Wrote Francisco Alvim:.
My cokehead girlfriend seeks me out in the wee hours to say she loves me I gaze at the dark rings under her eyes as dark as the night out there. They did not believe there was a single formula for poetry to the exclusion of all others. From the Marginal period up to now, poets have been experimenting with a wide array of poetic devices; none is taboo, none is obligatory.
The choppy, highly enjambed free verse pioneered in English by William Carlos Williams is the form favored by most younger poets, but there is no longer any sense that free verse is de rigueur , that traditional metrical and stanzaic forms often used in creative, nonstandard ways necessarily imply a reactionary rejection of modernity. Full disclosure: I was one of the And in some of the volumes, such as the one by Rubens Rodrigues Torres Filho, high and low diction, free verse and sonnets, philosophical musings and scatological humor, appeared side by side.
Some sense of the diversity may perhaps be given by two brief examples. And this state of affairs was downright alarming to those who saw poetry in terms of such categories as progress, modernity, and evolution of forms, as well as to those who still believed that the chief task of Brazilian poets was to criticize capitalism and its attendant ills.
Iumna Maria Simon and Vinicius Dantas have been the most aggressive critics of nearly all the poetry produced in Brazil in recent decades. More recently, a piece by Simon ends on a hopeful note:. Right now there are signs that the cultural complex of neoliberalism has been shaken in its hegemony, that the exclusiveness of a form of thinking has lost its authority to impose on us an inevitable model of society, although relevant alternatives to capitalism are not to be seen, even after such a systemic crisis, whose magnitude has not yet been fully disclosed, as the one we have been going through since In Brazil, it is true that reactions to this situation that are truly artistic, in the sphere of poetry, have been few so far.
But they do exist, and they will be based on dissatisfaction with the retraditionalizing paradigm, which, as we have seen, is no more than parasitism upon the canon. But not all critics have been hostile. Of course, every culture is a work in progress, not a static construct; in that sense Brazilian culture still is, and will always be, an ongoing process. What I mean is that there comes a time in the history of a nation when its artists and intellectuals no longer feel a need to assert at all times that it really is a nation, with a culture of its own.
For long-established European nations such as Portugal or Britain, this is a sort of concern that simply does not occur to anyone though Germans experienced similar insecurities throughout much of the 19th century ; but in the New World the problem has been particularly acute — even, during the Romantic period, in the US: think of the affirmations of Americanness in Whitman and Emerson.
Brazilians now should feel secure enough to admit quite openly that there has never been anything pure about our music, or our culture, to begin with — indeed, that our strength comes precisely from the intermingling of a number of different strains: Native Brazilian lore, Portuguese language and literature, African music and sensibility, French intellectual fashions, the manifold contribution of Italian, German, Arab, and Jewish immigrants — so why not American popular culture as well? And the fact that we have failed to break with international capitalism is, however one might feel about it, also part of this normalcy; for this condition applies to just about every other country in the world.
Since the turn of the century, normalcy has by and large prevailed. These days, younger poets read and translate poetry voraciously, emulating various older contemporaries or canonized predecessors; established poets publish in established publishing companies, competing for literary prizes and even — horror of horrors! In the new normalcy, poets no longer belong to mutually excommunicating literary sects.
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The aggressive rivalry between Concretists, Neo-Concretists, Praxists, and advocates of political poetry surfaces these days only when poets representing these long-defunct movements, now in their late seventies or eighties, are interviewed by literary supplements. It may well be that the poets now living who later generations will canonize are not the ones presently seen as the best.
All of this is true enough. But 30 years after the Modern Art Week there was a more or less general agreement, if not a real consensus, about the meaning of Brazilian Modernism and the relative importance of individual poets and works. It is probably useless to attempt to argue with such people; all one can say to them is: like it or not, this is the 21st century. Well, I, for one, happen to like it.
