, as in the last book of Cardoso Pires, "Lisboa, livro de bordo: vozes, olhares, memorações"; anonymous pilgrims, passing through the capital of a country whose geography corresponds... more
Scribes on board of a metaphorical ship-city, as in the last book of Cardoso Pires, "Lisboa, livro de bordo: vozes, olhares, memorações"; anonymous pilgrims, passing through the capital of a country whose geography corresponds to an inner map, like José Saramago's traveller in "Viagem a Portugal"; passengers of a modernist car, like the hasty tourist driven by Fernando Pessoa in "Lisbon: What the Tourist Should See"; essentially travellers, such as the "Piéton de Paris" by Léon-Paul Fargue. These are just a few examples of writers who have devoted non-fictional texts to their city (by birth or adoption), books in which the urban universe does not serve as the backdrop for the unravelling of a storyline, being instead the very plot itself, a network of signs, a character on the same level with those who, like the writer, has pledged to track his personal journey, made of memories and feelings.
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Addressing the relationship between Fernando Pessoa and the literary magazine Presença means analysing an extremely lively and fruitful dialogue, both to Pessoa and to Coimbra magazine, which started its publications in 1927.In fact,... more
Addressing the relationship between Fernando Pessoa and the literary magazine Presença means analysing an extremely lively and fruitful dialogue, both to Pessoa and to Coimbra magazine, which started its publications in 1927.In fact, Pessoa it is almost automaticly associated to the magazines that expressed the so-called "early modernism" - above all, Orpheu - and to those to whom the poet was more assiduously linked, as Athena, which Pessoa directed. Nevertheless, one should not forget the importance of the collaboration between Presença and the author of Mensagem, a contact that occurred with some regularity in the last eight years of the poet's life: on the one hand, Fernando Pessoa was from the beginning, and throughout the activity of the magazine, a point of reference and an example of "living literature", to use the famous definition forged by the director and principal theorist of the journal, José Régio; secondly, Presença was perhaps the magazine th...
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José Régio, was a poet, novelist, playwright and essayist, founder of the magazine Presença and the most important figure of the second phase of Portuguese modernism. He occupied the Lusitan cultural scene for much of the last century,... more
José Régio, was a poet, novelist, playwright and essayist, founder of the magazine Presença and the most important figure of the second phase of Portuguese modernism. He occupied the Lusitan cultural scene for much of the last century, offering a limited number of key topics in a wide variety of literary forms. No other writer has lived as intensely as Régio the religious problem, felt as a constant internal conflict, as neverending a tension between the need of the divinity and its denial, as an attraction to the sacred but also towards the demonic, in a precarious balance of oppositions and contradictions that crosses all his work. The two poetic collections presented in this volume, Poemas de Deus and do Diabo (1926) and Mas Deus é Grande (1945), respectively inaugurate and propose again, at a later age, this central theme. The editor of this edition not only establishes and introduces the poetic text: he seeks to penetrate into the laboratory of the poet through the analysis of ...
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The title of the book serves as a starting point for the contrastive analysis of two footballing legends - Pelé and Garrincha - both winners at the peak of their sporting careers but profoundly different, if one considers their... more
The title of the book serves as a starting point for the contrastive analysis of two footballing legends - Pelé and Garrincha - both winners at the peak of their sporting careers but profoundly different, if one considers their extraction, their character and especially the unraveling of their respective human story. The dichotomy of "Angels and Demons" does not want to echo the novel by Dan Brown; instead, it suggests the role that literary and filmic representation can have in the development and establishment of true icons that, taken out of their everyday reality, are invested with archetypal and symbolic values. The oppositional metaphor that gives the book its title becomes projection, within the otherworldly, of the contradictory bounces of a football that offers countless ideas for analysis and reflection. This book it's not only about brazilian football: in fact, it was a meeting point that brought together specialists from different areas: Anglicists, Hispani...
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The articles focuses on one of the most important texts of Brazilian literature, a true birth certificate of the national letters, the Canção do Exilio by Gonçalves Dias. The subject of numerous remakes during the nearly two centuries of... more
The articles focuses on one of the most important texts of Brazilian literature, a true birth certificate of the national letters, the Canção do Exilio by Gonçalves Dias. The subject of numerous remakes during the nearly two centuries of the history of the Brazilian nation, the romantic song has had the merit of establishing an initial patrimony of symbols that refer to a central issue throughout this period. The culture of Brazil is in fact marked by a symbolic universe tied to a common nationalist ideology. The problem of the affirmation of national identity has always been central in the country, first as an absolute necessity borne out in full romantic aesthetics, then as a need to assert cultural autonomy, affirmed in the next century by the modernists, then as a necessity to find a spiritual homeland, in the painful period of the military dictatorship and, more generally, in the contradictions of contemporary Brazilian society. This symbolic universe is dominated by the theme ...
