Academic literature on the topic 'Camões, Luís de (1525?-1580) – ˜Os œLusíadas'

An adventurer, soldier and great poet, Luís Vaz de Camões (1524–1580) arrived in India in 1555 and remained there till 1567, with ups and mishaps. The author of the Portuguese national epic poem, Camões recounted in a marvellous poetic form the heroic crossing of Vasco da Gama, who reached the Calicut coasts in 1498, skirting for the very first time the Cabo da Boa Esperança (Cape of Good Hope). The paper focuses on the analysis of some ottavas from the 7th canto of Os Lusíadas, in which the arrival of Portuguese sailors and the first meeting with emissaries from the Zamorin are narrated. These passages, concerning the religious and cultural traditions of Malabar (but Indian in general) and its political organization, will be the starting point for a reflection on Indo-Portuguese relationships, as seen not from a historical source, but from a little-studied literary one.

La Franciade, Les Lusiades et La Jérusalem Délivrée présentent des éléments qui relèvent de l'intertexte médiéval, si nous analysons les ‘motifs' des chansons de geste, les personnages et leurs discours et les excursus. Les motifs communs sont les assemblées, le combat, le déguisement, les rêves, l'île, la forêt et le locus amoenus. Dans les épisodes secondaires, il y a, entre autres, les motifs de l'enlèvement/emprisonnement, de la libération des prisonniers, de la fuite des héros persécutés, de la poursuite et de la victime innocente. Les excursus, les prières et les discours emploient quelques topoï du Moyen-Age latin : la modestie affectée, la noblesse d'âme, le monde renversé et l'éloge du souverain. Les discours amoureux révèlent l'influence de la fin'amor et de la rhétorique amoureuse ovidienne ; nous trouvons encore des vestiges du plahn et de la reverdie. Armide est l'orientale séductrice des gestes tardives ; Herminie, la sarrasine amoureuse d'un chrétien ; Argant, le Cornumaran tassien. Les "hypotextes" médiévaux sont La Conquête de Jérusalem et la chronique de Guillaume de Tyr (le Tasse), le Cligès et le roman d'Eneas (Ronsard) et le récit chevaleresque bourguignon, dans les "Douze d'Angleterre" (Camões)
The Franciade, the Lusíadas and the Jerusalem Delivered contain medieval intertextual elements. This influence becomes evident if we conduct a comparative analysis of the narrative and descriptive "motifs" from the chansons de geste, to the characters, their speeches, and the excursus. The common "motifs" are the assemblies, the combat, cross-dressing, the dreams, the island, the forest, and the locus amoenus. The secondary episodes feature kidnapping/prison, liberation of the prisoners, flight of the persecuted heroes, the pursuit and the innocent victim. The excursus, the prayers, and the speeches employ several traditional topoi of the Latin Middle Ages: false modesty, nobility of soul, an upside down world and praise for the sovereign. The love speeches reveal the influence of the fin'amor and of Ovidian love rhetoric, and vestiges of plahn and reverdie are still found. Armida is again the oriental seductress of late chansons de geste, as Herminia is the Saracen in love with a Christian, and Argante the Tassian Cornumaran. Some of the most important medieval "hypertexts" are La Conquête de Jérusalem, the chronicle of William of Tyre (Tasso), the Cligès and the romance of Eneas (Ronsard), and the chivalrous narrative of Bourgogne, in The Twelve of England (Camões)

Luis de Camoens est l'un des écrivains portugais les plus célèbres du XVIeme siècle. Dans son épopée, les Lusiades, il chante son temps, la Renaissance, l'histoire du Portugal, tous les temps. Dans ce poème, nous avons pas une chronologie des faits racontés, mais une chronographie - les dates sont éliminées et le temps est une circonstance plus tôt qu'une cause. L'histoire passée est présentée comme une évocation, un appel et une mémoire - le voyage peut être considéré comme événement physique, psychologique, rhétorique - le futur est une utopie, un labyrinthe, un rêve, une espérance multiforme. Le temps de l'histoire diverge du temps de la narration en ce qui concerne la durée, l'ordre, la fréquence. Le poète a su recréer le temps de la narration. Le verbe est le signifiant linguistique le plus important du temps, même si sa force s'enracine plus dans l'aspect que dans la temporalité. Le statut du personnage et du héros est particulier. Vasco de Gama est un héros normal, différent du héros classique. Beaucoup de personnages sont mythiques, vivant dans un temps irréel. L'auteur a libéré son poème des limites temporelles; mais son poème sera toujours dans le temps et hors du temps, car il est immortel
