REFLEXÕES POÉTICAS (Portuguese Edition)

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Tantas margens : reflexões sobre literatura e arte

Please enter the message. Please verify that you are not a robot. Would you also like to submit a review for this item? You already recently rated this item. Your rating has been recorded. Write a review Rate this item: Preview this item Preview this item. Subjects Brazilian literature -- History and criticism. This latter century saw the crumbling of the entire euphoric imaginary construction of Portuguese identity. These put forward a new way of reading Portugal and its identitary cartography, at that historical moment of sheer symbolic and institutional crisis.

In this chapter, and upon viewing the decaying tomb of King Fernando, one of monarchs whom Lopes had hallowed in his chronicle, Garrett analyses the decay of Portugal itself. I believe this with the utmost conviction. But I have better hopes, nonetheless, because the people, the people is sound [ We who are the base prose of the nation, we do not understand the poetry of the people.

This fades away at the end, but the author salvages the beauty of the land and of its submerged myths and stories, despite the disheartened final reckoning. He goes on to say: The result of this journey towards historical and identitary recognition is, when all is said and done, crossly melancholic, as we know.

Decidedly I am leaving, I cannot be here, I do not want to see this. It is not horror that strikes me, but nausea, disgust, and anger.

It duplicates, back to front, the present time of the narrative, supplementing it. More handsome even and above all more of a man. Africa has not even lightly tinged his face. The greatest nightmare of the European white West had thus been averted: In this context, it is worth turning to an essay by the Brazilian historian Alberto Costa e Silva, in which he challenges the notion that the character could possibly have gained riches by legitimate means in such a short period of time: With its own corrosive irony and its play of ambiguities as I see it , the text lets the matter remain unresolved, as a merely possible interpretation.

In this returning, I perceive, purely and simply, yet another barb of Queirozian irony, a tangible result of his own disenchantment. Among the voices which show the shattering of what might be called euphoric Lusism , it is difficult to choose those which best represent the endeavour to establish new historical-cultural negotiations which might still sustain the quest for a present time by national subjects who were divided and plunged into an identitary crisis. Heroes of the sea, noble people, Brave and immortal nation, Lift up today anew The splendour of Portugal.

The writer achieves this, at times by making the narrative action unfold in the former colony, Angola, by now transformed into an independent nation, at other times by changing the space of action to Portugal, to which the last three descendants of a white Angolan colonial family repair in the post-independence period, at the outbreak of the civil war in this African nation. Throughout the three parts, the mother, Izilda, speaks from Angola, more precisely from the interior of this country.

Through the imagery associated with this character, the anthem loses its patriotic sense and turns inside out. In this cartography, Lusism is thus reconfigured in the shape of loss, as if it were a film negative. Each of the three emerges in their irreversible loneliness, which at the same time negates any chance of rebirth to which the idea of Christmas might point. The new chance for rebirth points here to a reconfiguration of Lusism , sustaining the very idea of Lusophony as a symbolic place to be erected, since the raft drops anchor — in an equally symbolic geographical coordinate — between Africa and America.

As with the former, it comes to mean, in a more encompassing context, a political gesture which affirms Lusitanian symbolic-cultural strength, as is the case with Francophony, Anglophony, and so on, constructions whose point of departure is signaled by the hegemony of the colonising nations and by the equally hegemonic language spread by the colonising process. This author begins by showing the late recording of the term in dictionaries, which coincides with the equally late entry of the construct in the area of Portuguese Studies.

It reads as follows: However, I will also call upon Brazilian literature, for, in the community in which we all, speakers of Portuguese, take up our place, there is a series of identifications that bring us together, side by side with the far-reaching diversities which differentiate us. Since Portuguese literature has already been covered in the previous section on Lusism , I will not discuss it here. There is an issue, raised by the navigators right at the start of the voyage Canto I, 42 , which eventually opens the curtains of the first protocolar scene presenting European subjects and the inhabitants of a small island glimpsed by Gama.

I transcribe it my italics: The issue thus posed becomes the motif for later encounters with other identitary formations. To this statement the Others thus engaged retort in Arabic, understood by some, as the text clarifies on several occasions:. We are one from the islands replied Strangers in the land, law and nation; For the natives are those whom Nature created, lacking law and reason.