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ABSTRACT Founded in Coimbra in March 1927, the literary and critical journal Presenca undertook the formidable task of recalling Portugal to the lessons and possibilities of modernism that emerged first with the publication of the two... more
ABSTRACT Founded in Coimbra in March 1927, the literary and critical journal Presenca undertook the formidable task of recalling Portugal to the lessons and possibilities of modernism that emerged first with the publication of the two issues of Orpheu in 1915. Early on, the journal's young editors invited Fernando Pessoa, the most famous living poet associated with Orpheu, to help them in their task by contributing to its pages. The older poet agreed to do so. It is his correspondence with the various editors of Presenca, running through the last eight years of the poet's life, that is the subject and provides the substance of Enrico Martines's book. Much of the primary matter in Cartas entre Fernando Pessoa e os directores da Presenca has appeared previously, some of it as long ago as 1957 in the case of the correspondence between Pessoa and the young Joao Gaspar Simoes, his first critic and, later, his first biographer. Yet there are over fifty previously unpublished letters here, and the conjoining in one place of the letters exchanged between the great modernist poet and the so-called "men of Presenca"-Jose Regio, Gaspar Simoes, Adolfo Casais Monteiro, and, in an appendix, Adolfo Rocha (Miguel Torga)-along with a few other documents, makes this a useful production for anyone interested in the literary history of the twentieth century in general or, more particularly, the role played by Presenca in championing the centrality of the poet the journal's editors themselves called the "Master" of modern Portuguese letters. Of the "new" letters published here, those comprising the Regio-Pessoa correspondence are the most surprising, for their relative paucity and for the comparative brevity of the letters themselves. The editor speculates that Regio's interest in Pessoa cooled off somewhat after his and Simoes's meeting with the Master in Lisbon at the Cafe Montanha in June 1930, when "he" failed to show, sending in his stead the obstreperous heteronym, his "own engineer" Alvaro de Campos. They exchanged only two rather businesslike letters after this awkward and, to Regio apparently, unpleasant encounter, both in 1934. Even though Pessoa continued to send his regards to the older editor of Presenca in his far more frequent letters to Simoes, the latter's replies offer no indication that Regio was in any mood to reciprocate. Of course, it was Simoes who maintained, until December 1934, Presenca's closest connection with Pessoa. Their correspondence came to a halt, however, when Simoes left Coimbra for Lisbon, a removal that also seems to have diminished his role in the journal's management. His function seems to have been assumed, to a lesser or greater extent, by Adolfo Casais Monteiro, the young poet who joined Presenca's editorial staff after the defection of Branquinho da Fonseca, the journal's third founding editor. It is to that change in management, incidentally, that is owed the fortuitous exchange of letters between Pessoa and Casais Monteiro which extracted from the poet of Orpheu the now-celebrated account of the genesis of his heteronyms and his explanation of their "personal" and intertextual relationships. Rereading that letter in the context of all the letters in this collection might even tempt one to think that in his last years the wily poet was improvising still another unfolding drama, this time involving the young men of Presenca. As he warned Casais Monteiro in the year of his death, "Behind the poet's involuntary masquerade as a reasoning being or what have you, what I am essentially is a dramatist." In keeping with the rules laid down for the Critical Edition, Cartas entre Fernando Pessoa e os directores da Presenca, the second volume in that major edition's "Studies" series, is a full-scale performance. Among other matters, it includes, besides a substantial introduction, a record of variants and cancellations in the letters, the details of their prior publication, and ample annotations that serve to contextualize and to explain references. Review by George Monteiro (Brown University)
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On 6th February 1958, an air crash at the Munich airport claimed the lives of eight Manchester United footballers, putting the overwhelming rise of a team of young talented players to a tragic end. The squad had been built by Scottish... more
On 6th February 1958, an air crash at the Munich airport claimed the lives of eight Manchester United footballers, putting the overwhelming rise of a team of young talented players to a tragic end. The squad had been built by Scottish manager Matt Busby, so they were popularly known as the ‘Busby Babes’. They were returning from a victorious European Cup tie against Red Star Belgrade, when their airplane crashed in atrocious weather whilst attempting to take off for the third time from Munich-Riem Airport, on the last leg of their journey home. People used to call their boys also ‘The Flowers of Manchester’: they were the best loved team there has ever been. This sporting and human tragedy was keenly felt all over Britain; it was an event etched in the memory of a generation. Such a dramatic circumstance obviously earned itself a particular place in British popular culture. It has therefore been the subject of many narrations, in the following years, and different media have been us...