Luis de Camoens is one of the greatest Portuguese writers of the 16th. Century. His Epic os Lusiadas (the Lusiads, i. E. The Portuguese) tells the story of this time - the Renaissance -, the history of Portugal, and all the times. In the poem we have not a real chronology of the narrated facts but a chronography. Dates were eliminated and time is rather a circumstance than a cause. Past history is presented as evocation, appellation and memory. The voyage interests as a physical, psychological and rhetorical event. Future is an utopia, a labyrinth, a dream in a multiform hope. The time of the story differs from the time of narrative as to duration order and frequency. The poet knew how to recreate the narrative time. Verb is the most important linguistic significant of time, though its strength results more from the form than temporality. The statute of the character and of the hero is peculiar. Vasco da Gama is a normal hero, different from the classical one. Many of the characters are mythical, living in an unreal time. The author liberated his epic from the temporal hindrances but his poem shall remain forever in and out of time, since it is immortal

A epopeia Os Lusíadas (1572), de Luís de Camões, estrutura-se, historicamente, sobre o achamento da Índia e, miticamente, sobre as mitologias greco-latina e judaico-cristã. A presença dessas mitologias divergentes em Os Lusíadas estimula a elaboração de uma epopeia portuguesa chamada O Oriente (1814), cujo autor é o padre português José Agostinho de Macedo. O Oriente é uma releitura de Os Lusíadas, e seu processo composicional caracteriza-se por negar e remover a sacralidade da representação dos deuses greco-latinos, substituindo-os pelas divindades judaico-cristãs, que Macedo exaltará, e por representar a Vasco da Gama como um herói genuinamente cristão, pois, segundo Macedo, Camões não o fizera. O narrador de O Oriente substitui as divindades representadas por Camões, tais como Júpiter, Baco, Vênus, Marte, Morfeu e Tétis, por figuras tais como Deus, Satanás, o Serafim e São Tomé. O narrador aceita e mantém, no entanto, determinados personagens da mitologia greco-latina em sua epopeia, tais como Luso, Lisa e Ulisses, por exemplo. Nesse sentido, José Agostinho de Macedo alinha-se à representação de Os Lusíadas. O narrador de O Oriente filia seu herói, Vasco da Gama, ao cristianismo, e representa-o como o eleito de Deus para a difusão da fé cristã no Oriente. O narrador, portanto, pretende emendar esses aspectos da representação de Os Lusíadas.
The epic poem Os Lusíadas (1572), by Luís de Camões, is based on the historical discovery of India and on the Greco-Roman and Judeo-Christian mythologies. The presence of these divergent mythologies in Os Lusíadas stimulates the elaboration of a Portuguese epic poem entitled O Oriente (1814), by the Portuguese priest José Agostinho de Macedo. O Oriente is a rereading of Os Lusíadas, and its compositional process is characterized by denying and removing the sacredness of the representation of the Greco-Roman gods, who are replaced by the Judeo-Christian deities the autor intends to exalt, and for representing Vasco da Gama as a genuine Christian hero, because, according to Macedo, Camões had not done that. The narrator of O Oriente replaces the deities represented by Camões, such as Jupiter, Bacchus, Venus, Mars, Morpheus and Thetis, with figures such as God, Satan, Seraphim, and St. Thomas. The narrator accepts and maintains, however, certain characters from Greco-Roman mythology in his epic poem, such as Luso, Lisa and Ulysses. In this regard, José Agostinho de Macedo aligns himself with the representation of Camões. The narrator of O Oriente associates his hero, Vasco da Gama, with Christianity and represents him as the chosen of God in order to spread the Christian faith in the East. The narrator, therefore, intends to fix aspects of the representation of Os Lusíadas.

