Academic literature on the topic 'Portuguese Concrete poetry'

<p>O presente trabalho estuda a construção do movimento da Poesia Experimental Portuguesa, que teve um papel importante na renovação estética na literatura dos anos 60, contribuindo para um debate internacional em torno dos movimentos de poesia experimental e, a partir deste mesmo debate, propondo um caminho de liberdade criativa, frente ao quadro político reinante em Portugal. Destacamos, neste contexto, a importante participação da Poesia Concreta brasileira como estímulo a esta abertura estética.</p> <p>This work studies the construction of the Portuguese Experimental Poetry that had a great part in the aesthetic renewal in the literature of the sixties, contributing to an international debate around the movements of experimental poetry and, because of this, proposing an opening for the creative freedom, in the presence of the political and cultural situation in Portugal in these years. We highlighted, in this context, the important participation of the Brazilian Concrete Poetry as incentive for this aesthetic opening.</p>

Resumo: Desde Roda lume (1969), de Ernesto M. de Melo e Castro, o videopoema português perpassou décadas de experimentação ao largo da história da poesia editada em livros e impressos. Nos últimos anos, novidades tecnológicas como a câmera de celular e plataformas de compartilhamento de vídeos como o YouTube modificaram a maneira com que um videopoema pode ser feito, distribuído e lido/assistido. Essas novidades mostram-se imprescindíveis para analisar os videopoemas de Patrícia Lino e Matilde Campilho publicados recentemente. Na tentativa de propor um debate paralelo à crítica que se dedica ao estudo do videopoema em termos de expansão e de hibridismo em poesia, são apresentados tópicos sobre palavra e imagem presentes no ensaio “A reinvenção da leitura”, de Ana Hatherly (1981). A simplificação da feitura de vídeos e a facilidade de hospedá-los em plataformas como o YouTube parecem interferir propositivamente nos vídeos de Lino e Campilho e apontam para um caminho oportuno a esta e a novas gerações de poetas portugueses.Palavras-chave: escrita; leitura; poesia portuguesa contemporânea; poesia concreta; videopoema; videopoesia; YouTube.Abstract: Since Roda lume (1969) by Ernesto M. de Melo e Castro, Portuguese video poem has gone through decades of experimentation along the history of poetry edited in books. In recent years, technological innovations such as the mobile camera and video sharing platforms like YouTube have changed the way that a video poem can be made, hosted and read/watched. These novelties are essential to analyze the recently published video poems by Patrícia Lino and Matilde Campilho. In an attempt to propose a debate parallel to the criticism of the study of video poem in terms of expansion and hybridism in poetry, important topics on word and image are presented in Ana Hatherly’s essay “The Reinvention of Reading” (1981). The simplification of video-making and the ease of hosting them on platforms such as YouTube demonstrate a purposeful interference and seem to point to an advantageous path for this and new generations of Portuguese poets.Keywords: writing; reading; contemporary Portuguese poetry; concrete poetry; videopoem; videopoetry; YouTube.

Resumo: Este pequeno texto parte da constatação de recorrências literárias entre a Poesia Experimental de E. M. Melo e Castro e a Poesia Concreta brasileira, que tem origem no diálogo intertextual ocorrido no cerne das rupturas literárias das vanguardas nas décadas de 1950 e 1960 no Brasil e em Portugal. Trato dessas relações a partir da leitura de três livros de poesia escritos pelo poeta português: Queda livre, de 1961, Ideogramas, de 1962 e Poligonia do soneto, de 1963.Palavras-chave: experimentação; poesia concreta; vanguarda; ruptura; modernidade.Abstract: This text is based on the observation of literary recurrences between E. M. Melo e Castro’s Experimental Poetry and Brazilian Concrete Poetry, which originates from the intertextual dialogue that took place at the heart of the literary ruptures of the avant-garde in the 1950s and 1960s in Brazil and Portugal. I deal with these relations from the reading of three poetry books written by the Portuguese poet: Queda Livre, 1961, Ideogramas, 1962 and Poligonia do soneto, 1963.Keywords: experimentation; concrete poetry; avant-garde; rupture; modernity.