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ABSTRACT The paper presents a possible translation of the poem "Vitaï Lampada", published by Sir Henry Newbolt, in 1897. His work can be inscribed in the genre of military-patriotic poetry, much in vogue in the nineties... more
ABSTRACT The paper presents a possible translation of the poem "Vitaï Lampada", published by Sir Henry Newbolt, in 1897. His work can be inscribed in the genre of military-patriotic poetry, much in vogue in the nineties of the nineteenth century. The author reached in those years a high degree of popularity, for the tone and the character of his verses, but later fell out of favor - especially with the critics - coinciding with the decline of the imperialist ethic - with which Newbolt is inextricably associated - and with the awareness of the atrocity of the war, resulting from the impact of the first World War. Therefore, a timeworn text, the work of an author who is poorly considered and sometimes derided. Yet, because of the characteristics that make it an object of criticism and sometimes scorn, this poem - as the entire production of Newbolt - is worthy of attention because it is extremely representative of its era, of its mindset, of a cultural heritage that can be judged only when put in its proper context. The paper seeks to show how the translation of poetry can be an intellectual operation which requires a further degree of meta-textual reflection. The idiomatic phrase in the title of the paper - "What game are we playing?", inspired by the famous refrain, "Play up! Play up! and play the game! "- is intended as an invitation to reflect on the specificity of the semantic field of the verb" to play "in the ideological and historical moment in which Newbolt's poem was produced. From this consideration comes the need, for the translator, to bridge - or at least to reduce - the cultural gap between the British and the Italian concepts of "playing the game", especially with regard to the idea of "playing" a sport, and the value the Italians place to sports in terms of education or patriotic.
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MARTINES, Enrico, "José Régio, Raul Leal e a Presença: marcas epistolares de um diálogo modernista" (2017). Pessoa Plural―A Journal of Fernando Pessoa Studies, No. 12, Fall, pp. 82-133. Brown Digital Repository. Brown University Library.... more
MARTINES, Enrico, "José Régio, Raul Leal e a Presença: marcas epistolares de um diálogo modernista" (2017). Pessoa Plural―A Journal of Fernando Pessoa Studies, No. 12, Fall, pp. 82-133. Brown Digital Repository. Brown University Library. https://doi.org/10.7301/Z0P26WBG
Is Part of:
Pessoa Plural―A Journal of Fernando Pessoa Studies, Issue 12
José Régio, Raul Leal e a Presença – marcas epistolares de um diálogo modernista
[José Régio, Raul Leal and Presença —epistolary evidence of a modernist dialogue]
https://doi.org/10.7301/Z0P26WBG
RESUMO
A coleção de manuscritos de Fernando Távora inclui alguns documentos referentes a correspondência de e para José Régio, ligados à sua função de diretor-fundador da revista Presença, no final dos anos Vinte. Com efeito, encontramos neste acervo documental: duas epístolas que testemunham dos contactos entre Régio e Raul Leal, uma carta dirigida por Régio a Branquinho da Fonseca, seu parceiro na direção da Presença, e outra breve missiva, de 1935, para Joaquim Moreira, então administrador da revista. É a correspondência com Raul Leal a que apresenta os elementos de maior interesse e, dentro dela, sobretudo as cartas assinadas por este autor. A respeito desta troca epistolar, foi possível articular a leitura dos manuscritos presentes na coleção de Fernando Távora com três missivas de Raul Leal conservadas no espólio regiano de Vila do Conde, as quais têm ligação com o material presente na coleção e fornecem informações importantes para o aprimoramento da sua interpretação.
ABSTRACT
Fernando Távora'ʹs collection of manuscripts includes some documents related to the correspondence to and from José Régio, connected to his role as founding director of the literary magazine Presença in the late twenties. In fact, in the Távora collection we find two letters that bear witness to the contacts between Régio and Raul Leal, a letter addressed by Régio to his partner in the direction of Presença, Branquinho da Fonseca, and another brief missive dated 1935 to Joaquim Moreira, then administrator of the magazine. It is the correspondence with Raul Leal that presents the elements of greatest interest and especially the letters signed by this author. With regard to this epistolary exchange, it was possible to read the letters in the collection of Fernando Távora alongside three manuscripts present in the José Régio archive, in Vila do Conde, which are directly linked to the material present in the collection and provide important information, beneficial to its interpretation.