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This thesis aims to study three Brazilian theatrical stagings that have as a common starting point the work Os Lusíadas The Lusiads, from the Portuguese poet Luís de Camões. These stagings took place in São Paulo, Brazil, in distinct periods, between the second half of the twentieth century and the beginning of the twenty-first century. The first is that of Celso Nunes, with adaptation of Carlos Queiroz Telles, in 1972. Iacov Hillel directed the second staging, adapted by José Rubens Siqueira, in 2001. The third spectacle was directed by Márcio Aurélio and adapted by Valderez Cardoso Gomes, also in 2001. What makes them objects of research relevant to the Brazilian Theater and to literature from the perspective of Theatrical Aesthetics and of History of Entertainment are multiple artistic readings inserted in distinct historical circumstances. In transcreations to the scene from a work not intended for the stage as Os Lusíadas transpire relations between languages and meanings of the theater spectacles and the literary work. This study seeks to examine three different possibilities of staging and of theatrical adaptation, which gave voice and scenic forms to the classical poetry´s ideas and ideals. This work draws on theatrical theories of Patrice Pavis and Anne Ubersfeld, on historians such as Werner Jaeger and Jacques Le Goff, on Camoens scholars like José Maria Rodrigues and Segismundo Spina, and on other names that stand out regarding the topic of the present study. Thus, the analyses punctuate aspects about these theater spectacles, these dramatic adaptations and the original aforementioned text, which served as raw material for new creations. By establishing specific points of each language and navigating the broad spectacular and intertextual dialogism conformed, the horizon that is shown points the theatrical staging as autonomous work of art.
O objetivo desta tese é estudar três encenações teatrais brasileiras que possuem como ponto de partida comum a obra Os Lusíadas, do poeta português Luís de Camões. Essas montagens ocorreram em São Paulo, Brasil, em períodos distintos, compreendidos entre a segunda metade do século XX e o início do século XXI. A primeira é a de Celso Nunes, com adaptação de Carlos Queiroz Telles, em 1972. Iacov Hillel assinou a direção da segunda montagem, adaptada por José Rubens Siqueira, em 2001. O terceiro espetáculo foi dirigido por Márcio Aurélio e adaptado por Valderez Cardoso Gomes, também em 2001. O que as torna objeto de pesquisa relevante para o Teatro Brasileiro e para a literatura sob o ângulo da Estética Teatral e da História do Espetáculo são as múltiplas leituras artísticas inseridas em circunstâncias históricas distintas. Nas transcriações para a cena, a partir de uma obra não destinada ao palco como Os Lusíadas, transparecem as relações entre as linguagens e as significações dos espetáculos e da obra literária. Este estudo busca reconstituir três possibilidades diferenciadas de encenação e de adaptação teatral, as quais deram voz e formas cênicas às ideias e aos ideais da poesia clássica. O trabalho apoia-se em teorias teatrais de Patrice Pavis e de Anne Ubersfeld, em historiadores como Werner Jaeger e Jacques Le Goff, em estudiosos camonianos como José Maria Rodrigues e Segismundo Spina, e em outros nomes que se destacam no que concerne ao tema estudado. Desse modo, as análises pontuam aspectos sobre esses espetáculos, sobre essas adaptações dramatúrgicas e sobre o texto original, o qual serviu de matéria-prima para as novas criações. Ao estabelecer pontos específicos de cada linguagem e navegar pelo amplo dialogismo espetacular e intertextual conformado, o horizonte que se mostra aponta a encenação teatral como obra de arte autônoma