Resumo: Este artigo traz um relato pessoal sobre o meu despertar para a poesia concreta e experimental depois de assistir a uma aula em meu curso de graduação na qual foi analisado o poema “Objectotem” de E. M. de Melo e Castro. Nele abordo também a importância da obra desse poeta português. Essas reflexões foram apresentadas de forma abreviada no colóquio Pensar a Palavra-Experiência: Homenagem a E. M. de Melo e Castro, realizado em outubro de 2019, na Universidade Federal de São Paulo – UNIFESP, campus Guarulhos.Palavras-chave: poesia concreta, poesia experimental, Melo e Castro.Abstract: Report of the awakening of poet Franklin Valverde for concrete and experimental poetry after a class in which the poem “Objectotem” by E. M. de Melo e Castro was analyzed, as well as the importance of the work of the Portuguese poet. Presented at the Think the Word-Experience: Tribute to E. M. de Melo e Castro, held in October 2019, at the Federal University of São Paulo - UNIFESP, Guarulhos campus.Keywords: concrete poetry, experimental poetry, Melo e Castro.

Apresentação sumária de oito sítios web relacionados com o tema deste número "Redes da Poesia Experimental". Figuram na seleção os seguintes sítios web: Arquivo Digital da PO.EX: Poesia Experimental Portuguesa; poesia concreta: o projeto verbivocovisual; Archivo Guillermo Deisler (1940-1995); Arquivo Centro de Arte Experimental Vigo; Stephanie Strickland Papers, 1955-2016; Documents of 20th-century Latin American and Latino Art; Archiv Sohm e The Sackner Archive of Visual and Concrete Poetry. DOI: https://doi.org/10.14195/2182-8830_7-1_13

Manuel Odorico Mendes wrote a few verses from his own craft wich survived and reached the present time as À tarde (To the Evening), but got his place on Literary Companions as a translator, converting into the Portuguese language the Classical Epic (The Iliad, The Odissey, The Aeneid) and other works including a modern writer (Voltaire). His effort was well received for some of his contemporaries as João Francisco Lisboa, but later encountered a strong oposition from critics as Silvio Romero, and after him Antonio Candido. Recently some critics atained to the Concret Poetry and others try to recover Odorico translating works, sometimes confering him distinguished offspring as Sousândrade and Guimarães Rosa. This paper intents to analyse Odorico poetry as well as what say his critics aiming to contribute to verify his place on the Brazilian Classical Poetry and consequently on the Literature itself.

A cidade e sua relação com o mar nos poemas da autora portuguesa Sophia de Mello Breyner Andresen é o tema central do presente trabalho. Se, num primeiro momento, uma leitura superficial do espaço urbano em sua obra poética sugere uma perspectiva negativa, à medida que se dedica um olhar mais atento a essa poesia, é possível observar diferentes percepções do ambiente citadino. A análise pormenorizada apresentada no estudo em questão mostra que, nos poemas da autora, a visão da cidade que, tal qual Babilônia é corrupta e corruptora e se caracteriza como um espaço hostil bem como sombrio, coexiste com mais outros dois perfis de espaço urbano: as cidades délficas e as cidades sedutoras. Fazendo contraponto às herdeiras da Babilônia, as que compõem o primeiro grupo remetem à imagem da cidade que floresce do Apocalipse. Dotadas de elementos do espaço natural, elas são lugares nos quais o sujeito encontra claridade, pureza e acolhimento. Já o outro perfil de espaço urbano, composto pelas cidades sedutoras, é carregado de dualidade. Magnéticas, elas atraem o sujeito poético com suas luzes e brilhos, mas, ao mesmo tempo, também causam repulsa e emitem um esplendor falseado, num contexto em que aquilo que causa fascínio no sujeito coexiste com o que o desagrada e provoca desconforto. Entretanto, antes de apresentar essa análise do espaço citadino, o estudo traça um percurso que tem como ponto de partida uma característica constante na poesia da autora: a busca incisiva do real em todas as suas perspectivas, inclusive aquelas que sugerem uma relação antagônica. Partindo dessa abordagem mais panorâmica da obra de Sophia, o trabalho, num outro momento, evolui para a percepção do real de um ponto de vista mais restrito: o do espaço físico, dentro do qual o meio transformado pelo homem e o ambiente natural apresentam configurações distintas. Se florestas, desertos, rios e mares são lugares de liberdade, harmonia e identificação para o eu, os muros, ruas e esquinas geralmente surgem como espaços de desajuste e isolamento. É da percepção que o sujeito poético revela ter desses ambientes que se chega ao eixo central apontado acima: as cidades e suas diferentes configurações. Exemplo mais marcante do meio transformado pelo homem, elas excedem a leitura associada à idéia de dor, confinamento e sofrimento. À medida que estabelecem diferentes relações, ora conflituosas, ora harmoniosas com elementos do meio natural entre os quais o mar surge como principal expoente no contexto dessa poética , elas revelam que existem outras leituras possíveis do espaço urbano.
The city and its relation to the sea in Portuguese author Sophia de Mello Breyner Andresens poems is the main theme of this study. If a superficial interpretation of the urban space in her poetry may suggest a negative perspective concerning the city, as the study progresses, different perceptions of the urban space emerge. The detailed analysis presented in this study shows that in the authors poems the conception of the city such as Babylon is corrupt and corrupting, spreads hostility and suffering coexists with two other types of cities: the delphic cities and the seductive cities. Contrasting with the successors of Babylon, the cities that belong to the first group refer to the ideal of the city described after the Apocalypse. Inhabited by elements from natural space, they are places where the self can find clarity, purity and hospitality. The other type of city, whose main characteristic is seduction, is conducted by dualism. Full of magnetism, they attract the self with their radiance and brightness, but, at the same time, their false splendor may seen repulsive in a context that the same thing that fascinates the self also bothers and causes discomfort. However, before presenting the analysis of the urban space, the study follows a way that begins with an essential characteristic in the authors poems: the search for all the perspectives of the real, including those that suggest antagonisms. Starting from a panoramic view of Sophias poetry, the study is conducted to a more restrict perception of the real: the physic space, in which places transformed by the man and natural environment present contrasting configurations. If forests, deserts, rivers and seas are places that the self not only recognizes as essential for him but also seems to find the freedom and harmony he was looking for, the streets, corners and walls that surround him makes him feel displaced and lonely. The main theme of this study the city comes from the different conceptions of these places. One of the most representative examples of the environment transformed by man, the cities exceed the image of sorrow, suffering and isolation. As they build different relations (sometimes antagonistic, sometimes harmonious) with elements from a natural environment in which the sea is presented as a main exponent in this poetry , they reveal that other interpretation of the urban space can be found.