BIBLIOGRAFIA
ALMEIDA, António (2015). “‘Brandindo o cutelo da Maldição’. Em torno do manifesto O Bando
Sinistro de Raul Leal”, in Pessoa Plural – A Journal of Fernando Pessoa Studies, n.º 8, Outono,
pp. 564-‐‑601.
BARRETO, José (2012). “Fernando Pessoa e Raul Leal contra a campanha moralizadora dos
estudantes em 1923”, in Pessoa Plural – A Journal of Fernando Pessoa Studies, n.º 2, Outono,
pp. 240-‐‑270.
LEAL, Raul (1918). “A retirada de Homem-‐‑Christo, Filho”, in O Liberal. Folha Imparcial da Manhã
(dir. Carneiro de Moura), Ano II (XII), 395 (3.544), Lisboa, 17 de maio, pp. 1-‐‑2.
LEAL, Raul, PESSOA, Fernando, MAIA, Álvaro et al. (1989). Sodoma divinizada: uma polémica iniciada
por Fernando Pessoa a propósito de António Botto, e também por ele terminada, com ajuda de Álvaro
Maia e Pedro Teotónio Pereira (da Liga de Acção dos Estudantes de Lisboa). Organização,
introdução e cronologia de Aníbal Fernandes. Lisboa: Hiena Editora, Colecção Memória do
Abismo, 23. 8°.
LOPO, Rui (2013a). “Raul Leal e Fernando Pessoa, um sublimado furor diabolicamente divino”, in
Pessoa Plural– A Journal of Fernando Pessoa Studies, n.º 3, Primavera, pp. 1-‐‑27.
LOPO, Rui (2013b). “Inéditos de Raul Leal”, in Pessoa Plural– A Journal of Fernando Pessoa Studies, n.º
3, Primavera, pp. 56-‐‑90.
NOVAIS, Isabel Cadete (2002). “Para uma bibliografia activa: colaboração dispersa em jornais,
revistas e publicações”, in José Régio. Itinerário fotobiográfico, Coleção Presenças da Imagem,
Lisboa: Imprensa Nacional-‐‑Casa da Moeda/Vila do Conde: Câmara Municipal de Vila do
Conde, 2002, pp. 319-‐‑356.
PESSOA, Fernando (1998). Cartas entre Fernando Pessoa e os diretores da presença. Edição e estudo de
Enrico Martines, coleção Estudos, volume 2, Equipa Pessoa, Grupo de Trabalho para o
Estudo do Espólio e Edição Crítica da Obra Completa de Fernando Pessoa, Lisboa:
Imprensa Nacional-‐‑Casa da Moeda.
PESSOA, Fernando (2011). Argumentos para filmes. Edição, introdução e tradução de Patricio Ferrari e
Claudia J. Fischer. Posfácio de Fernando Guerreiro. Lisboa: Ática.
SÁ-‐‑CARNEIRO Mário de (2015). Em Ouro e Alma — Correspondência com Fernando Pessoa. Edição de
Ricardo Vasconcelos e Jerónimo Pizarro. Lisboa: Tinta-‐‑da-‐‑china.
SILVA, Manuela Parreira da (2015). “Raul Leal, o filósofo ‘futurista’ de Orpheu”, in Estranhar Pessoa,
n.º 2, Outono, pp. 110-‐‑119.
SIMÕES, João Gaspar (1977). José Régio e a história do movimento da “Presença”: autobiografia. Porto:
Brasília.
Is Part of:
Pessoa Plural―A Journal of Fernando Pessoa Studies, Issue 12
José Régio, Raul Leal e a Presença – marcas epistolares de um diálogo modernista
[José Régio, Raul Leal and Presença —epistolary evidence of a modernist dialogue]
https://doi.org/10.7301/Z0P26WBG
RESUMO
A coleção de manuscritos de Fernando Távora inclui alguns documentos referentes a correspondência de e para José Régio, ligados à sua função de diretor-fundador da revista Presença, no final dos anos Vinte. Com efeito, encontramos neste acervo documental: duas epístolas que testemunham dos contactos entre Régio e Raul Leal, uma carta dirigida por Régio a Branquinho da Fonseca, seu parceiro na direção da Presença, e outra breve missiva, de 1935, para Joaquim Moreira, então administrador da revista. É a correspondência com Raul Leal a que apresenta os elementos de maior interesse e, dentro dela, sobretudo as cartas assinadas por este autor. A respeito desta troca epistolar, foi possível articular a leitura dos manuscritos presentes na coleção de Fernando Távora com três missivas de Raul Leal conservadas no espólio regiano de Vila do Conde, as quais têm ligação com o material presente na coleção e fornecem informações importantes para o aprimoramento da sua interpretação.