Peut-on lire l’épopée espagnole et l’épopée portugaise du seizième siècle indépendamment l’une de l’autre ? La présente étude montre qu’entre 1569 et 1589, l’Espagnol Alonso de Ercilla et le Portugais Jerónimo Corte-Real composèrent une série d’épopées au fil desquelles émerge une pratique commune et originale du genre. Étroitement liées aux Lusiades de Luís de Camões (1572), elles dessinent un modèle partagé de narration épique dans une étroite relation intertextuelle. Lues dans l’ensemble de la péninsule ibérique, ces épopées portugaises et espagnoles éveillèrent l’intérêt du public pour leurs sujets tirés de l’histoire récente. La comparaison avec les chroniques révèle une mimésis formelle, destinée à autoriser ces récits en vers en adoptant de certains traits de l’histoire en prose. Mais le choix de l’épopée les rattache au traitement de la guerre et des conflits dans la longue histoire du genre. À l’instar de la tradition épique depuis Homère, elles reflètent les profonds changements qui accompagnent l’expansion territoriale espagnole et portugaise et la réunion des deux couronnes en 1580. Cette convergence des poètes autour de l’actualité de l’Ibérie moderne les place en situation de concurrence. Il en résulte une émulation affichée dans l’imitation de modèles communs – latins, le plus souvent – et dans la reprise de motifs caractéristiques de l’épopée dans lesquelles est chiffrée cette concurrence. En travaillant ces mêmes motifs, en se répondant d’un texte à l’autre, Ercilla, Corte-Real et Camões, forgent sur deux décennies un patron narratif ibérique qui rompt avec le modèle du Roland furieux avant que celui du Tasse ne s’impose dans la péninsule
Can we read Spanish and Portuguese epic poetry independently of each other? This study demonstrates that between 1569 and 1589 the Spaniard Alonso de Ercilla and the Portuguese Jerónimo Corte-Real published a series of epic poems through which emerged a common and original practice of the genre. Closely linked to Camões’ Lusiadas (1572), they form a shared epic model built on an intertextual poetic practice. Read throughout the Iberian peninsula, this Spanish and Portuguese epic demonstrates its readers’ interest for the subjects based on recent history. Compared to the chronicles it reveals a formal mimesis through which verse history is authorized by some formal imitations of prose history. Nevertheless, by choosing epic poetry, poets link these narratives to the treatment of war and military conflicts during the long history of the genre. As epic poets since Homer, these modern poets unveil the deep changes that occurred during the Spanish and Portuguese colonial expansion and the union of the two crowns in 1580. Because they deal with current events in modern Iberia, the poets are placed in a competitive situation, coded in the text, in the imitation of common poetic models –Latin, mostly– and in the use of some typical epic motives. Through working on the same motives and dialoguing from one text to another, Ercilla, Corte Real and Camões invent, over the course of two decades, a narrative Iberian pattern that breaks with the Orlando furioso tradition before Tasso’s model became preponderant in the peninsula

Cette étude tente d’évaluer la nature et l’importance des relations culturelles et littéraires que la France entretint avec le Portugal au XIXème siècle, à l’époque du Romantisme. A partir d’enquêtes menées dans la presse politique, les journaux littéraires et populaires, les ouvrages de référence, les manuels scolaires, les traductions d’œuvres portugaises, et principalement celles des Lusiades, dans les récits des voyageurs, dans les drames et les comédies jouées sur les scènes françaises, dans les ouvrages de fiction, romans, nouvelles, poésies, dans l’admiration exprimée pour la vie du poète Luís de Camões, plus que pour son oeuvre épique et lyrique, dans les jugements portés par la société française sur le Portugal et sa culture, ont été esquissées quelques caractéristiques de l’histoire des idées à cette époque
This study is aiming to value the nature and the importance of the cultural and literary relations between romantic France and Portugal in the XIXth century. From investigations in the political press, literary and popular publications, reference books, school textbooks, travellers’ narrations, translations of literary works, mainly the Lusiades, in the dramas and comedies played in the French theatres, in the works of fiction, novels, short stories, poems, in the admiration expressed for the life of Luís de Camões, more than its lyric works, in the French judgments about Portuguese nation, and its culture, some characteristics of the history of ideas at that time have been sketched

Dissertação de Mestrado em Estudos Portugueses Multidisciplinares apresentada à Universidade Aberta
