13 research outputs found
Clarice Lispector and Nomadic Creativity
Clarice Lispector spent part of her life abroad accompanying her husband diplomat, first in Europe and then the USA. Through correspondence with family and friends, gathered in part in The Only Means of Living (Paris, Rivages, 2010), the reader has access to this sacramental experience that runs on for more than three decades, providing a moving self-portrait of the letter writer confronted with the pain of separation. In this selection of letters, Lispector seeks dialogue with another, describes the visible topographical anchors of her existence, depicts her inner conflicts, shares her literary concerns and questions her relationship with writing. The essay examines the extent ambulatory writing can be an opportunity for intellectual and ontological experimentation but also function as a laboratory of creative writing. In this perspective, the letter, which oscillates between spontaneity and literariness, is the crucible of a living thought, marked by the fragmentary and nomadism
Clarice Lispector and Nomadic Creativity
Clarice Lispector spent part of her life abroad accompanying her husband diplomat, first in Europe and then the USA. Through correspondence with family and friends, gathered in part in The Only Means of Living (Paris, Rivages, 2010), the reader has access to this sacramental experience that runs on for more than three decades, providing a moving self-portrait of the letter writer confronted with the pain of separation. In this selection of letters, Lispector seeks dialogue with another, describes the visible topographical anchors of her existence, depicts her inner conflicts, shares her literary concerns and questions her relationship with writing. The essay examines the extent ambulatory writing can be an opportunity for intellectual and ontological experimentation but also function as a laboratory of creative writing. In this perspective, the letter, which oscillates between spontaneity and literariness, is the crucible of a living thought, marked by the fragmentary and nomadism
MemĂłria, empoderamento e Ă©tica na obra de LĂdia Jorge
In this essay, we intend to observe how Lidia Jorge mobilizes memory to interrogate patriarchal violence, experience colonial and post-colonial or identities in crisis in portuguese society, reconfiguring a critical awareness with strong axiological implications. Neste ensaio, pretendemos observar de que modo LĂdia Jorge mobiliza a memĂłria para interrogar a violĂȘncia patriarcal, a experiĂȘncia colonial e pĂłs-colonial ou ainda as identidades em crise na sociedade portuguesa, reÂconfigurando uma consciĂȘncia crĂtica com fortes implicaçÔes axiolĂłgicas
Uma prĂĄtica da "Relação: ArchipelagosâPassagens", de AmĂ©lia Muge e Michales Loukovikas
Es una reseña de la obra: Uma prĂĄtica da âRelação: ArchipelagosâPassagensâ, de AmĂ©lia Muge e Michales Loukovikas, Peripluis, CD â Ălbum.It is a review of the work: Uma prĂĄtica da âRelação: ArchipelagosâPassagensâ, de AmĂ©lia Muge e Michales Loukovikas, Peripluis, CD â Ălbum.Ă uma revisĂŁo do trabalho: Uma prĂĄtica da âRelação: ArchipelagosâPassagensâ, de AmĂ©lia Muge e Michales Loukovikas, Peripluis, CD â Ălbum
Uma prĂĄtica da "Relação: ArchipelagosâPassagens", de AmĂ©lia Muge e Michales Loukovikas
Es una reseña de la obra: Uma prĂĄtica da âRelação: ArchipelagosâPassagensâ, de AmĂ©lia Muge e Michales Loukovikas, Peripluis, CD â Ălbum.It is a review of the work: Uma prĂĄtica da âRelação: ArchipelagosâPassagensâ, de AmĂ©lia Muge e Michales Loukovikas, Peripluis, CD â Ălbum.Ă uma revisĂŁo do trabalho: Uma prĂĄtica da âRelação: ArchipelagosâPassagensâ, de AmĂ©lia Muge e Michales Loukovikas, Peripluis, CD â Ălbum
MEMORY, EMPOWERMENT AND ETHICS IN THE WORK OF LĂDIA JORGE
In this essay, we intend to observe how Lidia Jorge mobilizes memory to interrogate patriarchal violence, experience colonial and post-colonial or identities in crisis in portuguese society, reconfiguring a critical awareness with strong axiological implications. </span
Chapitre 2. Les métamorphoses du sujet dans la fiction portugaise contemporaine
La culture portugaise contemporaine est fortement marquĂ©e par la RĂ©volution des Ćillets qui entraĂźne la chute de la dictature, la fin de la guerre en Afrique et la perte de lâempire colonial. curieusement, ces Ă©vĂ©nements qui ont provoquĂ© la fin dâun cycle historique, nâont pas traumatisĂ© les Portugais, habituĂ©s Ă vivre depuis longtemps selon un registre imaginaire teintĂ© de rĂȘve et dâutopie, comme lâa dĂ©jĂ soulignĂ© Eduardo Lourenço. Cependant, ce profond bouleversement â accentuĂ© encore par l..