ABSTRACT
Fernando Távora'ʹs collection of manuscripts includes some documents related to the correspondence to and from José Régio, connected to his role as founding director of the literary magazine Presença in the late twenties. In fact, in the Távora collection we find two letters that bear witness to the contacts between Régio and Raul Leal, a letter addressed by Régio to his partner in the direction of Presença, Branquinho da Fonseca, and another brief missive dated 1935 to Joaquim Moreira, then administrator of the magazine. It is the correspondence with Raul Leal that presents the elements of greatest interest and especially the letters signed by this author. With regard to this epistolary exchange, it was possible to read the letters in the collection of Fernando Távora alongside three manuscripts present in the José Régio archive, in Vila do Conde, which are directly linked to the material present in the collection and provide important information, beneficial to its interpretation.
BIBLIOGRAFIA
ALMEIDA, António (2015). “‘Brandindo o cutelo da Maldição’. Em torno do manifesto O Bando
Sinistro de Raul Leal”, in Pessoa Plural – A Journal of Fernando Pessoa Studies, n.º 8, Outono,
pp. 564-‐‑601.
BARRETO, José (2012). “Fernando Pessoa e Raul Leal contra a campanha moralizadora dos
estudantes em 1923”, in Pessoa Plural – A Journal of Fernando Pessoa Studies, n.º 2, Outono,
pp. 240-‐‑270.
LEAL, Raul (1918). “A retirada de Homem-‐‑Christo, Filho”, in O Liberal. Folha Imparcial da Manhã
(dir. Carneiro de Moura), Ano II (XII), 395 (3.544), Lisboa, 17 de maio, pp. 1-‐‑2.
LEAL, Raul, PESSOA, Fernando, MAIA, Álvaro et al. (1989). Sodoma divinizada: uma polémica iniciada
por Fernando Pessoa a propósito de António Botto, e também por ele terminada, com ajuda de Álvaro
Maia e Pedro Teotónio Pereira (da Liga de Acção dos Estudantes de Lisboa). Organização,
introdução e cronologia de Aníbal Fernandes. Lisboa: Hiena Editora, Colecção Memória do
Abismo, 23. 8°.
LOPO, Rui (2013a). “Raul Leal e Fernando Pessoa, um sublimado furor diabolicamente divino”, in
Pessoa Plural– A Journal of Fernando Pessoa Studies, n.º 3, Primavera, pp. 1-‐‑27.
LOPO, Rui (2013b). “Inéditos de Raul Leal”, in Pessoa Plural– A Journal of Fernando Pessoa Studies, n.º
3, Primavera, pp. 56-‐‑90.
NOVAIS, Isabel Cadete (2002). “Para uma bibliografia activa: colaboração dispersa em jornais,
revistas e publicações”, in José Régio. Itinerário fotobiográfico, Coleção Presenças da Imagem,
Lisboa: Imprensa Nacional-‐‑Casa da Moeda/Vila do Conde: Câmara Municipal de Vila do
Conde, 2002, pp. 319-‐‑356.
PESSOA, Fernando (1998). Cartas entre Fernando Pessoa e os diretores da presença. Edição e estudo de
Enrico Martines, coleção Estudos, volume 2, Equipa Pessoa, Grupo de Trabalho para o
Estudo do Espólio e Edição Crítica da Obra Completa de Fernando Pessoa, Lisboa:
Imprensa Nacional-‐‑Casa da Moeda.
PESSOA, Fernando (2011). Argumentos para filmes. Edição, introdução e tradução de Patricio Ferrari e
Claudia J. Fischer. Posfácio de Fernando Guerreiro. Lisboa: Ática.
SÁ-‐‑CARNEIRO Mário de (2015). Em Ouro e Alma — Correspondência com Fernando Pessoa. Edição de
Ricardo Vasconcelos e Jerónimo Pizarro. Lisboa: Tinta-‐‑da-‐‑china.
SILVA, Manuela Parreira da (2015). “Raul Leal, o filósofo ‘futurista’ de Orpheu”, in Estranhar Pessoa,
n.º 2, Outono, pp. 110-‐‑119.