Na presente dissertação, são expostos os resultados de um trabalho teórico-reflexivo sobre as referências que, na epopéia Os Lusíadas, de Luís de Camões, se apresentam sobre o futuro. Considerou-se como ‘referência ao futuro’ toda menção a fatos, pensamentos ou sentimentos que dizem respeito: a) a momentos posteriores ao em que se encontram as personagens num determinado ponto da narração, mas anteriores ao fim da produção da obra; b) a épocas subsequentes ao fim da produção da obra. Procurou-se compreender a maneira como essas referências participam da constituição de discursos poéticos e retóricos que se inter-relacionam no transcorrer dos dez cantos da epopeia. Tendo em vista que o método acima proposto transcende a análise de fenômenos narrativos, sem ignorá-los, foi necessária a formulação de uma terminologia adaptada à maneira específica como neste trabalho são abordados os fenômenos cronológicos. Foram escolhidos os termos ‘futuro aparente’ e ‘futuro real’ para designar, respectivamente, os dois tipos de referência ao futuro supra elencados. A expressão ‘tempo de autoria’, por sua vez, representa o momento em que o autor de Os Lusíadas considerou definitivamente encerrada a produção da obra. Convencionou-se como tempo de autoria o mesmo ano de publicação da epopeia, 1572. A análise da epopeia heroica camoniana segundo preceitos aristotélicos permite conceber que seu narrador principal desempenha na obra não apenas o papel de poeta, como também o de retor. O mesmo impulso que o leva a contar em versos os feitos de ilustres heróis portugueses impele esse ‘narrador-poeta-retor’ a tentar angariar para si, por meio de discursos laudatórios, o patrocínio de seu rei. Tal atuação do autor textual reflete o contexto histórico e cultural em que se inseria, na época de produção e publicação do poema, o autor empírico Luís de Camões. Foram incluídos entre os casos de futuro aparente: a) referências a conquistas de heróis portugueses no Oriente obtidas posteriormente à viagem de Vasco da Gama; b) expressões de esperanças, temores ou projetos de ação futura por parte das personagens. Ambos os tipos de ocorrência de futuro aparente constituem parte essencial da poética e da retórica de Os Lusíadas. Os feitos no Oriente são uma consequência direta das ações de desbravamento marítimo narradas no poema. Ao mesmo tempo, servem de exemplo para um discurso de louvor das virtudes portuguesas. Os medos, esperanças e projetos são justificados a partir de premissas retóricas, mas também participam da constituição de peripécias e reconhecimentos na trama poética. Foram incluídos entre os casos de futuro real: a) referências ao futuro do narrador; b) referências ao futuro de D. Sebastião, considerado como narratário; c) afirmações de princípios morais, religiosos, etc., cujo valor se admita como eterno; d) louvores às virtudes de reis e heróis, considerados como dignos de prêmio eterno. Esses casos participam também da concretização de intenções poéticas e retóricas. Quanto a narrador e narratário, há um objetivo manifesto do primeiro em persuadir o segundo, mas ambos aparecem como personagens relacionadas às ações do transcurso do poema. Quanto aos princípios e louvores, são utilizados tanto como premissas ou conclusões retóricas, quanto assegurando a verossimilhança poética. Na epopeia camoniana, o discurso retórico e o discurso poético encontram-se subordinados um ao outro. As ações poéticas servem de exemplos para endossar sentenças retóricas, mas estas últimas dependem, para ter existência, de personagens ou narradores-personagens inseridos em uma trama de ações. A análise dos exemplos recolhidos permite observar que as referências ao futuro não apenas participam desse processo, mas são ainda elementos essenciais a ele. Essa constituição peculiar permite considerar Os Lusíadas também como uma expressão literária de projeções sobre o porvir que dizem respeito aos rumos de uma sociedade que se transformava profundamente em direção à modernidade. Os quatro capítulos da presente dissertação podem ser sintetizados da seguinte forma: no capítulo 1, ‘Contributo para o estudo da cronologia em Os Lusíadas’, serão apresentados os conceitos a serem adotados e uma síntese crítica de estudos de natureza semelhante; no capítulo 2, ‘Poética, retórica e o estudo da cronologia em Os Lusíadas’, se fundamentará a ideia de que o narrador exerce função de poeta e de retor, e se dissertará sobre o contexto da publicação da epopeia; nos capítulos 3 e 4, ‘Futuro aparente’ e ‘Futuro real’, serão apresentados, respectivamente, exemplos de futuro aparente e futuro real, que serão analisados segundo a maneira como consolidem intenções poéticas ou retóricas.
