Carlos Drummond de Andrade - Claro gaulecvebota.tk - Download as PDF File .pdf) or view presentation slides online. Claro Enigma - Carlos Drummond de gaulecvebota.tk - Download as PDF File .pdf) or view presentation slides online. PDF | On Jan 1, , Mario Gosalvez and others published Energy, Matter, Article (PDF Available) in Open Journal of Philosophy 04(01) · January with 1 Reads .. leitura de “Relógio do Rosário”, de Carlos Drummond de Andrade Em “Relógio do Rosário”, último poema de Claro Enigma, e o segundo da.
|Language:||English, Spanish, Dutch|
|Distribution:||Free* [*Sign up for free]|
PDF | This essay argues that Nuno Ramos's installations and writings represent a Andrade, Carlos Drummond de. Claro enigma, José Olympio, , pp. In the pantheon of Western poetry, Drummond de Andrade merits a .. The book titles Claro Enigma (Clear Enigma; ) and Fazendeiro do. Revista Enigma | 30 enigma. Published on Nov 9, literatura. Profile for Lura Tobon Cover of "Claro Enigma - Carlos Drummond de Andrade" Cover of "Through Two Doors at Once PDF - Anil Ananthaswamy - The Elegant.
During this revolutionary period, literary prizes and official recognition were often shunned, scathing reviews from established critics were flaunted like battle scars, and a disproportional share of the best poetry in Brazilian literary history got written.
The mood of much of the great poetry of the period was frankly contrarian. To be a poet often implied being against a number of things. Concrete poetry was all about form-follows-function, about writing today the poetry of the future. The Concretists were fiercely attacked by a number of enemies: the diehard defenders of traditional pre-Modernist poetry, for sure, but also by more than one rival tribe of avant-gardists, who believed that poetry should be revolutionary both in form and in ideological content.
What Concretists and Praxists had in common was a rather dour, almost puritanical poetics, which saw subjectivism as the unforgivable sin: true poetry should be objectivist, cold, cerebral, and goal-oriented.
The phenomenon soon spread to other cities. What they mostly had in common was the fact that their poetry was in direct opposition to the dogmas of Concretism and other formalist movements: it was jokey, colloquial, unpretentious; it spoke of love affairs, partying, fear of the police, the joys and miseries of being young in a military dictatorship though this, of course, usually had to be expressed in figurative language. In its most lighthearted moments, it showed a countercultural streak reminiscent of North American flower power, but the prevailing oppressive political climate left deep marks on it.
Also, the Marginals, unlike the Concretists and the Praxists, were not trying to create the poetry of the future; their focus was on the here and now. 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?
His parents were farmers belonging to old Brazilian families of mainly Portuguese origin. He worked as a civil servant for most of his life, eventually becoming director of history for the National Historical and Artistic Heritage Service of Brazil.
He would mingle speech fluent in elegance and derive truth about his surroundings, many times describing quotidian, normal aspects of life while achieving a fluidity of thought and speech. Drummond drifted towards communism at the start of World War II and took up the editorship of the Brazilian Communist Party 's official newspaper, Tribuna Popular , but later abandoned the post due to disagreements over censorship, which Drummond staunchly opposed.
The work of Carlos Drummond is generally divided into several segments, which appear very markedly in each of his books. But this is somewhat misleading, since even in the midst of his everyday poems or his socialist, politicized poems, there appear creations which can be easily incorporated into his later metaphysical canon, and none of these styles is completely free of the others.
There is surely much metaphysical content in even his most political poems. The poem deals with an anti- Faust referred to in the first person, who receives the visit of the aforementioned Machine, which stands for all possible knowledge, and the sum of the answers for all the questions which afflict men; in highly dramatic and baroque versification the poem develops only for the anonymous subject to decline the offer of endless knowledge and proceed his gloomy path in the solitary road.
One of those said segments have been found only after his death: Drummond is a favorite of American poets, a number of whom, including Mark Strand and Lloyd Schwartz , have translated his work. Later writers and critics have sometimes credited his relationship with Elizabeth Bishop , his first English language translator, as influential for his American reception, but though she admired him Bishop claimed she barely even knew him. In an interview with George Starbuck in , she said, "I didn't know him at all.
He's supposed to be very shy. I'm supposed to be very shy.
We've met once — on the sidewalk at night. We had just come out of the same restaurant, and he kissed my hand politely when we were introduced.
In modernism, the predominant style which Drummond wrote in, styles were divided into lyrical and subjective or objective and concrete, Drummond would be part of the latter, similar to Oswald de Andrade. Drummond was the first great poet to assert himself after the premiere modernist of Brazil and created a unique style dominated by his beautiful writing.
His work displays linguistic freedom and free verse. But it goes beyond that: His poetry, according to Affonso Romano de Sant'Anna , can be divided into three parts,:.
In the late s, his poetry began to become more erotic. O Amor Natural Natural Love , a collection of erotic poems, was published posthumously.
From Wikipedia, the free encyclopedia. This article has multiple issues. Please help improve it or discuss these issues on the talk page. Learn how and when to remove these template messages.
This article possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. July Learn how and when to remove this template message. This article needs additional citations for verification.