SIMÕES, João Gaspar (1977). José Régio e a história do movimento da “Presença”: autobiografia. Porto:
Brasília.
Research Interests:
MARTINES, Enrico, "Raul Leal e o segundo modernismo: Relações epistolares com Simões e outros afins Palavras-chave" (2018). Pessoa Plural―A Journal of Fernando Pessoa Studies, No. 13, Spring, pp. 143-236. Brown Digital Repository. Brown... more
MARTINES, Enrico, "Raul Leal e o segundo modernismo: Relações epistolares com Simões e outros afins Palavras-chave" (2018). Pessoa Plural―A Journal of Fernando Pessoa Studies, No. 13, Spring, pp. 143-236. Brown Digital Repository. Brown University Library. https://doi.org/10.7301/Z0930RPZ
Is Part of:
Pessoa Plural―A Journal of Fernando Pessoa Studies, Issue 13
Raul Leal e o segundo modernismo: Relações epistolares com Simões e outros afins
[Raul Leal and the second modernism: Epistolary relations with Simões and others]
https://doi.org/10.7301/Z0930RPZ
RESUMO
A coleção de manuscritos de Fernando Távora guarda vários testemunhos do diálogo epistolar entre Raul Leal e os representantes do chamado "segundo modernismo". Depois das missivas trocadas com José Régio, publicadas no número 12 da Pessoa Plural, apresenta-se aqui outro conjunto documental, cuja maior parte testemunha das relações entre Raul Leal e João Gaspar Simões, outro diretor-fundador da Presença. Este núcleo inclui também (ou faz referência a) manuscritos reveladores dos contatos mantidos com mais duas figuras de alguma forma ligadas a revistas que apareceram nos anos vinte do século passado: Alberto de Telles Machado e Alberto de Serpa. Os diversos temas tratados têm sobretudo a ver com uma avaliação da figura de Fernando Pessoa e com a situação de Raul Leal enquanto intelectual isolado. Quanto ao primeiro tópico, destacam-se algumas ideias expressas por Leal em desacordo com João Gaspar Simões, refutando a suposta intenção mistificadora presente nas atitudes mais arrojadas e nos escritos mais agressivos do heterónimo Álvaro de Campos, contradizendo a possível influência da eventual homossexualidade platónica de Fernando Pessoa na conceção, que Simões presume "maternal", dos heterónimos, e impugnando a sua interpretação da despersonalização pessoana como percurso de progressiva espiritualização, antes sugerindo que se tratasse de uma queda da dimensão espiritual para uma vida de sensações terrenas e carnais, em Pessoa todas reprimidas e sublimadas na sua vida mental.
ABASTRACT
Fernando Távora's collection of manuscripts keeps a number of testimonies of the epistolary dialogue between Raul Leal and the representatives of the so-called "second modernism". Following the missives exchanged with José Régio, published in Pessoa Plural 12, I present here another documentary set, most of which testifies to the relationship between Raul Leal and João Gaspar Simões, another founding director of Presença. The article also includes evidence of the contacts kept with two other figures in different ways linked to magazines that appeared in the 1920s: Alberto de Telles Machado and Alberto de Serpa. The various themes dealt with have mostly to do with the critical evaluation of Fernando Pessoa and with the situation of Raul Leal as an isolated intellectual. As for the first topic, some ideas expressed by Leal in disagreement with João Gaspar Simões stand out: he refutes the supposed mystifying intention present in the more daring attitudes and writings of the heteronym Álvaro de Campos; he contradicts the possible influence of the Platonic homosexuality of Fernando Pessoa in the conception, that Simões presumes "maternal", of heteronyms; and he challenges Simões’ interpretation of the personal depersonalization as a course of progressive spiritualization, rather suggesting that it was a fall from the spiritual dimension to a life of earthly and carnal sensations, in Pessoa all repressed and sublimated in his mental life.
BINLIOGRAFIA
BARRETO, José (2016). “Os destinatários dos panfletos pessoanos de 1923”, Pessoa Plural – A Journal
of Fernando Pessoa Studies, n.º 10, Outono, pp. 628-703.
LEAL, Raul (1970). O sentido esotérico da história (Coordenação, prefácio e notas de Pinharanda
Gomes). Lisboa: Livraria Portugal.