This dissertation exposes the results of a theoretical and reflective work about the references presented on the future in the epic The Lusiads by Luís de Camões. Considered as 'reference to the future' was any mention of facts, thoughts or feelings concerning: a) the latter moments regarding where the characters are at a certain point of the story, but prior to the end of production of the work; b) the subsequent times to the end of production of the work. It was sought to understand how these references participate in the constitution of poetic and rhetorical speeches that interrelate in the course of the ten cantos of the epic. Given that the above-proposed method goes beyond the analysis of narrative phenomena - without ignoring them - it was necessary to formulate a terminology adapted to the specific way the chronological phenomena are approached in this work. The terms 'apparent future' and 'real future' were chosen to designate, respectively, the two types of references to the above listed future. The term 'time of authorship', in turn, represents the moment in which the author of The Lusiads considered the production of the work as permanently closed. It was determined as authoring time the same year of publication of the epic, 1572. The analysis of Camões heroic epic, according to Aristotelian precepts, allows one to conceive that its main narrator, or textual author, plays not only the poet's role, but the rhetorician as well. The same impulse that leads him to rely the achievements of illustrious Portuguese heroes on verses impels this 'narrator-poet-rhetorician' to try to raise for himself the sponsorship of his king through laudatory speeches. This action of the main narrator textual reflects the historical and cultural context in which the flesh and blood empirical author, Luís de Camões, was inserted at the time of production and publication of the poem. Among the cases of apparent future there are a) references to achievements of Portuguese heroes in the East obtained subsequently to Vasco da Gama's trip; b) expressions of hopes, fears or future project actions by the characters. Both types of apparent future occurrence comprise an essential part of poetics and rhetoric of The Lusiads. The achievements in the East are a direct consequence of maritime exploration narrated in the poem. At the same time, they serve as an example for a speech of praise regarding the Portuguese virtues. The fears, hopes and projects are justified from rhetorical assumptions, but also participate in the creation of adventures and recognition in the poetic plot. Among the cases of real future there are a) references to the future of the narrator; b) references to the future of King Sebastian, considered as narratee; c) statements of moral principles, religious principles, etc., whose value is accepted as eternal; d) praises to the virtues of kings and heroes, regarded as worthy of eternal reward. These cases also participate in the implementation of poetic and rhetorical intentions. As for the narrator and the narratee, there is a clear objective of the first in persuading the second, but both appear as characters related to the poem's course of action. As for the principles and praises, they are used both as premises or rhetorical conclusions and for ensuring the poetic verisimilitude. In Camões epic, the rhetorical and poetic speeches are subordinate to one another. The poetic actions serve as examples to endorse rhetorical sentences, but the latter depend on characters or characters-narrators inserted into a web of actions in order to exist. The analysis of the collected samples allows one to note that the references to the future not only participate in this process, but are also essential elements to it. This peculiar constitution allows one to also consider The Lusiads as a literary expression of projections of the future relating to the direction of a society that was deeply turning towards modernity. The four chapters of this dissertation can be summarized as follows: in Chapter 1, 'Contributions to a chronological study of the Lusiads', the concepts to be adopted and a critical synthesis of similar nature studies will be presented; in Chapter 2, 'Poetics, rhetoric and the chronological study of The Lusiads', will build the idea that the narrator plays both the poet and rhetorician functions, and the context of the publication of the epic will be discussed; Chapters 3 and 4, 'Apparent Future' and 'Real Future', will present, respectively, examples of apparent and real futures, which will be analyzed according to how the poetic or rhetorical intentions are consolidated.