There is thus no dialogue, nor a protocolar introduction, for there is no prior knowledge of the codes of either people, which leads to an absolute impossibility of linguistic intercourse. Inevitably, all this will be followed by the first physical clash, with arrows on the one side and firearms on the other. The cultural worlds are mutually exclusive and confrontational, precisely because of the absence of porous linguistic frontiers where they might intersect.

O dois e seu múltiplo: reflexões sobre o perspectivismo em uma cosmologia tupi

It is in this Portuguese language that we tell of ourselves and, in some places, build part of our national identities. We should not forget that assimilation was the only way Blacks had of accessing a range of rights enabling them to rise to merely middle-ranking citizenship status.

In his penetrating analysis, Alfredo Margarido summarises the meaning of this imposition, when he states that the tool of linguistic domination aimed to. Which is not to say that Asians were entirely free from this condemnation. Tell me what language you speak and how you speak it, and I will tell you who you are not — such could be the central aphorism associated with Portuguese linguistic practices.

It is in this space where silence is erected on that which we do not know and do not even wish to know that Lusophony moves. Precisely because of this, it must be pondered as a political gesture that underpins an entire symbolic construct, through which frequent attempts are made to erase the web of differences which nevertheless insist on projecting themselves onto the meshes, in the event, literary, woven by the fabric of the imaginary of producers from the countries once colonised by Portugal.

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As Cornejo Polar quite aptly stresses with regard to Latin-American literatures, a formulation easily extendable to African literatures, such productions set themselves up as. It is the fact that, in the intercontinental projection of this language, there is a foundational difference between what happens in Brazil and Portugal, on the one hand, and what happens in the historical-social space of the five African nations, on the other.

For this reason, there can be no skirting the matter of plurilingualism when working on the literatures of the five nations, in addition, of course, to all the diversity to be found in the cultural dimension, made even more sweeping by such linguistic polyphony. It is not simply the case that in some areas national languages are spoken to a larger extent than the European variant, but also that these countries produce literary works in these languages, albeit in small number.

I have always taken pleasure in observing the generous alchemy of the Portuguese language, adding its voice to the Umbundu song, smiling at Kimbundu humour or incorporating words fit to make milk go off, characteristic of the Nyaneka language. The reverse is also valid and works for the entire universe of the Bantu languages and not just those spoken in the territories where today Portuguese is also spoken.

The sun had not risen five times since we left you, when [ The Brazilian modernist project sought to set up another locus of speech which would serve as a possible new model for the African nations, when they committed themselves to dis-assimilating from the prevailing European models. An example can be found in the poetry of Manuel Bandeira, in which the utterance of the people, the popular street cries, the songs, the new rhythm, etc.

Coffee and bread Coffee and bread Coffee and bread Holy Mother, what was that, engine driver?

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That rascal train goes by goes straight by with the power it has woo-woo woo-woo woo-woo chuga-chuga chuga-chuga chuga-chuga clickety-clack clickety-clack clickety-clack the rascal train goes by Jacinto, I not like people — effing camundongos! Nobody what come and hassled him with their catingas This occurred precisely because Amado stages, on the one hand, the self-justifying life-styles of Bahia Blacks and, on the other, because he opts for staging an aesthetic of deprivation whereby the excluded attain their turn and voice, showing in that voice an utterance in difference:.

The Macumba man spoke: In so doing, they sought to overcome European authoritarian power, confronting it face to face. It opens with an epigraph that acts as a kind of proposal which throws down a riddle, so attuned to African taste:. The blood of the names is the blood of the men Suck it too if you can bring yourself to do it You who do not love it. Dawn breaks On the cities of the future And a yearning grows in the names of things And I say Metengobalame and Macomia and Metengobalame is the warm word blacks made up and nothing other Macomia [ It connects the visible and the non-visible; the living and the dead; the past and the future, as taught by Makhily Gassama, Alassame Ndaw, Honorat Aguessy, Kwame Anthony Appiah, Ruy Duarte de Carvalho, Tidjani Serpos and so many other African scholars working in different areas of knowledge.

In Brazil, for example, it is present in a significant number of works by writers of African descent committed to representing a locus which the literary canon always elides. Old words are queens and forgotten men, the deciphering of masks. Mouth of fire, feline in hunting. If it is true that, in translating and adapting into my language sources of African oral expression, I have transferred onto them the stamp of my own poetic language, it is also undoubtedly true that, in so doing, I was introducing into the Portuguese language features of an imaginary which is OTHER.

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