Ernesto Melo e Castro, Covilhã 1932–202, is a textile engineer and Portuguese artist, trained in Bradford. He dedicated is life to textile design and to the technical direction of textile engineering companies. At the same time, he developed research in the field of Brazilian concrete poetry and Portuguese experimental poetry; being a fundamental and very innovative author that used the computer in the last phase of its journey as an artist.His work is based on an ideographic structure where the visual composition, which uses exclusively typography, is based on the principle of the ideogram, where the general graphics of the piece provide the idea for the visual piece. Melo e Castro makes use of lyrics, lines, arrows and various symbols that depart from the conventional music agenda, approaching the notation practices of the authors of American experimental music.His later works, particularly ‘Interactive Sound Poetry’ makes use of a typeface not printed but drawn. Melo e Castro elaborates a capital letter register that mimics the homogeneity of typography. The gestural character of the lyrics shows a phonetic intensity that can be inferred from the writing itself, fixed in the score, where the rapidity of the gesture and the erasure are dominant characteristics. This score is based on a computer interactive creation around phonetics and sound, making use of a computer, keyboard and synthesizer with words amplified and where the user performs poetic sequences randomly as he presses the keys. The observer is faced with a set of words: 'freedom', 'love', 'action', 'chance' and 'peace', within a circle, functioning as reading pivots, providing combinations of graphically noted words.The user makes associations and sequences, learns as a musician learns a piece of computer music, producing conceptual chains of words and the associations will not necessarily be logical or grammatical, and can be casual and therefore produce new and unexpected meanings in the sound and conceptual plane. This piece, being neither singing nor speaking, fits within a mediation between singing and speaking, a technique systematized by Arnold Schoenberg, which constitutes one of the most important criteria in the sound character of the work, starting from a study of the basic phonetics of Portuguese.To confirm this research we are now carrying out an observation around the work ‘Negative Music’ that is not developed as in the works of John Cage in an appreciation of musical silence, although this fact seems at first sight evident. It is a piece for the eyes and not for the ears. The computer game of silence represents first of all a response to the paternal authority of Melo e Castro and a metaphor against the Salazar dictatorship in Portugal. With this in mind, it is first of all a semiotic poem of conceptual visuality; In a second analysis this poem becomes a performative interpretation. In addition to its functional aspect, Melo e Castro’s notation presents a strong graphic and typographic bent, with a notorious concern to produce an object of visual characteristics where there is a balance between its constituents.