PDF 3 (Três) Momentos - Poesias (Portuguese Edition)

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Campinas, SP, Brasil. A decisive moment in the formation of modern literary culture is that signaled by the transition from a predominantly oral poetry to a predominantly written poetry. The form of the sonnet, which emerged in thirteenth century Italy, plays a crucial role in this passage - and not by accident it is based on this form that Dante Alighieri proposes a new conception of lyric, distinguished by an intellectual seriousness that troubadourship did not know.

Keywords: voice; writing; poetry; lyric; sonnet. Parole chiave: voce; scrittura; poesia; lirica; sonetto.

Preterea disserendum est utrum cantio dicatur fabricatio verborum armonizatorum, vel ipsa modulatio. Ad quod dicimus quod nunquam modulatio dicitur cantio, sed sonus, vel thonus, vel nota, vel melos. Nullus enim tibicen, vel organista, vel cytharedus melodiam suam cantionem vocat, nisi in quantum nupta est alicui cantioni; sed armonizantes verba opera sua cantiones vocant, et etiam talia verba in cartulis absque prolatore iacentia cantiones vocamus. Et ideo cantio nichil aliud esse videtur quam actio completa dicentis verba modulationi armonizata: quapropter tam cantiones quas nunc tractamus, quam ballatas et sonitus et omnia cuiuscunque modi verba sunt armonizata vulgariter et regulariter, cantiones esse dicemus.

No mesmo tratado, Dante define a poesia como " fictio rethorica musicaque poita " II iv 2. Poio, pois, poivi, poitum, idest fingo, is, unde hic poeta, tae, idest fictor, et proprie carminis alta verba loquens [ Item a poeta, poetor, aris carmina et poemata facere vel componere. Item a poio hic poetes, tis quaedam forma vel figura, et haec poesis illud idem, et poesis ipsa ars poetandi vel figmentum.


Vel poesis est materia totius carminis, in qua poeta versatur. Vel poesis est opus multorum librorum sed poema, tis quod similiter derivatur a poio est proprie opus unius, licet generaliter pro opere accipiatur poete. Na segunda parte, a pausa principal cai depois do terceiro verso, de modo que esta segunda parte fica dividida em dois tercetos.

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Dois editores e tradutores recentes da Vita Nova , Dino S. Rio de Janeiro: Grifo, Luigi Banfi e Gabriella Cacchi trad. Bruscaglioni, Milano: Mursia, Firenze: Cadmo, In: I travestimenti della letteratura : saggi critici e teorici Silvia Contarini e Roberta Zuppet trad. The scansion of the ode is no simple matter since it requires secondary and primary stresses to be determined without the support of a regular framework.

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Note the metric contraction from the opening line to the second and the subsequent expansion from verses 2 to 4. It has brutal oftentimes sadomasochistic vocabulary and a dissonant chorus of noisy machines. Verde innovated in content more than in form; by innovating in both, Campos made sure the reception of his poetry would be as scandalous as the city he was attempting to portray.

Just as Verde walked through Lisbon in the s, Anjos ambled through Recife thirty years later: time and place are different, but the intertextuality is unavoidable. As Anjos proceeds with his poetic report, mixing exterior city and interior poet , remarkable evaluations of the city are made: for example, in the sixth stanza, which is scanned below, after the first:. Figure 2.

Source: Anjos, Eu poesias completas. The Brazilian poet would become known for his naturalistic words, mixing everyday terms with jargon that could be deemed unpoetic. The biologicalverbs e.

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Famous for his masterful use of meter in ballads, ghazals and sonnets, Lorca decided to venture into free verse upon visiting New York in The result is the groundbreaking Poeta en Nova York and His page O Guesa was first published in NYC ; a revised edition was published in London between and Guesa is a word from the Chibcha language, spoken by the native American Muisca people encountered by the Spanish in in the central highlands of present-day Colombia. When the guesa arrives on Wall Street, though, the poetic form suddenly changes into a surprising arrangement that reflects the theme, i.

Figure 3. This new poetic form—I call it infernism—appears only twice throughout the saga, covering 17 pages of Canto II and 31 of Canto X. The use of this form in Canto II, unrelated to Wall Street, is a first experiment with the new rhythm, which reveals its full powers in Canto X. Below, the pages are reproduced in which the meter changes as guesa enters the Wall Street Inferno. Below is a proposed scansion of the transition from decasyllables to infernisms in O Guesa, as well as two more infernistic stanzas the 5th and 28th, counting from the arrival on Wall Street; note the caesura symbols are omitted.

On page of O Guesa, the stanzas of four heroic decasyllables give way to very different stanzas, which present the following formal attributes:. Anjos, Augusto dos.

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Eu poesias completas. Rio de Janeiro: self-published, Britto, Paulo Henriques. Coordinated by Carlos Reis. Lisbon: Imprensa Nacional- Casa da Moeda, Campos, Augusto de and Haroldo de Campos. Campos, Augusto de.


Hardman, Francisco Foot. Lorca, Federico Garcia. Translated by Pablo Medina and Mark Statman. New York: Grove Press, Poeta en Nueva York. Edited by Andrew Anderson. Olson, Charles. Edited by Donald Allen and Benjamin Friedlander. Berkeley: University of California Press, []. Pinsky, Robert.

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New York: Farrar, Straus and Giroux, O Guesa. O inferno de Wall Street.