Esta tese tem como objectivo estabelecer um encontro entre dois poemas épicos: Os Lusíadas e a Bhagavad-Guitá. Este encontro é estabelecido em primeira instância através do género épico e respectivas modalizações presentes em cada poema. É privilegiado o conceito de Literatura-Mundo, ao relacionar as duas obras, sem por isso as tornar próximas no que respeita a história e a tradição literárias individuais. É tornada operacional uma problematização de carácter teórico através de uma lógica de trilogia que interroga três elementos fundamentais para a concepção do género épico: género literário, poesia épica e literatura oral. A figura do herói épico é objecto de constante indagação.
The outcome of the present thesis is the establishment of a relation between two epic poems: The Lusiads and the Bhagavad-Guita. This relation is established on a first level by means of the epic genre and of both epic modalizations present in the poems. It is privileged the concept of World-Literature when relating the two works, giving account of the individual literary history and tradition. Questions are put into a logic of a trilogy which interrogates three paramount elements for the understanding of the epic genre: literary genre, epic poetry, and oral literature. The epic hero figure is an object of constant enquire.

This dissertation sets out to analyse the creation of an artist's book inspired by the work of literature Os Lusíadas, by Luís Vaz de Camões. The main aim of this paper is to look into this work of classic literature as a starting point and analyse it from the perspective of a semiotic significance and not just to explore it as a mere collection of printed pages in order to understand the limits of the creation of a book as a form of artistic expression, with regards to its techniques and materials used, as well as its shape and format, or even from a conceptual standpoint. The objective is to examine the book as a semiotic sign, its signified and signifier, its connotation and denotation and not just as a mere set of printed pages sewn and bound and ready to be run through by readers who may try to decode and interpret it. In the first three chapters I put forward some concepts and notions which are relevant to this dissertation such as artists' books, sign and narrative as well as the thoughts and opinions of some authors who sought to interpret and understand the book as a means of artistic expression with its own identity and autonomy. In the fourth and final chapter I describe the development and production process of an artist's book based on the work of Os Lusíadas which makes up the practical component of this work which is composed of 10 message in bottles, which I called Ten Bottles and a Book. The practical component does not intend to reproduce or re-publish the entire works of Camões or its content, but rather it seeks out to create a significant object that arouses the imagination and sensitivity of the reader/receiver and at the same time be seen as a book, exploring the idea of narrative as a succession of events, actions within a space and time frame and which represents the essence of each of the 10 poems (cantos) that make up the original book. This is why I used the analogy of the 10 bottles, which is a reference to the messages tossed to sea by shipwrecked castaways.The option I've used for the dual 'bottle/message' is also a reference to the possibility (either fact of myth) that Os Lusíadas might have been salvaged from a shipwreck, according to Feliciano Ramos, in 'Historia da Literatura Portuguesa: «The poem Os Lusíadas that the poet was carrying with him was salvaged from the sea, but it did get wet.»