Contemporary paths: the experience of landscape in the poetry of Manuel Silva-Terra
En este estudio, partimos del concepto de contemporaneidad (Agamben) para analizar algunas obras de Manuel Silva-Terra y mostrar cĂłmo su escritura celebra diversos temas y motivos (la piedra, el desierto, la casa, la muerte, etc.), dibujando las huellas de un imaginario mĂtico donde la geografĂa Ăntima se cruza con la espesura de la tentaciĂłn filosĂłfica hasta crear un "paisaje-pensamiento" (Collot), capaz de inquietar al tiempo.In this study, we start from the concept of contemporary (Agamben) to analyze some works by Manuel Silva-Terra and show how his writing celebrates different themes and motifs (the stone, the desert, the house, death, etc.), drawing the traces of a mythical imaginary where intimate geography intersects with the thickness of philosophical temptation to create a âthought-landscapeâ (Collot), capable of disturbing time.Neste estudo, partimos do conceito de contemporĂąneo (Agamben) para analisar algumas obras de Manuel Silva-Terra e mostrar como a sua escrita celebra diversos temas e motivos (a pedra, o deserto, a casa, a morte, etc.), desenhando os traços de um imaginĂĄrio mĂtico onde a geografia Ăntima se cruza com a espessura da tentação filosĂłfica atĂ© criar um âpensamento-paisagemâ (Collot), capaz de inquietar o tempo.peerReviewe
Agustina Bessa-LuĂs et l'Ă©criture de l'Histoire
Lorsqu Agustina Bessa-LuĂs (1922-) rĂ©Ă©crit l Histoire elle est guidĂ©e par la volontĂ© de dĂ©noncer l absence des femmes dans l historiographie traditionnelle. Notre lecture envisage la rĂ©inscription des femmes dans l Histoire portugaise, ceci Ă travers le prisme de la dĂ©construction de son discours. C est Ă travers une remise en question de l objectivitĂ© historique, par la subjectivitĂ© et la multiplicitĂ© des points de vue, ainsi que par un travail intertextuel sur les textes sources rĂ©vĂ©lant qu ils sont des constructions, que les romans deviennent des mĂ©tafictions historiographiques postmodernes. Elles Ă©laborent Ă travers la parodie et l ambivalence une Histoire carnavalesque, dessinant une image peu commune du Portugal. Ensuite, la romanciĂšre oppose Ă la vision officielle, une histoire au fĂ©minin, ceci pour documenter l expĂ©rience et l identitĂ© des femmes dans leurs multiplicitĂ©s. La question de la mĂ©moire et des jalons inhĂ©rents Ă la condition des femmes rĂ©vĂšle un processus de construction identitaire dĂ©gageant deux modes d inscription fĂ©minins dans l Histoire, l un autorisĂ©, l autre transgressif. Puis, le principe de la domination masculine est remis en cause Ă travers la question de la virilitĂ© comme un impossible modĂšle Ă atteindre. Dans les romans de l Ă©crivaine, les hommes deviennent des figures ambigĂŒes, reprĂ©sentant le dĂ©sordre et la ruine dans la sociĂ©tĂ© hĂ©gĂ©monique. Fuyants mais rĂ©conciliĂ©s, ils reformulent la masculinitĂ© et signent la mort du patriarcat. Enfin, sont examinĂ©s les derniers fondements rĂ©gissant la relation homme/femme : la question l hĂ©tĂ©rosexualitĂ© obligatoire et celle du couple. L auteure montre la fin de l altĂ©ritĂ© radicale entre l Autre et l Un, provoquant une ressemblance entre les sexes et remettant en cause la notion mĂȘme de couple. Ainsi, si elle a dĂ©montrĂ© au long de son oeuvre que l on peut ĂȘtre femme et homme de diverses maniĂšres, elle soulignera aussi que dans le couple l union est impossible.When Agustina Bessa-LuĂs rewrites History she is guided by the will to show the absence of women in History. Our reading will show the reintroduction of women in Portuguese History through the descontruction of its discourse. It s through questioning the historic objectivity, by the variety of points of view and by an intertextual work with written sources, which reveal that they are human constructions, that the novels become postmodern historiographics metafictions. They elaborate through parody and ambivalence en carnival History, giving a different picture of Portugal. Then the novelist contrasts the official History with a Herstory in order to document the feminine experience and identity in all their multiplicities. The question of memory and phases that are inseparable from woman conditions, reveals a process of identical construction, which gives a report of two ways of feminine inscription into History, one authorize, the other transgressive. Then the principle of masculine domination is questioned through the matter of virility as an impossible model to attain. The men become ambiguous figures, who represent the disorder and decay of society. Fleing but reconciled they reform the masculinity and sign the death of patriarchate. Finally, the last foundations that govern the relation the relation between men and women, and the question of obligatory heterosexuality and the couple, are examined. The writer shows the end of radical otherness between the Other and the One which provokes a resemblance between sexes and questions the notion of the couple. Thus, if the author has shown in her novels, that we can be a man and a woman in different ways, she also shows that in a couple the union is impossible.PARIS4-Bib. Ă©lectronique (751059905) / SudocSudocFranceF