Pessoa and Saramago – an erudite dialogue

Portugal has been always on the periphery of the main history, also the literary history, so that in order to go out of the localism of the poetry, F. Pessoa created a group of poets whose purpose was to create a modern Portuguese poetry. José Saramago, going in the same direction dozens of years later, seems to have been a slave of the concept of portugality created by F. Pessoa. Both authors are interconnected in a surprising way, as if one could not exist without the other. Saramago’s novels are influenced by Pessoa’s literary creation, like a great part of the contemporary Portuguese literature, both poetry and prose. The paper depicts the influence of F. Pessoa on J. Saramago and discusses the phenomenon of portugality and the role of Pessoa in its formation.Portugal has been always on the periphery of the main history, also the literary history, so that in order to go out of the localism of the poetry, F. Pessoa created a group of poets whose purpose was to create a modern Portuguese poetry. José Saramago, going in the same direction dozens of years later, seems to have been a slave of the concept of portugality created by F. Pessoa. Both authors are interconnected in a surprising way, as if one could not exist without the other. Saramago’s novels are influenced by Pessoa’s literary creation, like a great part of the contemporary Portuguese literature, both poetry and prose. The paper depicts the influence of F. Pessoa on J. Saramago and discusses the phenomenon of portugality and the role of Pessoa in its formation

Pessoa e Saramago – diálogo de eruditos

Portugal has been always on the periphery of the main history, also the literary history, so that in order to go out of the localism of the poetry, F. Pessoa created a group of poets whose purpose was to create a modern Portuguese poetry. José Saramago, going in the same direction dozens of years later, seems to have been a slave of the concept of portugality created by F. Pessoa. Both authors are interconnected in a surprising way, as if one could not exist without the other. Saramago’s novels are influenced by Pessoa’s literary creation, like a great part of the contemporary Portuguese literature, both poetry and prose. The paper depicts the influence of F. Pessoa on J. Saramago and discusses the phenomenon of portugality and the role of Pessoa in its formation.Portugal has been always on the periphery of the main history, also the literary history, so that in order to go out of the localism of the poetry, F. Pessoa created a group of poets whose purpose was to create a modern Portuguese poetry. José Saramago, going in the same direction dozens of years later, seems to have been a slave of the concept of portugality created by F. Pessoa. Both authors are interconnected in a surprising way, as if one could not exist without the other. Saramago’s novels are influenced by Pessoa’s literary creation, like a great part of the contemporary Portuguese literature, both poetry and prose. The paper depicts the influence of F. Pessoa on J. Saramago and discusses the phenomenon of portugality and the role of Pessoa in its formation

Around the concepts of magic realism and miraculous reality - an attempt at differentiation

The article presents some notes about the nature of the magic realism that can become useful to formulate a homogeneous definition of the concept. The basic differences between the concepts of magic realism and “lo real maravilloso” of Alejo Carpentier are also exposed. Those terms are frequently erroneously equalled by the critics which generates a terminological confusion that should be cleared. The magic realism is presented as an aesthetic term whereas “lo real maravilloso” is considered as an ontological term, which constitutes the main difference between them

Lusofonia – entre mito, história e futuro

The paper discuss the problem of lusophony as a poscolonial neoimperial Portuguese ideology. The author claims that the lusophonic mythology, that is currently being created, is ingrained in the tradition of salazarist propaganda. Also the frequent mentions of lusotropicalism in the context of the modern lusophony is observed especially in the case of enunciations of the Portuguese dignitaries of whom Mario Soares is the most proeminent. The conclusion is that the idea of lusophony may resemble lusotropicalism in many aspects, especially if we take into account the Portuguese point of view. Also the approach towards the idea of lusophony of the Portuguese speaking African countries and Brasil is shortly discussed.The paper discuss the problem of lusophony as a poscolonial neoimperial Portuguese ideology. The author claims that the lusophonic mythology, that is currently being created, is ingrained in the tradition of salazarist propaganda. Also the frequent mentions of lusotropicalism in the context of the modern lusophony is observed especially in the case of enunciations of the Portuguese dignitaries of whom Mario Soares is the most proeminent. The conclusion is that the idea of lusophony may resemble lusotropicalism in many aspects, especially if we take into account the Portuguese point of view. Also the approach towards the idea of lusophony of the Portuguese speaking African countries and Brasil is shortly discussed.The paper discuss the problem of lusophony as a poscolonial neoimperial Portuguese ideology. The author claims that the lusophonic mythology, that is currently being created, is ingrained in the tradition of salazarist propaganda. Also the frequent mentions of lusotropicalism in the context of the modern lusophony is observed especially in the case of enunciations of the Portuguese dignitaries of whom Mario Soares is the most proeminent. The conclusion is that the idea of lusophony may resemble lusotropicalism in many aspects, especially if we take into account the Portuguese point of view. Also the approach towards the idea of lusophony of the Portuguese speaking African countries and Brasil is shortly discussed

Political conditioning in the publication of Portuguese languageliteratures in Poland in the years 1945-1989

O artigo apresenta uma breve panorama da literatura da língua portuguesa na Polónia durante o período comunista do país, assim como expõe os condicionamentos do mercado editorial daquele período. A tese do texto é que era a política do partido comunista do poder que influia nas escolhas dos títulos e dos autores a publicar tendo em conta os acontecimentos políticos em Portugal e no seu ultramar (depois PALOPs) e no Brasil.The article presents a brief overview of the literature of the Portuguese language in Poland during the communist period, as well as exposes the conditions of the publishing market of that period. The thesis of the text is that it was the policy of the governing communist party that influenced the choices of titles and authors to publish in light of political events in Portugal and its overseas territories in Africa (later PALOP) and in Brazil.Esta publicação foi financiada por Fundos Nacionais através da FCT — Fundação para a Ciência e a Tecnologia, no âmbito do Projeto «UID/ELT/00077/2019»info:eu-repo/semantics/publishedVersio

Introdução

IntroductionIntroduçã

Contextos mitopéicos da prosa de Mia Couto nos romances Varanda do Frangipani, O Último Voo do Flamingo e Terra Sonâmbula

This paper presents an analysis of mythopoeic elements in three novels by Mia Couto. Starting from Mircea Eliade’s definition of myth, we look for elements of the Living Cosmos with its axis mundi, centre and periphery, chaos and harmony and quest in the novels. Such structure of the analysis allows us to consider the cultural colonization and decolonization of contemporary Mozambique. We conclude that the analysis of the mythopoetic schema in Mia Couto’s novels demonstrates a crisis of cultural harmony in the contemporary Mozambican state and nation. On the other hand, however, the mythopoetic reveals a horizon of cultural and traditional models of persistence that save not only from chaos but above all from the dehumanization of society.  

Around the concepts o f magic realism and miraculous reality - an attempt at differentiation

The article presents some notes about the nature of the magic realism that can become useful to formulate a homogeneous definition of the concept. The basic differences between the concepts of magic realism and “lo real maravilloso” of Alejo Carpentier are also exposed. Those terms are frequently erroneously equalled by the critics which generates a terminological confusion that should be cleared. The magic realism is presented as an aesthetic term whereas “lo real maravilloso” is considered as an ontological term, which constitutes the main difference between them