_____ (1959a). “As tendências orfaicas e o saudosismo”, Tempo Presente, n.º 5, setembro, pp. 17-24.
_____ (1959b). “As tendências orfaicas e o saudosismo. II”, Tempo Presente, n.º 7, novembro, pp.
39-48.
MARTINES, Enrico (2017). “José Régio, Raul Leal e a Presença: marcas epistolares de um diálogo
modernista”, Pessoa Plural – A Journal of Fernando Pessoa Studies, n.º 12, Outono, pp. 82-133.
PEREIRA, José Maria dos Reis (1925). As correntes e as individualidades da moderna poesia portuguesa.
Coimbra: edição do autor.
PESSOA, Fernando (1998). Cartas entre Fernando Pessoa e os directores da presença. Edição e estudo de
Enrico Martines. Lisboa: Imprensa Nacional-Casa da Moeda.
RÉGIO, José (1994). “Fernando Pessoa e Mário de Sá-Carneiro”, Crítica e ensaio/2. Lisboa: Círculo de
Leitores, pp. 247-250
_____ (1927a). “Literatura viva”, Presença, n.º 1, Coimbra, 10 de março, pp. 1-2.
_____ (1927b). “Classicismo e modernismo”, Presença, n.º 2, Coimbra, 28 de março, pp. 1-2.
SÁ-CARNEIRO, Mário de (2015). Em ouro e alma – correspondência com Fernando Pessoa. Edição crítica
de Ricardo Vasconcelos e Jerónimo Pizarro. Lisboa: Tinta-da-china.
SIMÕES, João Gaspar (1991). Vida e obra de Fernando Pessoa. História de uma geração. Lisboa: Dom
Quixote. 6ª edição.
_____ (1977). José Régio e a história do movimento da “Presença”: autobiografia. Porto: Brasília.
_____ (1974). Retratos de poetas que conheci: autobiografia. Porto: Brasília.
_____ (1949). “No aniversário da morte de Fernando Pessoa”, Diário Popular, Lisboa, 30 de
novembro de 1949, pp. 4-5.
Is Part of:
Pessoa Plural―A Journal of Fernando Pessoa Studies, Issue 13
Raul Leal e o segundo modernismo: Relações epistolares com Simões e outros afins
[Raul Leal and the second modernism: Epistolary relations with Simões and others]
https://doi.org/10.7301/Z0930RPZ
RESUMO
A coleção de manuscritos de Fernando Távora guarda vários testemunhos do diálogo epistolar entre Raul Leal e os representantes do chamado "segundo modernismo". Depois das missivas trocadas com José Régio, publicadas no número 12 da Pessoa Plural, apresenta-se aqui outro conjunto documental, cuja maior parte testemunha das relações entre Raul Leal e João Gaspar Simões, outro diretor-fundador da Presença. Este núcleo inclui também (ou faz referência a) manuscritos reveladores dos contatos mantidos com mais duas figuras de alguma forma ligadas a revistas que apareceram nos anos vinte do século passado: Alberto de Telles Machado e Alberto de Serpa. Os diversos temas tratados têm sobretudo a ver com uma avaliação da figura de Fernando Pessoa e com a situação de Raul Leal enquanto intelectual isolado. Quanto ao primeiro tópico, destacam-se algumas ideias expressas por Leal em desacordo com João Gaspar Simões, refutando a suposta intenção mistificadora presente nas atitudes mais arrojadas e nos escritos mais agressivos do heterónimo Álvaro de Campos, contradizendo a possível influência da eventual homossexualidade platónica de Fernando Pessoa na conceção, que Simões presume "maternal", dos heterónimos, e impugnando a sua interpretação da despersonalização pessoana como percurso de progressiva espiritualização, antes sugerindo que se tratasse de uma queda da dimensão espiritual para uma vida de sensações terrenas e carnais, em Pessoa todas reprimidas e sublimadas na sua vida mental.
ABASTRACT
Fernando Távora's collection of manuscripts keeps a number of testimonies of the epistolary dialogue between Raul Leal and the representatives of the so-called "second modernism". Following the missives exchanged with José Régio, published in Pessoa Plural 12, I present here another documentary set, most of which testifies to the relationship between Raul Leal and João Gaspar Simões, another founding director of Presença. The article also includes evidence of the contacts kept with two other figures in different ways linked to magazines that appeared in the 1920s: Alberto de Telles Machado and Alberto de Serpa. The various themes dealt with have mostly to do with the critical evaluation of Fernando Pessoa and with the situation of Raul Leal as an isolated intellectual. As for the first topic, some ideas expressed by Leal in disagreement with João Gaspar Simões stand out: he refutes the supposed mystifying intention present in the more daring attitudes and writings of the heteronym Álvaro de Campos; he contradicts the possible influence of the Platonic homosexuality of Fernando Pessoa in the conception, that Simões presumes "maternal", of heteronyms; and he challenges Simões’ interpretation of the personal depersonalization as a course of progressive spiritualization, rather suggesting that it was a fall from the spiritual dimension to a life of earthly and carnal sensations, in Pessoa all repressed and sublimated in his mental life.