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Tudo como devia ser, certo? Escrevia Francisco Alvim:. Para se ter uma ideia dessa diversidade, vejamos dois exemplos breves. Quanto a mim, eu gosto. By Pedja Jurisic. Context is everything. By Elena Shtromberg. Alfredo Jaar and the Happiness of Chile. By Caille Millner.
By Federico Cattaneo.
CAPAS DA COLECÇÃO VAMPIRO
By Michael LaPointe. There is nothing natural or obvious about this. A chimpanzee alpha male would never think of using his power in order to go on holiday into the territory of a neighbouring chimpanzee band. The elite of ancient Egypt spent their fortunes building pyramids and having their corpses mummified, but none of them thought of going shopping in Babylon or taking a skiing holiday in Phoenicia.
People today spend a great deal of money on holidays abroad because they are true believers in the myths of romantic consumerism. The tourism industry does not sell flight tickets and hotel bedrooms. It sells experiences. Only the names, shapes and sizes of these pyramids change from one culture to the other.
They may take the form, for example, of a suburban cottage with a swimming pool and an evergreen lawn, or a gleaming penthouse with an enviable view. Few question the myths that cause us to desire the pyramid in the first place.
129769226 a Historia Secreta Do Mundo Jonathan Black
Human laws and norms have turned some people into slaves and others into masters. Most people claim that their social hierarchy is natural and just, while those of other societies are based on false and ridiculous criteria. Modern Westerners are taught to scoff at the idea of racial hierarchy.
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They are shocked by laws prohibiting blacks to live in white neighbourhoods, or to study in white schools, or to be treated in white hospitals. But the hierarchy of rich and poor — which mandates that rich people live in separate and more luxurious neighbourhoods, study in separate and more prestigious schools, and receive medical treatment in separate and better-equipped facilities — seems perfectly sensible to many Americans and Europeans.
If people did not become any happier, then what was the point of all that chaos, fear, blood and war? Biologists would never have stormed the Bastille. People think that this political revolution or that social reform will make them happy, but their biochemistry tricks them time and again. Today, when we finally realise that the keys to happiness are in the hands of our biochemical system, we can stop wasting our time on politics and social reforms, putsches and ideologies, and focus instead on the only thing that can make us truly happy: manipulating our biochemistry.
If we invest billions in understanding our brain chemistry and developing appropriate treatments, we can make people far happier than ever before, without any need of revolutions. Prozac, for example, does not change regimes, but by raising serotonin levels it lifts people out of their depression.
Lasting happiness comes only from serotonin, dopamine and oxytocin. There is an important cognitive and ethical component to happiness.. As far as we can tell, from a purely scientific viewpoint, human life has absolutely no meaning. Humans are the outcome of blind evolutionary processes that operate without goal or purpose. Our actions are not part of some divine cosmic plan, and if planet Earth were to blow up tomorrow morning, the universe would probably keep going about its business as usual.
As far as we can tell at this point, human subjectivity would not be missed. Hence any meaning that people ascribe to their lives is just a delusion. Mar 18, Anne chega a dizer-nos que quer ser Jornalista ou Escritora. Jan 29, Feb 04, Os Dias do Abandono. Acontecimentos cuspidos no papel, crus, nus e reais. Realidade fria mas dada a quente. De onde veio isto?! Diga-se ainda, que saindo da literatura e entrando nos textos de revistas e jornais, podemos encontrar o estilo de escrita confessional desmultiplicado numa imensidade de formas e formatos.
Em suma, a vida de outros. Aquilo que os criadores fazem fora das suas obras contamina totalmente aquilo em que as obras se transformam.
Ainda mais, tendo em conta que nos quer dar a sentir o caos emocional que tem sido melhor trabalhado em abordagens mais experimentalistas. Jan Jan 02, O grande conflito entre Monti e Howard surge a partir de um artigo em que Monti, enquanto conservador, pretende convencer os colegas a retirar o termo liberal das artes liberais. Mesmo no campo das humanidades, como podemos aceitar o Belo? Nov 15, Nov 25, E bem pior do que isso. Nada tem significado.
Um zombi que caminha! Que frase!