Relatório da Prática de Ensino Supervisionada, Mestrado em Ensino do Português no 3º Ciclo do Ensino Básico e Ensino Secundário e de Espanhol nos Ensinos Básico e Secundário, Universidade de Lisboa, 2015
O presente Relatório de Prática de Ensino Supervisionada tem como objetivo primordial verificar a importância das referências históricas e literárias, bem como do enquadramento na história da literatura, no ensino da poesia lírica de Camões. É determinante ter a perceção de como se ultrapassam as dificuldades de lecionar uma turma de 10.º ano de Ciências Socioeconómicas, com um Programa que não contempla uma organização diacrónica da literatura. O objetivo que presidiu ao presente relatório consistiu em dotar os alunos das referências histórico-literárias fundamentais para a leitura da poesia camoniana, assim como abordar como e quando se deve tratar o ensino do texto poético e de como este tem sido relegado para segundo plano quando se trata de ensinar literatura. Os benefícios da leitura em voz alta para a aprendizagem da poesia foram também aflorados. Outro dos propósitos consistiu na melhoria da informação que os alunos detinham sobre alguns autores e sobre as suas épocas, incidindo, naturalmente, mais no tempo de Camões e dos seus contemporâneos, mas não descurando uma visão mais abrangente da cronologia da literatura. O Relatório demostra que, depois da lecionação da unidade didática, que teve a duração de seis blocos de noventa minutos, os resultados obtidos em questionário realizado antes e depois das aulas revelam a existência de uma progressão significativa dos alunos, quer na diacronia de uma determinada época da literatura, quer na contextualização histórico-literária. Deve ainda referir-se que a leitura em voz alta foi uma mais-valia para o entendimento dos poemas estudados. Pode, deste modo, ter-se uma ideia da grande relevância que estas temáticas têm no ensino do Português.
This report on Supervised Teaching has the primordial objective of highlighting the importance of historical and literary references, as well as a literary history framework in teaching Camões Lyric Poetry. It is crucial to have the perception of how to surpass the difficulties of teaching a 10th grade Socioeconomic Sciences class with a program that does not contemplate a diachronic organisation in its literature. The objective that steered the present report consisted in offering the students with fundamental historic-literary references for reading Camonian poetry as well as the approach on how and when to handle such teachings of poetic text that has been relegated to second plan in relation to teaching literature. The benefits of reading out loud to learn poetry have also been referenced. An additional purpose consisted in the improvement of the information students obtained on the authors and their eras, incidentally more in the time of Camões and his contemporaries but not obscuring the comprehensive chronology of literature. The report demonstrates that after lecturing the didactic unit – which had a duration of six block of ninety minutes – the results, obtained by questionnaire made before and after class, reveal a significant progression from the students in both the diachronic of a specific era of literature and in its historic-literary contextualisation. It should also be mentioned that reading out loud was an added value in the understanding of the poems that were studied. As such, one can have the idea of the immense relevance that these subjects have in teaching Portuguese.
El presente Informe de Práctica Supervisada tiene como primer objetivo demostrar la importancia de las referencias históricas y literarias y, además, encuadrar la enseñanza de la poesía lírica de Camões dentro de la historia de la literatura en el 10. º año. Es necesario tener presente la percepción de cómo se van superando las dificultades de enseñar en una clase de 10. º año de Ciencias Socioeconómicas, con un Programa que no contempla una organización diacrónica de la literatura. El objetivo que presidió al presente Informe consistió en dotar a los alumnos de las referencias histórico-literarias fundamentales para la lectura de la poesía camoniana, así como el de abordar el cómo y el cuándo se debe tratar la enseñanza del texto poético y de cómo este ha sido relegado para un segundo plano cuando se trata de enseñar literatura. Los beneficios de la lectura en voz alta para el aprendizaje de la poesía fueran también destacados. Otro de los propósitos consistió en favorecer la mejora de la información que los alumnos obtienen de algunos autores y de sus épocas, incidiendo, naturalmente, más en el tiempo de Camões y en el de sus contemporáneos, pero sin olvidar un abordaje de una visión más amplia de la cronología de la literatura. El Informe demuestra que, después de la puesta en práctica de la unidad didáctica, que tuvo la duración de seis clases de noventa minutos, los resultados que se obtuvieron de las encuestas realizadas antes y después de las clases revelan la existencia de una progresión significativa de los alumnos, por un lado, en el conocimiento de la diacronía de una determinada época de la literatura; y por otro lado, en la capacidad de contextualización histórico-literaria. No obstante, se debe referir que la lectura en voz alta fue una gran ayuda para el entendimiento de los poemas estudiados. Se puede, así, llegar a la conclusión de la gran relevancia que estas temáticas representan para la enseñanza del Portugués.