BINLIOGRAFIA
BARRETO, José (2016). “Os destinatários dos panfletos pessoanos de 1923”, Pessoa Plural – A Journal
of Fernando Pessoa Studies, n.º 10, Outono, pp. 628-703.
LEAL, Raul (1970). O sentido esotérico da história (Coordenação, prefácio e notas de Pinharanda
Gomes). Lisboa: Livraria Portugal.
_____ (1959a). “As tendências orfaicas e o saudosismo”, Tempo Presente, n.º 5, setembro, pp. 17-24.
_____ (1959b). “As tendências orfaicas e o saudosismo. II”, Tempo Presente, n.º 7, novembro, pp.
39-48.
MARTINES, Enrico (2017). “José Régio, Raul Leal e a Presença: marcas epistolares de um diálogo
modernista”, Pessoa Plural – A Journal of Fernando Pessoa Studies, n.º 12, Outono, pp. 82-133.
PEREIRA, José Maria dos Reis (1925). As correntes e as individualidades da moderna poesia portuguesa.
Coimbra: edição do autor.
PESSOA, Fernando (1998). Cartas entre Fernando Pessoa e os directores da presença. Edição e estudo de
Enrico Martines. Lisboa: Imprensa Nacional-Casa da Moeda.
RÉGIO, José (1994). “Fernando Pessoa e Mário de Sá-Carneiro”, Crítica e ensaio/2. Lisboa: Círculo de
Leitores, pp. 247-250
_____ (1927a). “Literatura viva”, Presença, n.º 1, Coimbra, 10 de março, pp. 1-2.
_____ (1927b). “Classicismo e modernismo”, Presença, n.º 2, Coimbra, 28 de março, pp. 1-2.
SÁ-CARNEIRO, Mário de (2015). Em ouro e alma – correspondência com Fernando Pessoa. Edição crítica
de Ricardo Vasconcelos e Jerónimo Pizarro. Lisboa: Tinta-da-china.
SIMÕES, João Gaspar (1991). Vida e obra de Fernando Pessoa. História de uma geração. Lisboa: Dom
Quixote. 6ª edição.
_____ (1977). José Régio e a história do movimento da “Presença”: autobiografia. Porto: Brasília.
_____ (1974). Retratos de poetas que conheci: autobiografia. Porto: Brasília.
_____ (1949). “No aniversário da morte de Fernando Pessoa”, Diário Popular, Lisboa, 30 de
novembro de 1949, pp. 4-5.
Research Interests:
MARTINES, Enrico, "A síntese da multiplicidade: uma chave pequena para abrir um grande portão" (2019). Pessoa Plural―A Journal of Fernando Pessoa Studies, No. 15, Spring, pp. 154-158. Brown Digital Repository. Brown University Library.... more
MARTINES, Enrico, "A síntese da multiplicidade: uma chave pequena para abrir um grande portão" (2019). Pessoa Plural―A Journal of Fernando Pessoa Studies, No. 15, Spring, pp. 154-158. Brown Digital Repository. Brown University Library. https://doi.org/10.26300/fhbz-zw57
Is Part of:
Pessoa Plural―A Journal of Fernando Pessoa Studies, Issue 15
A síntese da multiplicidade: Uma chave pequena para abrir um grande portão
[The synthesis of multiplicity: A small key to open a great gate]
https://doi.org/10.26300/fhbz-zw57
PIZARRO, Jerónimo (2018). Ler Pessoa. Lisboa: Tinta-da-china, 176 p. [ISBN: 978-989-671-438-3].
Is Part of:
Pessoa Plural―A Journal of Fernando Pessoa Studies, Issue 15
A síntese da multiplicidade: Uma chave pequena para abrir um grande portão
[The synthesis of multiplicity: A small key to open a great gate]
https://doi.org/10.26300/fhbz-zw57
PIZARRO, Jerónimo (2018). Ler Pessoa. Lisboa: Tinta-da-china, 176 p. [ISBN: 978-989-671-438-3].